With Medicine Man, cheating the audience doesn’t work. In some ways, it’s refreshing to see Die Hard director John McTiernan discard his usual process of working. This involves whiplash pacing, precious little character development and one explosion after another. Medicine Man operates on a more conservative level, bypassing the hysteria with a pace more suited to relishing human moments.

Sean Connery acts as well as executive-produces the film, his performance a notable career highlight. Lorraine Bracco functions as his research assistant. Together they aim to bring the cure for cancer into the world.

The chemistry between Connery and Bracco works a treat. However, there are areas of Donald McAlpine’s camerawork which continue to baffle me. With such lush terrain to draw upon, he resorts to artificial means in his lighting design. A case in point arises during a heavy rainfall sequence. As soon as the first light bulb comes on, my thoughts left the movie and never returned. Anyone can light like this. It takes a more naturalistic approach to find the truth of the situation. Note to filmmakers: Always try to justify the light.  

Parts of the picture radiate elegance, such as a tree-climbing vignette enhanced by composer Jerry Goldsmith. Yet the larger issue concerns McTiernan’s hidden purpose in making the movie. Could it be the man versus nature dilemma? Deforestation? Whatever the reason, I remain convinced that crafting a worthwhile premise from this bark has its disadvantages. For instance, many viewers will require a satisfactory, if fictitious resolution. The film doesn’t provide one. Some may ask for a greater sense of conflict, while others argue over the central narrative hook.

Overall, I feel strangely let down by McTiernan because Medicine Man comes across as a well-meaning story with absolutely no backbone whatsoever.

(Released by Buena Vista Pictures and rated "PG-13" by MPAA.)