The Battalion
Monday • February
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Killers
Continued from Page 3
So Coburn and Lee now are on
the run, and although this may
seem like the typical action flick, the
cinematography takes care of keep
ing the film above other big-budget,
computer-graphic-enhanced films.
Yun-Fat is Mr. Cool throughout
the entire film, clad in a black suit
and delivering lines that do not
bring memories of the usual one-
liners that plague action films. His
presence on the screen is smooth
and demanding of attention,
making this film a great crossover
for American audiences.
Sorvino, on the other hand, is
a go-getter who takes control of
every situation she finds herself
in. Unlike her previous film roles,
as Coburn, Sorvino portrays a no-
nonsense woman with gun in
hand and underground operation
skills that would put most street
dealers to shame.
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But the movie is good for
bringing back memories of the
’80s and if you’re not laughing
at the dialogue, you will be
laughing at the clothing.
— April Towery
F air is fair! Come back to the
five and dime, Billie Jean —
they don’t make ‘em like you
anymore. It’s a film, not a movie.
This movie is the absolute
apex of empowering ’80s teen
cinema. Like Joan of Arc, Sheryl
John Lee (Chow Yun-Fat) and Meg Coburn (Mira
As for directing, Fuqua drew
from technics used in the film Sev
en in his desire to create a Taxi
Driver for the ’90s. With slick cam
era shots and inventive angles,
Fuqua pulls off a visual carnival
audiences will enjoy viewing.
Overall, amidst the camera
Crow and Marsha Clark before
her, Billie Jean cuts her hair, cops
a tough new ‘tude and becomes
a media martyr.
Set during a hot Corpus
Christi summer, no one was al
lowed on camera unless they
were basted in a glistening top
coat of sweet Texas sweat.
And just to clear up any ru
mors, Billie Jean is not my lover.
And the kid is not my son.
—Chris Martin
I hristian Slater with a water
gun is all that can be said
(about the infamous The
Sorvino) protect themselves in The Replacement Killers.
angles, solid acting and stable
plot, The Replacement Killers is
not a brilliant film.
But it has the cinematic ac
complishment of being able to
pull actors and filmmaking into a
complete circle of an entertain
ing and well-developed creation.
Legend of Billie Jean. Watching the
movie just makes you want to
scream, “It’s a super-soaker, don’t
you realize you’re gonna get killed
waving that thing in front of cops!”
Then Slater dresses up in drag
to pretend he is Billie Jean — talk
about one confused kid.
Spiked hair, Pippy Longstock-
ing ponytails and teenage angst
makes The Legend of Billie Jean
quite humorous, despite its at
tempt to be a drama.
Then again, that’s what we like
about the ’80s and the films made
back then — lots of cheddar.
— Janies Francis
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