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Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Category Archives: 7-7.5/10

The Snowtown Murders (2012)

Single-mothers: Beware of the next person you take home to your children.

16 year-old Jamie (Lucas Pittaway) is introduced to his mother’s new boy-toy, John Bunting (Daniel Henshall), and looks up to him as a father-figure of sorts. And honestly, how could he not? The guy is charming, funny, cool, nice, always ready to make food for anybody. He also takes time out of his day to go around and kill people that he believes to be homosexuals, or just general wastes of life. Oh yeah, forgot about that little detail.

As you can see, all of this sounds like your ordinary, serial-killer thriller that shows violence at its most gruesome and doesn’t care whether or not you want to look at it. In a way, that is what we get here, but what makes it more than just another thriller, is the fact that it’s all real. Yep, that’s right, two evil son-of-a-bitches like James Vlassakis and John Bunting are actually real-life people, who did kill over eleven people, and are still serving life-sentences for their wrongdoings. Most of you may be happy to hear about that, considering a story about two serial-killers that are still on the loose will have you scared out of your mind, but don’t forget people: They killed 11 innocent people and made no apologies for it. If you go in with this mind-set you’ll know exactly what to expect from this excruciating Debby-downer.

Director Justin Kurzel has a couple of nice touches with this subject by giving it a deliberate-pace that makes you feel like you are in for one big, wild depression-ride that probably won’t ever feature a light at the end of the tunnel. Nor should it. It’s a brutal, hard-hitting tale about two very messed-up individuals. There were moments where I wish Kurzel did pan the camera away from some of the horrific torture situations, but it wasn’t like he was channeling Eli Roth and showing his fascination/love with all of this human-inflicted pain; he was just simply showing just how sick and twisted these guys were. This approach really did a number on me as there were plenty of moments I felt were hard as hell to watch.

Just another young boy.....

Just another young boy…..

Then again, it’s all done on purpose.

Though you already get the gist of what this movie is going for and trying to portray, there’s a lot of other moments to this story that hit hard and make me realize what was really brewing underneath all of these terrible acts of murder. What I mean by that, is how this kid Jamie never seemed like ever got the right shot in life to actually get away from this new way of living. Granted, the kid could have easily said “no”, and then walked away as soon as he saw good old Johnny boy hangin’ over a dead body with a hammer, but for him, it almost seems like he had no other choice.

This is where the film may get really tough for some to watch because you feel for this kid; you realize his life is as terrible as he realizes it, and you see how he desperately wants to be away from John and all of this killing, but can never muster up the gall to actually do so. Just to see this kid Jamie, go back-and-forth in his mind about whether or not he wants to kill this next person, is as tense as you’re going to get with the rest of this flick and it really hit me in the stomach every time this kid decided to go through with it. I can’t really say that I was on this kid’s side the whole entire time, because he really did help kill half of the people, but there’s something about him that just made me feel sad for him and just knew he could do the right thing. In a way, he does when it’s all said and done, but in another way, not really and that’s probably the hardest pill to swallow of this whole flick.

But as close as this movie comes to making a point about the mind of a serial-killer and what exactly goes through it, the movie mostly falls apart. Not saying that it gets messy or anything, but it doesn’t seem to bring much to the table, or even allow us to chew on something more than what we see. Which, to some, may be fine, but when all you’re watching for two hours is innocent people being murdered, in heinous, sadistic ways, it’s a little hard to not want something more. It could have been a small piece of character insight here, or another piece there – anything would have helped.

...and another younish man.

…and another younish man.

Despite this problem, the cast is very good and at least helps us get past some of the harsh, disturbing acts portrayed on the screen. Notice how I said “some”. Lucas Pittaway plays our main character Jamie, and gets to do a lot, without saying much at all. But what’s most impressive about his performance is that he’s willing to show us darker aspects to his character, without ever making it seem too obvious. A certain way in how he walks, talks, or even looks at a person, can mean so much in that he’s losing more and more of his sanity as he speaks. It’s quite frightening and especially impressive since he gets called on to do a whole lot.

Daniel Henshall is creepy as can be as John Bunting, the sterling, cold-stone killer he was known to be. What surprised me the most about Bunting and his character was how the guy didn’t really seem like he was going to make much of a difference in the story at all, but after awhile, starts to get more and more involved with what’s happening in Jamie’s life and you start to see a darker side come out of him then you generally expect. Then, once Bunting’s darker aspects come out for the world to see, it’s incredibly scary, because this guy seems genuinely crazy. He’s a killer, who just wants to do that, and not much else. Henshall portrays this deep, dark descent into madness very well and shows that it doesn’t matter how charming, nice, or suave a person can be when they’re around people – there’s always a small layer of darkness lying somewhere underneath.

Always something to smile about, folks.

Consensus: Maybe not for everyone, the Snowtown Murders is grueling, disturbing, and most of all, effective in portraying the lives of two infamous serial-killers, while hardly ever pulling back from showing us full-on displays of what these two men did to their victims.

7.5 / 10 = Rental!!

Oh, how much I have mislead you all.

Oh, how much I have mislead you all.

Photos Courtesy of: CTCMR.com

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The Crow (1994)

Just wait till Kurt wakes up from his sleep. There’s gonna be some hell to pay.

Eric Draven (Brandon Lee) was a young, hip, cool, and happy dude that lived his life to the fullest with his fiancée and the local kid that they would watch over from time to time. However one night changes all that when a band of thugs stroll in, kill him, and rape and murder his girl. Fast forward to a year later, on the same night, Eric resurrects from the dead only to get revenge on the people who caused his death in the first place, as well as the powerful kingpin who may have been behind it all along (Michael Wincott).

I don’t think I’m sharing any shocking news to anybody out there reading this, but as you know, the leading star of The Crow, Brandon Lee, son of Bruce, tragically died on the morning of March 31, 1993, because of a gunshot wound that was supposed to be a dummy bullet, but was instead a very, very real one. It’s news that I don’t think is necessarily “new”, but it’s something you should definitely know about before seeing this flick as it puts a darker spin on a movie that, hell, was already pretty dark to begin with. But being a film-viewer and one that acknowledges tragedy and what could have been, I will admit that it’s very sad to see something as upsetting as a wrongful death happen to a star that seemed to have so much promise going for him.

What’s even sadder however, is how damn ironic this flick is, especially when you know that Brandon Lee is dead and is in fact, playing a dead guy who comes back alive, only to ponder the questions of living life, being dead, and the after-life.

"Hahahaha! I laugh at you soft, PG-rated superhero movies!"

“Hahahaha! I laugh at you soft, PG-rated superhero movies!”

Yup, it gets pretty shaky at times when you look at this movie in hindsight, but there’s something about this movie that still stays cool and fun. That’s all thanks to director Alex Proyas who, as you could probably tell from the first shot of this movie, had a background in music videos prior to this. Proyas gives us a style that’s as unrelenting and seedy as the underworld it takes place in and around, while also speeding things up when we need it to. There’s a certain sense of energy and quickness in the tone of this movie, but it’s also very somber and it never lets you forget that, no matter how crazy the story may turn out to be with it’s ghosts and all.

That’s why a movie like this would usually scare the hell out of audiences by having them think it’s “uncool” to see something as goth and evil as this, but the movie walks a fine line between being strictly for the geeks, as well as for the action-audience as well. It’s a fine line that they cross a couple of times when it decides to get a bit in too over it’s head with all the questions and thoughts about remorse, death, and how we all approach grief, but still kept me intrigued. I’ve probably watched this movie about three or four times by now, and it’s only gotten better for me once I realized that there was more to this direction than I’ve ever noticed before. Proyas is a flashy guy, but he never loses his sense of wonder and allowing people to join in on that wonder and look around for a bit if they like. I looked around, and I liked what I saw, for the most part.

What I didn’t like when I looked around is the story itself which, if you take into consideration what it’s really about, is pretty weak in trying to convey emotions. Without sounding too harsh, if it wasn’t for the real life fact that Lee died, the story probably wouldn’t have been as emotional and hit harder, because it’s pretty standard stuff. Dude wakes up from death; dude wants revenge; and dude his revenge in the bloodiest, most unabashed ways possible. So standard, that when the movie tries to get us to feel anything, anything at all, it loses complete control of what it’s really about and brings into question whether or not this movie had a second-agenda to itself, or is it really just trying to be a darker, R-rated version of a superhero movie that gets the baddies, exactly where it hurts? The answers never really come, because the movie never knows what it wants to be, but at least stayed interesting because Proyas gives us so much eye candy to taste on.

And also the real-life fact that Lee died.

Okay! I’m just saying!

While I’m on the subject of Lee, the dude does fine as Eric Draven, but it’s honestly not something I’ll remember for the rest of my days and wonder “what could have been?” It’s more or less a performance that is amazing when it comes to the physical attributes of it and what he had to do in order to kick ass and make it look realistic, but when it comes to giving this character a heart or a soul (I’m guessing that’s a pun), Lee doesn’t really seem to hit his mark. He shows joy and wonder in messing with the dudes he’s set out to get, but everything else, whether it be to emote or show some sort of heartfelt feeling in the pit of his head, he seems like he’s trying a bit too hard, or isn’t trying at all. It’s a shame too, because I feel like Lee would have gotten better and better as time went along and he had more roles come his way, but for what he left us on, I can’t say I was colored impress. I was saddened to not see more of him, but life will go on and I’ll probably think about him, his life, or what could have happened to his career, less and less as the days go by. That’s not me being mean, that’s just me telling it like it is.

Since it's the dirty and dark streets of Detroit, I guess hair-trimming is out of the question?

Since it’s the dirty and dark streets of Detroit, I guess hair-trimming is out of the question?

Despite Lee not being the electrifying-presence the movie may have needed to really tune itself up, the supporters are energetic and fun to watch, even if the movie seems more concerned with Lee and Proyas’ style. Michael Wincott is a bunch of fun to watch as the main baddie of them all who shows that he always has the upper-hand on everybody, whether it be because of his control of the city, or because of the skills he has to kill people in most unexpected ways. Whatever it may be, the dude provides an equal-villain against the Crow and doesn’t allow himself to get out-shined once him and Lee share the same screen together. Other detestable character actors like Jon Polito, Bai Ling, and David Patrick Kelly show their fine faces and give us the type of baddies we want and desire from a movie like this, and keep it fun and over-the-top, just like it needed to be, in order to be taken seriously.

Strange to say, but “over-the-top”, seemed like the right way to go for this movie to ever be taken in as a smart meditation on life and death, even for those 15-year-old kids who probably went out, saw it with their parents’ money, went home, and told them both how much he/she hated them and couldn’t wait to live out on their own after high school.

And then they didn’t, and felt like a bunch of a-holes; like we all do at age 15.

Consensus: The personal, on-set tragedy of what happened to the Crow, may overshadow some of the movie’s obvious faults, but taken in as a movie and a swan song for Brandon Lee, it shows that there was talent here and there, it just never got a chance to shine away like it did for his daddy.

7 / 10 = Rental!!

Best solo of his life, now he's done. Forever. RIP Brandon Lee.

Best solo of his life, now he’s done. Forever. RIP Brandon Lee.

Photo’s Credit to: Goggle Images

White Bird in a Blizzard (2014)

Being a teenager sucks! And lame-o parents just make it worse, man!

17-year-old Kat (Shailene Woodley) is coming into her own – not just as a woman, but as a free, smart, independent-thinking person. She’s tired of being bossed around and depressed by her parents, that is, until her mother (Eva Green) goes missing. But while this freaks Kat out a bit at first, she gets over it and just focuses most of her attention on her boyfriend (Shiloh Fernandez) and going away to college. Her dad (Christopher Meloni) is all torn-up about it, but eventually he’ll get over it as, you never know, she may show up one day. But she doesn’t and Kat gets a bit more curious about just what the hell happened to her mother. Though all of the fingers point towards her father, she’s definitely positive about it not being him and instead, focuses her attention on that same boyfriend of hers and has to wonder whether there was something going on between her mom and him, or is it just apart of her imagination.

"Yeah. Life sucks. Yo."

“Yeah. Life sucks. Yo.”

It’s a neat trick that writer/director Gregg Araki utilizes here in combining the crime-mystery part of this movie, with the coming-of-age other part and making it seem like this is just another simple tale of middle-class suburbia; people get sad, people disappear, people stop caring, people move on. And this is an idea I think Araki plays with more than on a few occasions by not just presenting his main protagonist, Kat, as the kind of free-spirited teen who does what she wants, when she wants, and how she wants to do it, all because she’s becoming her own person and doesn’t give an itch about if anybody tells her not to do so, but also with Kat’s mother, Eve.

See, with the character of Eve, and also, with Eva Green’s performance to thank, we see a woman who, at one time, was chock full of promise, spirit, and hope for the future of her life. Then, slowly but surely, and through flashbacks, we start to see all of that get sucked out of her and Eve become a totally different person than before. Why is this? Better yet, what caused it?

Well, Araki’s not in the mood for giving us the answers, but he definitely plays around with the idea of making us feel like we know what they are, only to then not focus on them and just keep his attention glued onto Kat and her story of growing up. And this, to me, was the most refreshing aspect of the movie; not only does Araki write smart, believable dialogue in which I actually felt like teens in the late-1980’s, early-1990’s would speak like, but he gets believable teen actors to play them. Such young wonders like Shiloh Fernandez, Mark Indelicato, and an especially hilarious Gabourey Sidibe all show us glimpses into the lives of a bunch of teenagers that literally have nothing else better to do with their lives than just sit around, get drunk, smile, listen to good music, sex it up with whoever is willing, and just overall, have a good time. It’s this youthful spirit of just not giving a fuck that so many movies try to aim for in a believable manner, yet, so rarely succeed with; almost making the creator(s) seem like they’ve never lived a day as simple teen.

