Apparently, Steve Irwin’s death wasn’t the worst moment in Australia’s history. Too soon?
Northern Australia during the breakout of WWII was a bit of a mess, but at the center of all the craziness, pain, anger, and agony, there were two people (Hugh Jackman and Nicole Kidman), who came from two opposite sides, to somehow meet together in the middle and find a love that was greater than any other force in the entire world. She, Lady Sarah Ashley, was a richy-rich, stuck-up lady from England who came overseas to help her husband out with his cattle-business, whereas he, Drover, was just a man who just took the cattle, and helped them across the acres so he got his money and went on his way. In the middle of them both, there is a small, Aboriginal child by the name of Nullah (Brandon Walters).
Baz Luhrmann is sort of like a poor man’s version of Terrence Malick. All skills aside, the guy makes a film every once and awhile, hypes it up forever, and they usually meet all of the hype. Over a career that spans 30 years, the man has only made four movies (five, if you include The Great Gatsby coming out this Friday), and each of them have been pretty good. However, whatever your tastes-buds are, you can’t lie about the fact that the guy loves the material he puts on screen, and always give it his 110% full devotion and time. Hence why his films take awhile to come out. However, maybe the guy went a little too far this time. Just a bit, I’d say.
It’s obvious that before the idea of this movie even came about, Luhrmann watched and studied the old-school MGM movies of the 30′s, 40′s, and early 50′s. Why is it obvious? Well, if you take away the beautiful visuals, the color, the action, the blood, the murder, and some other disturbing images that would have been pretty taboo back in the day, then you have your typical, feel-good epic that would have been made back in the day with Clark Gable and Joan Crawford, and probably took the whole world by storm. However, those were simpler and more modest times, nowadays, our more-current viewers don’t really have the steam and time for all of the melodramatic moments that Luhrmann seems to embrace, but not really think through.
For instance, there are plenty of scenes in this movie where everything is so happy-wappy, so joyful with glee, and so damn smiley, that it’s near-laughable. That’s not to say that the actors involved with these moments don’t try their hardest to get past the obvious-corniness of the material, but they can’t help but fall prey either. It’s almost inescapable with corn-ballish material such as this. But then some weird things would start to happen with this movie, and I found myself getting more and more lost out of nowhere.
The idea that this flick tackles two subjects, both gripping in their own ways, at the same time really makes it seem a tad uneven, as well as up-and-down with it’s transition. On one end of the arena, we have the love story between Jackman and Kidman, which is probably the best element of this whole flick. Both are great workers in their own right, but the way they’re characters were playing-off of one another at first, had me worried that it was going to be too light and rompy to be taken seriously. But somehow, they made it work because they legitimately do seem like they have sexual-chemistry that can’t wait to get you all hot, sweaty, and ready for the lovin’ to take ahold. If I was Keith Urban, I’d be a little ready to put the fist-a-cuffs up next time I saw Wolverine. Then again, I’m not Keith Urban. Which altogether means that I’m not a million dollar-selling, country artist that is married to Nicole Kidman. Nope, I’m Dan O’Neill, who blogs and watches movie. Wow. Life sucks.
Anyway, those two whether they are together or not, make this movie work and keep it moving at a pace that draws your attention in, but it didn’t seem to draw Luhrmann’s attention all that much, considering he’s more concerned with the other aspect of the movie it wants to cover: the Aborigines. The Aborigines were a very important part of Australia’s history, which makes total sense as to why Luhrmann would make them a key-focus in this story of times that are changing, and the love story in-between it all, but it doesn’t fit well as it seems to not be Luhrmann’s strong-suit.
The strong-suit that I’m talking about is how the man can’t seem to really get his point across, without being as obvious as an albino, dressed in all white, playing hide-n-go seek. Yeah, that obvious. Scenes where they are merely showing the types of racism the Aborigines would face are somewhat disturbing, but also don’t fit well in the context of this movie when you have a bunch of people palling-around with one another and believing in the spirits from up-above. Obviously Luhrmann does not like the treatment that the Aborigines faced during this period, but he doesn’t show his feelings in a strong-enough way to really impact you and instead; sort of makes you wish that he didn’t try to explore it anymore than he already did. Shame too, because it’s a piece of Australian-history that is one of the most important, and should never be forgotten. However, you can’t help but want to forget about it, especially when it’s getting in the way of the sexy-time between Jackman and Kidman.
Seriously, they were about to make me faint!
But this review would not at all be complete if I didn’t talk about Luhrmann’s inspired-attention to detail, that never ceases to amaze me, no matter how melodramatic the material may be. Every scene in this movie feels as if Luhrmann not only paid close attention to it, but wouldn’t go asleep for days until he nailed exactly what he wanted to see. Sure, some of the scenes seem choppy due to lame-o special-effects and green-screens galore, however, it’s still something to see and marvel at, considering you know the type of film maker Luhrmann is. I disliked the hell out of his rendition of Romeo & Juliet, but the man always gave me something to go googely-eyes at, which made the movie slightly-better. That’s the same exact formula here, except there’s more to this story than just an age-old love story that we’ve heard, countless-upon-countless of times. This is a story that does have a heart, does have a vision, and does have inspiration, it just gets lost somewhere in the muddle of it all. Thankfully, Baz keeps his head above it, and keeps us watching. How the man does it: I will never know.
Consensus: Modest and old-fashioned to a fault, Australia may not be the type of movie you watch time and time again due to the unevenness of the material, and cloying-parts of the story that seem to pokes it’s ugly head out every so often, but is one of those movies you watch to enjoy, marvel at with the flair for visual and colors, and get ready to sweat, especially once you see Jackman and Kidman lock bodies, and prepare to make love. Oh yeah, baby.
6 / 10 = Rental!!
Who’s being punished here: us or the criminals?
Former FBI agent Frank Castle (Ray Stevenson) still has not been able to get over the murders of his family. Therefore, he takes his anger and revenge out onto the streets where he continues to tally-up a vigilante record that makes every cop in the state of New York, jealous and on the look-out for any suspicious activity. The latest leader in suspicious activity occurring in NYC is Jigsaw (Dominic West), who used to have a pretty face that all the ladies used to love, but is now ruined, all thanks to THE PUNISHER!!
After 3 movies, and no success whatsoever with the box office or the critics, it seems that the Punisher character may have to be put to rest and left in the comics. Why? Well it’s simple: the guy’s just too goofy of a comic book hero. Actually, scratch that. He isn’t even a “hero”. He’s just a dude that goes around, killing people, in the name of what he believes is right. Oh, and it’s always bloody, gory, and not for the faint of heart. That means that these types of movies, are usually made for the older, R-rated crowd, so fuck the little kiddies who want to see shizz like this and that. This is the real shit, men! If you don’t like it, then back off and take your snobbery elsewhere!
Some of you may be a bit confused as to where the hell I was going with those last couple of sentences right there, but don’t be alarmed: I am too. What I’m trying to say is that this character is hard to adapt to the screen successfully for the sole-reason that the character itself has such a fan base that is so divided, it’s hard to really get the name or product out there. That’s why when a film like this comes around, it isn’t made for the New York Film Society or any other group as prestigious as that; it’s made for the bumbling idiots that like when people get their heads smashed in just for the sake of it. No, not psychos. But people who like to see it played out on film where nobody is harmed. I hope at least.
