Now, all who’s left to find is that damn Star Wars Kid.
Although it was originally intended as an inside joke among co-workers, a video of a Winnebago salesman yelling, screaming, and cursing during a shooting for his new commercial spread across the globe like wild-fire. First, it was on VHS tape, then went straight to YouTube, and finally, the whole world. All of this notorious fame earned Jack Rebney the title of “The Angriest Man in the World”. The documentary explores the story of the clip’s origin and how, two decades later, it affects the man who never even knew it existed.
Before I get into this review, you got to know what you’re getting yourself into. If you have never, ever seen the “Winnebago Man” video, ever, then get your ass on over to Youtube, check it out, laugh your ass off, and get back over here.
Okay, solid stuff. Now that you know what all of the fuss is about, I can finally delve deeper into what this documentary really explores.
To be brutally honest, I thought that video was pretty funny back in the day. You know, because it’s all about a simple guy, who’s probably been having the worst day of his life, screams, curses, swats at flies, tries to figure out what the hell the word “accountrement” means, and just yells at every single person who dares walk into his wrath. That stuff was hilarious when I was in 5th grade, when it first came out, but now I’ll just watch it, laugh from time-to-time and that’s just about it. However, this director Ben Steinbauer, really found this stuff not only to be funny, but almost life-changing in a way and it’s surprising to see a guy get over-taken with so much joy and inspiration, by a guy who just drops F-bombs the whole video. But I have to give it to this guy, because he really goes all out in trying to find this Jack Rebney, and even if I wasn’t totally on-board with finding this guy; I have to say that it was a pretty interesting ride in and of itself.
That’s actually where the whole charm of this movie comes into play: through Jack Rebney himself. This is one of those behind-the-scenes, insider-looks at a guy that everybody knows, loves, laughs at, and wants to meet, but hasn’t been seen ever since this video first came on the Y-tube. It’s interesting to see where this guy went, how he looks at the world, what he thinks of the term “internet celebrity”, and also see if this guy really is THAT pissed off all of the damn time. And it’s surprising to see, but yes, this guy really is as miserable in real life as we see him in that video. He’s cranky, he’s old, he’s pissed off at everybody around him for no good reason, but he’s not all that bad of a dude.
I was pretty interested in seeing what was going on with this guy behind those closed doors, but it wasn’t like I was asking for a documentary about this. Then again, what I got to see of Rebney was pretty cool because this guy is somehow able to be a total old fart, with all of his curses and insults, but still be able to be loved by over 50 Y-tube lovers in a room and probably more all over the world. What’s even crazier is that Rebney doesn’t change his personality once and it’s a surprise to see a guy that can be such a miserable git at some points, still have the love and adoration from millions and millions of people all over the globe. Not everything Rebney says is funny, that’s for sure, but when he is pissed off for no reason, it makes you chuckle here and there. Plus, by the end, when you actually see him confront his “internet celebrity” status, it’s actually pretty interesting to see since the guy has pretty much locked himself away from the world for the past 30 years. Wasn’t really begging to see where this guy went with his life and how he was doing, but it’s pretty cool to see what actually does happen to a normal dude that just so happened to be in the right mood, at the right time, at the right place, and in front of the right camera.
However, once you get past Rebney, you start to realize that there isn’t really anything else to this flick other than seeing what happened to one of the first V-list celebrities. Granted, it’s pretty cool to see where Rebney is mentally and physically in life, but we never get to know much about him other than he used to be a writer for CBS and left on his own terms. That stuff actually was interesting, but the film never dives deep into that probably cause this director seemed like he was too afraid to go for the hard and heavy line-of-questioning. He sort of just lets Rebney rant and rave throughout the whole film, which is fine because that’s who he is, but I kind of wanted to know what makes this guy tick (pretty much everything), and just more about him in general. Maybe there was TOO much love and adoration on Steinbauer’s part. Just maybe.
Also, I couldn’t help but think that this documentary is a bit mean-spirited in some of its own ways. Think about it for a second: you’re alone, happy in your life of solitude, free to do whatever you want, have the world all to yourself, have your own little doggy to keep you company, own rifles for protection, and just no real bother from the outside world. Sounds pretty ideal, right? Well, it was for Rebney, who seemed pretty effin’ glad to be living the way he was. That is until Mr. Director had to bring his simple-minded ass up there and bother the poor, old guy. I get that this kid wants to meet “his inspiration for life” and will stop at nothing to do so, but really; think about what that guy wants. I highly doubt Rebney wanted anybody bothering him in his peaceful life, and it’s kind of rude when you think about how this director just walks himself into poor Rebney’s life, without Rebney able to stick up for himself and tell him to beat it. Poor Jack Rebney. I just hope that he’s feeling free and relaxing on his own terms now. Just hope he stays the eff away from that little punk, Ben Steinbauer!
Consensus: Winnebago Man is the type of documentary that’s interesting because of what the human-mind wants to, and must know in order to feel some sort of relief after laughing at this poor, old guy after all of these years. However, it doesn’t seem to go any further other than the fact that dude’s just a slightly-senile, cranky person that wants to be left alone, and probably should have been for the sake of his own health.
6.5 / 10 = Rental!!
Sort of like if Mickey and Mallory went on a road-trip. Well, a different one anyway.
Two lovebirds, Chris and Tina (Steve Oram and Alicia Lowe), decide that it’s time to get away for a little and have some fun. Chris then plans out this whole trip for the two to take, hopefully have fun on, and explore the country-side. Oh, and they might also do some killing as well. Just in case the moment ever arises.
Director Ben Wheatley is starting to become a voice to be heard in the world of movies. Kill List was a shock of a movie that never ceased it’s turning wheels, and still has me wondering about it, even until this very same day. It’s just that type of movie that messes with your mind, long after you’ve seen it, which is why you should definitely go out, find it, and watch it if you haven’t done so already. That said, this movie had a lot of promise by the way this is Wheatley’s second film and shows that the guy loves blending human-relationships, comedy, and horror, altogether in one, neat package. But what you may not notice until checking out the credits, this isn’t written by Wheatley and is instead done by it’s two leading stars. First mistake right there.
Even though Wheatley took some risky and strange steps with Kill List, you still have to give the guy credit for at least going down the roads that he did, and not making any apologies for it. It was always interesting to see where he could go next with his story, and what genre he was going to mess around with when he felt like it. This movie just felt like the same genre, the same joke, the same happenings, the whole way through. There’s nothing really crazy going on here other than the fact that these two lovers are out on their own, little trip of sight-seeing and killing random people. Funny for maybe the first or second time, but after that: it becomes a bore.
However, Oram and Lowe don’t really seem to get the nods right off the bat. They decide to keep on hammering and hammering away with the same joke that these two, ordinary people would actually spend a whole trip going from place-to-place, killing people whenever they saw fit. It gets old, real quick, and feels like the movie is at a lost for ideas. If anything, the movie did make me laugh with it’s monstrous uses of irony, and finding new and original ways to use it here and there, but even that got to be repetitive as well. Nothing new seems to happen, other than what person they are going to kill next and even then you can pin-point how, who, what, where, and when.
Not good for any movie, let alone one of the horror/black comedy-genre.
Honestly, I wish I could go on and on about this movie and say how obvious it got to a certain-point where I just wanted somebody to slap me with a fish and get it over with already, but I’m sort of at a lost for words. Wheatley still shows his love and compassion for making things terribly-uneasy with the audience, whether it’s watching a person be killed, or the thought of someone being killed. But then that idea starts to get skewered as you begin to see these characters taking out all of their rage and frustration out on people who seem to sort of deserve it. Not saying any person deserves to die for saying or doing something that may not be the nicest-gesture in the whole, entire world, but if Wheatley really wanted to ruffle some feathers, he would have gone for the jugular and given us victims that were the least-bit sympathetic. Everybody here just seem like mean people that had it coming to them some time soon. Not my thoughts. Apparently it’s the movies. Just by the looks of it.
Then, of course, there’s the two leading-peoples themselves: Steve Oram and Alicia Lowe. Since this is THEIR script, aka, their bread and butter, it only feels right that they make it work to the best of each of their abilities, which it does. Oram is funny as Chris, the sort of dude that seems all cool, calm, and relatively-charming on the outside, but very deep, dark, and sinister on the in. The dude never seems like a bad-enough guy to really go full-throttle with all of these murderous-acts of violence, but at least he has fun with it. Low also has fun with her role as Tina, for the sole-sake that she’s just a nut, and is marveling it. She gets to do some pretty strange-o stuff, and pulls it off well, even when it seems like this girl is too nutty to be taken seriously. But then again, you never know what is real, and what isn’t real with this movie. Wheatley leaves it all up to the viewer and I appreciated that aspect, just not the whole film.
Together, Oram and Lowe are good as it seems as if they’ve been best-buddies/eff-buddies for a long time now, as the chemistry between them is natural. They’re weird, odd, and very scary in the ways that they could do anything they wanted, whenever they wanted, but I wanted more from these characters. For the most part, I never felt like I knew any of them, other than the fact that they just liked to act weird and kill people. That was basically it. It never seems like the movie itself was ever keen on taking them seriously enough, to ever give them any real personalities, with real feelings, real emotions, and real ideas in their heads. I know killing people is a real idea, but I didn’t feel like I was watching real people, thinking about a real idea. They seemed more like they were destined for the big-screen. No surprise that that’s exactly where they ended-up.
Consensus: Wheatley still shows his attention to detail, but working on a script that wasn’t made by him, makes Sightseers feel like a bit of a disappointment considering it’s the same, old joke; again and again with new spins on it every once and awhile, but not enough to fully have me in a daze of fun and disbelief.
6 / 10 = Rental!!
The classic tale of love, lust, living the life, and throwing a great party in the 20′s, all to the sweet and soulful tunes of Jay-Z.
Nick Carraway (Tobey Maguire) is an aspiring artist who searches for inspiration and passion when he decides to leave the Midwest and travel to New York City, where all of the hustle and bustle is a-foot. Nick finds himself there, looking for his own taste of the American Dream, but also lands next door to a mysterious, party-giving millionaire, Jay Gatsby (Leonardo DiCaprio). Jay just so also happens to be across the bay from Nick’s cousin, Daisy (Carey Mulligan), who’s with her d-bag-of-a-hubby husband, Tom Buchanan (Joel Edgerton). Nick soon finds himself drawn into the captivating world of the super rich, their illusions, deceits, passions, ways of having fun, and most of all: their secrets.
Believe it or not, The Great Gatsby was one of the very-few books that I have actually had the pleasure of sitting down, taking time out of my day for, and read to the final page. It was a hard piece of literature to get through, but thankfully, I had the bragging-rights and all to say that I was able to conquer it, as well as being able to say I knew what the “big surprise” actually was. Can’t say that about many books (mainly because I haven’t read many), but it still had me wondering just what could be made of with this material, if it were ever made for the screen one more time.
And Baz Luhrmann was definitely not the first choice I had in mind.
Actually, that last statement is starting off on the wrong-foot because I can’t say anything bad against Luhrmann’s direction, or what it is that he tries to do with this material. If anything, the guy tries his damn-near hardest to get past the fact that this is just dry material, made for the sake of reminding everybody how freakin’ awesome the Roaring Twenties actually were. Despite the gimmicky 3D aspect behind this movie (trust me, not even worth the watch in that extra-dimension), the movie does look very purrty and once again, you can tell that Luhrmann really put his heart and feel into making this movie look like it exactly reads out. Loud, lavish parties filled with extraneous amounts of glitz, color, glamour, and loads, and loads of champagne. Being able to match the look I had in my head of what the setting actually looked-like after reading the book, I realized that Luhrmann had a bigger-imagination than even myself was graced with, which makes the movie all the more visually-outstanding.
However, pretty colors, pretty things, and pretty people can only go so far. And in Luhrmann’s case: it’s sad to see. You can jump-start this material with as much exuberance and energy as your little heart desires, but if you can’t get to the heart of the story and feel what it was like to live in this period, then you have all but lost me. That’s exactly what I felt like when I watched Luhrmann try whatever it was that he could to make it seem as if he had actually read the novel, and/or still remembered it to this day. Instead, it just seems like he SparkNote’d the hell out of this thing, went through the motions, and stamp his own trademarks here and there. You know, just for show.
But it’s one of those shows that’s obvious and it lost me about half-way through, once I realized that this movie didn’t seem to be going anywhere. Granted, I wasn’t on-the-edge-of-my-seat considering I knew how the material would play out, and what characters would be doing what in certain situations, but I was still interested in seeing what Luhrmann could pull-off to surprise the hell out of me. Sadly, nothing really seemed to make me fall back in my chair and wonder how he pulled it all off. Everything seems so cut-and-dry with character’s emotions and dilemmas; the “big reveals” are nowhere near being subtle, as they were in the novel; and everybody else here, feels as if they just got out of a Nicholas Sparks novel, but have a fancy-schmancy accent. Okay, maybe the characters aren’t that bad, but they are pretty damn dull. A real shame too, because the cast working with these characters really seem to know what they’re doing, it’s just that the direction isn’t there to help them succeed.
Tobey Maguire plays our narrator for the whole, 2 hours: Nick Carraway. Maguire is alright in a role that doesn’t ask for much, and doesn’t get much back in-return. It’s just Tobey, being Tobey, and whether or not he’s acting like this, or this; you don’t really give a shit what else he’s doing. All you want him to do is not be distracting by how geeky he is, and he wasn’t. Good job, Tobes! New-comer Elizabeth Debicki actually walks away clean with this movie, as she’s the only one who really feels as if she would have been the gal to beat around this period of time, and reminds me of the older-days of Hollywood, where the dames seemed to run rampant all throughout the town. Sort of reminded me of a younger-Kristin Scott Thomas, minus the French and nudity. Pretty bummed out by the latter aspect. Damn you, Baz! Couldn’t “up” the rating to at least a soft R? Bastard.
As Nick’s cuzzy, Daisy, Carey Mulligan looks exactly like the character I imagined in my head when I read it all those years ago, but seems slightly-dull in the way she prances around character-to-character, throughout the whole story. The only thing she wants in this whole movie is to just live a peaceful, happy life, but yet; she’s still stuck with the bastard that continues to cheat on her, right in front of her nose. And to make matters worse, she then decides to mess around herself. Pretty smart girl if I don’t say so myself. Playing that philanderer of a hubby, Tom Buchanan, is Joel Edgerton who seems to take a whole box of delight chewing the scenery with his thin-mustache, but it goes nowhere. Instead, it seems like the guy never has anything good to say, morally-right to do, or even brings any happiness around him. He’s just a miserable, sad-sack of a dude that lacks no moral-understanding of what’s going down. In the novel, there was more to him than just a dude looking to get revenge. But, once again, Baz didn’t seem to get that part of the novel. All he saw as an opportunity to get a bunch of people to beat around the bush with one another about who’s sleeping with who. Gets old, real fast.