But where this movie really shines, is whenever it focuses on Kat and her whole struggle with becoming an adult, making decisions for herself, and not constantly whining all of the time when things don’t always go her way. Which yes, considering this is a character played by Shailene Woodley, you could argue that it’s an unoriginal casting-decision on the film’s part, but Woodley is so good at playing this kind of role, she makes it seem effortless and almost fresh. She’s still sassy, back-talking her peers, and not holding back whatever it is she has to say next (although, she does get nude quite a few times, which is different for her, I guess), but it’s hardly ever non-interesting or boring to watch her do. Woodley may forever grow to be one of the world’s best actresses working today, but to me, she’ll always be that brash teenager, who could practically play the role in her sleep and get away with it.

Wish more moms looked like this in my neighborhood.

Wish more moms looked like this in my neighborhood.

Which is to say that when the movie doesn’t focus on Woodley’s Kat, the movie starts to get less interesting. And it’s not that the mystery-angle of this story isn’t actually a mystery, because it surprisingly is, it just doesn’t feel like it quite carries the same amount of emotional weight that watching Kat go through adult-ish problems does. Sure, we get a couple of scenes where we just witness Eva Green being over-the-top and constantly upset, but does it really make us feel like we know Kat as a character better? Are we really supposed to believe that who Kat is, now, or how she’ll turn out to be in the future, will be solely based on her experiences with her mother?

Maybe, maybe not, but at the end of the day, the movie doesn’t care too much about that angle to the story, and nor should it. We learn more about Kat, who she is, the reasons why she is the way she is, and who she wants to be, solely by watching how she goes about her day-to-day activities. Whether it’s having sex with the cop who’s investigating her mother’s disappearance (a hilarious turn from Thomas Jane); trying to make sense of her graphic nightmares with her therapist (a small, subtle Angela Bassett); or, simply put, just hanging around and trying to keep things simple with her daddy (Christopher Meloni in a creepy role), we get to understand Kat perfectly.

Everything else, well, is just filler. The kind of filler movies like these don’t need, especially when they realize that they already have something strong to deal with as is.

Consensus: As uneven as it can be, White Bird in a Blizzard still gets by with an engaging performance from Shaliene Woodley, and enough interesting, yet totally relateable tidbits to get across about being young, growing up, and eventually accepting your life as an adult, even if you don’t fully want to go through with it all the way.

7 / 10 = Rental!!

Brr. Shay-shay be cold.

Brr. Shay-shay be cold.

Photo’s Credit to: IMDB, AceShowbiz

Amores Perros (2000)

Life sucks, now go play with your dog.

Octavio (Gaël García Bernal) loves his brother’s pregnant wife, and saves up money for her in the worst way; a rich couple, Valeria Maya (Goya Toledo) and Daniel (Álvaro Guerrero), both are in love but have to find it out the hard way; and an ex-guerrilla, El Chico (Emilio Echevarría), whose discovery of a lost dog inspires him to reunite with his own long-lost daughter. All three stories come together in a very tragic automobile accident and affects them all in different, shocking ways.

Director Alejandro González Iñárritu doesn’t seem like very happy and light guy. Most of his films concern death, sadness, pain, and agony, which are all displayed in the worst imaginable ways. That’s why I went into his debut expecting just the same type of misery displayed in all of his other flicks, but this time, with dogs!

This movie, my friends, is not an easy watch and that’s one of the first things I have to discuss here. First of all, if you are a dog-lover, like I am, you will find yourself covering your eyes for a good part of the movie as a lot of it concerns dog’s fighting, being dead, or just bleeding all over the place. Now granted, these are not real dogs actually dead on film and the actual fight scenes themselves are just of them playing, but it looks very realistic here and makes you wonder just how they got away with all of this stuff, without being brutally attacked by the RSPCA.

That's man's best friend right there, so be nice to it!

That’s man’s best friend right there, so be nice to it!

But with that said, if you can get past the doggy violence and deaths, you will probably find yourself gripped for a good amount of these two-and-a-half-hours. Notice how I didn’t say “find yourself entertained”, because that is not something you will do with this movie and honestly, that’s actually fine. What I mean by this is by the fact that a lot of sad and miserable stuff happens to these characters and as bad as it is, we care about them. That’s why the gritty-camerawork works so well as it displays a type of realism that makes us feel as if we are watching real people, go through some real, messed-up problems with other human beings, and their doggies. There’s a lot of zooming in, zooming out, moving around, and jumping back-and-forth that this camera does which may bother some people, but for me, just put me one step closer into the lives of these people and made me feel as if I was along for the wild, and terrible rides that they were about to be on.

The hyperlink cinema-aspect also works as it keeps us on the edge of our seats wondering what’s going to happen to these characters, and just exactly when are we going to hop into another one. For the most part, Iñárritu doesn’t really screw up the whole linking of three lives aspect to this flick and gives us glimpses into the lives of these different characters, while one story is still going on. My only problem with his approach is that I feel like his transitions were sometimes random and it seemed like it made no sense for him to just keep on showing us these little snippets of other stories that seem to make no sense at first. He does this throughout the whole film and it’s more random than it is confusing but once the actual stories themselves start to play-oy, then it all comes full circle and it surprised me.

Since the film is essentially three stories all packed into one, you have to expect each of them to be as compelling as the one before it and in some ways, that’s the case. However, in other ways, it isn’t. The most powerful stories in this whole flick were the first and last as they showed two characters, who were thrown into bad situations and did whatever they could to make the best of it. But then, there is that second story which did not do anything for me other than put me to sleep which I don’t know is my fault or the film’s fault but seriously, it’s boring.

I think the biggest problem with the second story is that it follows the first, which is entertaining, fast-paced, and very quick on it’s feet with what it wants to get across. A lot of this film has been compared to Pulp Fiction and while I don’t necessarily think that it’s a fair one, the first story here is the only one that I can really see where they get that from. The opening story is exciting and interesting, while hardly ever seeming like it’s hitting a dull note, but once that second story comes through, it takes the whole mood down. Instead of getting a kid who enters his own dog through the underground dog-fighting ring, we get a story about some spoiled supermodel gal who can’t stop whining about her dog, and the adulterous boy-toy who starts to wonder why exactly he left his wife and kids in the first place. I get that maybe we were supposed to be annoyed and bothered by the way she carried herself throughout the whole story, but I didn’t really care all that much for her and once her story was over and done with, I was sort of happy. And if you know how the story ends, I can assure you, feeling relieved is not a feeling one should feel.

I think Michael Vick is somewhere in the background.

Surprised Michael Vick didn’t take advantage of the open casting-call.

In the grand scheme of things, though, it sort of sticks out like a sore thumb.

The other problem that I ran into with this flick was that I couldn’t help but wish we actually got an ending to these stories. There is probably one story where we get a definitive ending that makes sense, but the other two are sort of left open-handed. Usually, this works as I like ambiguous endings and having to wonder and guess what happened to the characters once the camera stopped rolling (I’m weird like that), but here, it bothered me because I actually felt like we deserved to see what ended up happening to the people that we spent over two-and-a-half-hours with. It doesn’t seem that long but once it’s over, you’ll realize that maybe some of it should have been cut out in the editing-room, especially since we weren’t going to get any sort of resolution at the end.

Despite these problems though, the performances never seem to be fully harmed as everybody does a great job with what they are given to do, which is a whole lot. Gaël García Bernal, who hardly ever puts in a bad performance, really captures that type of young and unrequited love and as weird as it may be to see him go for his sister-in-law, you can’t help but stand behind the kid because he has passion and he has the ability to love. Also, his brother is a huge dick so that’s another reason. Goya Toledo was annoying as the supermodel who constantly yells throughout her whole story, but in a good way too as her character seems like the type of one that can’t help but hate everything that’s happening to her at this point in time. Didn’t make me like her character more, but at least she was fine.

The one real stand-out here though is Emilio Echevarría, who goes through the biggest transformation of all in this film where he plays a very cold, heartless old man that somehow switches everything up once he realizes it’s time to see his estranged daughter. Echevarría has a very easy-to-like character because of the way he cares for these homeless dogs, but also has a bit of a mean-streak to him as well mainly because the guy is essentially a hit man that kills people for money, but then cries about it when it’s over. It’s a very weird character that we deal with here but Echevarría is up to the challenge and his last monologue brings a lot of tears, because it pretty much makes up the whole point that this movie was trying to get across. But done so in a way that wasn’t manipulative or preachy, but just just right.

Consensus: Amores Perros is dark, sad, miserable, and very depressing, but also a fairly gripping piece of hyperlink cinema that puts us into a very upsetting world and doesn’t fully let us go, even if it is a bit disjointed.

7.5 /10 = Rental!!

Oh yeah, and dogs are a metaphor for life. Or something.

Oh yeah, and dogs are a metaphor for life. Or something.

Photo’s Credit to: Goggle Images

Men, Women & Children (2014)

“Technology’s the devil”, in case you haven’t heard that from your grand-parents enough already.

The world in which we live in is changing everyday and technology’s a big reason for that. However, the big question remains: Is it good that we have technology around us, affecting our lives so much? Or, simply put, is it bad and making us disconnect from those around us? Well, the answers don’t come easily, especially for a handful of people living in a Texas suburb. Take for instance, there’s the married-couple (Adam Sandler and Rosemarie DeWitt) who hasn’t felt that love or passion for one another in quite some time; the photographer mother (Judy Greer) who so clearly loves her daughter and the passion she has for acting, but can’t help but lead her the wrong way; another mother (Jennifer Garner) who may be a bit too over-protective of her daughter and how she uses her forms of technology; a high school sophomore (Ansel Elgort) that quits the football team to focus more on his personal life, which leads him to falling for an outcast (Kaitlyn Dever); and lastly, a young teenage girl (Elena Kampouris) who is curious about sex for the first time in her life and will do anything to experience it, even if that means risking her own life. Oh yeah, and it’s all narrated by Emma Thompson, for some odd reason.

There hardly ever comes a time when I find myself following the rest of the status quo and agreeing with just about everything others have said. That’s not how I roll with movies, music, TV, video-games, and just life in general. I have opinions that I’ll make up for myself and stick to them until I wake up one day and think differently.

Now, with that being said, when I found out that everybody has been practically trashing on this movie here, I was surprised. Not because it seemed like it was a return-to-form for a favorite of mine, Jason Reitman, but because it featured an ensemble cast so good, that it was almost too hard for me to believe that any of them would agree to do something that’d be considered “utter shite” (well, except for Adam Sandler, but hey, he’s trying to get better!). But such is the case here with Men, Women & Children and rather than going into it and expecting it to hate with all my might because of what plenty others have been saying, I decided to stick to my guns, go in with a clear mind, and see how me, myself, and I felt walking out.

Libraries!?!?! Even more dangerous thoughts thrown into our young minds' heads!

Libraries!?!?! Even more dangerous thoughts thrown into our young minds’ heads!

And well, wouldn’t ya know it? I quite liked it. In fact, I came close to loving it on a few occasions. And then I didn’t. But the moral behind this story here, folks, is always make sure to not get bogged down by what others may, or may not, be saying. It only gets you further and further away from what matters most: Your own feelings regarding anything.

But like I was saying, there’s definitely something fishy about this movie. For instance, I find it rather strange that Reitman would go for a story that, yes, could be considered timely because of how much it uses technology as a moral stand-point for its story, but in all honesty, actually feels somewhat dated. These types of movies that try to warn us about the dangers of technology seem like they were running wild all over Lifetime or Oxygen way back when. That’s not to say that these types of stories don’t matter nowadays, because no matter what, technology will always be relevant in each and everyone of our lives, but I could have definitely done without a another “technology is evil” movie that just disregards its own message when it’s telling us, the audience, to actually engage in conversations on social-media networks to continue the conversation about the movie we just saw.

A tad ironic, but hey, whatever. The world’s not perfect, and the same thing goes for this movie. Because see, since this is an ensemble-piece, that means one thing: Not every story will be interesting. Though I’d like to hope for that in every movie I see in which different stories take place over the course of one film, the fact of the matter is that it usually doesn’t happen. And such is the case here, because out of the, well, I don’t know, say nine or so subplots, at least four-and-a-half of them are actually somewhat compelling. The others are sort of just there to take up space and allow us to see actors do, well, just that. Which isn’t such a bad thing, especially when you have a cast this good, but every so often, the movie makes you wonder what could have happened, had there been a lot more attention given to the development of these characters and their stories, much rather than the whole obvious message surrounding them and hitting us in the face.

For instance, try the story of Adam Sandler and Rosemarie DeWitt’s subplot; in movie terms, their characters are the quintessential aging married-couple: Bored, unfulfilled and always horny, yet somehow, not for one another. There are brief instances in which this story could take a couple of really dark, shocking turns, but since it has to rely on the story’s gimmick of making it all about technology, the movie then jumps into the whole “dating services” aspect of the internet that so many movies have touched on, and also more effectively. Now, that’s not to say that neither Sandler or DeWitt put in bad performances (Sandler does pretty well at playing subtle here, although I was a bit upset by there being hardly any shopping-aisle dances), but you can tell that, had they been given much more to work with, they could have come close to stealing this movie away from the rest of the group and have us actually twisting our heads and thinking.

Well, more to work with, and probably if there hadn’t been any technology used in the first place.

Cause honestly, the aspect of technology placing itself into these stories doesn’t always work and, quite frankly, doesn’t feel wholly necessary. Now, I get that this is an adaptation of a novel that deals with the same problems and what have you, so I understand why Reitman didn’t want to totally take out the aspect of the idea that made it so “unique” in the first place, but really, at the end of the day, it’s just a cautionary tale of how most of us don’t talk to one another and, occasionally, do bad things. Does that mean that technology is always involved with these problems in life? Hell to the no! So, to make every person’s problem in this movie in some way or another, have something to do with technology and its usage, just felt pointless and really took away from the emotional impact that so many of these stories had initially promised.

That’s not to say that these stories don’t deserve to be told, but they don’t deserve to be done so in such an off-putting, slightly over-bearing way either, in which technology always has to rear its ugly head in, somehow, or someway.

Hey, at least they're sleeping in the same bed, right?!?!?!

Young lovers of the world, look close, this will be you one day. Don’t argue, just accept.

