When asked about a particular cinematic floater in which he had appeared, Robert Mitchum replied, "They pay you for the bad ones too!" I am assuming that Val Kilmer has adopted that as his personal mantra to get him through this latest phase of his career. So far in the past week I have watched Kilmer in The Traveler, Streets of Blood and The Thaw and all of them are terrible.Not his fault, of course, he's just an actor. He is forced to deal with the scripts he is given.
The Traveler shows promise at the start, despite the derivative nature of the script and the stereotypes that take the place of characters. Once the supernatural huggery-muggery begins that promise rapidly begins to fade. The story makes no sense. At first it is hinted that Kilmer is the ghost of a wrongly killed man and he is going to enact revenge on the deserving occupants of the police station a la High Plains Drifter. If the script would have stayed with that angle it might have produced an interesting film,if only on the simplistic and preachy level of an old Twilight Zone. But the pernicious influence of M. Night Shyamalan on a whole generation of screenwriters forces the offending scripter to try a big twist at the end and--a common failing with gimmicks of this type--the big reveal is absurd and makes no sense. It also invalidates everything that came before in terms of logic or coherence. Ah well, better luck next time.
The Traveler shows promise at the start, despite the derivative nature of the script and the stereotypes that take the place of characters. Once the supernatural huggery-muggery begins that promise rapidly begins to fade. The story makes no sense. At first it is hinted that Kilmer is the ghost of a wrongly killed man and he is going to enact revenge on the deserving occupants of the police station a la High Plains Drifter. If the script would have stayed with that angle it might have produced an interesting film,if only on the simplistic and preachy level of an old Twilight Zone. But the pernicious influence of M. Night Shyamalan on a whole generation of screenwriters forces the offending scripter to try a big twist at the end and--a common failing with gimmicks of this type--the big reveal is absurd and makes no sense. It also invalidates everything that came before in terms of logic or coherence. Ah well, better luck next time.