Thankfully, the only one who saves these characters and this movie is the man himself: Leonardo DiCaprio as Jay Gatsby. Right from that definitive-shot where we first meet him, Leo seems to be having the time of his life as Gatsby. He’s living the life of a billionaire that looks handsome, wears lavish-colors, likes beautiful things, and always holds hospitality at his upper-most important factor of being a person. He’s everything, any person in their right mind would ever want to be, except there’s more to this dude than you may think. Leo is great at playing the cool, charmer of a man that Gatsby shows-off to everybody around him, but is even better when it comes to peeling-away the layers of who the hell this guy just might be, and whether or not he can be trusted. You never know with this guy, and Leo is very good at keeping us guessing as to when he’s going to just lose his shit, and at what velocity he’ll lose it at. If it wasn’t for Leo, this movie would have fallen down the drain, but with him: it survives by a hair. A relatively longer-than-usual hair, but it’s still ready to be cut-off at any second.
Consensus: Baz Luhrmann knows what it takes to make The Great Gasby‘s fourth, and hopefully, final big-screen adaptation as beautiful and eye-appealing as ever, but all of the effort he puts into the look of it, doesn’t translate well into the drama, the message, the characters, or the overall-feel that the novel originally had. Yup, somehow Jack White songs just didn’t cover what it meant to be a flapper during the 20′s.
6 / 10 = Rental!!
Apparently, Steve Irwin’s death wasn’t the worst moment in Australia’s history. Too soon?
Northern Australia during the breakout of WWII was a bit of a mess, but at the center of all the craziness, pain, anger, and agony, there were two people (Hugh Jackman and Nicole Kidman), who came from two opposite sides, to somehow meet together in the middle and find a love that was greater than any other force in the entire world. She, Lady Sarah Ashley, was a richy-rich, stuck-up lady from England who came overseas to help her husband out with his cattle-business, whereas he, Drover, was just a man who just took the cattle, and helped them across the acres so he got his money and went on his way. In the middle of them both, there is a small, Aboriginal child by the name of Nullah (Brandon Walters).
Baz Luhrmann is sort of like a poor man’s version of Terrence Malick. All skills aside, the guy makes a film every once and awhile, hypes it up forever, and they usually meet all of the hype. Over a career that spans 30 years, the man has only made four movies (five, if you include The Great Gatsby coming out this Friday), and each of them have been pretty good. However, whatever your tastes-buds are, you can’t lie about the fact that the guy loves the material he puts on screen, and always give it his 110% full devotion and time. Hence why his films take awhile to come out. However, maybe the guy went a little too far this time. Just a bit, I’d say.
It’s obvious that before the idea of this movie even came about, Luhrmann watched and studied the old-school MGM movies of the 30′s, 40′s, and early 50′s. Why is it obvious? Well, if you take away the beautiful visuals, the color, the action, the blood, the murder, and some other disturbing images that would have been pretty taboo back in the day, then you have your typical, feel-good epic that would have been made back in the day with Clark Gable and Joan Crawford, and probably took the whole world by storm. However, those were simpler and more modest times, nowadays, our more-current viewers don’t really have the steam and time for all of the melodramatic moments that Luhrmann seems to embrace, but not really think through.
For instance, there are plenty of scenes in this movie where everything is so happy-wappy, so joyful with glee, and so damn smiley, that it’s near-laughable. That’s not to say that the actors involved with these moments don’t try their hardest to get past the obvious-corniness of the material, but they can’t help but fall prey either. It’s almost inescapable with corn-ballish material such as this. But then some weird things would start to happen with this movie, and I found myself getting more and more lost out of nowhere.
The idea that this flick tackles two subjects, both gripping in their own ways, at the same time really makes it seem a tad uneven, as well as up-and-down with it’s transition. On one end of the arena, we have the love story between Jackman and Kidman, which is probably the best element of this whole flick. Both are great workers in their own right, but the way they’re characters were playing-off of one another at first, had me worried that it was going to be too light and rompy to be taken seriously. But somehow, they made it work because they legitimately do seem like they have sexual-chemistry that can’t wait to get you all hot, sweaty, and ready for the lovin’ to take ahold. If I was Keith Urban, I’d be a little ready to put the fist-a-cuffs up next time I saw Wolverine. Then again, I’m not Keith Urban. Which altogether means that I’m not a million dollar-selling, country artist that is married to Nicole Kidman. Nope, I’m Dan O’Neill, who blogs and watches movie. Wow. Life sucks.
Anyway, those two whether they are together or not, make this movie work and keep it moving at a pace that draws your attention in, but it didn’t seem to draw Luhrmann’s attention all that much, considering he’s more concerned with the other aspect of the movie it wants to cover: the Aborigines. The Aborigines were a very important part of Australia’s history, which makes total sense as to why Luhrmann would make them a key-focus in this story of times that are changing, and the love story in-between it all, but it doesn’t fit well as it seems to not be Luhrmann’s strong-suit.
The strong-suit that I’m talking about is how the man can’t seem to really get his point across, without being as obvious as an albino, dressed in all white, playing hide-n-go seek. Yeah, that obvious. Scenes where they are merely showing the types of racism the Aborigines would face are somewhat disturbing, but also don’t fit well in the context of this movie when you have a bunch of people palling-around with one another and believing in the spirits from up-above. Obviously Luhrmann does not like the treatment that the Aborigines faced during this period, but he doesn’t show his feelings in a strong-enough way to really impact you and instead; sort of makes you wish that he didn’t try to explore it anymore than he already did. Shame too, because it’s a piece of Australian-history that is one of the most important, and should never be forgotten. However, you can’t help but want to forget about it, especially when it’s getting in the way of the sexy-time between Jackman and Kidman.
Seriously, they were about to make me faint!
But this review would not at all be complete if I didn’t talk about Luhrmann’s inspired-attention to detail, that never ceases to amaze me, no matter how melodramatic the material may be. Every scene in this movie feels as if Luhrmann not only paid close attention to it, but wouldn’t go asleep for days until he nailed exactly what he wanted to see. Sure, some of the scenes seem choppy due to lame-o special-effects and green-screens galore, however, it’s still something to see and marvel at, considering you know the type of film maker Luhrmann is. I disliked the hell out of his rendition of Romeo & Juliet, but the man always gave me something to go googely-eyes at, which made the movie slightly-better. That’s the same exact formula here, except there’s more to this story than just an age-old love story that we’ve heard, countless-upon-countless of times. This is a story that does have a heart, does have a vision, and does have inspiration, it just gets lost somewhere in the muddle of it all. Thankfully, Baz keeps his head above it, and keeps us watching. How the man does it: I will never know.
Consensus: Modest and old-fashioned to a fault, Australia may not be the type of movie you watch time and time again due to the unevenness of the material, and cloying-parts of the story that seem to pokes it’s ugly head out every so often, but is one of those movies you watch to enjoy, marvel at with the flair for visual and colors, and get ready to sweat, especially once you see Jackman and Kidman lock bodies, and prepare to make love. Oh yeah, baby.
6 / 10 = Rental!!
Jeremy Renner plays Jeffrey Dahmer, who was also known as one of the most notorious serial killers of all-time. He killed over 17 men and boys, after he usually manipulated them into sex, drugs, and drinking, but also was able to get away with it for a pretty long time. Here’s a glimpse into his life, or at least his later-life that some may or may not find all that settling.
No matter who you, chances are that you have heard of Jeffrey Dahmer. Yeah, that dude was very messed up and going into this movie, that’s exactly what I was expecting. Sadly, I just got a really good glimpse of how freakin’ creepy Renner can be. You know, when he isn’t around, defusing bombs and such.
David Jacobson hasn’t done much since this movie hit the indie-theaters, which is a shame because the guy gives us a nice glimpse into the life of a guy that I’m sure none of really wanted to see for ourselves anyway, but yet, couldn’t keep away from neither. Why that is that we always want to see more and more about these sick, sadistic killers lives is beyond me. But then again, I’m the one who’s wondering and I’m also the one who not only watched the movie, but is reviewing it as well. So, screw me, I guess. Anyway, back to the review I just mentioned.
Jacobson does a pretty good job at keeping his direction very low-key, and never going anywhere near to over-exposing his subject. This isn’t your normal type of slasher movie where we see people constantly being hacked up into little pieces and then the killer eating them with ketchup on top, it’s more subdued in the way it tells the story, as if it most likely happened. I liked that approach and I like Jacobson’s very low-budget look that made it seem like this could be happening in any place, town, or city. There could even be people like this, who live right next door to you without you ever knowing. It was a nice way to touch on a subject like this and that’s honestly what I thought I was going to get, but that’s the exact problem with this flick: it never goes that extra mile.
When I say “extra mile”, I mean that this flick could have easily gone into extra depth about this infamous figure and showed us what really made him tick, but it never does. It does show us things that happened in his past that irked him and kind of set him to madness, but we never get inside of his head or see things the way he sees them. We get a couple of clear-cut examples as to when and how he went totally ballistic, but never anything to where I could say “oh, I see why he does this as a chore/hobby of his.” Now, I’m not saying that there should be or ever is any excuse to murder people, let alone 17 boys and adults, and there wasn’t any here at all, it just needed to give me something that I could hold onto when I was watching a person like Dahmer up on-screen. Jacobson seems to get the story, but not the subject if you know what I mean.
But other than not doing much with its subject, the film also suffers from being somewhat, dare I say it: boring. A couple of murders happen here and there, and we get a pretty crazy montage of Dahmer doing his dirty stuff with his boys in a midnight gay club, but other than that, nothing else really all that exciting happens. The movie just sort of meanders around from to scene to scene without any real genuine suspense or thrill behind it. Instead, we’re just sort of watching a guy be weird and plan to do some even weirder things. I didn’t go into this expecting a slasher along the lines of Halloween or Scream, but I just wanted something more to keep me glued. I guess I’m just a little brat because I have probably mentioned the word “more” about 10 times already in this review. Actually, if you have seen this movie, there’s something for memorable about that word “more” that comes into play in this movie. I don’t want to give it away but if you watch the movie, then you’ll understand. Until then, stay in the mysterious dark of not knowing.
This whole review that I’ve done so far may make it seem like I didn’t like this movie, but I actually didn’t mind it. That’s mostly thanks to the one guy who saved it all for me and really kept me going for this whole movie: Jeremy Renner as Jeffrey Dahmer. Renner has been a guy on my watch for the longest time and I definitely think he’s going to be the next best thing for Hollywood when the time comes around. However, it’s these roles in lesser-known movies that he does is what really gets my hopes up for him higher than ever before. Renner is absolutely amazing as Dahmer, because he plays it subtle, without over-reaching his grasps into how psychotic he can make this guy seem to be. He just is, plain and simple. Just looking at this guy from afar, would have you guessing right away that he’s crazy as shit, which he is but Renner gives him this very charming act that works not only the people in this movie, but us, the audience as well. He seems like you average, every day dude that just so happens to be one of the craziest mothaeffa’s around and Renner plays that to the brim, showing barely any emotions the whole time, but still being able to release a cold chill about him that settles in throughout the whole movie, even when it seems like everything is calm and collective. It isn’t, and just by watching Renner’s performance, you can tell that this guy has got presence whether or not he’s saying or even doing anything. He just needs to be there, on-the-screen, to really keep your pulse beating. Great performance from Renner and it’s honestly a role that should have gotten him way bigger, way back when. Thankfully, he’s on the top of the food-chain now, and it doesn’t seem like he’s coming down. Thank the movie heavens for that.
Consensus: Dahmer is one of those movies that makes you feel like it’s really going to get deep down inside the mind of a serial-killer, especially one as notorious as Jeffrey Dahmer, but it never hits that peak. It just sits there, acts a little weird, and lets Jeremy Renner take over the show. It’s not as bad to watch because Renner is so good, but there could have been more than just a weird guy, who did bad things.
6 / 10 = Rental!!
Nice to know that Big Ben can still have the ladies come crawling to him.
Neil (Ben Affleck) travels to France and meets with a woman named Marina (Olga Kurylenko). They instantly connect, fall in love, and plan what their future may just look like, if they decide to take the next step. They actually do decide to take said next step and finds out that it’s a bit harder than they thought, so therefore, Marina moves back to France. This leaves Neil all alone, until he meets up with an old sweetheart of his (Rahcel McAdams) and relives the young lust he once had. However, Marina’s not gone like Neil suspects. Oh, and Javier Bardem is a priest that’s begging to lose his faith, slowly but surely. Can’t forget about that charming Spaniard.
Even though I wouldn’t consider myself a total and complete devotee to the Church of Malick, I still stand by the fact that I am a fan of his movies, and consider them (as most people), some of the most beautiful pieces of art I have ever seen in my life. Granted, I don’t go to museums all that often, but with a career that spans over 30 years and only consists of six movies; the guy’s made a name for himself and a name I get very hyped-up for, whenever I see in print. Because let’s think about it: a newly-released Terrence Malick movie isn’t just a regular, everyday movie-going experience that you can catch at your own leisure, it’s a freakin’ event! This rarely ever happens and it’s time to just let it all soak in, and enjoy until he decides to take another twenty-year break. Don’t you dare, Terry. Don’t you even.
No matter what may be going on here with the story (and trust me, I’ll get on top of that in a jiffy), the visuals are always as gorgeous and jaw-dropping as you can get. I love how Malick starts the film off with the beauty and aura of France, and then ends it all in the rusty and fucked-up place that is known as, Oklahoma. Malick is still able to draw natural beauty from these landscapes and give Oklahoma some key opportunities for post cards, but the way that he is able to convey the emotion of a dying land that seems to be dissolving beneath everybody’s feet, and combine that with the story itself really took me for a surprise. It may sound crazy because I know Malick can do stuff like this and totally slap me silly, but he really found a way to make this flick always worth watching, no matter what other type of junk was going on here. So, needless to say, this is a movie that deserves to be seen on the big-screen if not at the movies, then just a big-screen in your house. Either way, see it with a large-lens, volume-up, and the lights dimmed-down. Let the Malick-spell come over ya.
Now, despite all of my oogling and boogling about the beauty of this film, this is one of the key instances where Malick goes on a little too far with his view. I’ve always noticed when Malick has gotten a bit too into his own shit in recent time, but it’s never gotten to me so bad because of everything else that’s been able to distract me. However, there isn’t all that much to distract me other than beautiful visuals, and to be honest: that damn aspect can only go so far! Eventually, my simple-mind is going to need a compelling story, with interesting characters, and smart messages about the world we live in or something along those lines. I can tell that Malick knows what a simple-mind wants and at least tries to make some of that magic happen, but doesn’t go deep enough. Let me explain….
The problem with this movie is that the story doesn’t do much to bring us in. Yes, it’s an easy story about two people who fall in love, decide that they want to be together, but then realize that there’s more at stake than just love: there’s life! But an easy story don’t mean jack shit, unless you have a way of making us connect to the story and the characters that inhabit. That’s the biggest problem Malick runs into here. Seeing as this is Malick’s movie, and everybody plays by his rules and his ways, everybody in the movie seems to sort of be second-nature to what the man can show just by using a camera. Once again, all fine and all considering the visuals are as naturally-beautiful as they come, but they only go so far.
The characters don’t get enough attention payed to them, but even when they do; they don’t seem to really use it well. That’s no insult against the talented-actors either, that’s just a problem with the script. The movie paints these characters as walking caricatures of what it should be like for people to be in love, to be sad, to feel conflicted, to feel angry, and so on and so forth. It doesn’t really seem to get any deeper than that, and even though there are a couple of key scenes that may change your opinion on what I just said; they don’t do much for the final-product.