And it should be noted that Sandler and DeWitt’s story aren’t just the only ones that get, pardon my French, get the shit end of the stick; a few others show plenty of promise early on, only to have all of that go the way of the Dodo about half-way through. Elena Kampouris’ subplot about a teenage girl with image and sexual issues is alarming, but gets a bit insane by the end that it starts to feel like Reitman’s driving right back into the melodrama he loved so much with Labor Day. The same could sort of be said for a subplot involving a young teenage kid who literally can’t get an erection or perform the act of sex, if it isn’t at all like how he views it as in the various pornos out there on the web. Once again, it’s another honest, true-to-life story, but just feels corny by the end, especially when we see how crazy it pans out to be. And the Jennifer Garner subplot concerning the over-protective mother was just stupid from the very beginning, and only made worse by the fact that Garner’s nerdy-mom shtick gets real old, real quick.

Though the stories that do hit, actually hit pretty hard, if not for the reasons that Reitman had probably intended. Probably the best, most interesting, most compelling, and most lovely subplot of this jumbled-up movie is the one between Ansel Elgort’s ex-football player and Kaitlyn Dever’s social outcast who both, through pure chance, just end up falling for one another. Not only is this the one true story that’s the closest to my heart (high school romance hardly ever disappoints this sentimental soul), but it’s the one story that feels like it’s the closest to Reitman’s heart, too. Both Elgort and Dever’s characters, with as few scenes we get with them together, feel like they would be attracted to each other and not just for the sole reason of having sex, getting it out of the way, and moving on. They’re both lonely, sad, and tormented young souls that need somebody, or someone to talk to, regardless of how it’s done. It also helps that Elgort and Dever have great chemistry and feel like fully fleshed-out teenagers in a film that, honestly, didn’t seem too concerned about in the first place (Elgort is especially amazing and wins me back from his over-the-top nature in the Fault of Our Stars).

But even then, this story seems to get a bit wacky by the end when it relies too much on the idea its presented itself with and takes a bit of steam away from the real heart of the best story it had to offer.

But since I’m going on so much about what Reitman does wrong here, I do have to say that I’m happy to see him at least slightly back in his usual-form. Granted, this isn’t a typical comedy like we’re so used to seeing him do like before, but it’s at least a minor step in the right direction to where he’ll hopefully be able to blend comedy and drama so well, that you have a hard time being able to discern one from the other. That’s the old Jason Reitman we all loved and awaited to see what he had up his sleeve next and it’s the Jason Reitman we all want back, in full-fledged form.

Right, guys?

Consensus: At times, Men, Women & Children can feel like a typical, over-exaggerated after school special about the horrors of technology, but thanks to a solid cast and a few interesting subplots, it is able to get through its various plot-hoops and holes.

7 / 10 = Rental!!

Generation Y, in a nutshell. Or at least, in a digital image.

Generation Y, in a nutshell. Or at least, in a digital image.

Photo’s Credit to: IMDB, AceShowbiz

The Equalizer (2014)

By now, everybody should know not to mess with Denzel. Like, come on!

Robert McCall (Denzel Washington) is a quiet man who lives a simple, yet mysterious life. Nobody knows quite exactly what he’s done in the past, but know him now, in the present day, as a man who works at the Home Depot, lives alone, reads a lot, and goes to his local diner whenever he can’t sleep. That’s all really, but when Robert meets a very young hooker by the name of Teri (Chloë Grace Moretz), there are certain shades of his past that begin to show. For instance, when Robert sees that Teri’s employers have been beating up on her pretty bad, he decides to take matters into his own hands to ensure that something bad won’t ever happen to her again. He gets a chance to do so, but as a result, ends up pissing off most of the Russian-mafia that is now looking for this mysterious man and won’t stop until they do so. Little do they know of who they’re messing with. Then again, neither do we!

We’ve all seen this kind of movie before. Hell, we even seen it with Denzel in the lead role! Which can only mean one thing: Hollywood is surely running out of ideas. Surely this can’t be much of a surprise to anyone out there who has been paying attention to the movie-business for quite some time and are able to realize that fresh, original and innovative ideas in mainstream movies are quite hard to come by.

Normally, this interaction would be creepy and inappropriate, but since it's Denzel, at his most Denzel-iest, then it's all fine, baby.

Normally, this interaction would be creepy and inappropriate, but since it’s Denzel, at his most Denzel-iest, then it’s all fine, baby.

But that said, there is something to be said for a movie that can take a traditional story we’ve seen (especially an original one that was made for a TV show), and give it something of a “boost”, if you want to say that. See, while I’m not too sold on Antoine Fuqua’s total abilities as a director I can trust with my life, I can say that he can make some very entertaining movies, even if they aren’t for people with an IQ level higher than 48. And that’s pretty much what the Equalizer is – a fun, slightly silly movie that doesn’t always set out to be more than just the typical revenge-tale we see a middle-aged star like Denzel Washington take.

Although, that’s where this movie actually surprised me a bit more than I expected it to, because while there’s plenty of action, blood, guts, revenge, crime, explosions, and murder, there’s also some drama that Fuqua is able to throw in here.

Take for instance, the first-half of this movie that actually sees Fuqua playing around with the idea of being a subtle director. Rather than focusing on the action and violence that is soon to come of this story and its characters, Fuqua takes his near and dear time to build this lead character, the way he lives and just exactly how he gets by in life. Sure, there’s a total essence of mystery surrounding this character, and it should probably come as no surprise to anyone that what we do end up finding out about him, is quite scary, but we, the audience at least, are thrown into this guy’s life and it’s one that’s easy to get compelled by.

But even when the action does get thrown in there (as expected), it’s still effective. While it may be a bit gratuitous at times, it’s still neat to see the violence coming from the view-point of a character we are interested by, and also exactly how he punches, or kicks, or stabs a person, and in what particular order. Also, to add another layer to this character, we get certain hints that he’s OCD in certain ways and it’s cool angle on a story/character that could have easily been, “He likes to beat the shit out/kill baddies.”

That could have been the whole story in a nutshell. And although some may argue and say that’s all there is to this story, it felt like there was a bit more meat to the tale than just that and I was definitely happy for it. Not just because it was another crime-tale that was a tiny bit more than just all about showing violence to bad people, but because it showed me Antoine Fuqua is actually capable of bringing some tender drama to a scene. Not going to say he’s a “subtle” director, because we all know that he isn’t, but he proved himself this time and I for one, was quite pleased with that.

The more body-tattoos, the more vicious you're supposed to be.

The more body-tattoos, the more vicious you’re supposed to be.

I was even pleased with Denzel Washington in this lead role, because while he too isn’t really doing anything different from what we’ve seen before, he technically doesn’t need to; he’s just Denzel, being Denzel. Meaning that he gets a chance to be charming-as-all-hell, kind to others, menacing when he wants, and even a chance to lay down on some mofo’s who seem to be asking for it the whole movie. If that’s what you want from Denzel in your movies, then this is all fine and dandy for you. I like to see Denzel in these types of movies, and although a part of me wishes there was just a tad more for him to do here, I’ll take a solid performance from Denzel, in a solid movie any day, much rather than a shitty performance, in an even crappier movie.

But even when the film does get pretty wild and insane, as we usually expect from Fuqua’s movies, it’s mostly by the end and by then, we’re already sort of realizing that this story has taken a turn for the worse. Not to say that it gets bad, per se, but more of that it’s just goofy and almost like a Home Alone finale that will surely be a crowd-pleaser to most that are expecting Denzel to whoop some bad guy-butt, but is also rather disappointing to those who thought that there’d be a bit more than just that. And by “those”, I mean just mostly me.

But what can I say?!? I’m just a guy who appreciates a movie that’s more than just what it presents on the surface!

Consensus: Though it gets silly by the end, what the Equalizer does well is build a suspenseful story, around a compelling character, while also allowing Denzel Washington to just put in some fine work.

7 / 10 = Rental!!

"Good evenin', Clarice."

“Good evenin’, Clarice.”

Photo’s Credit to: IMDB, AceShowbiz

The Two Faces of January (2014)

Stop fibbing, already!

Rydal (Oscar Isaac) is a low-time swindler who, while vacationing and, assumingly, ripping people off in Greece, meets a very wealthy couple, Chester MacFarland and Colette (Viggo Mortensen and Kirsten Dunst). Though he doesn’t know much about them, where they came from, who the hell they are, and how they both got so damn rich, he is still somehow intrigued by them and decides to join them on a dinner late one night. It goes off splendidly, with the two parties leaving one another and hoping that each of their lives entangle once again. Well, sometimes, what you wish for, isn’t exactly what you want to get. After the two parties separate, Rydal realizes that he has to give Colette her wedding ring back, but while doing so, he discovers Chester getting rid of a body of a man that he presumed to be an FBI agent. What the agent was doing in Greece and tracking down Chester, is totally beyond Rydal’s knowledge, but now they’re in this together. Meaning, all three of them are on the run and have to find whichever ways they can figure out to escape the police who, seemingly, should be hot on their tails as more and more information comes out about who these people are, their past and why they are running and hiding in the first place.

If you’ve ever seen the Talented Mr. Ripley, then you’ve kind of seen the Two Faces of January. It’s probably no accident either, because both are adaptations of Patricia Highsmith novels, and both concern the same kind of themes and ideas constantly thrown around: People not appearing to be who they say they are, crime, lies, murder, beautiful locations, etc. And while the former film, is definitely better than the later, that doesn’t mean there isn’t some fun to be had here; it’s just that there’s all you really need here, fun.

"What you say?"

“What you say?”

See, though this movie definitely flirts with the idea of being about how we all, as a society and just basic, pure human beings, lie to protect ourselves from the real truth of the world and those around us, it’s mostly just a suspense-thriller that features a bunch of people on the run. Whether or not they’re who they actually say they are, is totally left up to us, the audience, to make our own conclusions.

And yes, people, that’s where most of the fun to be had in the Two Faces of January can be found: Constantly guessing. Not just who these people are and why they actually lie as much as they do, but where exactly this story is going to take place next. Because honestly, there’s only so many lovely locations a movie can take place in, but better yet, there’s also only so many actual places these characters can escape and constantly be on the run towards. That doesn’t mean the film is over-the-top or too crazy to handle, but there is something to be said for a movie in which we are repeatedly being shown certain areas of Greece that not even the most dedicated tour-guide could.

Which basically means that if you’re seeing this movie now, in the fall, where the weather outside is more than likely going to get a bit chillier, you’re going to be incredibly bummed-out and want to hop on that next plane to Greece as soon as humanly possible! Trust me, I did and I saw this nearly two days ago!

Damn, I’m already missing summer.

Anyway, like I was saying before, this movie really isn’t much more than “cons play mind games on other cons”, which is yes, very fun, but also, made it a bit better that the three actors playing these cons are very good with what they’re given. Oscar Isaac plays Rydal like he seems to play every character of his: Smart, charming and handsome, yet, always seems to have a sinister side to him that he isn’t afraid to utilize to his advantage. The guy’s made a killing off of these sort of roles and while we want to think of him as “the bad guy”, because of the way he looks and how we’re introduced to his character (he’s taking money from very naive, very foreign girls), we soon find out that he really isn’t. He’s just a human being is all, and sometimes, humans have to make certain choices that don’t always benefit the others around them.

The same could be said for Viggo Mortensen’s Chester; we’re supposed to think he’s a low-level con that has hardly any soul, or moral compass, but we soon realize that he too, is just another misguided guy trying to make a living, as well as the woman he loves, happy. Mortensen is another actor like Isaac who can sometimes seem like a bad guy, only because of the menacing look he constantly has on his face, but there’s shades of his character being a genuinely good guy that just wants to save his ass, regardless of anybody else’s. Sure, he’s a selfish-fellow, but given the circumstances of some of the situations he’s thrown into, I can’t help but assume that plenty others would be acting the same way, too.

Oh yeah, old guy, don't mind that dude sitting next to you or anything. He's just going to be in the next Star Wars for god's sakes!!

Oh yeah, old guy, don’t mind that dude sitting next to you or anything. He’s just going to be in the next Star Wars for god’s sakes!!

Just saying, people. Just saying.

The only one I have yet to really mention is Kirsten Dunst, which is actually on purpose because her character isn’t all that well-written. Sure, she’s definitely charming, sweet and honest, whereas nobody else around her seems to be, but there’s just a dull-presence about her that kept making me wish the creative-team involved gave her more than just being the damsel in distress. Also, say what you want about her, but Kirsten Dunst, when given the right material to work with, can really do wonders. It’s just such a shame she isn’t allowed to really show her fellow male co-stars off, like I totally know she’s capable of doing.

Damn men and their penises. Damn them to hell!

Consensus: Nothing more than a simple game of cat-and-mouse between a trio of talented leads, the Two Faces of January never really transcends its narrow plot, but doesn’t quite need to, considering it’s fun to watch these characters mess with one another.

7 / 10 = Rental!!

"Ah, this seems like a good place to continue on running and hiding from the law."

“Ah, this here land seems like the perfect place to continue on running and hiding from the law.”

Photo’s Credit to: IMDB, AceShowbiz

Joan Rivers: A Piece of Work (2010)

Whoever thought that the scariest lady on television could ever be so damn funny?

This film makes an attempt to peel away the mask we usually see with comedian, actor, writer, director, and pop-culture sensation known as Joan Rivers. We follow her for 14 months, mostly during the 76th year of her life and find out how hard it is to get work no matter how funny you are. We also get to hear her side of the stories on such events in her life like when her husband died, or how everybody on the face of the planet attacks her numerous dates with plastic surgery.

For the longest time, I was never quite a big fan of Joan Rivers. I don’t really think I’m alone on the boat with that statement right there but she’s just always been one of these gals that bothers me with her screechy, Brooklyn accent, scary surgery that seemed like it got worse and worse over the years, and some questionable decisions she’s made in the past, most notably the one she did behind Johnny Carson’s back, aka the guy that basically gave her a start. Then, after seeing her on Louie, I realized that there was a whole lot more to this lady than just making wise cracks on celebrities outfits on the red carpet.