That’s why seeing a movie like this is so hard because being a critic that has a standard built-up after all of these years, it’s so damn hard to just drop it all down, and let a completely dumb movie like this take over. After awhile, I got used to it and it did, but that’s REALLY saying something. To say that this movie is stupid, would be the equivalent to patting it on the back and giving it a cookie for being a good boy. THIS MOVIE IS FREAKIN’ IDIOTIC! I kid you not!
If you don’t know this within the first five minutes, you might just be screwed for the rest of the hour and a half because this is as low on the totem-pole as you are going to get. The script is almost non-existent by how utterly dunce-like this is and makes every piece of dialogue seem like each one of these actors (talented ones, mind you) are just stretching their inner-souls to make something useful come out. Whoever wrote this movie, I feel bad for you and your career because this is like an IQ level of 48 and lower. I kid you not. It’s freakin’ stupid. That’s if you haven’t been able to tell by now.
However, you don’t see a movie about a vigilante that goes around, “punishing” people for the sake of revenge for a well-written script, with perfectly-rounded characters, and an emotional-arch. You want to see blood, guts, guns, bullets, violence, necks snapped, explosions, heads smashed in (like I said before), and campy-as-hell people getting their insides taken out. That’s the type of stuff you want to see and if that’s it: you’re gonna have a field day with this one. Can’t say that I didn’t have fun either, it’s just that this is one of those flicks that is sometimes so hard to get by with all of the terrible qualities, that the positive qualities that make it fun and exciting, really seem to fade away.
But taking this type of movie in as it is, you could do worse. Actually, A LOT WORSE. With a movie like this, you can’t expect much and expect to get much out of it. You just go in, get ready to see some people shot, stabbed, hacked-up, or murdered in any type of way, and expect to smile or go “oooooooohhhhh” by the end of it. Those are the types of people that this movie is made for, and even though I can’t say I’m one of them, I still do appreciate a nice, mass-slaying every once and awhile. Not always, but when it’s done in a fun, unadulterated-way, then I’m rarely ever disappointed.
Even though I’m a huge fan of Thomas Jane as the Punisher and in general, I still have to give some kudos to Ray Stevenson for at least giving Castle some snarl and edge to him that you didn’t really see quite as well last time. Granted, that movie was more concerned with painting Castle as a human-being that still struggled with the reality that everybody he practically knew has been massacred, but that’s not what this movie, or this version of Castle is about. Even when the movie does try to tackle themes and ideas like that, it fails miserably. Thankfully, Stevenson keeps his head above the water and it’s a shame that this guy doesn’t get more leading-roles his way.
Then, on the other side of the coin, you have Dominic West as Jigsaw, and god is this guy chewing the scenery! I mean, every single second he is on-screen, he sounds so ridiculous with his over-the-top, New Yarrrrk accent, and has the goofiest-look that I couldn’t even take seriously after awhile. I get why the guy looks the way he does and I understand why the comics made him that way, but for everybody in this movie to just sit-around him, and act normal as if he doesn’t look like a freakin’ cheap-o, Halloween mask I’d get if I was in a total rush for one before I got sloshed at my dorm room party. West is okay, but this material for him just blows and makes me wonder if he lost a bet, or was just trying to stretch his wings out a bit and get some mainstream exposure. Whatever the predicament was, I feel bad for him and everybody else in this flick that actually took the bait to work with this screenplay. Screenplay, in the sense that it’s just a bunch of words, thrown-together on a page with a bunch of scenes labeled; “Bam! Boom! Bop! Crash! Bang!”
Consensus: If you want a movie that’s going to satisfy your dramatic, and emotionally-powerful needs; then Punisher: War Zone is nowhere close to doing that. But if you want action, blood, gore, and cheesy one-liners, then you’ll be in-store for a bat-shit crazy time.
5 / 10 = Rental!!
White blood is not cool! Give me red!
Denny Colt (Gabriel Macht) was a murdered cop who is mysteriously reborn as the masked crime fighter called the Spirit. The Spirit roams throughout the streets of what he calls, “his city”, loves it’s women, and fights crime whenever it rears it’s ugly head. The only problem is that his arch-enemy, Octopus (Samuel L. Jackson), is a bit more than he can handle and as his past continues to come right back at him, he finds it harder and harder to get past what might just be his final battle. Everybody else, except for him, hope it truly is.
In a time before Dan the Man was the esteemed critic he is today, he was just a young lad going to the movies, seeing what he could find, and making up his mind on what he thought. That’s right, it was all in my head before I ever started typing down crazy crap! But during that time, the Christmas season of 2008 was where I single-handedly, self-financed AMC for the sole reason that I was there almost every other day. This was the days before I was able to get into screenings so in ways, I had to pay and in other ways, I just snuck in. I was a bad, bad cat, but not as bad of a cat as I thought I was until I saw this movie. Then, maybe I thought it would just be best to live off of Netflix for awhile.
Even after the 4 or 5 years since I’ve seen this; little of this movie has changed. I still remembering it sucking, even until this day, except now I have a clearer-view on what does and what doesn’t work in a movie. Especially shitty ones like these, where almost nothing works. Sounds harsh, but it’s the truth. The only positive-element of this movie that was worth watching and waiting around for this second-go around was Gabriel Macht as the Spirit and the cat that followed him around.
Macht has never been the type of actor to really knock it out of the park in a role, mostly because he’s never really gotten the spotlight. He’s usually been known as “that guy” in big-budgeted, shit-boxes like Bad Company, Whiteout, Because I Said So, and many, many more that I’m almost too ashamed to admit that I’ve seen him in, let alone actually viewed (the shit I do as a critic). So, this is why his performance as the Spirit is actually pretty good because he gets a chance to take over the film, do his thing, show some wit, have his charm, and be done with it. Is the guy anywhere near spectacular? Hell to the no! But in a movie like this, you need something that keeps you going, and he was exactly that for me in this movie. No wonder why the guy hasn’t really been given center field ever since this, but it’s a damn shame because the guy handled the pressure well. It’s everybody else who screwed him over.
No matter what crap he shows up in, Samuel L. Jackson is always the best part of it all. He’s always loud, crazy, yelling, and finding ways to have fun, even if he is the only one but even his performance here as the Octopus felt like he was parodying himself in a Funny or Die video. Not only is the Octopus a shitty villain to begin with, but this guy is literally all-over-the-place in terms of if he’s trying to be goofy, scary, intimidating, or even worth the fight at all. One second, he’s beating the crap out of the Spirit with a toilet, then the next second, he’s dressed-up as a Nazi talking about lord only knows what. It’s strange to see Jackson in such a role like this and have it not work, considering that he is usually the most entertaining aspect of any movie. ANY MOVIE.