The subplot with Javier Bardem as the Spanish priest that’s losing his faith is the one instance where you might change your mind for the sole reason that it has no reason to be here. I mean yes, Bardem is great in it and definitely makes all of his screen-time worth it, mostly because it’s all dedicated to him just walking around, looking sad, and chatting around with random peeps (most of which seem to be non-actors), but he serves no purpose to the story. Everything here is about the love and the feelings that go with it, and then he shows up to start babbling on about God and keeping your faith and whatnot, and it seems random. That, and also just another excuse for Malick to throw in another one of his “God references” that he loves to use so very, very much.
After awhile, all of the same stuff that we have seen done one hundred times before in Malick’s other flicks, and also within the first ten minutes of this movie, becomes an annoyance. It’s still beautiful to gaze at, but the story goes into places that don’t seem reasonable or even worth the watch. We see a bunch of people just mope-around, look as if they are sad about something, or in heavy-thought, a little bit too much. Instead of emotion so damn much, I just wish that one of these characters would actually stand and speak-up for once. But instead, they just all stood there, touching their faces and arms, as the sun rose behind them. That right there, is a scene that’s repeated many, many times throughout this movie so if that’s not your type of thing: good luck. For me, it wasn’t total hatred, but it didn’t make me happy either. I’m just a simple dude, man!
The fact that most of this movie is all in narration, means that it takes away from the actors on-screen. Well, all of them except for one gal. That’s right, Olga Kurylenko is surprisingly the best out of this whole cast. Her character, Marina, is annoying as she’s always craving and needing attention, whenever she’s not prancing and dancing around like five year old, but her performance is exceptional. Kurylenko really captures that fully-free spirit that this character needed to have to work and rather than making her just one, Manic Pixie Dream cliche after another, she keeps it going and gives us depth, heart, and emotion to her. Kurylenko has never really done much to surprise the hell out of me in the past (not much of a track-record to begin with), but she really showed me some promise here and let’s hope that it continues to go on and on, until Malick decides to cast her again.
The other two in this cast, Ben Affleck and Rachel McAdams, really are just here for window-dressing. For the latter, that doesn’t matter since her character and subplot seems so superfluous it’s almost hilarious. But, as for the former, that’s a bit ridiculous considering that the movie is supposed to revolve around him and whatever the hell he does with his weenie. Affleck has about five or six lines where he actually gets to sit-up and speak for himself, but it’s not enough considering we don’t give a shit for the guy and we never find out why the hell him and Marina are having such a problem being together. Of course Marina wants to venture out into the world, but what the hell is bugging him so much? It’s rarely ever explained and by the end of it; I just didn’t really see the use in them being together, so much so that I just wished a plot-twist would come around the corner and Bardem and Kurylenko would be boning out of nowhere. Hey, Malick has never been one for conventionality so I wouldn’t throw that idea totally out the window.
Consensus: Terrence Malick always has a knack for capturing the natural and inner beauty of this land that we call Earth, which is surely evident in To the Wonder the whole run-time, but can only do so much to satisfy one’s needs when a weak story, irrational characters, and random transitions between characters and character’s stories, begin to plague what could have been a very emotional and compelling experience, courtesy of the master of filming grass.
6 / 10 = Rental!!
Those psycho-hillbillies with knives in their shoes, yeah don’t worry; they’re just serial killers on the run.
After their ranch gets raided by the police, Otis (Bill Moseley), Baby Firefly (Sheri Moon) and Baby’s father, Captain Spaulding (Sid Haig) escape and decide what better way to feel as if they have fought the law and that they won; then going around, and killing more people than they did before! However, it’s only a real matter of time until the law catches up with them, and eventually tries to win. But these three aren’t going down without a fight or a murder, that’s for damn sure!
Rob Zombie definitely has a lot going for him in terms of what he uses with his sick, twisted-mind that so many people thought was just good for yelling, “Draaagullaaaaaaa!“, but the guy wanted to prove us wrong and ended-up making his directorial-debut with House of a 1000 Corpses. Even though it’s been awhile since the last time I saw that movie, I do remember fondly being a tad scared but also thinking that it was pretty stupid, overall. That’s why the idea of a sequel to a movie I didn’t really care for in the first place, let alone a horror movie I didn’t care for, was not something on the top of my list to see. Somehow though, Zombie not only proved me, but everybody else wrong as well. Maybe people do like to see other human-beings mutilated and murdered on-screen. My mistake.
If Zombie does anything right here, it’s that nails the look and feel of this movie with a really cool, ultra-retro 70′s-vibe that plays throughout the whole run-time. You can just taste the sweat; you can just smell the dirt; and most of all, you can imagine you yourself being in a wrong place, at the wrong time, and not having any clue what to do, especially when these bag of psychos walk through the front door. That’s something that Zombie does well here, and that’s getting us right in the mood right from the start with a bunch of dark, but ironic scenes of murder, mutilation, torture, and psychological and physical-games that aren’t right for everybody to play. Trust me on that. Zombie may be a crazy/scary lead-singer of a metal band (a pretty bad-ass metal band, I have to say), but the guy has a fine taste in classic-rock and mixes a lot of choice-tunes from the likes of Allman Brothers Band, Muddy Waters, and the best usage of all, Lynyrd Skynyrd. I don’t want to give away where, why, and how the song finds it’s way into the movie, but once it kicks in; you have to trust me that you’re going to be stunned. I was and it may be awhile until I hear that song the same ever again.
However, this is a horror movie no matter how much funny, zany things Zombie throws in to lighten-up the mood and it’s not a typical horror movie where your shorts will be scared off. It’s more like one of those horror films that has a bunch of freaky people, that do bad, violent things to innocent people, but plays more on the unpredictable-factor of the whole story rather than the actual torturing of those said, innocent people. This idea for a horror movie is a lot different than what we are used to seeing in horror movies nowadays like Saw or Hostel, where everything is all about the torture, the pain, and exploitation of people being torn to shreds, as we all sit and watch with our popcorn in our laps and our extra-large sodas by our sides. This one is more about putting you on the edge of your seat and have you wondering just what the hell is going to happen next and in that regard, it does it’s job very nicely. Or should I say, Mr. Zombie does his job very nicely.
Mind you, I didn’t watch this movie in it’s infamous Unrated version and that kind of makes me curious just how freakin’ dirty and disgusting it may have been because with this rated-R version, Zombie over-stepped a shit-load of MPAA rules that was sure to make those old-timers keel-over in their fine, leather chairs. To an extent, all of the blood, guts, action, violence, bushes, boobs, asses, and murders all work in making this flick one hell of a ride from Zombie’s mind. But it can only go on so far until it becomes a bit repetitive. Let me just state this: I get that a horror film has to feature a bunch of crazy killers on the road, torturing people and not leaving anybody for granted, but after the third scene of human-torture, it got to a point of where I sort of had enough already. I mean I wasn’t tired of it because I couldn’t handle the sight of somebody getting emotionally and physically ‘effed with, but more of the fact that I just didn’t care for it much. After the hour-mark hits it’s, things just begin to feel like Zombie was pulling something out of his bag of tricks that he kept on using, mostly because it pleased the same damn people in the theater. Move on with the story, give me some plot, and most of all, show me more than just a bunch of acts of unneeded torture.
Then, something strange happened. I guess Zombie heard my complaints (I wish) and decided, “Hey, maybe it is time for a little bit of a story to get thrown in here!” Well, the story that I had in my-mind, was definitely a lot more entertaining and thought-provoking than the one Zombie had on-display. See, the first flick had these three pieces of shit look exactly like that: pieces of shit. They were essentially, a bunch of villains that you could only get in a sick, sadistic horror-movie straight from the mind of Rob Zombie and there was nothing else to it than that. Somehow though, Zombie got the bright idea in his ass and decided that maybe it was time to make these three pieces of shit, seem like they have souls, make it seem like they have lives that are worth living, make them seem like, well, dare I say it: human-beings. Well, sort of. Zombie tries to make us care for these characters that don’t do a single, good thing throughout the whole hour and fifty minute time-limit and because of the fact that they are able to tell witty jokes when they are about to off somebody is why we’re supposed to care for them? I don’t think so, and to be honest, I wasn’t buying it. They are pieces of shite that I wanted to see dead regardless of what they tried to make us think otherwise. Instead of standing behind their backs, the whole time I was cheering for the police officers, for the poor, defenseless people they tortured and messed-with, and even Zombie himself to actually grow a pair and not let these characters get all sentimental and have us care for them.
Even though their characters aren’t worth loving, the performances from the trio of leads may have you think otherwise. Sid Haig is a riot as Captain Spaulding and is weird, sick, twisted, and a bit believable as the old man of the group that seems to know the most, seems to have the most sense, and even seems to be the only one who doesn’t kill people right away. Bill Moseley is also good as Otis and has some funny-lines here and there that have us shocked by his character, but I felt like something was missing to really have this guy play with your mind and play with the conventions of the usual, horror-film bad-guy. He sort of just acts like a dick and does bad things, but there isn’t anything else more to him than that. Wish I eventually got that and didn’t just sit around and see him torture the hell out of people. Then again, it’s a horror movie so I can’t go too crazy asking for much. We all know why Sheri Moon Zombie is in this flick as Lady, (other than the fact that she is freakin’ smoking hot) and it’s kind of a sad reason too, because the girl kind of blows. She tries way too hard to be this witty, weird girl that can stand-up on her own, but also doesn’t take shit from anybody else, either. I didn’t really care for her, feel fear from her, and instead, just thought she was trying a bit too hard, just like her hubby who was sitting behind her probably slapping her as the whole way through. And holy hell, I do not blame him!
Consensus: The Devil’s Rejects definitely shows an improvement over House of a 1000 Corpses with a cool and fun direction from Rob Zombie that makes the guy seem like he has his head on the right shoulder this time around, but yet, it is a horror movie that feels a bit repetitive and doesn’t have us give a single-lick about our three leads, no matter how hard it tries to manipulate us into feeling that way.
6 / 10 = Rental!!
I think big brother Ben may be a whole lot nicer now.
Sheriff Deputy Lou Ford (Casey Affleck) has a bunch of problems. Woman problems. Law enforcement problems. An ever-growing pile of murder victims in his West Texas jurisdiction. However, he gets so caught-up with one of his victims, that it throws him a curve to the point of where he’s getting closer and closer to being found out. It’s only a matter of time until he loses total control.
Serial killer movies are hard to do. Sometimes, they can be lovable right from the start (American Psycho). While other times, they can totally miss their mark and be something you’d much rather not waste your time in watching (Mr. Brooks). This falls somewhere in between.
This is a film directed by Michael Winterbottom, a guy who seems all over the place when it comes to his films with comedic picks like 24 Hour Party People, to soft-core porno flicks like 9 Songs, and then to dark drama’s like A Might Heart. Basically, this guy has no real genre and that’s pretty neat. He doesn’t have any real sense of distinctive style or look, but he brings a lot of zealous-energy to everything he chooses, it’s almost too hard to talk bad about anything that he does. But that’s also why I liked this movie because he brings something atmospheric and moody to it all. He definitely has the perfect feel for the dark, hot American West because he shows it in such a noir style that really pulls you in from the start. There is a story to be told here, but this is more all about one dark, sinister trip into the mind of a psycho where everything starts off bad, goes to worse, gets better, and then just gets even more worse than before. Great job from Winterbottom, as he definitely makes up for the movie’s big faults.
Those big faults I’m talking about, lie within the story here. The story actually starts off pretty strong because you feel like you know where it’s going to go and build-up from there, but the problem is that the story isn’t as interesting as you may have mapped it out in your head. Some parts are cool and interesting once we see inside the mind of our closet killer, but whenever that doesn’t happen, the film focuses on how Lou tries to hide away from all of the accusations that are being thrown at him and curiosities he can smell off of everybody he’s around. This isn’t nearly as interesting as the stuff that goes on inside of his head and instead of being thrilling and unpredictable, the actual mystery tale is just there to provide a story for our lead.
Now, to my real problem with this film. In case you haven’t already heard about this flick: this flick is really, really fucked up. Without getting into any spoiler area, two disturbing acts of violence happen to two main characters here and the one thing that really got me here was that the camera never once pans away from it. In today’s world of movie violence, most stuff doesn’t phase me or even get to me because 9 times out of 10; it’s usually just shock value, done for the sake of shock value. That’s never worked on me and probably never will but the violence here feels real and needed to enhance the story, as if it almost pertains to the story and the way this guy feels and thinks. However, I think that’s my biggest problem with this flick.
I can’t really say that I hold anything against this film for showing me some violence that was disturbing, but I can say that it definitely made me think differently about it all because those were the only things left in my mind about this film. It’s some hard stuff to swallow, and as good as the rest of the film may be, I couldn’t help but keep on bringing my mind back to those violent scenes. It’s not like it doesn’t fix well with everything else, it just stuck in my mind more than all else happening. Still, have to give Winterbottom the benefit of the doubt for not panning away once during these scenes and making us actually see the brutality of these grim scenes. On the other hand, I think it also got to me after awhile and may have been more memorable than the actual flick itself. Good for some movies; not good for this.
Actually, he second most memorable aspect of this flick would probably have to go to Casey Affleck and his amazing performance as Lou Ford. It’s obvious, right from the start, that Lou has some pretty fucked up ideas in his head but somehow, Affleck is able to make that sexy and interesting through it all. Affleck doesn’t really look like the kind of dude you could put in the role of a closeted maniac, but I think that’s why he works so well here because he’s able to be subtle about his emotions and feelings throughout the movie, but also totally show how vicious he can be when he has to turn on the “crazy meter”. Affleck has never been that actor that people have been feeling the total and complete need to see in movies, but here, he demands your undivided attention and devotion, even when his character is just sitting there, thinking of who to hack-up next. Lou Ford is a great character to watch and makes the film a whole lot better, mainly because of Affleck’s kick-ass performance. He surely has come a long way since being “Big Ben’s little bro”.
Also, I was surprised to see Jessica Alba and Kate Hudson in some pretty down-and-dirty roles that I usually wouldn’t see myself watching them in. But what was even more of a surprise was how good they actually were. They both play Ford’s main ladies and each show a different side to his love, and both work very well. Been awhile since the last time I’ve seen them actually do something worth recommending so I have to give them some love and kudos right here and now. Oh, and there’s a pretty gnarly Bill Pullman cameo here as well. Can’t ever forget about that dude.
Consensus: With a dark and grimly style to make everything moodier and strong performances from the cast, mainly a terrifying Affleck, The Killer Inside Me feels like it has all the right ingredients for a dark and sinister trip in the head of a maniac, but it’s over-shadowed by two appalling scenes of violence and the story doesn’t really grab you, unless its focusing on Affleck’s character.
6.5 / 10 = Rental!!
You can only say so much about a sport where the objective is to beat the absolute crap out of the other person.
When respected jujitsu master Mike Terry (Chiwetel Ejiofor) eschews a lucrative prize fighting career in favour of opening a self-defence dojo, it appears that he has chosen a peaceful path in life. The dedicated martial artist’s fate takes an unanticipated turn, however, when he is manipulated into participating in ultimate fighting championships by a group of unscrupulous actors and fight promoters. Mike is way in over his head and tries to find whatever it is that he can do to bring back his old life that he knew and loved before it all went to shite.