What surprised me is how damn hilarious dirty Rivers still was in her later years. At the time of this documentary, I think she was around 76 or so and she still did stand-up work that would make Sam Kinison and Bob Saget both run for the doors. The stand-up stuff she does is so funny and even though it all depends on what you think is actually humorous or not, Rivers still delivers in her politically-incorrect way that has seemed to get her so far throughout all of these years. And because of that, not only was I able to give this movie a shot, but even her herself and see what her side of the story was all about.

Take a wild guess as to who that is....

Take a wild guess as to who that is….

This film also paints a picture of Joan Rivers, not just in a way that makes her seem like one of the funniest gals in comedy (right next to Kathy Griffin, in my opinion), but also shows that she’s a bit scared and insecure deep down inside. Rivers has the status of celebrity (well…sort of), but isn’t afraid to take any show that comes her way just in order to stay out there, get money, and keep her name up in the clouds. This shows that she has some real dedication when it comes to what she’s been put on this world to do but we also see a side of her that’s unlike anything else we see in most docs about certain high-profile stars such as this one we have here: She’s worried.

It’s sucks that Rivers went through all of the crap she went through where she hit a bump in the middle of her career, had her husband commit suicide, and spend the next 30 years of your life trying to regain that stardom and respect in the biz, but always end up having an empty calendar for the next month. She’s always scared about hearing crickets out in the crowd and tries her hardest to entertain even the hardest crowds, but sometimes it just doesn’t work out that way and it’s a shame of a reality once you think about it. I’m not saying that I totally pity this chick beyond belief, but it makes you realize that she has a lot more going behind the scenes than we might have ever expected and she doesn’t take any of what she’s given for granted. She’s a very talented comedian that obviously knows what she’s doing, but there still some stuff to her that still remains a mystery to her, even after all of these years.

Problem I met with this documentary is that it doesn’t keep you as fully entertained the whole time considering it constantly shoves in-and-out of this comedy and dramatic junk. One second we’re getting Joan talking about how her daughter didn’t pose for Playboy, then the next second we’re getting here crying about her late husband that killed himself. One second we’re getting a scene of Joan doing stand-up, absolutely taking the balls right out of this heckler, then the next second we get her crying about how she’s scared of rejection. Both worlds are great ones to discover and dig deep into, but when you have them in the same film going around and about, it comes off more as uneven, rather than actually engaging.

That's you, Joan. Butter believe it.

That’s you, Joan. Butter believe it.

The other problem I had with this documentary was the story about Melissa Rivers getting voted off the Celebrity Apprentice. I don’t care what anyone says, those shows are crap, they always have been, and do nothing else but allow the Trumpenator to say his famous catchphrase every episode. Everybody knows this, but it seems like both of the Rivers’ don’t and that’s a little bit too funny to watch considering how serious they take it. I actually started laughing when Joan started to tear up once Melissa gets booted off the show and states that, “It just wasn’t fair! It just wasn’t!”. Really Joan? Does it matter that much whether or not Donald says “you’re hired”? Now that I think about it, maybe it would be pretty cool.

Either way though, this documentary is really all about Joan Rivers and those lives she’s been able to touch. Sometimes, it wasn’t in the best ways like she had originally intended, but most of the time, if she got a laugh or two, she was content. And when you’re somebody who aspires to do that, day in, day out and most of all, for a living, then that’s all you need. Even if you are Joan Rivers; a woman who never let up, even when she was being told to do so.

Once again, another legend lost. Meaning, another person we won’t soon forget.

Consensus: While uneven, Joan Rivers: A Piece of Work is a nice, insightful look into the life of Rivers, the woman she was, who she became, and why exactly she decided to do all of those terrible, horrible things to her face.

7.5 / 10 = Rental!!

You tell 'em, girl!

You tell ‘em, girl!

Photo’s Credit to: Goggle Images

The Rover (2014)

If somebody took my precious moped, trust me, I’d travel to the ends of the Earth, too.

Set in the Outback, ten years after what is called “the collapse”, a lonely, disheveled man (Guy Pearce) parks his car by the side of the road, only to realize that, moments later, it’s stolen by a bunch of thugs who got in a car crash and needed the next best set of wheels to roll with. The man clearly doesn’t like this, so he sets out to get his car back, but not without stumbling upon one of the younger brother’s of this gang, an autistic redneck by the name of Reynolds (Robert Pattinson). Together, the two embark on a journey of sorts in which the man can get his car back and hopefully keep Reynolds with him, almost as a use of leverage. However, their two troubled pasts and the decisions they’ve made eventually come back to bite both of them in the rear-ends during this trip, and most of the times, it usually leads to disastrous results. Especially when all hope in the world, is practically lost.

In case you couldn’t already tell, there’s something strange about this premise. Like, for instance, why on Earth is this one dude going so deep and far just to get his car back? Speaking of the Earth, how did it “collapse”? Was it a virus? Did it hit everywhere on the planet, or just Australia? Better yet, why the hell does there happen to be numerous Americans roaming the Outbacks? And what the hell is up with these soldiers?

Basically, this movie has a lot of questions and has no interest in actually answering them, so if that isn’t your cup of tea, then there’s no reason you should really see this. It will only have you be more and more incredibly pissed as it trudges along, not to mention that it’s not necessarily the greatest pick-me-up, either. So just imagine the Road, but this time, without a father-son dynamic, therefore, getting rid of any sort of hope or humanity one may be able to find in a flick as grim and as brutal as this.

"Oy, mate! There's plenty of bushes around here! Why couldn't you just go in one of them?!?!"

“Oy, mate! There’s plenty of bushes around here! Why couldn’t you just go in one of them?!?!”

But that’s why we have movies such as the Rover – not to be enjoyed, but simply, to be intrigued by. Most of the times, it’s for the worse, but sometimes, especially in the case here, it’s for the better because the movie doesn’t feel like it needs to really explain itself. Sure, it would have been totally helpful to get a bit more background info on just how Australia turned into this Mad Max-style playing field, but there’s something quite interesting in that mystery surrounding it, that it’s hard to have it ruin whatever movie-viewing experience when can have while watching this.

Which, for some, may be a bit of a change if they had already seen writer/director David Michôd’s previous flick, Animal Kingdom; which, surprisingly, was a conventional gangster tale of a family full of thugs and crooks, but was spun so many times, it hardly ever felt conventional or boring. Here though, there’s hardly any convention to be found: Basically, it’s just a road trip from one blazingly hot Australian location, to another. And while that may sound like a whole bucket of fun, it isn’t and really, it doesn’t need to be.

Because mostly, what Michôd does so well as director is that he sets a mood; it’s a very dark, brooding and ominous one, but it’s one that throws us into this post-apocalyptic world we know hardly anything about, except for that everything is screwed up beyond belief. Somehow though, Michôd is able to find these small shots of natural beauty, which is mostly to credit the landscapes in which he shot this movie, but also to credit him as having a keen eye on what pops in a movie that can be so grim at times, you’ll wonder if there’s going to be any humanity found at all.

And eventually, Michôd does find some humanity in this story, however, if there was a element that I felt like this movie needed the most help with, it was this. While Michôd clearly gets the look and feel of this movie down perfectly, there’s a certain idea about these characters that leaves plenty to be desired. Sure, we’re practically thrown into a situation, with characters we hardly know right off the bat, but the time one dedicates to driving and staying in seedy hotels, should definitely be time for us to not only get to know our characters, or understand exactly why it is that they’re in the situation they’re in. It’s understandable why Pattinson’s character is in this situation (he’s simply not all that there in the head), but as for Pearce’s character (who I’m being told is named “Eric”, although I hardly ever heard this mentioned at all), there’s never a full understanding as to why his character is setting out so passionately on this trip just to get his car back, nor do we understand why he’s doing so many barbaric things on the way as well.

Maybe that’s the point Michôd is trying to get across: In a world that is so run-down and torn to pieces, there’s hardly any room for human connection. Which, if that was his intentions to begin with, then fine job on his part. In fact, I’d say the message was totally received. However, that also means the film suffers because of that and it made me wonder just why we couldn’t at least get two or three more scenes of Reynolds and Pearce’s character talking about whatever. Even if the conversation went nowhere, at least there would have still been an effort for us, the audience, to get to know them better just by how they talk.

He still hasn't forgotten, Rupert Sanders.

He still hasn’t forgotten, Rupert Sanders.

But sadly, we don’t really get that. Instead, we get many scenes where Reynolds and “Eric” sit in a car, or fireside and, occasionally, getting involved in countless acts of violence. It should be noted that these acts of violence are quick, shocking and ultimately, brutal, however, there’s not enough emotion to go behind them. The only time there ever is any emotion involved whatsoever, is whenever Pattinson’s Reynolds is one of those in the action. Some of that has to do with the fact that it’s easy to feel sorry for this character as is, but some of that also has to be given to Pattinson for diving straight forward into this role, without hardly ever over-doing it; which any person who has ever had to play a mentally-handicapped character will tell you, can be quite hard to stay away from.

However, that’s the surprise we get from Pattinson here who, for what it’s worth, adds enough heart to a character you don’t necessarily root for, but don’t want terrible things to happen to either. Then again though, there’s this realization that this character isn’t the most moral one out there and, for the most part, has violent tendencies. Because of this, the character’s unpredictable and Pattinson is definitely capable of keeping that act up throughout the whole majority he’s on-screen for. As for Guy Pearce, though he looks perfect as this mean and nasty son-of-a-bitch “Eric”, there’s just not enough for him to do here, except just snarl, angrily stare at people around him, and hold up a gun. Which honestly doesn’t sound like such a problem when it’s Guy Pearce doing all of these things, but when he’s out-shined by Edward Cullen, there is something of a problem.

Not a huge one, but a noticeable one.

Consensus: Heavy on its unquestionably bleak atmosphere, the Rover will definitely tests those willing to go through with it, while also disappointing others who don’t get more than just another gritty, raw Australian-thriller, with some interesting ideas.

7 / 10 = Rental!!

"I said, 'G'day, mate'!!"

“I said, ‘G’day, mate’!!”

Photo’s Credit to: IMDB, AceShowbiz

What If (2014)

At least I now know that there’s another meaning behind the term “fool’s gold”, other than just some shitty Kate Hudson rom-com.

Medical school drop-out Wallace (Daniel Radcliffe) is still trying to get over a break-up that left him nearly destroyed over a year ago. And everything looks like it’s going back to being smooth when he meets the lovely and vivacious Chantry (Zoe Kazan) at a party, where it seems quite clear that they’ll be spending the night together and will bring Wallace out of this funk. Problem is, Chantry lets it be known that she does indeed have a boyfriend (Rafe Spall) and that things between them are still quite serious. However, she still wants to be friends with Wallace, which he can’t resist because he knows that there is a certain connection between them both that makes the two happy. So, they decide to try and be friends for as long as they can; that is, until one decides that maybe it’s time to take things to the next level, if that’s even possible. But as we all know: It’s easier said, then actually done.

So yeah, the whole “Can men and women be friends?” thing has been practically hammered to death in the rom-com genre since the early days of When Harry Met Sally…, and then all the way to where we had two rom-coms in the same year talking about it (Friends with Benefits, No Strings Attached). And while, yes, that does seem awfully terrible that somebody has produced, yet again, another rom-com in which it seems like everything happens and occurs right on-cue as it’s supposed to, there’s still some delight to be had in a rom-com that takes itself a bit more seriously.

How I imagine most of the ragers at Hogwarts ended up turning out to be.

How I imagine most of the ragers at Hogwarts ended up turning out to be.

For instance, What If (formerly titled the much better the F Word) takes the conventional rom-com plot of having a guy, be a friend with a girl, even though he may/may not have feelings for her in the first place. We’ve all heard, and seen it done a hundred times before and usually, it sucks. There’s no way of getting around it, except if the rom-com called into question is a tad bit “different” from the bunch.

This is that kind of rom-com, although, you wouldn’t know right away. Because, with time, the movie does grow on you and, wouldn’t you know it, there actually begins to be something of a believable, rather sweet friendship between these Wallace and Chantry characters that not only makes you root them on to be together by the end, but to actually wish more rom-coms followed suit. Honestly, it’s not that hard: Write stock characters as much as you want, but give them at least some element resembling a personality, or heart and it’s all good. Once you are able to do that with your rom-com’s characters, then the movie itself gets sufficiently better.

Which, in case you couldn’t already tell, is exactly the case here.

Not only do we get two well-written characters that feel, talk, breathe and act like real human beings in a committed, yet, full-of-boundaries friendship, but they also have two actors in the roles that build a pretty neat chemistry between one another. For those of you who have not yet been able to get over the fact that yes, Harry Potter is over and yes, Daniel Radcliffe has aged, then allow this movie/role to be something of a wake-up call. Radcliffe does something well here in that he plays Wallace as an everyday, straight-man that you could probably meet on the street and have a conversation with on just about anything that came across your mind. He just has that certain vibe about him and it hardly ever makes him unlikable, nor even annoying; he’s just a simple dude, looking for love and any sort of connection. And because we too have, at one point, had that need in our lives, it’s easy to sympathize with him and hope that by the end, all works out well for him, girl or no girl.

That said, Zoe Kazan definitely gets the harder role as Chantry – a tied-down, twenty-something gal that has a boyfriend, yet, casually flirts and leads on her “bestie”. In most movies, this character is written off as something of a villain, but here, Chantry has to be somewhat likable and relatable in her non-stop attempts at making Wallace want to rip his hair out, and Kazan’s charm allows her to get away with that. Kazan’s another talent that most people don’t know is actually out there, yet, time and time again, the gal continues to put in great work in these small indies that reveal here to be more than just a carbon-copy of Zoeey Deschanel; she’s more down-to-Earth and isn’t all about the quirks of her personality, or her mandolin. She wants to be loved and, if given the chance to, return the favor to those who deserve it the most.

The Halt and Catch Fire and Girls team-up nobody asked for.

The Girls and Halt and Catch Fire team-up nobody asked for.