But enough of the man meat, what about the ladies?!? Well, they are probably even worse and that’s not a rift against of their acting-abilities at all, it’s just the hands that they were dealt. Eva Mendes plays the Spirit’s old-squeeze who shows up looking all hot, sexy, and bad-ass, and does nothing with it at all. I mean, she shows her back-side once but if that’s all you got going for you in a role, then you’ve got major problemos. Scarlett Johansson seems like she should have been having the time of her life as the Octopus’ side-kick, Silken Floss, and she might have very well been, but we would have never known since she dead-pans to the point of near-boredom. And I’m talking on her part, not mine, even though, once again, she could have easily been having a ball with this role. Then, sadly, there’s Sarah Paulson as the Spirit’s current gal-pal, Ellen Dolan, the nurse with a heart of gold and the leniency of a nun, and does nothing at all with this character. Sad to say, too, because I love this girl in almost all she pops up in.
The reason why I’m paying so much attention to the cast, right off the bat, is because the main problem with this movie lies solely with them. Not their performances (even if they do suck), it’s more that the script has nothing go for it. It’s not fun, it’s not entertaining, and terribly disjointed. I never knew if whether or not this movie was trying to be funny, tongue-in-cheek, or just a serious, superhero movie with action. Very, small amounts of action. I never knew what the hell Frank Miller was trying to do and from the looks of it: neither did he.
Is it purrty as hell? Damn straight, but it only goes so far as to seem like a distraction to people who care about more meaningful things like plot, character-development, and action. None of that is here and even when it attempts at tackling anything like that; Miller and Co. miss terribly. It was a boring as hell experience that I remember so fondly for boring me to near-tears when I saw it all those years ago as a young guy, and still sucks all of these years later. Whether or not this review will make you want to see it yourself and take out of it what you can, is totally up to you, yourself, and you (I know: close, but no cigar). However, if I am going to advise anything: stay away from this movie. If one of your hardcore, nerdy friends say it was rad, kick them in the ass, slap them ion the face, or do something that has them wake up, smell the roses, and realize that their asses are wrong. DEAD WRONG!!!
Consensus: The Spirit is one of those movies that seems like on-paper, it would have been bucket-loads of fun, but is nowhere near that with a dry-personality, performances from a talented cast that seems as if they are lost in the whirlwind of a storm of confusion, and nothing really fun, exciting, or remotely interesting to stick around for. Just see it for the kitty and let that’d be it.
1 / 10 = Crapola!!
You can only say so much about a sport where the objective is to beat the absolute crap out of the other person.
When respected jujitsu master Mike Terry (Chiwetel Ejiofor) eschews a lucrative prize fighting career in favour of opening a self-defence dojo, it appears that he has chosen a peaceful path in life. The dedicated martial artist’s fate takes an unanticipated turn, however, when he is manipulated into participating in ultimate fighting championships by a group of unscrupulous actors and fight promoters. Mike is way in over his head and tries to find whatever it is that he can do to bring back his old life that he knew and loved before it all went to shite.
It may sound pretty strange, but this martial arts film is written and directed by David Mamet. Yes, Glengarry Glen Ross-David Mamet. It may seem like a weird-fit to try on and get used to, but much to my surprise, as I’m pretty sure everybody else’s as well, but Mamet actually practices jiujitsu in real-life and considers it a nice hobby of his, when he isn’t writing out characters that say “fuck” a lot. But don’t worry, people, this more of a Mamet film than it is a carbon-copy of Never Back Down, but don’t be surprised if you can’t tell a total difference between the two.
Mamet’s dialogue in this flick is, once again, very well-written. This time, instead of being just another pile of snappy one-liners that Mamet just continues to toss at the audience, the dialogue here is more natural than you would expect from this dude and it works in it’s approach to this story. This isn’t your non-stop, kick-ass martial arts movie. Instead, it’s actually more character-based and has a story that may draw you in a lot more than the actual fight sequences themselves. And although that may turn people off expecting a bunch of karate chops and take-downs left and right, for me, I wasn’t bothered at all. In fact, it kept me more involved with what was going on because there should always be more back-story to any extreme sport, especially one like martial arts.
But even when the fight scenes do come onto the screen, they actually work and bring a lot of energy to this film mainly because Mamet is able to get so up-front and personal with each tussle. There’s not many fights (maybe about 3 or 4 in this hour, 34-minute movie) but whenever they came on, I liked it and I think it’s obvious that Mamet just enjoys the art of ultimate fighting. This really isn’t the type of film you just got forced to do and it’s apparent that Mamet wanted to do this film and his curiosity and attention to detail, pays off here. People do say “fuck”, a lot too, but not like you’d expect them to and it’s not all about the cursing that makes this movie work which is what I actually liked for a nice change-of-pace.
However, as good as the script was, I couldn’t help but think he tacked on way too much here with this simple story. The main story itself is pretty much about this guy who can kick anybody’s ass, gets into some major debt, and is trying to find a way out of it the hard way. This in and of itself is a pretty simple story and even though it may not be the most original ever in the whole, widest world, you would think Mamet’s skills as a writer would be definitely more than enough to save it from the same old shit we usually see. But Mamet doesn’t stop there and continues to go on and on and on with this story, almost to the point of where it’s random. He tries a little too hard with such a simple story about the underdog coming out on top, but adding so many characters, so many random twists, and so many consequences that could either happen this way, or not, and show how it effects the rest of the story. Seemed like way, way too much for a story like this and actually lost me a couple of times.
All of this wasn’t as terrible as I thought, until I got to the final act and that’s where I noticed that everything came full-circle for me. In a bad way, of course. The final act comes on pretty strong with the right bit of tension but Mamet pulls the rug from underneath us, gives us something to think about, and adds yet another twist to the already-confusing plot developments. But what I noticed about this ending is that I wasn’t as glued to the screen because Mamet had so much going on, that the central story itself just sort of gets lost in the muddle of it all. Surely, there must have been an easier way to get our main character back in the square-circle, without having to go through all of these life hurdles and surely, there must have been an less predictable and ludicrous ending like the one they have here. It could have just been simple, plaid, and usual, but that’s not how David Mamet rolls and whether or not you like that about this dude, is all up to what you prefer in life.
Mamet’s plot may get lost, but at least his characters stay true and that’s because of the performances from the stars involved. Mike Terry is an awesome role for Chiwetel Ejiofor because the guy, once again, gets to prove that he has what it takes to be a leading man and turn in a convincing performance, no matter what the movie or role may be. Not only can the guy spout-out Mamet-dialogue like it’s his job (technically, it was) but he also shows that he has a lot of great physical skills and it surprised me to hear that this dude didn’t have any previous martial arts training because he looked like a pro at what he was doing. Good thing that Mamet focused the film mostly on him, too.
The two females in Terry’s life are played by Alice Braga and Emily Mortimer, who are both good but aren’t given much to work with. Braga is Terry’s bitchy, money-hungry wife that would leave him in a heartbeat for some extra moolah, and Mortimer is Terry’s newly-found friend/student that is going through a rough time but her story never fully gets developed enough for us to care about her. Shame too, because both can give off some awesome work when they can. As for everybody else, you have the villains like Joe Mantegna, Ricky Jay, Rodrigo Santoro, and surprisingly, Tim Allen who all turn in some good work as a bunch of shady baddies, but are just all over-the-place that it’s hard to declare which one was the “baddest”. My money is on Buzz Lightyear. That guy seems like a total dick behind closed doors.