It may sound pretty strange, but this martial arts film is written and directed by David Mamet. Yes, Glengarry Glen Ross-David Mamet. It may seem like a weird-fit to try on and get used to, but much to my surprise, as I’m pretty sure everybody else’s as well, but Mamet actually practices jiujitsu in real-life and considers it a nice hobby of his, when he isn’t writing out characters that say “fuck” a lot. But don’t worry, people, this more of a Mamet film than it is a carbon-copy of Never Back Down, but don’t be surprised if you can’t tell a total difference between the two.
Mamet’s dialogue in this flick is, once again, very well-written. This time, instead of being just another pile of snappy one-liners that Mamet just continues to toss at the audience, the dialogue here is more natural than you would expect from this dude and it works in it’s approach to this story. This isn’t your non-stop, kick-ass martial arts movie. Instead, it’s actually more character-based and has a story that may draw you in a lot more than the actual fight sequences themselves. And although that may turn people off expecting a bunch of karate chops and take-downs left and right, for me, I wasn’t bothered at all. In fact, it kept me more involved with what was going on because there should always be more back-story to any extreme sport, especially one like martial arts.
But even when the fight scenes do come onto the screen, they actually work and bring a lot of energy to this film mainly because Mamet is able to get so up-front and personal with each tussle. There’s not many fights (maybe about 3 or 4 in this hour, 34-minute movie) but whenever they came on, I liked it and I think it’s obvious that Mamet just enjoys the art of ultimate fighting. This really isn’t the type of film you just got forced to do and it’s apparent that Mamet wanted to do this film and his curiosity and attention to detail, pays off here. People do say “fuck”, a lot too, but not like you’d expect them to and it’s not all about the cursing that makes this movie work which is what I actually liked for a nice change-of-pace.
However, as good as the script was, I couldn’t help but think he tacked on way too much here with this simple story. The main story itself is pretty much about this guy who can kick anybody’s ass, gets into some major debt, and is trying to find a way out of it the hard way. This in and of itself is a pretty simple story and even though it may not be the most original ever in the whole, widest world, you would think Mamet’s skills as a writer would be definitely more than enough to save it from the same old shit we usually see. But Mamet doesn’t stop there and continues to go on and on and on with this story, almost to the point of where it’s random. He tries a little too hard with such a simple story about the underdog coming out on top, but adding so many characters, so many random twists, and so many consequences that could either happen this way, or not, and show how it effects the rest of the story. Seemed like way, way too much for a story like this and actually lost me a couple of times.
All of this wasn’t as terrible as I thought, until I got to the final act and that’s where I noticed that everything came full-circle for me. In a bad way, of course. The final act comes on pretty strong with the right bit of tension but Mamet pulls the rug from underneath us, gives us something to think about, and adds yet another twist to the already-confusing plot developments. But what I noticed about this ending is that I wasn’t as glued to the screen because Mamet had so much going on, that the central story itself just sort of gets lost in the muddle of it all. Surely, there must have been an easier way to get our main character back in the square-circle, without having to go through all of these life hurdles and surely, there must have been an less predictable and ludicrous ending like the one they have here. It could have just been simple, plaid, and usual, but that’s not how David Mamet rolls and whether or not you like that about this dude, is all up to what you prefer in life.
Mamet’s plot may get lost, but at least his characters stay true and that’s because of the performances from the stars involved. Mike Terry is an awesome role for Chiwetel Ejiofor because the guy, once again, gets to prove that he has what it takes to be a leading man and turn in a convincing performance, no matter what the movie or role may be. Not only can the guy spout-out Mamet-dialogue like it’s his job (technically, it was) but he also shows that he has a lot of great physical skills and it surprised me to hear that this dude didn’t have any previous martial arts training because he looked like a pro at what he was doing. Good thing that Mamet focused the film mostly on him, too.
The two females in Terry’s life are played by Alice Braga and Emily Mortimer, who are both good but aren’t given much to work with. Braga is Terry’s bitchy, money-hungry wife that would leave him in a heartbeat for some extra moolah, and Mortimer is Terry’s newly-found friend/student that is going through a rough time but her story never fully gets developed enough for us to care about her. Shame too, because both can give off some awesome work when they can. As for everybody else, you have the villains like Joe Mantegna, Ricky Jay, Rodrigo Santoro, and surprisingly, Tim Allen who all turn in some good work as a bunch of shady baddies, but are just all over-the-place that it’s hard to declare which one was the “baddest”. My money is on Buzz Lightyear. That guy seems like a total dick behind closed doors.
Consensus: David Mamet definitely brings a lot of fun to this curious, passion-project of sorts but Redbelt features way too many ideas, twists, and characters going on at the same time, to do nothing else but add confusion and take away from the final-product. It’s not a thrill-ride, but a more-sophisticated look at marital arts, with the occasional beat-down here and there.
6 / 10 = Rental!!
Can somebody explain to me what the hell does Johnny Carson have to do with it?!?
Remember the movie the Shining? You know, the one where Jack Nicholson and his family go off to the Overlook Motel in the middle of nowhere, we he works on his book, she cooks all day, and the little guy, Danny, just runs around on his big-wheel like all of us dreamed of doing as kiddies, but without the hallucinations of dead people and evil twin sisters. Apparently some people think that this classic horror movie is more than just one’s descent into utter and total madness, and more about the Indian massacre’s that took place, the faked-Apollo Moon landing, the Holocaust, and many, many more random but thoughtful observations.
The Shining did, and still does, scare the absolute shit out of me to the point of where I walk down the street, go to my local Target, get a new pair of shorts or whitey-tighties, and continue you my viewing, only to have to go through the same cycle again and again and again. It’s honestly just one of those movies that still gets me, no matter how many times I watch or how many times I hear it brought up into conversation. However, I should stop talking all about the movie because that’s not what this documentary is about. Well, not really anyway.
As time has gone on for me and I have done more research onto this movie, Stanley Kubrick himself, and the movies that he’s made in the past, I’ve come to realize that not everything is as what it seems and 9 times out of 10, there are certain clues to make you think one thing, that leads onto another, and then to another, and so on and so forth. In other words, the guy was a nut-job but he was close to being a genius in how he was able to really nail down a lot of themes and ideas, just by using one, single image in one scene that you most likely won’t ever seen, even if you tallied up your viewing total to 10 times. Sounds a bit crazy, I know, but that’s where the subjects of this movie are all about.
Not only do they love the Shining to near-death, but they also love just paying attention to it and searching for each and every detail they can find to give them the bigger-picture of what it’s really all about. Some people go on about a certain painting in a scene, others talk about the color-scheme, and sometimes, they even go so far as to talk about when Danny rides around the hotel, and what the symbolism of the places he goes by really means. In all honesty, I’ve watched the Shining many of times, but the shit that these people have apparently found and made-up in their own minds as to what it all means, really surprised the heck out of me, as well as had me scratching my head.
Don’t get me wrong, it’s not like I consider these people to be a bunch of nut-jobs that have nothing else better to do with their lives, than just study and go crazy over one film, analyzing from point-A to point-B. In all honesty, I sort of wish I had that skill, rather than just seeing a movie like Eternal Sunshine and coming up with the conclusion that, “Ohhh, I see. It’s a movie all about how you can’t remove the ones in your life because that’s who they make you are the person today. Wow. Intelligent.” Yes, that’s where my mind goes when it comes to analyzing movies and I’m not too ashamed of it because it feels and seems reasonable. However, these people’s conclusion do seem a little far-fetched at certain points.
Kubrick is one of those directors that you can study a crap-load of, and still never get the full picture on. That’s why it seems so understandable that all of these people would make conclusions about whether or not he meant to do something as a way to trick us, or to just have us thinking more about what he’s trying to say. His work is always studied and a documentary like this showed me why. But it also seems like a lot of these people have a lot more time on their hands than they should, and the certain conclusions that they come up with, sort of show it.
For a prime example, one of the clues that a person makes up is the fact that there is a chair in the background during one scene, then they go back to the very same angle in the very same scene and it’s gone. Whether or not Kubrick did this on purpose or plain and simply just fucked-up, is totally beyond me, but I highly doubt that Kubrick did it as a way to show him, as one person says in the movie, “It’s his way of showing us that this is not your ordinary, horror movie.” Really? The fact that he removed a chair had me expecting that this was not your average horror movie? I don’t know about any of yous out there, but for me, I knew right from the start that this was not going to be your typical horror movie where everything happened to the same beat they all do. However, that’s just me, but then again, it proved MY OBSERVATION (see, I’m getting smarter as you read)that maybe these people are a little too obsessed and need to take that skill of analyzing and observation elsewhere by getting a job, putting food on the table, and supporting the fam-squad.
To be honest, though, I’d be a fool to say that some of this didn’t reasonable and intrigue me, because it actually did. I liked to see how some of these people would come up with certain ideas, all because of clues they saw and that aspect of the movie, was actually cool. And some of it actually was freaky and got me in that vibe of actually watching the Shining again. One part of the movie talks about how a dude actually played the movie in it’s chronological order from beginning-to-end, but simultaneously, played the movie from end-to-beginning and showed how some of the images over-lap and actually add more feeling and emotion to the film that you would have never been able to see, had you not seen the film such as this. This was a tad freaky and very breathtaking to see how these people came up with certain conclusions, ideas, and thoughts of the bigger-picture, but that was the best out of 20 to 25 mediocre ones that didn’t make sense and didn’t do much to really reel me in.
What I hold against this movie the most is that it’s so repetitive in the way that it shows us each aspect of the movie, and has each person say why and how they think the way they do, told in the most boring-way possible. We never see the people speak, ever, and in my mind, I imagined that they were all a bunch of rugged, pot smokers, that literally just woke up as they began their interview. The actual interviews themselves sound very poor, and even worse, there’s one that actually is interrupted by a guy’s kid who won’t shut up in the background. Now, I don’t know if this is just me or everybody else, but when you’re filming an interview and you’re making a movie, don’t you at least think that you’d want to do it at the best possible time for all parties involved, in order to make sure there are no interruptions or problems while the interview is being conducted? Also, to top that off, don’t you think it would be best to at least edit that interruption out so it doesn’t seem like a choppy-cut of what’s supposed to be the final-product? To me, it just seemed lazy and didn’t help the interview out anymore, considering they all just about put me to sleep, as everybody doing the interviews seemed to have just woken up. Maybe it’s a sign that I dream to!! Oh em gee! Time to make a documentary!
Consensus: Most people who are fascinated by movies and over-evaluating them to the point of where you’ve already gotten five hemorrhoids in the matter of a month, will probably go ape (yes, there is a big “ape talk” in the movie at one point) over Room 237 and what type of conclusions they come up with. However, for those who just want an interesting, entertaining, and thoughtful documentary on just what the hell Kubrick was talking about with Danny’s sweater, may only find yourself happy with the latter, as the two former’s are barely anywhere to be found. Final option: just watch the original Shining all over again and see if it scares the pants off of ya.
6 / 10 = Rental!!
Yo Joe! Get a better release date next time!
After almost all of the G.I. Joe’s are wiped-out after a sneak-attack from Cobra hit them, the ones that are left must build a team, get the professionals, and be strong enough to defeat their mortal enemy. The only problem is that they need help, and with the assistance of the government and a General named Joe Colton (Bruce Willis), they may find a possible way of a victory after all. However, just like you always used to fantasize when playing with the toys: it’s not always an easy match. That is, unless you played with Barbies, then don’t even bother reading this synopsis, this review, or this movie!
No matter what I say about this movie from now until the end of this review, just know that I am so mad at this movie for what it did to me last year. I mean, I not only was really looking forward to it, I even went so far as to put it as one of my most-anticipated for the Summer, IN MY HIGH-SCHOOL NEWSPAPER! That’s right, for all of my high-school to see and then when they actually buzzed out on me and decided to take it back to the next year (meaning today), not only did I look like an ass, but actually was a little upset because I wanted to still see it. But noooooo! Hollywood has to get those bigger bucks, had to make sure everything had an extra dimension, and worst of all, had to make sure Channing Tatum got five more minutes of screen-time. That’s right people: he’s only in this for a total of ten minutes, then gets killed, and is never seen again. Nice job. Glad the re-shoots and delays were worth it.
I’m not going to lie to you all, I actually liked the first G.I. Joe movie. Yeah, it had it’s fair share of problems, it was corny, it was stupid, and it was sure as hell loud, but it was still fun and that’s all that mattered to me. However, it seems like the people behind this sequel, feel as if that movie was so damn terrible, that they not only need to kill-off almost all of the characters from that movie, but do away with everything else about it as well. The first one had this over-the-cop, campy-feel to it that was surprising, considering the G.I. Joe cartoons and comics have always been serious, but this one sort of loses that edge about half-way through.
For instance, when we are first introduced to Duke and Roadblock, we see them goofing around with one another, spouting-out one-liners, and overall, just having a good time without getting too jokey and forgetting about the action. Then, as soon as the original Joe members are all killed-off, then things get a tad too serious, and not in the fun way either. The jokes are still there, the action is still around, and the over-the-top look and feel is still present at moments, but it’s not what you’d expect.
Where this movie seems to lose itself is that it not only focuses way too much on plot, but also forgets that this is a mindless action movie, made off of what is essentially a bunch of action figures that all the cool kids played with, when the girlies were off making sure that Ken and Barbie got it on. A lot. To try and make a serious story out of something like that, is ridiculous in it’s own right. To lose that sense of fun or craziness, just seemed like a slap in the face to the audience that grew up loving and watching G.I. Joe’s but also a waste of a good budget, and a good cast that knows how to have fun, be witty, and be cool, all at the same time. Jon M. Chu isn’t a bad director to be chosen for this material, but at the end of the day: something felt like it was missing and I can’t quite put my finger on it just yet, but it may have something to do with the fact that everybody seems to melodramatic, without getting loose and shaking things up. The original wasn’t a ground-breaker by any stretch, but at least it had fun for the time being. This one just tried way, way too hard.
But don’t be fooled by all of this shit-talking I’m doing, it’s still a fun movie and will most likely bring out the kid inside of you: for better or worse. Yes men, this is the movie that you want to see with your buddies, whether or you be drunk or not. Just make sure that you don’t bring your ladies or else she may come around the next day, asking for when the best time for her is to pick up her stuff. Trust me, it’s that type of movie. It’s filled with a bunch of fun, action, and excitement, and even though I have to say that almost every single trailer and commercial has spoiled the big, insane shit that was supposed to wow us into the new year, it’s still fun to watch and enjoy, especially when you’re around as much machismo, as was in this movie. Oh and that is a lot. That’s fo damn sho.
Dwayne Johnson (fine, I guess I’ll take his ass seriously for now) is pretty bad-ass as Roadblock because not only does he have that lovable charm that makes you feel like he could win over anybody with that million dollar smile of his, but the smarts to beat Cobra and take back the country that was rightfully his in the first place. When it comes to the action, Dwayne is awesome and proves us why he is the perfect man for a job when it comes to beating the tar out of people, spitting on their faces, and always having the tongue left to say something witty. I mean, hey, that’s how the guy got famous in the first place, right?