And their chemistry together is what mostly carries this movie. Their constant conversations revolve around such topics feces, fried foods, Elvis and Cool Whip, and while in most movies, this would seem so earnest you’d want to punch everybody in the face (and there are certain occasions in which I had that feeling with this feeling), but here, it feels like actual conversations between two people who feel and have a spark between them both. It’s nice to see play out on screen, but it’s even better to see what happens when these two eventually do start to question whether they can be friends, or if they can “be more”.

Now, obviously, you know where this is heading, so I won’t say too much more other than to expect from this movie, what you expect from most rom-coms: Conventional occurrence, after conventional occurrence. However, while that would destroy most movies, here, it’s fine. The movie never makes it clear that it sets out to be the different kind of rom-com that will forever change the world; it just wants to tell a sweet, rather lovely story about a boy and a girl, and how they end up being friends.

That’s all there is to it and sometimes, that’s all you need.

Consensus: By not setting out to change the game of the ordinary rom-com, What If ends up being an enjoyable, sweet and well-acted tale of romance, that’s also a fine piece of filler entertainment.

7 / 10 = Rental!!

If she jumps under your umbrella like that, bro, she wants it!

If she jumps under your umbrella like that, bro, she wants it!

Photo’s Credit to: Goggle Images

The Trip (2011)

Good food and My Cocaine impersonations: All you need in life.

Steve Coogan and Rob Brydon are two British actors and comedians that have worked together many times before and, for some odd reason, the two decide to go on a trip together. Though it was initially planned to be just Coogan and his girlfriend on the trip, she left to go back to America, leaving him to bring somebody he can’t necessarily consider “a friend”, but not somebody he “dislikes”; basically, just a “confidante”, if you will. Anyway, the two embark on a journey of Northern England where they eat all of the finest food, drink some of the most splendid wine, chat it up with the most delightful people, and even go for a bit of sight-seeing as well. However, the two mostly just spend their days battling each other in constant games of wits, career-choices, and most importantly, various impersonations that one thinks is better than the other.

A simple a premise, as well as a simple movie. Usually that works for me, but sometimes, it can feel like a crutch that the makers of the movie can’t help but fall back on, anytime that it tries to get darker, or more serious than it had originally promised. Thankfully though, director Michael Winterbottom and co-writers Brydon and Coogan themselves, make the Trip something just a tad bit more than what it could have easily been, with no consequences whatsoever: A fine, timely and splendid good time with two hilarious people.

However, rather than just focusing on how funny each of these guys are together and in their own respective, little worlds, the movie actually goes deep into who they are, and what makes them sometimes at odds with one another. For instance, we all know that Coogan fancies himself being a miserable prick, and here, basically playing himself, that’s all he ever is. He constantly gets down on those around him, criticizes everything he sees and never seems fully fulfilled with his life or his career. Then, take the bright, smiley, optimistic and relatively pleasant Rob Brydon who is nearly the opposite of Coogan. The only glue really keeping them together and on speaking-terms is their love of comedy and making people laugh; whether it be themselves, or a huge, paying crowd.

Don't know if selfie, or trying to get service.

Don’t know if selfie, or trying to get service….

Pitting these two together, and sometimes, against one another, is interesting because Winterbottom never really has these two go head-to-head in a way that would make it seem like they could beat the shit out of one another after the other messes up a Roger Moore impersonation. Nope, none of that unrealistic shite here! Instead, they more or less just get at each other’s necks every so often, making fun of their personalities, and saying whatever comes to their mind first, without ever having a filter of what not to say in order to not offend the other too much. But even after they trade barbs, they’re back on the road, in a restaurant, or in a park, walking, talking, eating, joking around, and impersonation people as if nothing had ever happened.

They’re the typical friends that aren’t the best of friends, but are good enough together that they relatively enjoy each other’s company. And because so much of it resembles a real, actual friendship between both Brydon and Coogan, it’s hard to ever forget which is true about their relationship together, or better yet, when exactly are they done “acting”. See, because they wrote this together, it’s difficult to draw the line between “fictionalized”, and “real”. The line between the two is blurred many times here and it’s nice to see that not only can these two bounce jokes off of one another like it’s nobody’s business, but that, at the end of the day, they seemingly don’t really have a problem with the other.

Even if they do, it’s probably a small problem that’s best not to even elaborate on, mostly because that would just entitle there to being more and more countless celebrity impersonations.

That said, because Brydon and Coogan are so good together, the movie’s very funny. Although, it’s not constantly funny. There’s a part of me that was enjoying this, but wasn’t necessarily laughing as much as I thought I should have. Their constant impersonations were funny and definitely got me laughing-out-loud more than a few times, but when it came to tossing and turning, in a non-stop fashion – eh, not so much. But I thought about it long and hard and I realized that’s fine; like life, when two people engage in conversation, it’s not always snippy, snappy and crackling dialogue between them both. It does drag and it does get quiet at times, and that’s how life is. Even if the two people are as extremely funny as both Brydon and Coogan; they’re human beings after all and no human being can be hilarious, all of the time.

Occasionally funny is good enough.

How I assume we all look while trying to pull of the perfect Bond villain.

How I assume we all look while trying to pull of the perfect Bond villain.

And I used the word “drag” earlier because the same could be said for the movie itself. There are moments in this movie where I felt like, despite it moving at a fine, sometimes languid pace, the movie never really gets off to where it wants to go that, by the end, it felt like just a nice time spent with two very funny people and that was it. There’s nothing wrong with that, especially when the two screen-presences are as funny as the two fellas here, but there is a feeling that it could have been cut-down by size, just by a bit. If they did so, it wouldn’t have felt like such a slog at times that, once it was all said and done, it felt more like a trip that we were getting ready to go home for, rather than one we never wanted to end.

But I do have to give the benefit of the doubt to Winterbottom who, essentially, made a near two-hour movie of three hours of footage. Surely, it couldn’t have been an easy task, but it’s one that Winterbottom mostly succeeds at. Maybe it would have worked on TV like it had originally done, but it still feels suitable enough to not totally notice the various cracks and folds hiding underneath the editing. Sometimes, they’re noticeable and sometimes, they’re not. But most of the time, you just don’t care. You laugh, check out some sweet sights, get incredibly hungry and just have a relatively good time with two very funny Brits.

Damn. Wish my friends were as funny, or could do a killer Anthony Hopkins.

Consensus: While the Trip isn’t consistent in terms of its hilarity, or its interest-factor, it still proves Rob Brydon and Steve Coogan to a lovable pair that work so well together, we can’t wait to see it again.

7 / 10 = Rental!!

Aw. What besties!

Aw. What besties!

Photo’s Credit to: IMDB, AceShowbiz

The Expendables 3 (2014)

They’re old. Get used to it.

Barney Ross (Sylvester Stallone) and the gang are back and older than ever! Which means that with age, comes a lot more violence and harm in their way. And possibly, with their latest target, their lives could all be in actual danger. The baddie this time around goes by the name of Conrad Stonebanks (Mel Gibson) and he’s had a bit of a history with Barney. However, he takes mercy on him and instead, decides to injure the ‘eff out of Caesar (Terry Crews), leaving the rest of the Expendables wanting all sorts of revenge that they can practically taste it in their thyroids. And Barney knows this, which is why he decides to give his old crew a much needed rest, and start up with a new crew of youngin’s just waiting to throw their lives on the line for some under-paid mercenary job they know hardly anything about. Eventually though, the mission ends up getting a whole lot more complicated for Barney and his new rag-tag, which means he may have to bring in all the friends he can think of. Or, better yet, the ones who would agree to work in this for chump change.

It should be no surprise to anyone out there who has gotten to know me through the years that I’m a huge fan of the older action movies of the 80’s/90’s. They always hold a very nice place in my heart and will continue to do so, so long as I still maintain a sense of immaturity. Which is exactly why the Expendables movies, despite being an obvious ploy to get nostalgic-mother-humpers like me in the theater, have always worked for me. No, they aren’t perfect and no, they sure as hell aren’t nearly as good as the twelve-year-old inside of me would have thought it been, but they’re still fun movies that deliver on exactly what you want: Your favorite action stars from yesteryear, kicking ass and blowing shit up all over again.

"Grrrr."

“Grrrr.”

And here, with the third movie in this rather surprising franchise, that’s exactly what you get. But then again though, it’s what we should expect, so it’s hard to really judge a movie on what it’s supposed to be and clearly is. A movie should be followed and dissected on what it does with those expectations, and here, it’s something that isn’t nearly as fun and exciting as the second movie, yet, not nearly as lazy as the first. Somehow, this movie is stuck right in the middle and I think that’s fine.

Sure, would I have liked that there’d been less corny chit-chat between some of these strange duos on-screen? Of course. And while I’m at it, wouldn’t have I at least liked to seen more action scenes that didn’t just contain guns being shot, without ever really seeing what they do in the first place? Most definitely yes! But that’s just me being greedy and picky and all that bad stuff. And while I’m like that with most movies I see, there doesn’t seem to be a reason for any of that chicanery here.

So yeah, back to what I was originally saying – this movie’s pretty fun. And considering that were all stepping into what I know to be the “dog days of summer”, that means a whole heck of a lot. It means a whole heck of a lot that we’re getting a fun, action summer blockbuster, but it also means a whole heck of a lot that we’re getting it courtesy of some people we haven’t seen do stuff like this in quite some time.

I mean, well for Sly, Arnie, Statham, Crews, Couture, Lundgren, and whoever else shows up here that’s shown up in the past two, but as for the other “new breeds”, as I like to call ‘em as I sees ‘em, it’s great to just see actually working in something again. Even if the material that they are working with is pretty timid, run-of-the-mill stuff, it still makes my heart feel all warm and tingly knowing that, yes, Wesley Snipes may finally be in full comeback mode. Don’t worry, I won’t get my hopes up too high, cause you never know with him, but I will keep my fingers crossed because seeing him here, throwing knives, doing karate and whatnot, made me think of the good old days in which I’d sneak downstairs and watch Blade while everybody else in my house was asleep. The nightmares were terrible, but man, it was oh so worth it!

Come on, Wesley! Just pay your taxes for your gosh sakes!

But I digress, because this movie isn’t just about Wesley Snipes and his much needed return to the big screen; this is about everyone who is involved with the Expendables franchise as a whole. It doesn’t matter if they pop up just to wreck some mofo’s up like Chuck Norris infamously did in the second movie, or if they’re just around to be weird and wear other outfits, from other famous summer blockbusters, much like what Mickey Rourke did in the first movie. See, it’s the little pieces of this cast that make it all worth the while and even though the script is cheesy and at times, god-awful to listen to, it’s fun and it’s hacky for a reason, and it’s only made better because the cast totally seems in on the joke.

I would have dedicated a whole paragraph to him, but I think we all know that wouldn't have gone over quite as well.

I could have dedicated a whole paragraph to him, but I think we all know that wouldn’t have gone over quite as well.

Sure, I could totally do without Arnie self-deprecatingly yelling at people, “GET TO THA CHOPPAA!!”, but it’s something I take with me when I’m watching something like this. Sly and the rest of the clan have finally realized that instead of taking themselves so damn seriously all of the time, that they should just lighten up, crack a few jokes at themselves and move on. There’s no need for a super-duper heavy, melodramatic story about how we all need to get along and maybe even highlight some of the problems over in the Ukraine.

Nope, not here. Because here, it’s all about the guns, the blood, the violence, the shooting, the wise-cracks, the half-naked men, the sweating, the yelling, the constant “bro-ing”, the running, the helicopters, the tanks, the explosions, the bikes, the knives, the guts, the, well, everything that has to do with an action movie of this nature.

And Kelsey Grammar for some odd reason. But I guess we can just leave that as is. A little Frasier here and there never hurt anyone too bad.

Consensus: Everything you’d expect from an Expendables movie, yet, not nearly as good as the second, nor nearly as mellowed-out as the first. In other words, it’s just right if you’re hankering for some serious fun and nostalgia.

7.5 / 10 = Rental!!

More than half of who's pictured here could be dead in the next year, so they better get on the next movie quick!

More than half of who’s pictured here could be dead in the next year, so they better get on the next movie quick!

Photo’s Credit to: Goggle Images

Salt (2010)

What about Pepa?

CIA officer Evelyn Salt (Angelina Jolie) has served and protected her country for many years, so when she’s accused of being a Russian spy, she’s absolutely baffled. Not just by the claim itself, but the fact that people who know and have worked with her for so many years, would actually start to believe this claim to be a fact and hunt her down as if she was some sort of Splinter Cell. But Salt knows that she can’t just sit around while she’s being thought about, so instead, she decides to take matters into her own hands by going on the run. This puts the CIA on a heavy, electrifying chase of sorts, where they find out more about Salt’s history/background and also see if they can get in contact with her husband (August Diehl). However, what’s strange is that he’s nowhere to be found, but what’s even stranger is that Salt’s past does seem a bit sketchy. Almost as if she could be some sort of spy who, for all these years, has been feeding off countless bits of info to her homeland of Russia. Then again though, nobody knows for sure and that’s how Salt plans on keeping it.

While this seems like a general, run-of-the-mill action-thriller, that would more than likely star either Matt Damon or Tom Cruise in the lead roles, all of a sudden becomes something of a different beast when you get rid of those two, manly-men and replace them with none other than a woman. Better yet, a woman by the name of Angelina Jolie who, despite what you may think about her questionable choices in her personal life, is a movie star in every sense of the word.

Yup. Toates Russian.

Yup. Toates Russian.

She’s not only proven herself, time and time again, that she can in fact act with the best of them, but is also able to kick some fine ass and even have us believe that a skinny little thing like her would be capable of doing so, too. Sure, most of her action-movies are the typical fodder for dudes who are just begging to see her naked to love and adore, but what she does well is that she can turn her “action-mode” off, as well as on, and have us believe her every second. She may not have many fans out there, but for me, Angelina Jolie is the exact kind of Hollywood star I want head-lining my major blockbuster; not just for the major dough involved with having her name attached to something, but because she always seems to put in the best that she can.