Consensus: David Mamet definitely brings a lot of fun to this curious, passion-project of sorts but Redbelt features way too many ideas, twists, and characters going on at the same time, to do nothing else but add confusion and take away from the final-product. It’s not a thrill-ride, but a more-sophisticated look at marital arts, with the occasional beat-down here and there.
6 / 10 = Rental!!
Maybe this should be a sign to you, Angie, that it’s time to stop adopting so many damn kids!
Christine Collins’ (Angelina Jolie) prayers are met when her kidnapped son is returned. But amidst the frenzy of the photo-op reunion, she realizes this child is not hers. Facing corrupt police and a skeptical public, she desperately hunts for answers, only to be confronted by a truth that will change her forever.
That plot-synopsis up there that this movie is based on, apparently is all true and surprisingly happened during the 20′s/30′s. But what I find so funny about that idea, is that the movie writes it as “A True Story”, rather than playing it safe and going with “based on a true story”, or “inspired by true events”. You can get away with so much more if you with the two former-options, but nooooo, Clint Eastwood is taking a stand and believes in what he sees. Sadly, it is Clint Eastwood were talking about here, and nothing is as realistic or as simple as it may look on paper.
The problem that Eastwood runs into with most of his films (this one especially), is that he never seems to really focus on one aspect of the whole story. Instead, the guy goes for everything that’s involved and feels the need to load his film up with exposition, random details, unheard of hints, and unnecessary subplots, just in hope that it will spice things up and keep the audiences attention up on-screen. This just becomes a total jumble of randomness that could have really worked, had it been taken-down a notch by about 3 or 4 story-lines. That’s why when he does dial it down, it works perfectly and helps the story guide a simpler-path than it had before. However, the times when he doesn’t and just feels the need to add and add some more layers to a story that’s already as simple as it can be, then it can be a bit bothersome and that’s the problem with this movie here. Too much, too little needed.
However, it isn’t always like this. For the first 30 minutes or so, the movie focuses on Collins as she looks for her son, finds him, realizes he’s a fake, and then decides to take matters into her own hands and bother the hell out of everybody involved with the investigation. Right here in the beginning is actually compelling and kept me interested into where I could see it going, and especially when you realize that the way all of these cops are in this movie, are pretty much they were in real-life. It’s a shame that it’s a true-story but hey, I guess it had to happen. Now, after Collins runs into a big problem with the police department, then things go south for her real quick and ultimately, is where things go south for the movie as well. Instead of sticking to Collins’ story, we get a story about the corruption of the L.A. police department that ran rampant during the 20′s/30′s, then we get a story that’s about this serial killer that seems reasonable but also takes away from Collins’ own story, a story about the psychiatric ward and how all women who ‘effed with the cops got shipped off to there, and then another story about how Collins needs to move on. All of these stories seem like they serve a purpose to the big idea at-hand here, but still never mesh well together and only keep us further and further away from the actual story we started off with: Collins finding her son.
All of this piling-up of ideas and story-lines just creates a very long, drawn-out piece of work that never, ever needed to be 2 hours and 24-minutes long. I mean, I guess Eastwood didn’t want to leave out any details, but Christ man! At least give me the Spark Note version of everything that’s happening, rather than the College Textbook! I can’t rag on Clint’s case too much because the guy does have some nice-moments here and some important things to say, but he needed to buckle-down on that time-limit. Without this long-ass time-limit, I may not have been as bothered as I truly was.
However, where the story seems to fly-around wherever it sees fit, the one person keeping it all glued together is Angelina Jolie as Christine Collins. When Jolie isn’t off with her hubby Brad, taking care of 7 kids, or shooting at people in her latest, action blockbuster, she’s actually out there giving some understated, grounded performances that may shock some people considering she hasn’t really been known for doing that as of late. Jolie does an awesome job as Christine because she allows that sympathy and love we feel for her, shine through every-frame of the movie and you can really feel the utter sadness and depression coming from this problem in her life. Obviously losing a kid is no happy-thang, but instead of making it a non-stop problem that gets old, real quick, Jolie keeps us watching and having us wait to see more layers of her come pouring right out. It’s great to see Jolie like this and I can only hope that she continues to do more of it. You know, when she isn’t off with her hubby Brad, taking care of 7 kids, or shooting at people in her latest, action blockbuster
Her main co-star, John Malkovich, is practically given a top-billing next to her name but yet, still isn’t in it as much as you would expect from a big-name like his. Malkovich plays Reverend Gustav Brigleb, one of the guys who first sticks up for Christine, and plays him very well but not as spirited or as energetic as we’ve seen this guy act before. It’s a nice performance, no doubt about that, but a bit of a disappointment considering we all know what he can bring to a movie. Maybe more time could have been given to him, his character, his emotions, and his motivations for helping-out Christine, rather than the 500 other stories Clint had on his plate.
The other people in this cast try their hardest, but all sort of fall by the waste-side once you see how they are all portrayed, especially the men of the police unit. The problem with how Eastwood portrays these police officers/detectives is as if they have no remorse, no souls, or no idea of being a good person at all. It seems as if they are all concerned with saving their own butts and don’t want to hear a single word about what it is that they’re doing, is wrong. Each and every one was portrayed as the stereotypical villain we usually see in one-sided movies like these. It’s not even that they’re just bad-guys either, they’re laughably bad. The dialogue for them is so obvious, so predictable, and so cliche, that you have to wonder just how the hell they let idiots like these actually have the authority to carry a gun and a badge. The one I remember the most was probably Jeffrey Donovan as the main police captain, who has a dated and forced accent that comes off as if he has a stick up his ass, or just can’t read his lines. Either way, the guy sucks and I don’t know how the hell he has a hit TV show on USA. Don’t even know what it’s called, but it’s been on there forever and with him as the lead, I don’t know.
Consensus: Though Changeling features a strong, central performance from Jolie and a sometimes-interesting “true story”, Clint Eastwood’s direction still gets in the way with his constant use of constantly adding on layers to a story, losing his central focus, and never really being able to make it all come together for an eventful and memorable ending. It just flops like a fish, and leaves your mind as soon as soon as the credits begin to roll.
6 / 10 = Rental!!
Now I know what the ‘B’ in Barcelona stands for now. Yeah, I’m a dirty boy.
Two American women named Vicky (Rebecca Hall) and Cristina (Scarlett Johansson) spend a summer in Barcelona to re-connect with the lives they think they have, and hopefully be able to find inspiration in terms of love and life. When vacationing and trying to discover themselves in Barcelona, they meet an artist, Juan Antonio (Javier Bardem), who is attracted to the both of them while still enamored of his mentally and emotionally unstable ex-wife María Elena (Penélope Cruz). Somehow, everybody starts boning one-another and it’s all deserved. Why? Because it’s Barcelona, that’s why!
Regardless of whomever the hell he prefers to go to bed with at night, Woody Allen is a film maker that knows his shit and knows how to do it right. He always has a knack for writing these stories that are so simple, so down-to-Earth, and so plain, that they make you feel as if you could have written the general-premise of half-of them when you were still drawing circles with your big crayons. That’s not to discredit Mr. Allen in any way, shape, or form, it just shows you that if you have the talent to make you writing witty and always fun, then you can do no wrong. Sadly, this is not the one movie where he exhibits his best work. Sorry, Midnight in Paris. Maybe we’ll get another like you, sooner or later.