I was still bummed to see Channing Tatum go away so quick, let alone, at all in this movie, but I guess it’s fine for what we see of him. Still, I was pissed that they got rid of him, in place of D.J. Cotrona as Flint who is as dull as they come. He barely has a personality, anything cool or insightful to say, nor does even have a specialty that makes him stand-apart from the group of other Joe’s with him. He’s just regular, old Flint that nobody seems to care about, let alone remember once the shit hits the fan. The one person I did remember was Adrianne Palicki as Lady Jaye who does a nice job at conveying that sense of what it takes to be a female and still kick-ass, but yet, still have to stay and be able to hang with the big boys in town. She’s actually good in the role and not a joke like she could have easily been. Bruce Willis is also here as recently-retired sergeant Joe Colton and is fine, but this is no John McClane. He’s just there to be old, a bit witty, and the type of guy who can handle a gun. Willis is always likable, but he seems bored here. I don’t blame him.
On the opposite side of the fence, the baddies are okay, but nothing special. Cobra is Cobra and always a bad-ass, who somehow seems to get away just in the nick of time. Ray Stevenson plays Firefly, the type of dude that has a solution to every problem and is good doing what it is that he does. However, the one that really stole the show for me, especially on the flip side of things, was Jonathan Pryce as he played a dual-role as the U.S. President, when he was good and when he was bad. What makes Pryce so much fun to watch is that he seems to be having a freakin’ turkey of a time just being evil, mean, and sadistic, but never goes over-board with it all. Instead, he seems smart, calm, and collective, even when stuff seems to get very serious for him and the others around him. Very surprised with Pryce here and somehow, he made this old dude seem like the type of guy that could get away with this all in the end.
Still have no idea why the hell RZA showed up here in a old-man, kung-fu outfit, but damn does he love his kung-fu or what?!?!?
Consensus: Though it’s a tad bit better in some ways than the first one, G.I. Joe: Retaliation still takes itself a bit too seriously in terms of plot and characters, to be considered an all-out action fest of guns, explosions, bullets, hot ladies, and even hotter dudes, but does what it can and is entertaining for that fact.
6.5 / 10 = Rental!!
Look out, Barack. Shit’s about to get real for you this year.
A bunch of North Koreans, intent on having the U.S. pull out of their territory so they can continue their civil war on the South, take over The White House and hold President Asher (Aaron Eckhart) hostage until he gives in to their demands. However, they don’t realize that ex-Secret Service Agent Mike Banning (Gerard Butler) is in the building, and not taking it easy on any of them when it comes to saving his friend, his president, and his country.
Yes, it seems abundantly-clear to me now that Hollywood has finally started to run out of smart, original movie ideas, so now, they just copy one another in hopes of seeming different. See, this is the first movie where terrorists attack the White House we’ll be getting this year, but it sure as hell won’t be the last when White House Down, marches into theaters some time around the Summer. However, regardless of where Hollywood stands in the originality-department, and whether or not they can make smart movies about the leader of our country, is totally meaningless. What does have meaning, is whether or not this movie is as fun as it promises, and that’s all that matters. Oh, and yes: it is as fun as it promises to be.
Judging by reading that premise up-above, you can already tell that is mostly just a Die Hard carbon-copy, but placed inside of The White House. Most of you will probably say it’s stupid, unoriginal, and not worth the watch, but after the recent Die Hard debacle we were just hit with recently (I refuse to call it by it’s title), I think it’s safe to say that anything resembling the original is a-okay with me or any of us for that matter. The idea of a bunch of terrorists taking over one of the most-secured landmarks in our country, does seem a bit ridiculous, especially when you see how these terrorists pull it off, but this movie isn’t made to be thought-about or construed as a believable flick that could give potential-ideas, to potential-terrorists out there. It’s stupid, for the sake of being enjoyed and that’s what mattered to me.
However, the first 20 minutes did make me think otherwise. Not only does the movie start-off poorly, but it made me feel like I really got myself into some bad-business, when they decided to kill off Ashley Judd, within the first 5 minutes. I don’t love, nor do I hate Ashley Judd as an actress, but this unextended cameo just felt like a needless pry to slap another big name on the poster, and get somebody famous in there for a short-span of 5 minutes, to only provide a reason for the story to exist and die. Seemed stupid to me, but hey, I guess every stupid movie needs a reason to exist, right?
Well, it only got worse after that, because then Antoine Fuqua decided to show us how much he loves showing things blowing-up, but the problem is: it looks absolutely terrible. I’m not kidding; IT’S BAD. The special-effects (if that’s what you want to call them), seem like they came right out of a computer game, but not a recent, jacked-up one that almost seems like real-life, pasted into a tiny cartridge of fun and excitement. No, it seems like the type of graphics that were used for the first World of Warcraft, where only 20-30 year olds who lived in their mom’s basements and ate Doritos off of their chests, spent hours and hours of their lives playing and gaining no confidence whatsoever when it came to talking to women. The sequence where Fuqua gets over-zealous and shows us the terrorists attacking and destroying The White House and all of nearby Washington, is so cheap-looking and made me feel like Fuqua didn’t have much of a budget to begin with, and it was only going to get worse from here. Thankfully, I was wrong, but not by much.
After these initial-problems, the movie gets better, as it decides to not go for the big, bad, and the ugly, but stay grounded and have all of the shizz go down inside the actual White House. Once again, probably took place inside The White House so much for the sake of the budget, but it wasn’t so terrible to sit-through, considering Fuqua seemed to have a lot of fun with this aspect. The action, as goofy as it may be sometimes, is fun, exciting, and gets you really involved, right away. It’s the classic, action movie where guns, fist-fights, machines, and explosives all come together, to create this beautiful blend of dude’s yelling, girls closing their eyes, and everybody in the theater clapping and screaming, “Hell yeah!!”. In fact, I would be lying if I didn’t say I wasn’t at least one of them. It actually got to the point of where I found myself involved with one of the fights and felt the pain that was happening in front of me. Sounds a bit dramatic coming from me, but that just goes to show you what I can feel when an action movie does it’s action right, and doesn’t cheap-out on giving me the goods. That’s all I needed, and that’s what I got. Thank you Antoine Fuqua, for at least 75% of your movie. The other 25% can kiss my ass.
However, I cannot go on and on about this movie, without mentioning it’s best-factor of all: the leading man. Yes, after years and years of rotting his career away in rom-com-after-rom-com, finally, Gerard Butler has returned to being an action hero that we not only love and can get behind, but can kick as much ass as we expect and want him to. Butler is awesome in this role as Mike Banning, and even though the character is your quintessential good guy that does everything right, has a solution to every problem, and always has a witty-quip or two to say, Butler still owns it and makes this character watchable in the best-sense of the word. Not only does Butler seem like he’s capable of doing roles like thee, but he also seems like he’s having a great-deal of fun being able to knife the fuck out of terrorists, and telling them all to kiss his rear-end, and not just to the enemy, but to the people on his own side. Yep, Butler is THAT good as Banning, and even if he isn’t and I’m just over-hyping this thing up like crazy (which I might just be); it’s still great to see Butler back in his prime-form. Let’s just hope it stays that way and we never, ever get another Playing for Keeps. Please, Gerard. I’m begging you! Stay away!
The problem with Butler being so awesome, is that the rest of the cast sort of pales in-comparison to him, but that’s not such a bad thing when you have an ensemble such as this. Aaron Eckhart is a bit weak as President Asher, who instead of standing up for himself and showing that he’s more than capable of taking matters into his own hand, is just meant to sit there, yell a lot, and say how much he does not negotiate with terrorists, even though that’s exactly what he does. Barack would be SMHing right now. However, that’s where Morgan Freeman comes into play the speaking-president (for the 2nd time, mind you), and does an alright-job, even if it seems like a bit of a waste for the guy to just sit around a room, with equal heavy-hitters like Robert Forster and Angela Bassett, and react to everything Banning says, does, or follows through on. Hey, I would rather have them in this movie, then not at all, but at least give them more to do than just reaction-shots that they could pull off just by looking into the mirror.
On the opposite end of things, Rick Yune isn’t just taking a little nibble with the scenery, but is constantly gnawing and teething at it with all of his might and will-power. Yes, it does get a bit over-board at times, but it was actually fun and nice to see a villain that seems smarter than everybody else around him, and one that’s more-than capable of getting away with a blood on his hands. Dylan McDermott plays the American who’s on his side, and does what he can, but once again, seems like a bit of a waste for a guy who’s so, so, so much better at playing dick-heads in movies that it’s not even funny. I mean, it’s funny to watch him in this, but it’s not funny when he can play it well. Everybody else is here for window dressing, and that’s about it. They are all fine, but nothing too special to write home about.
Consensus: Even if it isn’t the best, or the last “White House in danger” movies that we’ll be getting this year, Olympus Has Fallen still excels in being a fun, wild, exciting, and brainless exercise that gets us involved, gets us enjoying ourselves, and gives us back the Gerard Butler that we all knew and used to love. Please stay with us, Gerard. And never, ever leave our sides.
6.5 / 10 = Rental!!
“It only matters what’s on the inside that counts”, is total bullshit. It’s all about the Benjamin’s, baby!
Andie Walsh (Molly Ringwald) is one of those teenagers that doesn’t seem to fit in because she isn’t rich, she isn’t in with “the crowd”, and just goes about her day all by her lonesome. She has one friend named Duckie (Jon Cryer), but he wants more than she can give him. What Andie is more concerned with is finding her love and also, a date to the prom. Rich, prepped-up tool Blane (Andrew McCarthy), may just be the solution to that. However, he’s rich and fits in with “the crowd”, whereas she doesn’t. Adolescent problems ensue.
No matter what you may have to say about the 80′s, whether it’d be positive or negative, there is no denying that John Hughes makes that decade, what it is known as today: angst-ridden, cool, well-dressed, and very, very hip, in it’s own 80′s way. Watching any of his films and just listening to the dialogue, is what made the guy so damn special in the first-place and listening to them still, all of these years later, makes you wonder; what would he have done to this generation, had he been around? Questions, questions, questions! But what we do know is that the guy was great at writing movies, and this one shows no different.
I’m not going to lie, this definitely isn’t my favorite John Hughes movie, but it still has everything I love from them all: nice dialogue. Everything in this movie may be dated, cheesy, and outrageous, but Hughes’ dialogue still keeps it grounded in some form of reality where we feel like we know exactly what these kids are talking about and going through. Sure, the times have changed what with cellphones, Twitter, Facebook, and the Harlem Shake and all, but every teen still feels the same emotions that these ones were back in the day, and it’s great to see that personified in a way that’s not mean or nice, it’s just realistic.
Maybe I’m giving a bit too much credit to this movie, but for the longest-time, everything that Hughes was throwing at me, I was falling right for. Not all of it works and you can totally tell that some lines probably sounded better in Hughes’ head then they may have come out in the actual movie itself, but it’s always compelling and rather entertaining to watch a bunch of teenagers just talk about the things that matter: money, love, boys, girls, clothes, and prom. Most movies that deal with social-classes and how high-school can be so darn destructive about them, sort of blow-pass the real meaning of what they are all about in that setting, but not this movie. Hughes shows how vindictive people can be, especially ones from high-school and how it doesn’t matter if you have a good heart, love animals, and enjoy picking up trash in public parks on the weekends, if you’re still apart of the geek squad, you’re most likely going to get yo ass kicked by some preppies or jocks. Either way, you’re not like and that’s the honesty I was talking about with this movie. It shows you that Hughes knows what he wants to present and knows exactly what he wants to say. Doesn’t always hit, but when it does, you feel it in more ways than one.
That’s also why it’s so disappointing to see the turn that this movie takes, out of nowhere, into total and complete unbelievableland. Everything before the last 15 minutes was, as you can probably tell by the first-half of this review, very good and kept me entertained, as well surprised by the depth that Hughes was able to enter without seeming too serious. Then, he loses all control and allows this movie to just seem utterly obvious and stupid. Without giving anything away to the peeps out there who haven’t seen this 80′s prized-treasure, a bunch of people that dick eachother over throughout the vast majority of the flick, start to all of a sudden forgive one another and even worse: start using that “L word”. No, not the show, but you know what I mean.
In most movies, that “L word” feels realistic and well-used, but in this movie, not a single-bit. It just seems like Hughes had this script all written-out, the ending and everything, and then Hollywood or whoever decided to put their filthy, stinking noses into it and ruin what could have been a way smarter, way more likeable, way more believable flick. Instead, they ended it with the typical, high-school fluff that most of these flicks go for and it’s as disappointing as it is stupid. Whoever’s to blame for this, I curse you! Okay, time to mellow out now.
A lot of people get on Molly Ringwald’s case as an actress because she showed-up in all of Hughes’ premiere, high-school flicks but you gotta give some credit to the girl; she’s actually very good. She’s played the stuck-up prude, she’s played the loner, and now she’s played the poor, outcast and all sides of her have shown very well. Her performance here as Andie is great because you really feel for with everything she’s going through, not just as a teenager, but as a person that wants love and wants acceptance, but just can’t find it. I like how sassy Ringwald could be, but also how understandable she could be of the things around her and the type of environment she was surrounded-by. She seems a lot smarter than most people would give her credit for, and for that, I have to give her major kudos because it’s not very often you see a smart, teenaged-girl in a movie about high-school and falling in love. That John Hughes. He always knew how to write ‘em.
Another person in this cast that kicks ass is Jon Cryer as her bestie, Duckie. Cryer is the type of dude we all is hilarious by now, but back in those days, he was just getting started and he was a true breath of fresh air to watch as Duckie. Duckie’s cool, swift, suave, and charismatic, but also a nice guy that wants nothing but the best for Andie, and it’s a shame that she won’t give him that time, of that very specific-day. We feel for this guy, more and more as the flick goes on, and at the end of the day: we want him to walk-away with the girl, even if he doesn’t stand a chance in doing so.
Even though these two are great, the one who really sticks out like a sore thumb is Andrew McCarthy as Blane. McCarthy is so dull, so uninspired, and so boring, that it honestly is a wonder why any person in their right frame-of-mind would fall for such a sap like him. But then I remember; he has money! Oh yeah, that’s right! Basically, he’s one of those guys that just so happens to be Mr. Charming and the knight in shining armor, despite him not being able to bring anything to the table at all. He’s just a doofus and to watch him try to win over the heart of Andie, was as stupid as it could get. I would have liked it more if James Spader took this role over instead, even if Spader is pretty damn fun to watch as the high-school jerk-bag, Steff, who gets what he wants, when he wants it, and just schmoozes his way all throughout high-school, with a trusty-cigarette always located in his hand. He’s what cool is all about. Not this loser Blane.
Consensus: Although it may harbor some interesting and smart ideas about growing-up and finding love as a teenager, Pretty in Pink still loses itself by the end when everything gets overly-sappy and overly-annoying. However, it’s still an entertaining flick to watch that has aged-well in most parts. Not all, but most.
6.5 / 10 = Rental!!
“Yo Adriaaaaaaaaaaaaaaan!! I’m baaaaaaaackkk!!”
Beginning right where the first left off, Rocky (Sylvester Stallone) marries Adrian (Talia Shire) and promises never to fight again. But when the two run into a bunch of moolah-problems and find out that Rocky can’t make a living any other way, he agrees to a rematch with heavyweight champ Apollo Creed (Carl Weathers), who wants to prove Rocky going the distance with him in their first match was nothing more than a fluke. However, there’s more skill and smarts in Rocky, but also in Apollo. Ding ding ding!