That, and the fact that she’s a woman who reminds us why girls can be tough, too.

All that said, this movie isn’t really trying to go out on a limb and make some sort of grand, feminist-statement – much rather, it just wants to be exactly what it sets out to be in the first place: A general, run-of-the-mill action-thriller. However, what’s so different here, is that something feels slightly “old school” about it all. Most of that can be chalked up to the fact that the writing is something of pure 80’s cheese, in which the CIA is running rampant all over the globe and Russians are still the bad guys, but another part of that can be chalked up to director Phillip Noyce, the kind of director that is able to bring us back to the good old days of action-thrillers.

You know, before Bourne had to come around and shake things up a notch. I mean that literally, and figuratively.

But what’s so interesting here that Noyce does, that not many action-thrillers do, or just seemingly forget about because they just want explosions and bullets, is that there’s more to this movie than just a bunch of simple, yet exciting action-sequences; it’s actually a mystery of sorts and adds more to the final product. Sure, the action-sequences are great and all, and more often than not feel as if they are riding the thin line between “absolutely absurd” and “somewhat believable”, but it’s the mystery as to who the hell this character is that really keeps it moving. It also keeps the movie interesting, because even when they do call it a lunch on all the action and decide to explore more and more about this main’s character life, it’s still compelling to figure out. Not that the writing for these flashbacks are great at all, but what they are able to get away with is being placed in at the right times, for the right reasons.

They're still holding a grudge over who's getting paid the most here.

They’re still holding a grudge over who’s getting paid the most.

That said, Salt herself is a bit of a bland character. I get the fact that since she’s a woman and she can kick more than a few asses on a good day is supposed to make her “different” from the rest of the other ass-kickers out there in a genre filled to the brim with them, but here, she does begin to feel less and less human as the movie goes on. And I don’t mean that because of the fact that she jumps on moving, speeding cars while on the highway and hardly ever gets a scratch; I mean that just because the writing never allows us to get to know as much as we should about her, in order to have us fully care for her journey into clearing her own name. Yeah, it kind of blows that everybody around her would all of a sudden go gung-ho after hearing that she may possibly be a Russian spy, but is that it? I needed a bit more, and maybe that’s asking too much as is.

That’s not to say Jolie isn’t bad here, because it’s quite the opposite – she’s good, meaning that she’s capable of having us believe her as both an ass-kicker, as well as a woman thrown into a disaster of a dilemma. The rest of the cast is pretty fine too, with the likes of Liev Schreiber, Chiwetel Ejiofor, and Corey Stoll showing their faces and letting everybody know that they can hang with Jolie, too. However, most of the time, especially for the first two names I mentioned, they’re just spent staring at monitors and spitting in each other’s faces when everything starts to go haywire for them and this mission of tracking down Salt. It’s fun to watch these guys scream and yell, like most of us imagine CIA officials do on a daily basis, but the fact that they’re both technically fighting and hollering over a woman, makes it even funnier.

Better yet, make that woman Angelina Jolie and you’ve got yourself a comedy. Except one with a lot more running, jumping, killing, explosions, shooting, bleeding and death. Does that still qualify as a “comedy”?

Consensus: Exceptionally well-made as an action-thriller of yesteryear, Salt feels like it’s constantly keeping us, as well as itself moving, and while that may not make it more than just a standard action flick, it’s still a good time regardless.

7 / 10 = Rental!!

"That'll take care of that fly."

“That’ll take care of that fly.”

 

Photo’s Credit to: Thecia.Com.AuGoggle Images

Calvary (2014)

Catholicism is still “a thing”? Could have swore Kabbalah was going to take the world by storm.

Father James Lavelle (Brendan Gleeson) is the priest of a small town in Ireland. He’s a stand-up guy who gets a joke quickly, has a daughter (Kelly Reilly) that he loves and cares for so very much, has a past that’s none too pretty, and is always there to try and make those around him happy. So when he hears somebody utter in confession that they’re going to give him a week, until they take him out to the beach and kill him, it’s a bit of a shock. However, that’s sort of the point as the killer states that they want to kill a “good priest”, rather than a bad one who did bad stuff like rape, or any sort of sexual abuse. Though Father knows who this person is, he doesn’t spill the beans and instead, lives this whole next week of his life, as if it was his last. Because, hell, it might as very well be.

And if you want to have some fun with that plot-synopsis up above, you can include the term “drinking beer”, at the end of every sentence because it totally fits. It’s a movie that takes place in Ireland, a very poor part of Ireland to be exact, and well, features a whole lot of drinking, smoking and dancing, like all Irish men and women are known to be doing. Take it from one, will ya?

"Say your forgiveness, one more time."

“Say your forgiveness, one more time.”

Anyway, what’s so interesting about this movie isn’t the premise (although it comes pretty close), it’s more in watching how each and everyone of these characters in this small town, interact with one another; particularly Father Lavelle. And because he is our center-of-command for the movie, we spend time with him and see everything he sees, encounter who he encounters, and goes through whatever he is going through at that particular time. It’s a necessary move writer/director John Michael McDonagh needed to pull off, because in order to get where this character is coming from, we’d need to see what it is about him that makes him such a likable guy.

Well, for starters, it’s the fact that it’s Brendan Gleeson playing him. I don’t know if any of you know this by now, but Brendan Gleeson is a big, lovely guy, no matter what the movie it is that he shows up in. Here, as Father, he gets to show that warm charm we all know and love him for, although, this time, it may be a bit darker. This character is a very broken and troubled guy, but what he does best is that he never throws his problems onto those around him. He’s the one there for the listening, so he’s going to keep on doing that, no matter how many church-goers it has him lose.

So yeah, Gleeson’s great as Father Levelle, but it’s also the rest of the cast that’s pretty phenomenal as well; which mostly has to do with the fact that, in the way they are written, they have a sort of one-note personality, but use it so well that it hardly ever seems to be poorly-written or lazy. Most of them just seem like real people you’d meet in a small, Irish town like this. Presumably getting absolutely wasted at the local bar, but hey, that’s what one expects in Ireland, right?

Playing Father’s confused, near-suicidal daughter is Kelly Reilly and she’s a lovely little gal, showing that there’s more to her than just a possible basket case; Chris O’Dowd plays a joking-butcher whose wife sleeps around on him; Isaach de Bankolé plays the man who she’s sleeping with; M. Emmet Walsh plays a very old, nearly-senile old man; and Aidan Gillen plays a doctor that doesn’t believe in God, and even if he does, he doesn’t think he’s not all as nice as he’s been made out to be in other pieces. The whole supporting cast is great and show up every so often, work with this script, make it funny and liven the tone up, because once it gets down and out, there’s hardly ever a moment for it to come back up and alive, and waiting for us to smile and jump for joy because of it.

Which is to say that it’s bleakness is what actually bothered me. And I’m not saying that in the way that it made me want to stopped being so depressed, but I’m saying that because, after awhile, the movie only seems to go one way. Early on, there was a nice juggle between comedy and drama, but later on in the movie, the drama took over and it got darker and darker with each and every second.

"No more killing, son."

“No more killing, son.”

But I didn’t know why? I understand that John Michael McDonagh wanted to present a portrait of a better, more friendlier-version of the Church and the fathers who work their butts off everyday just to make sure we’re happy with who won American Idol. And he keeps at this for quite awhile, but eventually, it makes you wonder, why so bleak to begin with? Better yet, why did the ending have to be such a drag to where it felt like it deserved the constant clock-checking. Not to say the later portions of this movie are even bad, it’s just that when this movie has a clear idea on its head, it goes for it and doesn’t really change things up.

Which is a bit of a shame, because the first-thirds of this movie is pretty funny. Even if the situations they were thrown into, or talk about, that may have seem dark, the movie still found a way to rub its comedic-bone off of all of us. It’s what you’d expect from a movie by the brother of the writer/director of In Bruges, but it’s something I’d also totally expect from a group of Irishmen.

By the way, the drinks are on me.

Consensus: As it gets deeper and deeper into its own mystery, Calvary loses its meaning, but for the most part, because of the well-written characters and wonderful performances from the ensemble, it mostly works.

 7 / 10 = Rental!!

The redder the hair, the more related they have got to be.

The redder the hair, the more related they have got to be.

Photo’s Credit to: Goggle Images

Synecdoche, New York (2008)

Eventually, we all get old and die. Tell me, what else is new?

After New York theater director Caden Cotard (Philip Seymour Hoffman) hits it big with his “version” of Death of a Salesman, the question on everybody’s mind is: What’s next? However, he’s the only one who doesn’t have that question anywhere near his mind at the moment, mainly because he’s got a lot of crap going on that he can’t escape from. His artist wife (Catherine Keener) just left to Berlin with his 4-year-old daughter; his box-office worker Hazel (Samantha Morton) is flirting up a storm with him; he just got hit in the head by a pipe and found out that it may be a deadly sign of things to come (meaning death); and he just received a grant to make his next big play inside of an area the size of a football stadium. Caden’s brain is so wracked and sad, however, that he does eventually come up with an idea that may take some by surprise, but makes total sense when you take his whole life into perspective: Caden plans on making the play about his whole life, including the most eventful moments, and all of the people he meets and greets. Self-indulgent? You bet your ass it is!

Going into this movie and knowing that Charlie Kaufman is not only just writing this movie, but directing it as well, should already get you in the right frame-of-mind, and make you expect the unexpected, even if the unexpected is totally, and utterly random and pretentious. But such is the case with Kaufman, who’s the type of writer whose style should not work at all, but somehow does, mainly because he’s had such talented directors like Spike Jonze and Michel Gondry being able to pick up the pieces and frame them in a somewhat comprehensible way, where not only do the heavy-set ideas hit our brains at maximum-speed, but the story itself just works, regardless of if we get it or not. Those two are just obvious examples, as I’m sure they are many more directors out there who “get” enough of what Kaufman does with his writing, and what he’s trying to say. However, when it’s just him running the show, and no outside interference or inspiration, then things get very, very shaky as a result.

Aside from PSH, let's see which one ends up turning out to look like this once they got older.

Aside from PSH, let’s see which one ends up turning out to look like this once they got older.

Then again though, like I said before: It’s Charlie Kaufman, and you have to know what you’re getting yourself into. So that means that there’s no need to fear, this won’t be one of those reviews where I get on the movie’s case for being non-stop pretentious, self-indulgent and preachy, because I expect that from him. Instead, it’s going to be more of a review on how easy Kaufman’s writing seems to be. See, the movie is less about a guy making a play of his life, as much as it’s more about how life itself is a play, and we are all just characters within it, going about our emotions, our action, and our decisions in a way that were pretty much spoon-fed to us from birth; they’re just starting to show now. And with that idea in mind, I have to give Kaufman plenty of credit. Not only can the dude look at the human-existence, but the reason we have to live, with a sour-puss attitude and grin on his face, but he can also show us that life is pretty damn sad, no matter how times we try to avoid that sadness with the simple things in life.

Very depressing, I know, but there’s just something about Kaufman’s writing that makes it so wonderful and honest that you can’t help but be entranced, nor not be interested in hearing what he has to say. You just listen, watch and learn gracefully, as if you’re watching a fellow human-life happen right in front of your own, very eyes. Which, in a way, you pretty much, and that’s where I hit my problems with this movie and where it was trying to get at.

The problem with this movie isn’t that it’s depressing or it makes you look at your own life, as well as the other’s around you, with a dour-look, but how it just seems to only reach for that idea as a point to be made. We always know where Kaufman’s getting at with this material; he feels that life is a sad, miserable experience that we live through, but we live through it nonetheless, so why harp over the meaningless things like break-ups, divorces, and lost-loves, just live life! And yes, it is very sad and cynical in it’s own way, but Kaufman never seems to be bringing anything much else to it other than that. There are shiny and bright rays of hope and happiness to be found somewhere in the finer-lines of this story, but anytime they get a chance to pop-up and show themselves, Kaufman comes right back down with his swiping-hand of negativity, showing us that we shouldn’t be happy with what we see, we should cry, pout and kick cans all day because of it. Maybe he’s not that much of a dick about it, but he comes pretty close at times, and it just shows you why this is the type of writer that can do some major business when he has a helping-hand with the direction; but when it comes to his own shot at glory, and giving it his all, he sort of stutters into his way of balancing out the happy, as well as the sad times in life.

Surely there’s plenty of both elements in everybody’s life, but it sure as hell isn’t always sad, Charlie. Get a grip, man!

"Why yes, I am reading "Thoughts on the Afterlife and Other Musings about Everything That Has to Do With It." Have you heard of it before?"

“Why yes, I am reading “Thoughts on the Afterlife and Other Musings about Everything That Has to Do With It.” Have you heard of it before?”

And while it’s disappointing that things didn’t turn out better for Kaufman’s direction, it’s even more disappointing to see the awesome cast he was working with here, and how little most of them, minus the few exceptions, are given. One of those said few exceptions, Philip Seymour Hoffman as our main, mid-life crisis man for the next 2 hours: Caden Cotad. Hoffman is great at playing these sad-sack, miserable characters that don’t care much about the life they live, nor the little things that make it worth living, but he feels like he’s channeling the same emotions every once and a little while. He seems never crack a smile, no matter what the occasion may bring. However, he seems to be able to lure every women he meets into bed with him, make her the happiest gal alive, show her her own faults, make her sad, push her away, lose her, and then never see her again. That’s a non-stop cycle that continues to revolve around every so often, and it got as annoying to watch, as much as it did to see Hoffman put on the same saddened, depressed-look on his mug. It works when the humor within Kaufman’s script comes to show, but not when we’re supposed to care for this guy, as well as the fellow women he falls in love with.