The problem I think that Allen runs into with this flick, is that he’s more concerned with the look and feel of the whole movie, rather than what makes it so important in the first-place: the characters. This may come-off as a shock to you readers out there, but surprisingly, the characters in this movie aren’t as electric or thought-provoking as you’d think. The two female leads that this story practically breathes and dies by, Vicky and Cristina (hence the title), aren’t anything more than just a bunch of confused, American college students that just seem to be the types of people who think too much about the little shit in life, and don’t ever decide to wake-up, smell the cauliflower, and get the hell on with what’s in front of you at the time-being. There’s even this one scene where we see how much of “feeler” Vicky truly is by the way she listens to a Spanish dude play guitar, and practically cries about it once it’s over. Why? I don’t know, maybe because Woody Allen likes these types of characters that make more meaning to stuff than their really is in the first-place.
It may sound weird since I am talking about a Woody Allen movie, where the characters are mostly neurotic to the point of where they have to bring a freakin’ tranquilizer with them everywhere, but it just doesn’t work here as well as it does in other films. You could even go so far as to argue that maybe the same case with the characters being too neurotic and quirky are evident in mostly all of Allen’s work, but what separates the best, from the worst, is the way he’s able to cover it all up with witty and hilarious-dialogue that keeps you interested in seeing/hearing what these characters have to do or say next. I never really felt that with these characters and I sort of just wanted them to stop their damn talking, and get back to the whole love-makin’ idea. But without Javier Bardem in the mix. If you know what I mean?
If there is anything that Woody Allen can fall back on in this movie it’s that he is so determined and inspired to show Barcelona in it’s finest, and most extravagant form, that it actually works. Barcelona is a place I would always love to venture out to, but being 19, with no job, no wife (not that I know of, no kids (not that I know of), and no relation whatsoever to a billionaire, may never get the shot to. And if that is the depressing, but true case, then this is probably the closes I’ll ever get to that trip and I have to say it’s better than nothing because you really feel as if you are there in this setting, where the pharimones between these fellow-residents are just running-wild. Seriously, if this movie doesn’t get you hot at all, I don’t know what will. And I’m not just referring to watching this during the Summer-time, neither. If you know what I mean?
The other key-factor to making this movie work is the cast that, as usual with most of Allen’s flicks, is star-studded but shows everybody doing their best to make it all work out. For the most part, they succeed. Javier Bardem was just coming off of his Oscar-win as the bad-ass Anton from No Country for Old Men, and took a pretty risky, but big-move in his career gunning for a role that’s as suave and sexy as this. Thankfully, Bardem pulls it off like crazy and shows that the guy can play charming and cool, but also have you totally revved-up to go out there and tell babes to get in their plane for Barcelona in an hour. Thank you, Javier Bardem. You give hope to all men out there in the world, in the hopes that they will one day, find woman that are as desperate for sex as themselves. It’s sad, but true.
People get on Scarlett Johansson’s case for not being the greatest actress since the glory days of Elizabeth Taylor (or some royal beotches like that), but the girl’s got a look and style to her that works and have you feel something for her character, even if you can’t put your finger on what it is. She’s got this real sense of vulnerability and confusion within her act that makes you feel bad for her character when she gets a tad screwed-over from time-to-time, and makes you just want to give her a hug and possible smooch on-the-side. However, we all know that will never, ever happen unless you’re Ryan Reynolds or Sean Penn (present-day, mind you), so it’s all hopes and dreams from here. Rebecca Hall is always showing-up in heavy-duty dramas where she plays the straight-laced, serious gal that does her own thang and likes it, and her performance as Cristina is pretty much the same old song and dance for her, but with a bit of a lighter-feel this time. Hall is good at playing up-tight and shows how one girl can practically go from despising everything, to just wanting more out of her life of living, and life of lust. Hall is always great in what she does, but here, I saw that the girl could really handle comedy and make it work. Let’s just hope Hollywood takes notice of this and stop making her co-star as the female love-interest all movies seem to need.
The most-popular and noted aspect of this movie was probably Penélope Cruz, with her Oscar-winning role as the psycho, ex-girlfriend. It’s a role that suits our usually high-strung actress like a glove, but also doesn’t do much for the story or it’s meaning. The whole movie, you are constantly just waiting for Cruz to show up and light everything on fire and have her presence be known, but she shows up to the party a bit too late, and doesn’t really liven things up like I expected her too. It’s sort of like me that one time at my own Sweet 18th. All I wanted to do was get my ladies, my money, and my food, and I had to wait 3 hours for that crap! What the hell?!? Anyway, back to Cruz. As she usually is with anything she gets thrown at her (even you, Tom Cruise), she’s great with this role and definitely brought out the most laughs from the cast. Everybody was pretty damn serious up until she reared her beautiful self in, but still didn’t keep me as awake as I would have wished for and being that this was an Oscar-winning role: I was expecting a shit-load more from her. But then again, who doesn’t just love when Cruz breaks-out her native tongue? Huh? Huh? Am I right or what, fellas? Okay, I guess I’m the only perv around these parks. Thanks everybody!
Consensus: Allen’s writing in Vicky Cristina Barcelona isn’t as sharp or as entertaining as it has been in the past, but still, with a cast and setting like Barcelona, you could do a hell of a lot worse with a hell of a less expectations.
5.5 / 10 = Rental!!
American gangsters are so boring.
This is a flick about a Russian mobster (Karel Roden) who orchestrates a crooked land deal, millions of dollars are up for grabs, and all of London’s criminal underworld wants in on the action. Everyone from a dangerous crime lord (Tom Wilkinson) to a sexy accountant (Thandie Newton), a corrupt politician (Jimi Mistry) and down-on-their-luck petty thieves (Gerard Butler, Tom Hardy, and Idris Elba) conspire, collude and collide with one another in an effort to get rich quick.
After giving us two turkeys in-a-row like the ultra sappy, soap-fest that was known as Swept Away and the oddly slow and philosophical brain-take that was Revolver, Guy Ritchie was finally back to his old-ways in showing us gangsters that did bad things, said very funny things, and also, found themselves in some crazy situations that somehow connect to other gangsters that only live a couple of blocks down the street from them. Say what you will about it being conventional and nothing new for Ritchie to explore, but just be happy that he wasn’t doing another movie with his honey-at-the-moment, Madonna and making us watch as Jason Statham screamed his arse off for over an hour and some odd minutes. Yeah, be happy you damn people.
Going back to his old roots may piss some people off because it’s nothing and nothing original we haven’t already seen from the dude, but Ritchie isn’t worried about that and instead, allows us to have a great time as much as he must have been making this movie. There’s a lot of goofy-stuff here with comedy coming-out in places you would have never expected and even some violent spots that just so happen to make us laugh but no matter what, Ritchie always adds in his style of wit that makes this flick seem all the more jokey, no matter how much it may try and be serious. You really can’t take a Ritchie flick seriously and even when this movie actually does try to do so, you don’t really buy into it and just realize that it’s better if you don’t pay attention to any of those aspects at all and pay attention to the finer things in life, as well as this movie.