Much like other films such as Halloween, Nightmare on Elm Street, and plenty other flicks, Rocky may have been a classic film by all-means, but it’s reputation still gets hurt a bit by the endless need of unnecessary sequels that were made after the original. It’s already been six movies later, and I think it’s safe to say that everybody, and their mothers have had it up to here with Rocky, Adrian, Paulie, and all of the other, over-the-top villains they could pick-up next. Thankfully, this one didn’t do too much to ruin the legacy, but instead: just repeated it. Doesn’t hurt, but doesn’t help much either.
Rather than bringing the awesome John G. Avildsen back to the director’s chair, Stallone takes his own shot (pun intended) at writing and directing this flick and it isn’t as bad as you would imagine from this big baffoon. Stallone redoes everything here that we saw and loved from the first one, but this time, adds a little bit more drama and character development to it. I liked that approach because it not only showed us just how Rocky would grow-up as a father and a husband, but also as a guy that’s trying to make a living with whatever he can do other than knocking out other dudes. You never know what it’s like for these dudes after they hit their peak and realize that they have to live in the real-world, with real families, real people, and make real money, so that was pretty interesting to see from a sequel that was all about the hustle, the bustle, and the glam of being a pro-boxer and being stuck in that world. There’s also more development between Rocky and Adrian and it’s sweet to see, as we all know that they love each other, but never fully got the sense of it until now. It’s great to see them live together, inter-act with one another, and try their hardest to live in a nice home and not chop each other’s neck’s off. It’s a hard thing to do as a married-couple, but it can work.
Then again, this direction isn’t anything all that special because it’s basically the same, exact movie, just done again with more character development. This wasn’t something that bothered me as much but it didn’t really offer me up any surprises that much either. You could practically put this and the original back-to-back and not really notice a difference at all: Rocky starts off like a bum, then focuses on jobs, then focuses on Adrian, then gets ready for the big fight *cue training montage*, and then the big fight at the end. That’s pretty much the same formula done for both movies and it seemed like a lazy-job on Sly’s part, mainly because we all know what happens, and aren’t thrown many surprises or curve balls to take us off-guard.
It was also kind of a problem that I didn’t really feel any true tension or excitement going into the big rematch with Creed, I was sort of just like: “ehhhh”. The first movie, regardless as to whether or not you actually saw it when it first came out, was a movie that people were just hyping up and up and up for those last 15 minutes, all because of the big fight. Not only was it bloody, gruesome, and ultra-violent, but it was also very unpredictable as nobody had any clue whatsoever as to who the hell was going to pull this off in the end. However, it’s pretty obvious where Sly is going to go with this story, which makes it even more obvious as to who the winner is going to be. I get that you don’t see these types of flicks to see something terribly new or original, considering that it’s all been done before, but you gotta give me something to chew-on here, or I’m going to lose my leg. Don’t know what that is even supposed to mean, but just go with it for now.
As much as the movie’s final-bout may not be as invigorating or compelling as the first’s, it still helps the movie gain some much-needed steam and end in the sort of way we’d be happy to cheer on. The ending fight in the first flick was a lot better, but this one still stands on its own two feet with a lot of close-calls that actually kept me on-the-edge of my seat, even though it’s pretty obvious you know what’s going to happen. It’s a good fight and definitely brought a lot more energy to the end of the film, but it was almost a bit too late in the movie to play up. Then again, it was entertaining so I’ll give it that.
No matter what though, Sylvester Stallone is definitely the main reason to see this flick because he does everything he did as Rocky in the first movie, and adds a lot more sincerity and heart onto him here. Stallone is such a likable character that the whole 1 hour and 59 time-limit could have been dedicated to him just making corny jokes to Adrian and slurring every single sentence, which he does show a lot of that here, but once he starts to hit the emotional moments, it may actually take you by surprise. Stallone has never been a Oscar-caliber actor by any means, but he definitely shows that he has the chops to pull off plenty emotional moments and have you believe in him as his character learns more about life. But like the rest of the movie, you could pretty much say that about the first one, just with a few more added-elements.
As for the rest of the cast, they’re all fine and pretty much doing the same thing they were doing with the first, just a tad different this time-around. Just a tad, mind you. Talia Shire is great to watch as Adrian as her and Rocky inter-act with one another and figure-out ways to get their marriage to work. The two have good chemistry and shines through in almost every moment they share the screen. Carl Weathers bothered the heck out of me with the first one, but does a fine job here as he keeps that annoying, showmanship-thang going on, but still gets to the human-aspect of his character as well. Ain’t so bad once the guy dials it all down, I see. Burgess Meredith is yelling at Rocky again and having a ball doing so, and Burt Young is being a drunk d-bag, that beats-up his sister, makes d-bag jokes, and bothers the hell out of Rocky. The typical, Philadelphian-bum. Gotta love ‘em.
Consensus: Rocky II has the same heart, look, feel, and entertainment from the original classic, but that’s just it: it’s practically the same movie. Yeah, it’s more character-based and features development of those said characters as they move-on with their lives, but it isn’t anything special when you take into consideration how land-mark and iconic the original was, where this just seems to cash-in on that name and love. Sadly, it would continue on for a couple more years, only to be deceased by Sly himself. Thank heavens for that.
6.5 / 10 =Rental!!
Maybe this should be a sign to you, Angie, that it’s time to stop adopting so many damn kids!
Christine Collins’ (Angelina Jolie) prayers are met when her kidnapped son is returned. But amidst the frenzy of the photo-op reunion, she realizes this child is not hers. Facing corrupt police and a skeptical public, she desperately hunts for answers, only to be confronted by a truth that will change her forever.
That plot-synopsis up there that this movie is based on, apparently is all true and surprisingly happened during the 20′s/30′s. But what I find so funny about that idea, is that the movie writes it as “A True Story”, rather than playing it safe and going with “based on a true story”, or “inspired by true events”. You can get away with so much more if you with the two former-options, but nooooo, Clint Eastwood is taking a stand and believes in what he sees. Sadly, it is Clint Eastwood were talking about here, and nothing is as realistic or as simple as it may look on paper.
The problem that Eastwood runs into with most of his films (this one especially), is that he never seems to really focus on one aspect of the whole story. Instead, the guy goes for everything that’s involved and feels the need to load his film up with exposition, random details, unheard of hints, and unnecessary subplots, just in hope that it will spice things up and keep the audiences attention up on-screen. This just becomes a total jumble of randomness that could have really worked, had it been taken-down a notch by about 3 or 4 story-lines. That’s why when he does dial it down, it works perfectly and helps the story guide a simpler-path than it had before. However, the times when he doesn’t and just feels the need to add and add some more layers to a story that’s already as simple as it can be, then it can be a bit bothersome and that’s the problem with this movie here. Too much, too little needed.
However, it isn’t always like this. For the first 30 minutes or so, the movie focuses on Collins as she looks for her son, finds him, realizes he’s a fake, and then decides to take matters into her own hands and bother the hell out of everybody involved with the investigation. Right here in the beginning is actually compelling and kept me interested into where I could see it going, and especially when you realize that the way all of these cops are in this movie, are pretty much they were in real-life. It’s a shame that it’s a true-story but hey, I guess it had to happen. Now, after Collins runs into a big problem with the police department, then things go south for her real quick and ultimately, is where things go south for the movie as well. Instead of sticking to Collins’ story, we get a story about the corruption of the L.A. police department that ran rampant during the 20′s/30′s, then we get a story that’s about this serial killer that seems reasonable but also takes away from Collins’ own story, a story about the psychiatric ward and how all women who ‘effed with the cops got shipped off to there, and then another story about how Collins needs to move on. All of these stories seem like they serve a purpose to the big idea at-hand here, but still never mesh well together and only keep us further and further away from the actual story we started off with: Collins finding her son.
All of this piling-up of ideas and story-lines just creates a very long, drawn-out piece of work that never, ever needed to be 2 hours and 24-minutes long. I mean, I guess Eastwood didn’t want to leave out any details, but Christ man! At least give me the Spark Note version of everything that’s happening, rather than the College Textbook! I can’t rag on Clint’s case too much because the guy does have some nice-moments here and some important things to say, but he needed to buckle-down on that time-limit. Without this long-ass time-limit, I may not have been as bothered as I truly was.
However, where the story seems to fly-around wherever it sees fit, the one person keeping it all glued together is Angelina Jolie as Christine Collins. When Jolie isn’t off with her hubby Brad, taking care of 7 kids, or shooting at people in her latest, action blockbuster, she’s actually out there giving some understated, grounded performances that may shock some people considering she hasn’t really been known for doing that as of late. Jolie does an awesome job as Christine because she allows that sympathy and love we feel for her, shine through every-frame of the movie and you can really feel the utter sadness and depression coming from this problem in her life. Obviously losing a kid is no happy-thang, but instead of making it a non-stop problem that gets old, real quick, Jolie keeps us watching and having us wait to see more layers of her come pouring right out. It’s great to see Jolie like this and I can only hope that she continues to do more of it. You know, when she isn’t off with her hubby Brad, taking care of 7 kids, or shooting at people in her latest, action blockbuster
Her main co-star, John Malkovich, is practically given a top-billing next to her name but yet, still isn’t in it as much as you would expect from a big-name like his. Malkovich plays Reverend Gustav Brigleb, one of the guys who first sticks up for Christine, and plays him very well but not as spirited or as energetic as we’ve seen this guy act before. It’s a nice performance, no doubt about that, but a bit of a disappointment considering we all know what he can bring to a movie. Maybe more time could have been given to him, his character, his emotions, and his motivations for helping-out Christine, rather than the 500 other stories Clint had on his plate.
The other people in this cast try their hardest, but all sort of fall by the waste-side once you see how they are all portrayed, especially the men of the police unit. The problem with how Eastwood portrays these police officers/detectives is as if they have no remorse, no souls, or no idea of being a good person at all. It seems as if they are all concerned with saving their own butts and don’t want to hear a single word about what it is that they’re doing, is wrong. Each and every one was portrayed as the stereotypical villain we usually see in one-sided movies like these. It’s not even that they’re just bad-guys either, they’re laughably bad. The dialogue for them is so obvious, so predictable, and so cliche, that you have to wonder just how the hell they let idiots like these actually have the authority to carry a gun and a badge. The one I remember the most was probably Jeffrey Donovan as the main police captain, who has a dated and forced accent that comes off as if he has a stick up his ass, or just can’t read his lines. Either way, the guy sucks and I don’t know how the hell he has a hit TV show on USA. Don’t even know what it’s called, but it’s been on there forever and with him as the lead, I don’t know.
Consensus: Though Changeling features a strong, central performance from Jolie and a sometimes-interesting “true story”, Clint Eastwood’s direction still gets in the way with his constant use of constantly adding on layers to a story, losing his central focus, and never really being able to make it all come together for an eventful and memorable ending. It just flops like a fish, and leaves your mind as soon as soon as the credits begin to roll.
6 / 10 = Rental!!
Would you really call the People’s Champ “a snitch” to his face. Think about it and choose your words wisely, ya jabroni.
A suburban father (Dwayne Johnson, aka The Rock) decides to risk everything and go undercover as an informant in order to help the authorities build a case against a high-ranking drug dealer. Why does he do this? Well, because he’s the greatest daddy ever apparently and just wants to reduce his son’s 30 year mandatory drug sentence. If that doesn’t scream “Daddy of the Year Award”, I don’t know what the hell will.
It’s coming towards the end of February, therefore it means that the Hollywood production companies are going to start throwing more and more crap at us, up-until the Summer hits and they’ll be throwing more crap at us, except with the cool breeze of Summer in the air. With that being said, this movie was definitely nowhere near my must-see, but surprise, surprise! It ain’t half-bad as I was expecting it to be, except just a little dumb. Just a little.
The fact that this movie is based off a true story, definitely gives it some lee-way in terms of what it can and cannot do with it’s story, and still make it seem believable. For instance, the whole idea that the DEA would be willing to actually allow this suburban-daddy to get involved with this drug world, in order to thrown some prime-time players in jail, definitely seems like a bit of a stretch, even for a movie starring The Rock (yes, that T is still capitalized). However, this movie isn’t all about the facts, it ain’t all about the truth, and it ain’t even all about the fun. It’s surprisingly about the story and what a simple premise can do, when you give it a simple and normal-look.
Directed Ric Roman Waugh did a similar-film like this a couple of years ago called Felon, where he took a regular, everyday man and put him into an atmosphere he has never been involved with ever before. That movie was pretty damn good, and even though this one doesn’t reach the heights of that, it still has the same look, feel, and emotions going-on. For example, instead of making this movie all about the guns, the drugs, the violence, and the action that usually happens in these movies where people get involved with the underground world of drug-trading, we actually get a story that means something here. You know, a story with real and heartfelt emotions.
The fact that this movie is being advertised as another, slam-bang action-thriller in the same vein as Faster or the Rundown, is a real sin. Because once you get past the fact that you aren’t going to see blood, bullets, and octane (Joe Carnahan has nothing to do with this movie, but it’s still pretty cool to say) the whole-time, then you can actually enjoy this movie and see where it’s going with itself. The movie gives it’s story more meaning by setting itself up, showing us the characters, who we are dealing with, and what’s really at-stake here. Yeah, it does seem a little obvious at-times, but the movie is about showing the connection these people have when there’s a shit-load on-the-line.
I’ll never go so far as to say that this movie touches on a lot of emotional truths and hardships that’s going to make the insides of you weep for a hug, but I will say that it will surprise you with where it goes, and how it gets there. Waugh is about giving us characters we care for and can believe in, and that’s ahead of all of the foolery of the violence we expect from this cast and crew. If there is any credit I have to give to Waugh, it’s that he took the higher-road and decided to give us more substance, than we usually expect from movies like this. You care for these people, you care for this story, and ultimately, you care for this movie. That is, up until the movie starts to lose itself and get all action-y. I mean, come on! Did you really think they were going to have people hugging, crying, and kissing each other for the whole 2 hours? Hell no!!
When the action gets introduced into the story, it feels forced which was unexpected because the movie actually built-up a nice amount of suspense and tension throughout. The movie makes you feel like some real and crazy shit is going to happen any time now, and in a way, it does, but it doesn’t feel legitimate. It feels like the film makers of this movie saw the final-cut, and decided that there needed to be more action, more explosions, and more guns involved, so all of the dudes that went-out to go and see this Dwayne Johnson flick, wouldn’t start to question their sexuality. That idea is so cynical, but for Hollywood, it’s just money baby. That’s what bothered the most about this flick and it seemed like if they kept it a real, near, and dear drama the whole-way through, did a couple of cuts, and re-cast some people, then they would have really had a keeper here. Instead, they decided to take the low-road and stay with the cast, stay with the original-cuts, and keep some of the drama in, but mostly action as well. Hey, some of it works, some of it doesn’t. In today’s day and age, you got to take what you can get.
Now, here I come to the saddest-part of my whole review: The Rock. Yes, I know he’s Dwayne Johnson, I know he wants to be taken seriously, and I know he’s trying so damn hard to shine away from his wrestling-days (even though he was just recently the champ, I think), but he will always and forever be The Rock to me. He’s one of, if not, my favorite wrestler of all-time and just has the look, the charm, and the personality to make any movie he does work. That’s why it comes as such a surprise to me to see that the guy isn’t anything really special here, and sort of came-off like a bit of a miscast problem.