Many of which, may I add, are played by extremely talented, and great actresses, who are given material that could have easily benefited them more, had Kaufman himself seemed to actually give a crap about them, or life. Catherine Keener does her usual, “I’m old and artsy, but I’m also bored and impulsive, therefore, I’m a bitch”-act, and does it well; Samantha Morton is a bit of a sweetie-pie as one of Cadence’s first loves, one who lives in a burning house, that constantly burns throughout the whole movie (whatever sort of metaphor that’s supposed to be, I still can’t wrack my brain around); Michelle Williams acts like a bit of a bitch as well, but shows some compassion for the way she feels towards Cadence and their relationship that isn’t so present with the other gals in this flick; and Emily Watson has moments of fun and spirit, but doesn’t get much more time to really allow for her character to breathe or shed any meaning as to why she’s even shown. The only one who really seems to be livening up this material is Hope Davis, as Caden’s therapist who shows up from time-to-time, does something weird or goofy, tells him to read her expendable, self-help books and leaves him on his way, hitting all of the right tones you need from an odd, Charlie Kaufman movie. Problem is, she isn’t in it enough and doesn’t get the chance to really let loose on material that could have easily used it from her, Tom Noonan, Jennifer Jason Leigh, and even Dianne Wiest. Seriously, how do you misuse Dianne Wiest!!?!? She’s so precious!

Consensus: The sad points of our weak, pathetic lives that Kaufman obviously makes in Synecdoche, New York don’t make the movie too depressing to get-through, they just don’t add much flavor or energy to a flick that could have really benefited from some, had it had the director to really make it pop-off the screen, and into our minds and laps to chew on for a long, long time.

7 / 10 = Rental!!

Public transportation would make anybody depressed.

Public transportation would make anybody depressed.

Photo’s Credit to: Thecia.Com.Au

Get On Up (2014)

Use your own bathroom next time.

Anybody with half-a-brain knows who James Brown (Chadwick Boseman) is. He’s one of the most known figures in all of music and his legacy continues to live on today. However, there’s more to all of the dance moves, the funky jams, and high-speed car-chases that we all hear about when his name comes up in a conversation;  see, he too, like everyone else, was a young boy who had dreams of making a difference in this world, that all stemmed from the fact that his mom (Viola Davis) left him at an early age. Left with not much else to do from there, James decided to start living in a local whorehouse, where he would do whatever was necessary for a little boy of his age to be doing in order to have a place to sleep, and food to eat. Then, when he was a teenager, he got arrested and sent to jail for stealing a suit. While in prison, he meets a guy by the name of Bobby (Nelsan Ellis) who sees an actual talent in him and wants to be around it, and see what they can do with it. Eventually, he gets James out of prison and they start a musical-group that goes through many different incarnations, with James Brown being the only constant member.

Because in James Brown’s world, all you need is James Brown.

Musical biopics can usually go absolutely one way, or they can go another way. One way is that they can be total conventional pieces of junk that do more harm to the subject than any slanderous article may have ever done; or, they can show us that the subjects we’re watching here truly are talented, yet troubled individuals indeed. However, sometimes, that just ends up playing out like a VH1 Behind the Music special, but with a bigger-budget and stars. So yeah, musical biopics, for the most part, regardless of how interesting the person/persons may be, aren’t always well-done.

"Alright whitey. Off the stage and let me show you to shake and jive them hips like you "allegedly" know how to do."

“Alright whitey. Off the stage and let me show you to shake and jive them hips like you “allegedly” know how to do.”

But is there ever enough space in this world for there to be a biopic that’s just considered “okay”? Well, maybe. And if there is, I think that Get On Up would be located somewhere in there; which isn’t necessarily to say that it’s a bad biopic that does harm to James Brown and the type of man who he was, it more or less shows his both his faults, and his positives. Most of it lingers on the later, than the former, but hey, this is a biopic about James Brown! It can’t constantly hate on him, or else there’d be no inspiration for a movie to begin with.

And director Tate Taylor definitely seems to be inspired by the life of James Brown, if only maybe more so by his professional life, than his personal one, but there’s still interest all around and it shows throughout a good portion of this movie. Most who know James Brown as “that guy who could dance real good and say that he feels good”, will be surprised to know that there was a little more to his life than just some fine moves both on, as well as on the stage. Taylor uses a non-linear narrative to show us various moments in Brown’s life that either impacted him, or those around him, which, for most movies it would utterly confuse the hell out of anyone watching, but here, somehow doesn’t.

That’s mostly because James Brown himself went through many phases/incarnations throughout his whole storied-career and it’s easy for us to identify what was happening to him when, where, and just exactly who he was in good graces with at which time. Because, James Brown being James Brown, who he was actually friends with to begin with, made a whole hell of a lot of a difference. He wasn’t a very likable guy and didn’t always do the right things, at the right time, with/to the right people, but he at least always put on an exciting show and never gave the crowd something that they didn’t want to see him do.

Which is to say that playing such an high-wired, electric character, in a biopic about him and his life no less, would be a hard task for any actor to accomplish – let alone an actor who literally just had his first, leading-role of his career playing another famous figure in American-culture – but somehow, relative-newcomer Chadwick Boseman absolutely gets the job done perfectly. Right when we see Boseman on-screen, piled on with pounds of make-up to make it look like he’s the older-version of James Brown, it looks goofy, so of course, it’s a bit hard to believe. But, as soon as we hear Boseman talk, that all changes.

Not only does Boseman become James Brown, but has us forget that it’s a standard, conventional biopic about somebody’s life we already know plenty about. There’s a certain unpredictability to where he’ll go with this performance, which, in and of itself, becomes more than just an “impersonation”; he channels what it’s like to be such a lively performer almost non-stop. He hardly ever slows down, nor does he ever want to; James Brown, as I’d like to imagine him as being in the real world, was the sort of guy who always wanted to have a ball, while also be exactly who he was, without ever seeming like a joke in anybody’s eyes. He’s got the dance moves, the swagger he carried wherever he went, and even that raspy voice of his. Even if he doesn’t actually sing the songs themselves, there’s still something impressive and exciting to watch about him just moving all over the stage as if he is Brown, calculating his every move, but without calculating too much to where it doesn’t seem as if it was all coming off the top of his head.

A Radiohead concert, this is not.

A Radiohead concert, this is not.

Because James Brown, was never a fella you could pin-point from point A, to point B.

Once again though, like I mentioned before, that’s not to say that this movie wholly glamorizes the life of James Brown; it sort of just lays his story out there for us to take in, piece by piece. Sure, you could say that it likes more about his story, than it doesn’t, but at least there’s something about this figure that’s imperfect, and not constantly making him out to be some sort of savior. Because even though some people out there in the world probably view him as just that, it’s not true; James Brown, like all of us, was a human being. He had feelings, wants, needs, and pleasures that he sometimes let get a little too into his head, but he at least stuck to who he was and went out there, night after night, performance after performance, and gave the crowd exactly what they wanted: A fun show that they would remember till the end of their days.

Now, that said about the actual person himself, does that make this movie memorable?

Well, not really.

Cause like I was saying earlier about Taylor’s direction, although he does jump around rather sporadically through Brown’s life, for a whole two-and-a-half-hours, it’s not always interesting. Some bits and pieces of his story are left out (mostly his drug-use), and even the parts that are hinted at, still feel forced into so that Taylor didn’t have to worry about not portraying the man as a whole person; warts and all. And although this isn’t a kind of raw biopic, you still get a sense that some of this guy was bad, whereas most of him wasn’t. It’s weird how they do this, but I guess Taylor really did respect James Brown for all that he has given to the world.

Not just the music world, mind you, but the whole world in general.

Keep up the funk, people.

Consensus: Without Chadwick Boseman stealing the screen every second he gets, Get On Up would be another moderate, yet ultimately forgettable biopic about one of the world’s most famous musicians of all time, but has enough excitement and fun to go along with the more dramatic-moments to make it all gel out well enough to be forgiven.

7.5 / 10 = Rental!!

Dan Aykyroyd wishes he had a poof as good as that.

Dan Aykroyd wishes he had a poof as good as that.

Photo’s Credit to: Goggle Images

The Guard (2011)

Why can’t more cops be this cool?

An unorthodox Irish policeman named Sgt. Gerry Boyle (Brendan Gleeson) with a confrontational personality is teamed up with an uptight FBI agent (Don Cheadle) to investigate an international drug-smuggling ring. As you could imagine, things don’t gel so well between the two as one’s kind of a dirty, lazy drunk that likes to sit around on his romp while everybody else solves crime, whereas the other one wants to get on the case right away, no frills attached. Not to mention that there’s a bit of a race problem between the two, seeing as how Irish, when they get drunk, well, tend to say some stuff that aren’t always nice.

While I was watching this movie, something really strange happened to me. While watching this movie and found a lot of similarities between this and In Bruges because right from the start, it’s pretty obvious. You get a bunch of lovely accents, Brendan Gleeson acting like a charming fool, dark situations, blood, violence, and they’re all done for laughs.

Another strange happening that occurred to me was the other day before I saw this movie, I was actually checking out the drug-induced trip that was Spun, and thought to myself, “Wow, this director seems like he’s making a music-video. I wonder if he was one of those before this movie? Hmm?” Sure enough, it turned out that the director of that one was, and better yet, that the writer/director of this movie, not only was trying to make a movie like In Bruges, but was also the freakin’ brother of that same writer/director! Goes to show you what I know and it made me feel like I was on-top of the world of with my movie knowledge, that will probably all get thrown-back in my face once I go to the next local Quizzo and fail miserably at the “Movie Round”.

Ladies, eat your hearts out. Or, I guess in this case, drink 'em out.

Ladies, eat your hearts out. Or, I guess in this case, drink ‘em out.

Yeah, that’s reality for me, folks, and it’s not something I, nor my parents are too fond of being true.

Damn. What a disappointment I am.

Anyway, similarities aside, the writer/director of THIS movie, John Michael McDonagh still does a great job in his own right and starts us off perfectly with what we’re to expect from the rest of his movie. There’s definitely a very goofy side to this movie that isn’t afraid to show itself, poke a little fun at the whole buddy-cop aspect, and also make a lot of the more serious cliches of a crime movie, seem totally stupid and ridiculous. Like his brother, John Michael seems to be playing around a bit with the conventions we are all so used to seeing from movies of this nature and it kept me on edge wondering where he was going to go next with this story, and what exactly he was going to throw at me next. While making me laugh, I presumed.

That’s why this film’s humor, is so rich in the way it’s delivered. We’ve all seen dark comedy used in crime movies, especially from the likes of Guy Ritchie, Quentin Tarantino, and countless others, but this movie really uses the dark comedy aspect to its strength and doesn’t seem forced in the least bit. Rather than giving us an act of violence and trying to make it all light by adding a cheeky line in there, John Michael still uses the same exact formula, but instead, makes it feel deserved and pretty goddamn funny if you ask me. I liked this film’s sense of humor, and it mostly just all felt very Irish to me as everybody is mean, cruel, and pretty damn depressed. That is, until they get a couple of Guinness’ in your systems, and then they’re a bunch of partyin’, happenin’, drunken fools.

Like true and tried Irishmen.

Where I think John Michael screws up a bit with this movie and the tone he’s going for is whenever he decides to get a tad bit more serious on us, and sadly, it doesn’t work. Most writers/directors are able to make the transition from goofy, lighthearted comedy, to straight-up, serious drama, but I don’t think he is one of them. For instance, any time the movie focused on Boyle and the meetings he would have with his, equally-as-cheeky mother who was slowly dying, the film got very dry, very serious, and very boring for me to actually keep my interest. Some people can make this transition work, but if you can’t, it’s just all the more glaring in the end as we never really catch on to any of the actual drama John Michael has in store for us. Instead, we just want the guy to keep on throwing more and more comedy at the wall, without worrying who it does, and doesn’t offend.

You have to ask yourself: Does he play the villain?

You have to ask yourself: Does he play the villain?

However, when it comes right down to it, I cannot, for a second go wrong with an all around solid performance from Mr. Brendan Gleeson himself, who is just a whole bunch of fun to watch as Sgt. Gerry Boyle. Gleeson has always been a guy that’s known for his dramatic-power in big-budget dramas where he usually plays a supporting character, but when it comes to comedies, he’s just as good, if not better just because of this undeniable amount of likability to him that shines through every scene he has here. Right from the start, you know that this cop isn’t going to be your usual, heavy-duty copper that takes everything so seriously. He’s more of a reasonable dude that doesn’t take everything so damn seriously, likes to make sarcastic jokes, and most of all, just likes to have a wee bit of fun for the hell of it. Now why couldn’t someone like him pull me over on the Freeway, Thanksgiving Eve?

Bastards.

And while it does seem weird to see Don Cheadle, of all people, in a very Irish-flick, the point is sort of in that description; he’s meant to be out-of-place and therefore, we draw jokes at him. It’s also a joke that hardly gets old, which mostly has to do with the fact that Cheadle and Gleeson work so well together, they seem like two guys you could really see connect together, given under circumstances of course. But watching as they build some sort of a friendship/connection, is interesting enough and gives more substance to a movie that could have been a down-and-out comedy, with bits and pieces of violence and action sprinkled in.

Consensus: Though the tone can be a bit all-over-the-place at times, the Guard still works because of its goofy sense of humor that, never gets annoying, nor takes away from giving us a lovely chemistry between the unlikely pair that is Brendan Gleeson and Don Cheadle.

7.5 / 10 = Rental!!

A black guy and an Irish dude walk into a bar, and they drink. That's it.

A black guy and an Irish dude walk into a bar, and they drink…… That’s it.

Photo’s Credit to: IMDB, AceShowbiz

Lucy (2014)

Screw marijuana! Can these drugs be legal?!?

After being fooled by her one-week boyfriend, American tourist Lucy (Scarlett Johansson) is somehow made to be a drug mule of sorts by the mob. The drug she’s given to stay in the pit of her stomach accidentally leaks out into her nervous-system and allows her to use more than the normal 10% of her brain. Meaning that Lucy now has superhuman strength and can control just about anything with her mind. And for the most part, she uses it to her advantage; she extracts revenge on those who had done wrong to her, she gets free rides, she kills whomever gives her a hard time, and she takes down all of the drug-dealers that are also involved in this drug-circle. However, the dosage continues to grow for Lucy and, slowly but surely, she starts to lose control and forgets to remember how to decipher what’s considered “real”, or, what’s “just because of the drugs”. Eventually though, Lucy realizes that she needs to chill out and get rid of all this stuff from her body, which is exactly where biology Professor Norman (Morgan Freeman) steps in and sees whatever the hell it is that he can do for her, before it’s too late and her mind is totally lost forever.