The finer things in this movie is definitely the plot and just where the hell it goes, where it stops, where it changes, and so-on-and-so-forth. This is typical Ritchie: setting-up a plot for us, giving us all of the characters we need to know, let us know what they do, what the stakes are, and just let it all roll-out as if it was just one, huge Domino game. You start to see how a certain group of characters are effected by another group of characters and it almost never stops, especially with all of the damn twists and turns that Ritchie seems to take, yet, they never get old. Ritchie always knows when to say “enough” and rather than just continue to pile-up on the plot twists and have things get spiced-up a bit more, as well as more convoluted he lets everything settle-in and have it become familiar to us, and then throw in another twist or turn, here and there just for good measure. Seriously, as much fun as it may be for us to actually watch this flick, it seems like it wasn’t even more fun for Guy to make it and that’s something that we all felt like we missed for the longest time. Glad to have you back, Guy. Now stay the hell away from that talent-sucker we all know as Madonna!
I think the biggest misstep for Ritchie here, as a writer and director, is that he never really pays all that much attention to every character the way they should have been payed attention to. For instance, in all of his other flicks, each and every single character was given a great-amount of screen-time that just so happened to fly-in whenever another character would show-up and become apart of their story-line, as well. However, here, in this flick, certain characters get the most attention, for the longest time, and then they stay there, only to ruin other story-lines of other characters. It isn’t that bad right from the start, mainly because all of the stories are fun and interesting to-watch, but once the film starts to focus on a bunch of other characters that haven’t been seen in awhile, you start to realize you don’t care all that much about them and it continues this way, until every story-line, in typical, Ritchie-fashion, finds themselves convulsing into a weird, but exciting finale.
It’s a trip that’s fun to take and ride-on, but it’s a bit messy and when it’s all said and done, you’re not really sure how it worked or even if it did. Heck, it’s almost like Ritchie was able to distract us all with his non-stop camera and writing tricks that he always has up his sleeve, and almost makes us forget that underneath the surface, is a very sloppily-made flick that forgets about certain-aspects that work, but remembers clearly the ones that don’t. I don’t know, maybe I was the only nut who was thinking that while watching this but either way, it definitely seemed a bit-off to me but also showed me that Ritchie is always the man to be trusted in terms of making a fun, entertaining flick, no matter how derivative it may be.
However, the familiarity of the style and story didn’t bother me all that much, especially when you take into account the quality-cast that he’s working with here. Gerard Butler is pretty solid as One Two, a tough-as-nails crook that always has a flair for wit, but also allows himself to be on the butt-end of a joke in terms of how he’s viewed-at as a tough-guy, that can also be a tad sensitive. If only Butler continued to take good roles like this nowadays, then we wouldn’t have shite-boxes like Playing for Keeps or Chasing Mavericks. That’s only a small list, though. Playing his two partners-in-crime are Idris Elba and a very skinny Tom Hardy, and as good as they both are, they aren’t really given a whole bunch to do that really makes them stand-out among the rest like Butler, even if Hardy’s character is a bit on the flip-side of the bed, if you know what I mean.
Out of the whole-cast, the one who really steals this whole movie from underneath his wing is Tom Wilkinson as the old school gangster that does things his own, vicious way. Wilkinson seems to be having a ball as the mean and cruel gangster that doesn’t seem to put-up with anybody’s shite, no matter how heated or reasonable it is. Wilkinson never really gets to play evil-like characters such as these, so to see him have an absolute ball with it, was an absolute ball just to watch it. Playing his partner-in-crime is a fun and terribly-quirky mobster played by Mark Strong, who is really good at playing these types of roles, and is even better with his cheeky narration that supplies most of the film’s humor throughout.
I think the one performance I was really bummed-out by was Thandie Newton as Stella, the accountant that sort of starts all this shite between these countless blokes. She starts off strong, smart, and sexy, and seems like a huge-departure for Ritchie to have in one of his flicks since all of his characters are mainly just a bunch of fellows that do shit the old school, gangster way, but after awhile, turns into the type of character you’d expect her to be and it’s a bit of a bummer because she really had a lot of promise going for her. It was sort of like she was just there to move the plot along and as much as Ritchie may have gotten his wish fulfilled on that aspect, it still feels like a bit of a shame, considering he was really brewing on something here.
Consensus: Though it treads familiar-territory for Ritchie, RocknRolla is still a crap-load of fun that’s filled with witty characters, surprising twists and turns that you rarely ever see coming, and an ensemble cast that always seems game to work.
6.5 / 10 = Rental!!
A cheeseburger is looking pretty good right about now.
Michael Fassbender plays Bobby Sands, an IRA volunteer and M.P. who led the second IRA hunger strike and participated in the “no wash” protest in which Republican prisoners tried to regain political status when it was revoked by the British government in 1976.
After checking seeing the sex-addiction flick last year, also known as Shame, I realized that this director Steve McQueen (go ahead, make the jokes) definitely has something to prove in terms of visual-style and the lengths he will go in order for us to feel as destroyed and hurt as his subjects are. This approach definitely limits your audience no matter what story you can throw-out there on the screen, but for a guy like this, and the story he’s tackling, it’s the only approach.
Yeah, for all of you people out there who don’t know (as I don’t either) apparently every member of the IRA who got thrown in jail, didn’t give into anything in there. They didn’t take clothes, they didn’t take food, they didn’t take beds, hell, they didn’t even take any toiletries Basically, they just shat everywhere, let it run-loose, be naked all day, everyday, and sit there in their dirt and filth. If that doesn’t make you want to make a shower just thinking about it, then just wait till you see this movie, because it’s one gritty mofo that McQueen knows how to film.
What I like so much about McQueen’s style of film-making is that he doesn’t over-exploit whatever it is that he’s trying to say. Instead of having these long, winded speeches about the point he’s trying to get across, he instead, let’s the images speak for themselves and if you don’t believe me, seriously, count how many times you hear somebody speak a lick of dialogue in the first 45 minutes. I kid you not, other than about 25 minutes or so of actual-dialogue, the film takes the “silent treatment” and doesn’t let us forget about it, either. It may all sound boring, slow, and dull, but McQueen keeps things interesting, alive, and always gritty. “Gritty” is the exact-way you need to tell a story about a bunch of dudes who don’t shower and sleep in piles of their own shit.
As gritty and dirty as it may sound, and actually is, McQueen still doesn’t let that get in the way of his style and shows us that there is a lot of pain to be seen in this prison. A couple of memorable sequences stuck with me like the tracking-shot of all of the prisoners getting their arses beat to shreds by a bunch of dudes with clubs, or the tracking-shot of the dude sweeping-up all of the urine left in the hallway by the prisoners, but the one shot that sticks in my mind the best is probably the most obvious choice, but with good reason, too.