Don’t get me mistaken, The Rock is mostly good in this movie. He has a dramatic-range that is surprising and can actually cool himself down when he needs to let the drama and the story take a hold (pun intended), but he seems to be trying too hard as well. There’s a lot of scenes that seem like they call on him to just be use his expressive-eyes and facial-expressions to give the motives of this character more meaning than they should have, and seems like he’s over-emoting. His line-reading isn’t bad, but it does leave a lot to be desired, especially when you think about how bulky and scary his character is. I get that he doesn’t want to be playing his usual, bad-ass type of role where he kicks people’s asses, does The Rock Bottom, and throws his arm-band out at the crowd (still haven’t grabbed one of them yet), but he feels out-of-place here. He tries to play wimpy, he tries to play the family-man, and he tries to play innocent, but the guy looks just too scary and intimidating to really be construed as that. When a guy comes at him, he’s actually scared. The Rock that I know, The Rock that I love, and The Rock that I believe in, would layeth downeth the Smackdowneth on that person’s candy ass and not just stand there in fear. Come on Rocky! There’s so much more to you than this. I know it.
But where The Rock loses, everybody else succeeds. The main reason why I was looking forward to this movie as much as I actually was, was because of Jon Bernthal and seeing what he could do outside of Shane from the Walking Dead. Thankfully, the guy delivers and shows us that he can play a nice, civilized, family-man that may have a bit of a history, but still wants to do the right thing. Bernthal can play that sick, sinister-type oh so damn well, but when he has to come back down to Earth and keep it real; he’s still very believable and makes you feel more for this guy, than you do for Rock’s character. I can tell that if there is anybody from the Walking Dead that’s going to have a shinier career, it’s this dude and I can’t wait to see what he has in-store for us next.
Everybody else is pretty damn good as well. Michael Kenneth Williams is, as you would expect, playing a drug-dealer that smokes, deals, and kills for a living. But also a bit more to him than you’d expect, and the last couple of scenes we get with him is where I was really shocked at the type of dimensions this movie was able to explore, especially for such conventional-characters like “the black drug-dealer”. Benjamin Bratt feels underused and a bit stupid as the head of the Mexican cartel, but still does what he can with material such as this; Barry Pepper shows up in his ZZ Top get-up, is very sympathetic, very bad-ass, but also very believable and does his best at making us all forget about Broken City and how he had the disprivilege of ever touching that crap; and last, but sure as hell not least, is Susan Sarandon as the prosecutor that’s only slightly-less evil than half of the drug-dealers that she’s trying to arrest, but still revels in the material and in a way: fits her like a glove. A firm, lovely glove that I wish I helped her put on. Rawr!
Consensus: Believe it or not, the only real reason why Snitch isn’t as good as it should be, is because of the very same thing that the movie advertises itself as: a thriller. A thriller with guns, action, blood, guts, drugs, and crime is not what this movie’s all about; it’s more about the characters, what they’re going through, what they have to do, and how they can all come out of this problem alive, well, and prosperous for the future. Okay, maybe it’s not that in-depth, but it still is a lot more-developed than any other action-thriller that’s come out this year, so far.
6.5 / 10 = Rental!!
Lil’ Jon should have at least scored the soundtrack, if anything.
For years, townsfolk have been terrified of the backwoods recluse known as Felix Bush (Robert Duvall). Then, one day, Felix rides to town with a shotgun and a wad of cash, saying he wants to buy a funeral. It’s not your usual funeral for the dead Felix wants. On the contrary, he wants a “living funeral,” in which anyone who ever had heard a story about him will come to tell it, while he takes it all in.
Simple movies are never that bad, and when you have an idea about a dude planning a living-funeral, it makes a simple movie seem pretty cool, yet still simple. Director Aaron Schneider definitely knows the type of material he’s working with as he sets the mood, sets the pace, sets the characters, and sets the ideas of what we come to expect with movies like these, but in the end, they are all simple and for some, that may not be so bad, but for me, it is. Well, sort of.
See, as much as I liked this flick and felt like it delivered on what it was going for, I also feel like a lot of what could have really hit me hard here, just didn’t. For instance, the script is pretty weak whereas not only does it seem like these people do the usual, “talk-like-a-bunch-of-goofy-Southerners”-speak, but they also try too hard to make people laugh and none of it ever feels like actual humor. I mean, yeah, watching a hermit who lives out in the middle of the woods, invite a dude from the town in for a nice pot of rabbit can be a tad humorous but it’s nothing new or refreshing we haven’t seen before and I think that’s what the deal is with this whole film.
We never get to see anything new or awesome that we haven’t already seen done before, and even worse, the flick doesn’t really bring much to the table to distract you, anyway. The scenery definitely looks good and has you feel as if you are in the South during this time-period, but that’s pretty much it. You can have a movie that looks all nice and dandy, but if you don’t have anything else to make up for it, then I just lose interest. However, thanks to a cast like this, I was paying attention enough times to relatively-enjoy myself. Not fully or totally, but relatively and I think that’s better than not enjoying myself.
Bill Murray is always a blast to watch in anything he does and his performance as the greedy, funeral parlor-owner is no different. His contemporary way-of-speaking definitely seemed a bit distracting for the first five-minutes of him on-screen, but as time went on, I just let it slide and love every-singe-bit of Murray’s performance and some may be surprised to know that he’s not the most hilarious dude in the movie. Murray does have the occasional zinger here and there for good sport, but he actually has an interesting dramatic arch that forms a dynamic between him and Duvall and it continues to go on through the whole movie. I don’t want to say that I loved the hell out of Murray, but I can say that the guy was a good character and showed that he can always balance out sleazy, humorous and likable, all at the same time.
Playing his lackey-of-sorts is Lucas Black, who is obviously still trying to have everybody forget his days in Sling Blade, but no need to worry, because the guy’s actually a solid actor as a grown-up. Granted, when he is side-by-side with heavyweights like Duvall and Murray, he definitely seems like the weak-link, but when he’s doing his own thing and that’s just about it: he’s good with it. I definitely would like to see this guy step-away from the dirty South and try his best with any other accent but for the most part, he’s fine with his own native tongue and I don’t think playing a Bawstan gangster would be the next best thing for him. Although, it’d be fun to see him try at it.
Sissy Spacek plays Duvall’s former-fling and as she gets older, seems to not only get more beautiful, but also even better as an actress. Seriously, I thought she was just going to be one of those females that showed-up and bitched about her life and why it never amounted to everything she wanted, but the gal actually has a nice arch to her as well, and it’s great to see the scenes with her and Duvall cause you can tell that there’s something powerfully and genuinely felt between the two, but you just don’t know what. Spacek never seems to age and as time goes on, she still knows how to deliver and that’s so great to see from a living legend like herself.
Then, of course, there is the one, the only, the Grizzly Adams-look alike himself: Robert Duvall. Duvall is such a classic actor, that roles like these where all he has to do is grunt, say weird things, and be his typical-self, he makes it so good that it almost seems like he’s not acting. After awhile, you start to forget that it’s Duvall and take him in as this strange, weird old man, and yet, you are never scared of him. You feel like he’s a good guy at his core and that whatever he did, no matter how disturbing or brutal it may have been, that he’s still a nice guy that deserves to have people around him. No matter what type of character Duvall goes for, he’s always good at it, and always knows how to make us give two shits about the guy, even if he may be a bit mysterious in his own ways.
However, once you get to thinking about the whole mystery of this flick and what it actually ends up being, then you start to feel a bit disappointed. Without spoiling the last twenty-minutes of the movie, Duvall finally gets a chance to break the ice and tell everybody what he’s been hiding-0ut for, for so long and the kind of effect that it has had on his life. Throughout the whole movie, I was ready to see what it was as each and every single little clue, came-up to the forefront and had me guessing a bit more. It gave what could be considered this simple, character-study a nice deal of mystery and suspense to it that had me playing-along for awhile, that is, until the actual “reveal” came out and ended on a total whimper.
It’s not the fact that what Duvall ends-up telling us is what’s a bummer, it’s that you just don’t really care and see how a guy could leave the rest of civilization for a thing like that. I guess when you take guilt and memory into consideration, then yeah, it could definitely eat you up inside, but leaving the people you know and may possibly love, to go out into the far woods, break logs, eat animal stew, walk around with a shotgun, hunt, and chase little kids off your property, doesn’t seem all that reasonable. It sort of made me feel like the flick had the central idea and premise, it had the characters, and it had the setting, but the most important factor of them all, the ultimate reveal, was something that they just didn’t have and felt like they just made it up as they went along. And if they did have it on, way before filming began, then when it actually came to filming this movie, they didn’t have a firm enough grasp to really make us care enough or feel like we are glad we spent so much time of our lives with these characters and with this story.
Consensus: Benefiting from a strong-as-hell cast, Get Low definitely has moments that keep you watching, despite the slow pace, but doesn’t have the best script in the world and that shows, especially when you take into consideration the final twist that gives you the feeling that this flick sort of lost itself, as it tugged along.
6.5 / 10 = Rental!!
Almost 30 years later, and I still don’t get what the hell they’re talking about.
Sam Flynn (Garrett Hedlund), son of the famous Kevin Flynn (Jeff Bridges), responds to a message from his long-lost father and is transported into a virtual reality called the Grid, where Sam and the algorithm Quorra (Olivia Wilde) try to stop the malevolent program CLU (a younger Bridges in CGI-form) from invading the human world. However, times have changed for dear old Kevin Flynn and he’s not exactly what he used to be, so it’s up to Sam to save the day.
After checking out the first TRON and not seeing it as anything more than just a pretty film that’s easy on the eyes (if you take the time-period into consideration), but still, very hollow once you get underneath it all, I was actually looking forward to this one. The reason being is just because it’s been almost 30 years since the original, so therefore it seems like they would have a new hold on the visuals, the story, the acting, the writing, and just about everything else that didn’t work in the original. Somehow, that idea didn’t get around to anybody working on this movie, except maybe the people working on the soundtrack. Yeah, giving Daft Punk a call was a bit different.
If you haven’t seen the original, you may want to do that now before you even bother reading the rest of this review or even seeing this movie because going into this one blind and having no idea what to expect will probably leave you in the dust. Not only does the flick barely touch on anything that happened in the first movie, but it’s story (or lack thereof) is mainly for the people who saw and could at least understand some portion of the original’s. Basically, see the first one and THEN, check this one out. You’ll be happy I gave you that piece of advice, but then again, you maybe be unhappy that I gave you that piece of advice because not only did you have to sit-through one TRON movie, but two! My condolences, people. My condolences.
Actually, all of this pre-game shit-talking may not be deserved because to be honest: I actually enjoyed myself with a good-portion of this flick. Heck, if I was to put it head-to-head with the first; I’d probably have to go with this one pulling out the close victory. Close-call, but still a victory none the less. With that being said, it doesn’t mean that the same problems I had with the first movie aren’t here, it’s just that there is more to distract me this time around. Thankfully, that distraction lies in the form of Joseph Krosinski’s visual-direction. In the 30 years ever since the first one came out and shook-up the world of movies and video-games as we knew it, technology sure as hell had changed and improved in ways that we wouldn’t have ever been able to swallow back in those days. This means that the movie actually takes advantage of that fact, the same way the original did, except with more CGI, more 3-D, and more IMAX.
Obviously, the first one for it’s time, was revolutionary and visionary with what it could do back in the dog days of Summer in ’82, but now, in the 21st Century; there’s so much more than we ever imagined. The world of the Grid looks more beautiful and breath-taking than it ever did before and you really feel as if you are swept into this virtual-reality world with the same shit from the first movie like electronic cars, frisbees, and weapons, but this time; with more pizzazz and style added to the mix. I really felt like Krosinski had a total understanding of what the look and feel of this world would be like, and he doesn’t drop the ball on it once. Especially in one scene that takes place inside this wild and crazy night-club that had me feel like I was watching a whole, different movie. Also, the scene works because that’s really when Daft Punk’s score begins to kick-in and if it wasn’t for them and their pounding, electronic-beats in the background in that scene, as well as for the rest of the movie, there probably wouldn’t have been the same amount of electronic-energy involved that just got your senses alive and pumping.
Thanks to Krosinski, you feel as if you are there in this virtual-world where everything is on such a higher-platform than it ever was before and the guy absolutely revels in it. You can tell that he really did grow-up with the original movie, and shows that he loves this world just as much as any other nerd, who probably watched it back in the day, and fell in love with it just the same. However, the difference between Krosinski is that he has a camera and about $170 million to work with, whereas the nerds are just left there, making $10 an hour, eating Doritos off their chests as they sit-back, and watch as a fellow-nerd lives out their shared-dream to the fullest. In a way, that can all be viewed as a humble experience, but it still goes to show you that if you have inspiration and a vision that you want to get-out there for the rest of the world to see, don’t hold yourself back from showing yourself. Get the hell out there and make it happen! Fuck yeah!
Anywho, I think I may have gotten a bit too carried away with what I was trying to say because yes: even though Krosinski knows exactly what he’s trying to do behind-the-camera and with the visuals, he still hits the same dead-end that the original hit way too many times: the script. For all of you who probably guessed it, then yes, the script is pretty terrible and without getting into the whole gist of this thing and finding myself in a circle of total and complete convoluted craziness, I’m just going to state that this plot practically makes no sense, even to a person that has seen the original no less than a week ago. There are some interesting ideas here, but nothing all that special that the Matrix didn’t already cover, about 11 years earlier. Which means watching it now, just seems like a bit of a re-tread of something that was done and said, a hell of a lot better before. God, you gotta love the 90′s.
As you could probably suspect, the dialogue is pretty shitty but you don’t come to a movie like this for winning-dialogue and understandings of the world we surround ourselves with; you come to these movies for fun and fun only, and that’s what element this script is missing out on: fun. What made the original a relative joy to watch was that no matter how corny, no matter how dated, and no matter how lame the rest of the script was (and trust me, it did get unbearable at-points), the film still always had this breath of fresh air that knew it wasn’t taking itself so seriously and always allowed there to be room for play-time. However, this movie, this story, and this script, only allows little to no room for play-time and really brings down the whole mood of the film. Terrible shame too, because it could have really saved a lot of the shaky-material this movie had on-display.
Yeah, I get that it’s supposed to be a bit of a dumb movie that’s strictly for fans of the original and people that like extra butter on their popcorn, but is this really the BEST material they had to offer? I mean, you can live-off the fanboys money for only so long, all up until the point where the fanboys begin to realize something is wrong, dead-wrong with the way things are structured in a movie, especially a movie that’s living in a cult-name like TRON. Even though I wouldn’t go so far as to call the final-product a total cash-grab for that said audience; it still feels like a lame and disappointing attempt at trying to re-create the fire that was once there. The fire that also never really caught my eye in the first-place but then again, it’s a different type of movie for a different type of person. Different strokes for different folks, I guess.
The one thing they did improve on, if only a tad bit, from the original is that the characters at least have more to them than I originally expected. Jeff Bridges returns as Kevin Flynn in two forms: the goodie and the baddie. The goodie-form of him show the Zen-like fashion where he’s more of The Dude, than the precursor to Neo. This especially works for the aging-Bridges who always seems to be the most reasonable and coolest guy in the room, no matter what type of role he’s playing in any movie he appears in. However, the baddie-form of this character is where things really start to get topsy-turvy for Bridges because it isn’t exactly that it’s Bridges actually playing the character and giving a realistic-performance, it’s more that the computer is taking over and giving us another one of those terribly-creepy, Robert Zemeckis-like motion-capture performances that not only have us scared, but totally take us away from the movie.