There’s been a lot of talk about this here film and how it’s pretty much just another version of Limitless, except with a bigger-budget, and also, instead of the dashing, scruffy-look of Bradley Cooper, we get the luscious, natural beauty that is Scarlett Johansson. And while some of that may be true, I can’t help but think the two movies are different. Most of that has to do with the way in which the drug itself is used and how dark things can truly get, but most of that also has to do with the fact that Luc Besson is a better director than Neil Burger; problem is, you’d just never know it.

"Uhm...this is out of my level of expertise. I'm just the narrator, hon'."

“Uhm…this is out of my level of expertise. I’m just the narrator, hon’.”

See, though Luc Besson struck the iron while it was hot back in the day from ’90-’97, the dude hasn’t really been in his element since. It seems like, ever since the Fifth Element, everything that was fun, exciting and wildly original about Luc Besson and the movies he created, had all but disappeared and thus, we were stuck with watching him try his daft hand at comedy late last year with the Family, which, for the most part, failed. That wasn’t the only bad movie Besson has done in the past decade or so, but it’s definitely the main one that made me wonder what the hell happened to the dude and whether or not we were going to get all of that magic back once again.

Thankfully though, with Lucy, it seems like Besson is back in his comfort-zone, but with a whole lot more craziness ensuing. We get to see him use a hell of a lot of special-effects, and while they don’t always look good, it’s still nice to see Besson at least trying harder and harder at new things to incorporate into his movies, rather than just depending on blood, bullets, and action to save the day. Because, sure, while we all love that from him, there needs to be a bit more to that. Like, I don’t know, say a story, or better yet, an interesting protagonist.

And, believe it or not, Lucy has both of them! Although neither the protagonist, nor the premise may be as smart or as well-handled as Besson has done with ones in the past, it was still refreshing to see him give us something more. But to be honest, story doesn’t really matter here because when Besson wants to get nuts, he allows himself to do so and it’s a joy to see. The movie clearly doesn’t want to be taken seriously and more often than not, is capable of using its black comedy to its advantage. While some of it feels random and a bit strange, it was still something I liked to see in a movie that could have easily been as serious as a human-drama with its B-movie premise, but instead, do quite the opposite.

Sure, there’s plenty of moments where this movie dies down and focuses a tad too much on its characters and their plight; mostly the parts with Morgan Freeman’s character talking about life, humanity, animals, and only God knows what else – but they’re very few and far between to where it doesn’t really bring down the movie a whole lot. And for a movie that runs just barely underneath the hour-and-a-half-mark, that’s something to be happy about. So rarely do we actually get a movie, let alone, a summer blockbuster, in which we are in, and we are out in a matter of reasonable time and pace. I get that most movies like to take their time and expand on their story, hence the longer run-time, but most of the time, these movies do not need to run the risk of being longer than two-and-a-half-hours and therefore, running the risk of losing its audience. However, the pleasure of watching Lucy is that it’s simple and doesn’t take much time at all. It’s quick, punchy and absolutely wild, all under the painless hour-and-a-half-mark.

Hey, it's like Oldboy! Except not really.

Hey, it’s like Oldboy! Except not really.

Only wish other movies this summer would have learned that lesson early on. Looking straight at you, Michael Bay.

And as our titled-character, Scarlett Johansson is fine as Lucy, showing us that despite her small frame and raspy voice, she’s still able to be a bit of a bad-ass chick. Just give her a couple of machine-guns, a blonde-poof, a blood-stained tank-top and woolah, you have a female character that cannot only kick ass and take names, but is smart enough to take maters into her own hands when the going gets going. She doesn’t just hang around and hope that the nearest dude can save her from her problem; she gets up off her lovely romp and starts to get stuff done, her own way.

Don’t know about you, but if there’s a female action-hero I’d look up to the most – it’s Lucy. And that’s all you need to know about her, Jack. Or, whatever masculine dude it is that wants to know why he should see a movie about a gal who has super powers and starts tearing shit up.

Consensus: Whereas it may not be the smartest piece of action you’re likely to see the rest of this summer, Lucy is still a return-to-form of sorts for Luc Besson who seems like, for once in a long while, he’s having a great time with what he’s filming.

7 / 10 = Rental!!

"Coming for you, motherhood."

“Coming for you, motherhood.”

Photo’s Credit to: IMDB, AceShowbiz

Be Kind Rewind (2008)

What’s a VHS?

In a downbeat area of New Jersey, there lies what seems to be one of the last ever mom-and-pop-run video-shops that actually still sells VHS tapes. The place is called “Be Kind Rewind” and it’s run by the old and a bit out-of-touch Mr. Fletcher (Danny Glover). However, in order to see what’s wrong with his video-store and how he can fix all of its problems, he decides to take a bit of a vay-cay and do some thinking on his own. This leaves his most trusted, dedicated employee, Mike (Mos Def), the responsibility of watching over the whole shop and making sure nothing bad at all happens. Somehow though, it totally does, because once the buffoon of the neighborhood, Jerry (Jack Black), gets electrocuted and comes into the shop, he wipes all of the tapes clean with nothing but static on them. Scared to have his boss find this out and be ultimately disappointed in him, Mike decides to pick up a camera, get Jerry and start filming their own versions of these movies. It’s called “Sweded”, and somehow, the town catches on and, in a way, like these versions a lot more than the actual movies themselves. This gets the store all sorts of attention – both wanted and unwanted.

So yeah, while that premise may sound strange and all, just let me tell you that this is a film written and directed by Michel Gondry; somebody who is definitely one for not always being the most “normal” film-maker out there. However, that’s the reason why this movie actually works – Gondry has a vision that may alienate some, but to others, there’s a certain joy in seeing what he sees through those artistic eyes of his. And while I couldn’t necessarily call something like this “artistic”, there’s still something joyous about it that makes it all worth watching.

"So you want me to get rid of all the Woody Allen pictures?"

“So you want me to get rid of all the Woody Allen pictures we have in store?”

Gondry’s weird-isms aside and all.

Although, I do have to say that for the first half-hour of this movie, nothing seemed to be happening at all. I get that there was supposed to be some sort of reason behind why these tapes were all erased and therefore, drive these guys to actually have to make these Swedes, but it seemed way too slow and messy. Almost as if Gondry himself was searching everywhere he could for anything that resembled a plot and didn’t know where to start, or end; he was just searching and searching, while annoying us at the same time.

But eventually, once the plot gets going and the Swede-ing starts happening, then the movie gets to be a bunch of fun. Which is mostly due to the fact that I think Gondry shows exactly what it’s like to have the creative adrenaline run through your body; the same kind of adrenaline that makes you want to get up from what you are doing and just have the world see what it is that you see, or are able to create. A part of me likes to think that Gondry uses this angle, only to express his own knack for creating low-budget remakes of popular films, but another part of me likes to think that whatever the case may be, it doesn’t matter. He’s clearly happy making these small, really cheesy remakes, and as a result, I was too.

And basically, that’s the whole gist of this movie. For a good portion of it, at least, the movie is all about what it’s like to have the need to make a movie right from where you are, with whatever you’ve got. It doesn’t matter if you have a budget, a whole lot of talent, or even all of the right equipment to get going from the ground-up. All you need is some inspiration and that drive to make you keep on shooting whatever it is that you want to shoot. If it’s a video of you just ranting about whatever it is that’s on your mind in that point in time – then go for it! If it’s a video of some Charlie kid biting somebody – then sure, totally go for it!

Whatever the idea in your head may be, it doesn’t matter. All that does matter is that you’re able to get up off your rump and film something! That’s what movies are all about in the first place, and while this movie may not be the most perfect piece of cinema to exemplify that fact, it’s still a noble effort from someone who clearly knows a thing or two about what it is that he’s talking about/filming.

How I imagine he acts every time he steps out of the shower.

How I imagine he looks every time he steps out of the shower.

As for the rest of the movie, it’s all pretty fine, especially in the casting-department. Though Jack Black’s shtick is the same here, as it’s been in, I don’t know, say, every single one of his damn movies, it’s still pretty entertaining and makes sense once this Jerry character gets a little bit too big for his britches and acts like he’s some big-time star of some sort. Sure, he has plenty of haters, but Black’s shtick, when used well, is entertaining and fun to watch. Same goes for Mos Def who, despite being on a short list of rappers-turned-actors, is one of the better ones because he’s able to go from role-to-role, without ever seeming like he’s trying too hard for one thing or another. He’s just being an actor, although there still has yet to be that one role that distinguishes him from the rest of the group.

Still though, I hold out hope. Not just for Def, but for the future of movies as a whole. Because even though certain people don’t believe the movie-business will be the same twenty-thirty years from now, there’s still hope out there that people will feel the need to want to express themselves in a fun, creative manner. Especially with a camera in their hand; something in front of them; and a chock full of ideas inside their noggins.

I still hold out hope, people. And you should too.

Consensus: While inherently messy, Be Kind Rewind still gets itself together in time for it to be a fun, creative, and rather passionate-look at what it takes for a person to create something, whether it be a film, a book, a song, or any piece of work that expresses themselves for being who they are.

7.5 / 10 = Rental!!

Now they're all working at FYE. Damn, DVD's.

Now they’re all working at FYE. Damn, DVD’s.

Photo’s Credit to: Thecia.Com.Au

Zero Effect (1998)

We all knew there was more to Bill Pullman than just delivering kick-ass speeches.

Bill Pullman is Daryl Zero, the self-titled world’s greatest detective and Ben Stiller is his reluctant assistant. Together, they begin to investigate a blackmail case that turns out to be much more than they had originally expected. So much so that Daryl Zero himself, realizes he may be a bit too over his head for the first time in his life and may have to cool his jets before he makes this the last case he ever does.

Son of famed writer/director Lawrence Kasdan, Jake Kasdan finally got the chance to make a name for himself with a little flick he did back in ’98 that I can’t believe I found anywhere. I hear about it from time-to-time and I even saw it at a yard sale not too long ago, but other than that, nothing else for this little-known flick has ever popped-up.

Thankfully, On Demand always has me covered so that I can discover little gems such as these.

What I liked most about what Kasdan does with this flick here is how he starts it off in a goofy, off-kilter type of way but then soon changes up the whole pace to where it’s actually more about the mystery case than you would think. The opening credits and first 15 minutes may have you think in you’re in-store for a type of nutty, Coen Brothers-like dark comedy/thriller, but somehow that changes up about half-way through; without feeling too sudden or random. It’s just right, because these characters are given such time and care through Kasdan’s direction.

RIP payphones

RIP payphones.

I think that’s where most of the kudos to this script has to go to is with Kasdan’s handle of these characters and their stories. As soon as we meet these two guys, they seem like your typical bunch of dorks that we have to watch for the next two hours, just walking around and bumbling on and on about some case that has no suspense or surprises. However, that’s the difference between this film and those other flicks: This one actually has some surprises and characters we care about. The mystery did get me involved and kept me wondering what was going to happen next, but I also felt a bit worried for what was actually going to happen to these characters in the first place, since Kasdan made me care for them so much in the beginning. It’s remarkable how Kasdan was able to balance out the human side of this story, along with the mystery one so well to the point of where the transition doesn’t even seem noticeable. Really takes you by surprise even more when you realize that this is by the same cat who did raunchy-comedies like Bad Teacher and Orange County.

Where this film lost me a bit was by the end and how it seems like they really, really lost any sign of their funny-bone that seemed attached so well in the first couple acts. I will admit, I was going into this film expecting some laughs and even though I got that for a good amount of the picture, they seem to have taken a trip elsewhere once the middle act comes strolling right through. That bothered me because the off-kilter humor had a certain type of charm and energy to it that made this flick pop out a bit more and I could have only wished that Kasdan decided to stick with this side of the film just a bit more. You know, just so I was able to get entertained from all areas of the film.

But despite this, the film still works because of what I mentioned earlier: It’s characters and their development. And when I’m talking about “character development”, I’m mainly talking about Bill Pullman and what Kasdan gives him to play around with as Daryl Zero. What’s so fun to watch about Pullman in the first place is that the guy seems like he’s really having a fun time right from the start with this role as this goofy detective, and it only seems like it’s going to get better with him along the ride. This is exactly what happens, but not in the way that you would expect, nor in the way that I actually expected.

Ben Stiller: All the ladies love 'em.

Ben Stiller: All the ladies love ‘em.

Zero begins to find out more about himself through this one gal he becomes involved with and as corny as it may seem to some, to me, it seemed believable and deserved since this character was a mystery to me and I wanted to know more about him. Pullman’s great when it comes to displaying all of the goofy antics and ways of this guy, but when it comes down to getting underneath his skin and realizing what makes him tick the way he does, he’s even better and it makes you think more about Pullman’s acting chops. The guy has never been perfect, but he’s always been good and that’s definitely what’s on-display here.

The other character in this flick is played by Ben Stiller and as good as Stiller is with handling these types of yuppie-like roles, he sort of gets a bit annoying after a bit and you can’t help but be less interested in his story, compared to Zero’s. Now granted, this flick is mainly about Zero and his realization of himself through this one case, but Stiller’s character never really seems to get that chance to fully flesh-out and show us more about him. The guy wants to get out of the life that Zero has put him in, get married, have a family and eventually settle into retirement, but it’s a story I, for some odd reason, didn’t see myself caring about too much when all was said and done.

Because, when it comes right down to it, you can’t mess with Bill Pullman, people. That’s just a fact.

Consensus: It may not stay consistently funny throughout the whole duration of its two-hour time-limit, but Zero Effect at least keeps its story interesting, fun, fresh and surprising in ways that may take some for a bit of a different turn.

7 / 10 = Rental!!

Eat your heart out, ladies. And possibly curious men.

Eat your heart out, ladies. And possibly curious men.

Photo’s Credit to: Goggle Images

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