There’s this scene that takes place in the middle of the movie where Bobby and this priest meet-up to talk about why Bobby shouldn’t move ahead with his hunger strike idea of a protest that’s indented into his mind, and it’s not just the most memorable scene because it holds the longest single-shot in cinematic history (17 minutes long, yikes!), but because it’s the scene where the whole movie comes alive. The way these two men speak to each other about life, religion, and what’s right and what’s wrong, is absolutely brilliant and makes you see the point-of-view of both sides. You see the realistic, humanistic-side of how a person should keep their pride by keeping their own lives, but then you see the politically-inspired, rebellious-side as well stating that a person should, and can do anything and everything they want, as long as they are sticking clear to what they believe in. It provides us a look at both-sides of the coin and makes us realize that maybe fighting for what you believe in, no matter how extreme it may be, is the most effective-way of rebellion after all. Now, I don’t think the flick is saying that the only way you can get a point across is to starve yourself to death, but what I do think it’s saying is that the people who were in the IRA and protested, fought for what they believed in, no matter how crazy it may been seen-by from other people’s standards and ideas.
But see, that scene, as great and powerful as it may be, is also the last scene where anything really seems to happen and keep your mind on what’s going on, because after that, it sort of goes downhill from there. After this scene, we have about 30 minutes left of the actual-film and as happy as I was to see that when the scene finally ended, I was a bit disappointed by how McQueen didn’t seem to capitalize on the energy and the emotional-stride this flick seemed to have. The last 30 minutes, are literally just dedicated to Bobby looking like a needle, not eating, sleeping all day and night, throwing-up blood, not eating, still sleeping, having day dreams of a time he remembers the most vividly from his childhood, not eating, getting a visit from his mammy and pappy, and then (*SPOILER*, I guess), passing away and dying a very slow and painful death. Yeah, it’s pretty damn repetitive after the first 10 minutes and it doesn’t stop from there, which means that we have to just sit-there and watch as a guy practically kills himself, right in-front of our own eyes. Not a fun-experience, but then again, I wasn’t expecting fun, but instead, just wanted the movie to move 0n and get going.
However, even if these last 30 minutes seem to fail the rest of the movie, Michael Fassbender is still compelling as hell to watch and it’s so obvious why the guy is the huge, up-and-coming star that he is today. Bobby Sands is the main-character of this story, yet, doesn’t show-up until half-way through the second act but when he does get involved, it’s all Fassbender’s show from there and it’s a show worth watching from start-to-finish because this guy just has so much power on the screen, it’s hard to take your eyes off of or think of anything else. Fassbender goes all “Christian Bale” with his role, and gets mega-skinny to the point of where I really don’t think he even ate bread crumbs. That’s how bad he looks but that’s still a good thing for him and his performance since it really shows you the passion and dedication he has for his characters, something we all know and love about him now.
Consensus: Hunger may fall-apart by the last 30 minutes, but it before all of that, it’s a powerful and gritty, yet stylistic-tale of one man’s fight for what he believes in, played so passionately by Michael Fassbender who really shows us what he has, way before he became the big star he is today.
8 / 10 = Matinee!!
No matter how grand or wonderful your life is, you still end up shitting your pants. Message of the day, everyone.
Benjamin Button (Brad Pitt) was born on the Day the Great War (WWI) ended. That was supposed to be lucky day to be born on but this was an unlucky case because Button was born old, week and dyeing. Benjamin is now living his life in reverse and dealing with the hard ships that have to occur with such an unfortunate circumstance as this.
Watching this movie almost 5 years after I originally saw it really has me thinking, “Did I really just love this movie because I wasn’t that cinematically-inclined yet? Or, was it just that I loved this movie because it was a good movie?”. Those thoughts go through my head, each and every single time I even bother watching/reviewing a flick that I saw so long ago, way before I even thought about this website. Some of them turn-out to be the great story that I once remembered them as being, and others, well, thanks to my knowledge of what’s right and what’s wrong with a movie, make me realize that I had plenty of years to grab a hold of my movie-knowing mind. Somehow, this movie, is somewhere right in the middle and I have yet to make-up my mind. Oh well, hopefully I will by the end of this loooooooooong review.
The reason why I put such a strain on the word, “long”, was because that is exactly what this flick is and to be honest: it doesn’t have to be. This is adapted from a short story by F. Scott Fitzgerald, and for a bunch of source-material that probably equaled up to about 10-to-15 minutes full of reading-time, you would think that a simple story wouldn’t need to be told in over 3-hours. The story of a man that ages backwards and has all of these experiences in life, meets all of these people, and has a love that lasts generation-after-generation, does seem like it needs to be told in it’s own, epic-way, but this is a bit too much of a push. However, as long as this flick may be, you still can’t forget that this is a beautiful tale of growing old, falling in love, and above all, living life to the fullest. Yeah, it’s corny, but what makes it so strange is that the message is brought-out by David Fincher. Yes, THAT David Fincher.
It is quite surreal to see a story that’s so much about the human-spirit and always turning lemons into lemonade, directed by the guy who’s brought us some of the sickest stories in the past decade or so, but that’s what makes it so unique as well. Fincher has never, ever came close to touching material like this and at times, you’ll just think that it’s an attempt for him to make some cash and make a passion-project of sorts for himself, but you’ll begin to notice, there are still a whole bunch of Fincher’s trademarks. Everybody and anybody who has ever seen this movie always says the same damn thing, “It’s like Forrest Gump, but the guy’s older”. To be fair, that is a very true and realistic observation, one that I can’t contend with, mainly because the same writer of that flick (Eric Roth), is the same writer here but what makes the tales so different, is how one is all about sunshine and light at the end of the tunnels, this movie is more about how life starts and ends the same way: you start out as nothing, and in the end, you are still nothing. Anybody that has ever known you, will be the only ones and it’s a matter of whether or not you made an impact on their life is what really counts.
It’s a really depressing idea, especially when you put it side-by-side with something like, “Life is like a box of chocolates”, but it’s also more realistic and that’s why I applaud Fincher here, not just for stepping-out of his comfort-zone, but for being able to step-out and make the best type of movie he can. The story spans over generations and as long and dragging as it may be, it is always entertaining to see the type of stuff this man goes through, what he learns from certain experiences, and how it makes him a full and total human-being. Yes, there is always that known-factor that the guy is going to die at the end, but then again, isn’t that how life actually plays-out? Thanks, David Fincher! You’re always the type of guy I can depend on to remind me that life is great and all, but in the end, we just float away into the air. Happy hugs all-around!
Where I still feel like this flick hits a problem in, is that it does begin to run-out of steam by about the third-to-last-act and I think that’s mainly because Fincher, as well as all of us, knows what has to be done, what has to be said, and what needs to come of this story. We all anticipate the time to when Benjamin eventually starts to get so young and so tiny, that he can’t remember anything that has happened in his life and is just continuing to shrink-up into this little guy, that is eventually going to die any day now. It’s so sad to watch and as much of as an emotional-impact it may have on you because you’ve gotten so used to this character and all his stories, it is slightly redundant and almost feels like Fincher really needs to shoot somebody or decapitate somebody, you know, just to spice things up. I can totally tell that Fincher was running a little wild on the inside, but at least he made it interesting and entertaining for us, in the meantime.