Flynn’s baddie-version of himself was supposed to be intimidating and threatening in the way that he could control almost everything and everything, due to the set of skills and prowess he had from the computer codes Flynn gave him. However, when you give the guy the motion-capture treatment like this, he doesn’t look the least-bit scary. The only form of scary, is that he’ll probably just give the kiddies nightmares, that’s if you even bring them to see this. Don’t know why you would, but you never know: nerds have done far worse. However, instead, you’re too busy laughing your ass off by how dull his eyes look and how stupid it seems to be whenever he opens his mouth. They did nail some aspects of Bridges when he was a younger lad, but it’s still not enough to be less distracting than a form of CGI in say, The Curious Case of Benjamin Button. That was not only used to enhance the story, but done very, very well. Here, it just looks dumb and takes you totally out of the movie and character, even if Bridges does try his hardest to make this character, in both forms, work. I mean, I’ll give a lot of credit to Bridges for actually allowing a movie to take a younger-version of himself and plant it in a movie where he shows-up quite frequently, but still, for the movie’s sake, it’s a bold-move that doesn’t work.
Garrett Hedlund plays his son, in what seems to be the type of role that could make him a star and send his name up into the highest-rankings (sort of like Chris Pine in Star Trek), however, he’s just not really talented enough to allow that to actually happen. Hedlund definitely looks the part of a young, wild, and brass go-getter dude that knows his shit don’t stank, but there was just something that felt off in his delivery and sent his character into a daze of dullness. You sort of forget that he’s even around and if it wasn’t for the plot needing him to do cool, flashy action-moves (mainly because Bridges sure as hell can’t do them anymore), then he would have not served any purpose to this story whatsoever. Okay, maybe that’s a bit drastic to say but you get my drift: the guy blows here.
Olivia Wilde is the one who really saves this cast, and in a way, the movie as well. She plays Quorra, the ass-kicking femme fatale of the group and is not only a gorgeous soul to just gaze at, but also has some nice dramatic-chops to her that she shows in full-display here. Something tells me the script didn’t really ask for much with a character of her liking, but Wilde doesn’t ever seem to settle for conventionality and actually brings the cake to the screen, whereas her co-star Hedlund, seems to really fall-apart. Not only does she have the looks, but she has the brains as well. My type of woman.
Also in the cast, is Michael Sheen who seems to be having a freakin’ blast as Castor, aka, the sci-fi version of David Bowie that only gets about 10-minutes or so of screen-time, but lights it up the way he always likes to. He’s apart of that crazy, club-scene I was alluding to earlier and is one of the main reasons why it’s so electric and fun in the first-place. Still, it’s a total downer that the guy doesn’t show-up more as I feel like the film could have totally used his type of contribution here. I also have no idea why Cillian Murphy was here and decided to show-up for 5-seconds of screen-time, but hey, I guess it’s just another job to put down on his resume, so good for that guy.
Consensus: The promise for a TRON sequel may lie somewhere in-between the loads of amounts of CGI in TRON: Legacy, but it somehow falls by the same waist-side the first one did. That’s all due to lack of character-development, a story that makes little to no sense, and a feeling of joyful fun that’s about the action, adventure, excitement, and playing the deadliest-game of Frisbee, rather than incomprehensible exposition that doesn’t add anything to the final-product, other than snores from the audience. Even the nerds!
6.5 / 10 = Rental!!
Would have been more interesting if he had a ticker on his heart. Way more interesting, actually.
Parker (Jason Statham) is a professional thief, who doesn’t steal from the poor or hurt innocent people. However, all of his skills and professionalism runs into problems when he’s not only betrayed by his fellow criminals, but also has to take under a woman (Jennifer Lopez) for leverage. Since they’re both hot, you can already assume what’s going to go down between them next. Ohhh yeah.
I don’t think I’m alone in the boat when it comes to my opinions of Jason Stathom, action-vehicles. Yeah, they are all the same in the way that they are just loud, stupid, and just meant to show-off Statham’s rockin’ bod, but none the less, they are also quite fun and can be a lot better, if done the right way. Adding director Taylor Hackford (the guy’s made some great flicks in the past, but being married to Helen Mirren I think takes the cake on that career), a little bit of J’Lo love, and a bit of source material from the wonderful-mind Donald Westlake may make it seem more than just another action-vehicle for the dude. Sadly, it is exactly what I expected but a tad better than we are used to seeing and hey, in the month of January, that is not bad at all.
Most people have been bashing this movie for everything that it is, but I think most people are getting by the fact that it’s meant to be stupid, loud, and fun, without really having to worry about being different from anything else that Statham has ever done in the past, characters and movies-wise. Take for instance the character of Parker: he’s supposed to be the perfect anti-hero that does bad things, but also has a certain likeness to him that shows you he doesn’t kill innocent people, and only takes the money away from the baddies. Seems like an alright dude, even if he is stealing and committing crimes, but an alright dude none the less. However, that whole idea of having Parker play-out as an anti-hero, totally goes out the window after the first 15-minutes where he’s apparently back-stabbed, shot, and left for dead (not a spoiler, it’s all in the trailers, people!). Instead, he’s just Jason Statham, doing Jason Statham and that’s not such a terrible thing when the guy is as committed as he is in all of his action movies.
Statham is one of the last, or very few guys left in Hollywood that’s dedicated to doing lean, mean action-movies where he does all of his stunts, all of his work, and basically, anything that he’s asked to do. Here, he’s just playing himself and is charming, as always, and can handle himself when it comes to getting dirty and physical. He’s okay, and so is J’Lo who shows up as the real-estate agent who’s sad, lonely, bored, annoyed by her stereotypical, Latina mom, and even worse, pushing 40. J’Lo has never been a favorite of mine but she’s fine here and brings out some real fun and energy in a role that could have just been played so plainly and boring, just so all of the focus could be on Statham and all of the insane-o shit he does as an action-hero. I was a bit bummed to see that these two didn’t have much chemistry going on between one another, not just in the story but the performances as well, but I also think that Hackford sort of got that right from the start, decided to scrape it, and have some fun with this movie. Fun, is exactly what occurs.
The movie is definitely an action-flick that’s for the people with little to no brains, who just come for the popcorn, the soda, and the fun, but it’s a tad bit more than that. It’s actually sort of a heist film as well, where instead of seeing a bunch of brawls just happen out of nowhere, we actually get to see some crimes go down, the professional-way where everything is planned, everything is executed, and everything is pretty damn suspenseful I’m not going to lie, I sort of did know how this was all going to end at one-point, but the thought in my mind that this movie could go anywhere with it’s characters and plot, kind of did keep me on-edge through a good-portion of this movie, even I did expect the cliches to start coming-through, as-soon-as-possible. But, then again, this is what we have come to expect from a Statham-actioner and there is a certain essence of joy and delight in that idea.
However, this flick is exactly what you would expect from a movie starring Jason Statham, and anybody going into this, expecting anything more, will most likely be pissed-off and terribly disappointed. I don’t know why you would because when you see the name “Statham”, you automatically just think loud, dumb, action-movie that only d-bags would go out and pay money to see. I didn’t pay moolah to see this movie, but does that still make me one of those d-bags? But I digress. If you go into this movie expecting anything new, improved, or original coming from the mind of Statham, you’re going to be ticked-off. As simple as that, people.Actually, I would probably say the worst-aspect of this whole movie isn’t just Statham, but it’s more or less the supporting-cast that surrounds him as they don’t really even seem like they are trying. And if they are, then shit; they just blow!
The main baddies are played by the usual people we see play these types of roles like Micah A. Hauptman, Michael Chiklis, Wendell Pierce, and of course, Clifton Collins Jr., who is probably playing his 500th villainous-role in his whole career. All of these guys try their best with whatever they can muster up, but it just isn’t enough since the script is so lame, and their action is so off-key. And by “off-key”, I don’t mean that they don’t hit the right notes they are supposed to hit like if they were a singer who just became deaf, but more or less that they are just actors that don’t know what type of roles they are playing, and instead of playing in a small type-of-way, they are so over-the-top and outlandish, it’s almost laughable to watch. Seriously, the first 10-minutes of this movie made me and my buddy just sit-back in our seats and laugh our pants-off by not only how ridiculous everything was, but just by how terrible these actors are. And maybe it’s not that they’re bad actors, it’s actually more that they were just not good for these roles and could have probably been played by guys who don’t give a shit about their careers. I guess Collins Jr. counts then, right? Also, Nick Nolte appears here as Parker’s sort-of mentor, who growls his way through another performance. Oh, and he also drinks in this one, too! Good to know you’re helping your image out, Nick!
Consensus: If you know what you’re getting yourself into when you walk through the doors of a movie starring Jason Statham, then you know exactly what to expect from Parker and that is loud, unpolished, and unapologetic joy and desire to have a good time, even if it is nothing new or refreshing that you haven’t already witnessed before.
6 / 10 = Rental!!
American gangsters are so boring.
This is a flick about a Russian mobster (Karel Roden) who orchestrates a crooked land deal, millions of dollars are up for grabs, and all of London’s criminal underworld wants in on the action. Everyone from a dangerous crime lord (Tom Wilkinson) to a sexy accountant (Thandie Newton), a corrupt politician (Jimi Mistry) and down-on-their-luck petty thieves (Gerard Butler, Tom Hardy, and Idris Elba) conspire, collude and collide with one another in an effort to get rich quick.
After giving us two turkeys in-a-row like the ultra sappy, soap-fest that was known as Swept Away and the oddly slow and philosophical brain-take that was Revolver, Guy Ritchie was finally back to his old-ways in showing us gangsters that did bad things, said very funny things, and also, found themselves in some crazy situations that somehow connect to other gangsters that only live a couple of blocks down the street from them. Say what you will about it being conventional and nothing new for Ritchie to explore, but just be happy that he wasn’t doing another movie with his honey-at-the-moment, Madonna and making us watch as Jason Statham screamed his arse off for over an hour and some odd minutes. Yeah, be happy you damn people.
Going back to his old roots may piss some people off because it’s nothing and nothing original we haven’t already seen from the dude, but Ritchie isn’t worried about that and instead, allows us to have a great time as much as he must have been making this movie. There’s a lot of goofy-stuff here with comedy coming-out in places you would have never expected and even some violent spots that just so happen to make us laugh but no matter what, Ritchie always adds in his style of wit that makes this flick seem all the more jokey, no matter how much it may try and be serious. You really can’t take a Ritchie flick seriously and even when this movie actually does try to do so, you don’t really buy into it and just realize that it’s better if you don’t pay attention to any of those aspects at all and pay attention to the finer things in life, as well as this movie.
The finer things in this movie is definitely the plot and just where the hell it goes, where it stops, where it changes, and so-on-and-so-forth. This is typical Ritchie: setting-up a plot for us, giving us all of the characters we need to know, let us know what they do, what the stakes are, and just let it all roll-out as if it was just one, huge Domino game. You start to see how a certain group of characters are effected by another group of characters and it almost never stops, especially with all of the damn twists and turns that Ritchie seems to take, yet, they never get old. Ritchie always knows when to say “enough” and rather than just continue to pile-up on the plot twists and have things get spiced-up a bit more, as well as more convoluted he lets everything settle-in and have it become familiar to us, and then throw in another twist or turn, here and there just for good measure. Seriously, as much fun as it may be for us to actually watch this flick, it seems like it wasn’t even more fun for Guy to make it and that’s something that we all felt like we missed for the longest time. Glad to have you back, Guy. Now stay the hell away from that talent-sucker we all know as Madonna!
I think the biggest misstep for Ritchie here, as a writer and director, is that he never really pays all that much attention to every character the way they should have been payed attention to. For instance, in all of his other flicks, each and every single character was given a great-amount of screen-time that just so happened to fly-in whenever another character would show-up and become apart of their story-line, as well. However, here, in this flick, certain characters get the most attention, for the longest time, and then they stay there, only to ruin other story-lines of other characters. It isn’t that bad right from the start, mainly because all of the stories are fun and interesting to-watch, but once the film starts to focus on a bunch of other characters that haven’t been seen in awhile, you start to realize you don’t care all that much about them and it continues this way, until every story-line, in typical, Ritchie-fashion, finds themselves convulsing into a weird, but exciting finale.
It’s a trip that’s fun to take and ride-on, but it’s a bit messy and when it’s all said and done, you’re not really sure how it worked or even if it did. Heck, it’s almost like Ritchie was able to distract us all with his non-stop camera and writing tricks that he always has up his sleeve, and almost makes us forget that underneath the surface, is a very sloppily-made flick that forgets about certain-aspects that work, but remembers clearly the ones that don’t. I don’t know, maybe I was the only nut who was thinking that while watching this but either way, it definitely seemed a bit-off to me but also showed me that Ritchie is always the man to be trusted in terms of making a fun, entertaining flick, no matter how derivative it may be.
However, the familiarity of the style and story didn’t bother me all that much, especially when you take into account the quality-cast that he’s working with here. Gerard Butler is pretty solid as One Two, a tough-as-nails crook that always has a flair for wit, but also allows himself to be on the butt-end of a joke in terms of how he’s viewed-at as a tough-guy, that can also be a tad sensitive. If only Butler continued to take good roles like this nowadays, then we wouldn’t have shite-boxes like Playing for Keeps or Chasing Mavericks. That’s only a small list, though. Playing his two partners-in-crime are Idris Elba and a very skinny Tom Hardy, and as good as they both are, they aren’t really given a whole bunch to do that really makes them stand-out among the rest like Butler, even if Hardy’s character is a bit on the flip-side of the bed, if you know what I mean.
Out of the whole-cast, the one who really steals this whole movie from underneath his wing is Tom Wilkinson as the old school gangster that does things his own, vicious way. Wilkinson seems to be having a ball as the mean and cruel gangster that doesn’t seem to put-up with anybody’s shite, no matter how heated or reasonable it is. Wilkinson never really gets to play evil-like characters such as these, so to see him have an absolute ball with it, was an absolute ball just to watch it. Playing his partner-in-crime is a fun and terribly-quirky mobster played by Mark Strong, who is really good at playing these types of roles, and is even better with his cheeky narration that supplies most of the film’s humor throughout.
I think the one performance I was really bummed-out by was Thandie Newton as Stella, the accountant that sort of starts all this shite between these countless blokes. She starts off strong, smart, and sexy, and seems like a huge-departure for Ritchie to have in one of his flicks since all of his characters are mainly just a bunch of fellows that do shit the old school, gangster way, but after awhile, turns into the type of character you’d expect her to be and it’s a bit of a bummer because she really had a lot of promise going for her. It was sort of like she was just there to move the plot along and as much as Ritchie may have gotten his wish fulfilled on that aspect, it still feels like a bit of a shame, considering he was really brewing on something here.
Consensus: Though it treads familiar-territory for Ritchie, RocknRolla is still a crap-load of fun that’s filled with witty characters, surprising twists and turns that you rarely ever see coming, and an ensemble cast that always seems game to work.
6.5 / 10 = Rental!!