What probably distracts people the most from this story, is how much time and effort was put in to the make-up and special-effects for these characters and their surroundings. Since Benjamin is aging backwards, we get to see him when he’s old as hell and looks like a turd on the side of the road, to the point of where he looks like Pitt from Meet Joe Black. It’s mesmerizing to just stare-at, not just because they make Pitt look as handsome as ever and Blanchett as sexy and glorious as she’s ever been, but because it’s almost seamless and never seems like a gimmick. Movies like these that simply just depend on changing-up a person’s look or style through neat-o special-effects, usually kills a movie and features no substance, but thankfully, the movie features both the neat-0 special-effects that help make us believe more in this story, as well as having a story that is worth believing in and actually getting involved with. Still, it’s great to see Pitt and Blanchett back in their younger, golden days, even if it all by a computer. Damn you technology!
Speaking of the Blanchett and Pitt, both make Daisy and Benjamin a lovely couple that is worth staying-for, no matter how uncommon the relationship they have may actually be. Blanchett is a joy to watch as Daisy, especially when she goes through her younger days as a free-willing, energetic dancer in her prime from NYC, and we get to see that charm and beauty come out of Blanchett’s acting-prowess that can sometimes go away when she takes crap scripts. I was a bit surprised to see that she didn’t get a nomination for her work here, but hey, I guess the Academy felt like they had to give the nomination to Taraji P. Henson, the caretaker of the old person’s home who finds Benjamin and takes of him, up until he’s an old, but yet, young-looking man. Henson is so charming and fun to watch in this movie that it’s a real shame she hasn’t been able to do anything that’s really worth buzzing-about. The girl’s got spark to her, and that shows through every scene she has.
Brad Pitt, though, is the real star of the show and milks this Benjamin Button’s simpleness almost to the point of where it doesn’t seem like he can go any longer, but however, he can. Pitt is great as Benjamin Button because he’s so kind, so simple, so polite, so regular, and so bright-sided about the world he lives in, that’s it almost way too easy to mark him as another caricature that ends-up taking some happiness out of his disability, but it’s not, and that’s all because Pitt won’t allow it. The guy doesn’t show many emotions throughout the whole flick (and that was the intention), but it feels real and honest, mostly because Pitt and Fincher, together, have painted a portrait of a guy that loves life and all those who inhabit it. Pit’s great to watch and the chemistry and love he has with Blanchett in this movie, never for a second, felt unrealistic or schmaltzy. It was as every bit as epic and heartfelt as I once remembered, and that will always stick in my mind when I think of this flick.
Consensus: Adapting a short story into a near-3-hour movie, is a bit of a stretch, especially when you have a flick that spans over decades-upon-decades, but The Curious Case of Benjamin Button is still a beautiful, endearing, and heartfelt story that looks at life through the eyes of a person who has a very strange one, despite him being played by the ultra-handsome, and ultra-powerful Brad Pitt.
I’m sure Hogan really does know what’s best.
Mickey Rourke plays Randy “The Ram” Robinson, an aging professional wrestler who continues to wrestle matches in an attempt to cling on to his 1980′s heyday despite his failing health, while also trying to mend his relationship with his estranged daughter (Evan Rachel Wood) and find romance with a stripper (Marisa Tomei).
Some of you may not know this (and if you do, mucho brownie points go out to you), but back in the day, I used to be a hardcore wrestling fan. Yeah, I knew it was fake. Yeah, I knew that the two guys dressed-up in speedos that were beating the shit out of each other didn’t really hate each other outside of the ring. And yeah, I knew it was a bit childish for a kid that was in 8th grade, but you know what? I watched it and loved it all for the same reasons I watch and love movies so much: entertainment-value. That’s what’s so fun about wrestling that you don’t need to have a brain, a PHD, or even a job to enjoy wrestling, you can just watch it and have a good time. Seriously, if you don’t watch a single match of professional wrestling, then you my friend, are totally lying to yourself.
However, as much as I may patronize the other people out there who don’t feel the same as I do when it comes to half-naked men rolling around and beating each other up, I still feel the same about this movie as any other professional wrestling fan in saying that I love this movie, not just because it shows some legitimacy and real-danger to a piece of entertainment that has been the butt of every joke since the 80′s, but because it shows us what wrestlers are when they aren’t in the ring: real people. Maybe that’s nothing new we haven’t already heard from countless other stories of the same-nature, but what I think makes this approach so different and timeless, is the fact that director Darren Aronofsky makes us feel as if we are there, along for this depressing, dark, and tormented ride.
This is probably the most normal piece of material that Aronofsky has ever touched and to be honest, you would not be able to tell from watching this that this was the same guy who made a movie where people get sped-up high for an hour and 40 minutes. There’s nothing flashy that Aronofsky pulls off here with the camera but what he does do with the camera, is actually make us feel as if we are there, in a sort of documentary-style way. The camera literally follows Randy wherever he goes and it’s sort of like a TV news crew just found the guy, decided to put the camera on him, and just let real life roll for the guy. It gives us a very candid, fly-on-the-wall look at this story and makes us feel as if everything we see, hear, feel is as natural as it can get. That’s not just from Aronofsky’s end of the spectrum, that’s from everybody else involved, especially you know who.
In case you couldn’t tell by the “you know who” I was just referencing in that last sentence, I was talking about Mickey Rourke in his perfect-performance as Randy “The Ram” Robinson. It’s obvious that Randy is based-off of the likes of such wrestling-stars like Hulk Hogan, Ric Flair, Ultimate Warrior, and so many other famous-faces of the squared-circle from the 80′s, but don’t let that get to you, because Rourke makes Randy his own piece of originality and thank heavens for that. Seriously, I think Mickey is in every single shot of this movie and in some movies, to some people, that would probably be torture that you would have actually had to pay to see for 2 hours, but instead with this movie and this performance, it’s the total-opposite. You will never want to take your eyes off of Mickey and all of the subtle nuances he pulls-off with his facial-expressions. You can tell that there is a battered and beaten soul underneath all of the tanned skin, blonde hair, and chiseled-up, but aging muscles, and you never forget that you’re watching Randy, even if Mickey totally takes over the whole-movie.
As sad as this character may be, Mickey brings out so much fun, excitement, and joy within this guy that you just can’t help but feel like you too would want to share a beer and play Nintendo with him as well. You can tell that a lot of the scenes here are totally ad-libbed from Mickey and it just gives this movie more of a natural feel, as if Mickey decided to walk into the shoot everyday, do his part, but also have a lot of fun with the rest of the cast as well. As I said before, you are never going to want to take your eyes off of Rourke here because he always has something to show you, always has something to surprise you with, and best of all, always has something to make you fell more and more for this guy, no matter how much he screws-up.
There is so much about this character that just screams, “PREDICTABLE, PREDICTABLE, PREDICTABLE!”, but Mickey is above that and makes this guy feel like he has more of a heart than you could ever expect from a low-life like him. Every chance that Randy gets to make life happy for himself and the others around him, he finds his own way of just screwing it up and rather than being pissed at this guy and losing all hope in him, you’re still pissed at him but feel as if he can change, and feel like he just deserves a break. That’s the work of magic from Rourke, because he is able to give us a character that is so selfish, so idiotic sometimes, and so burnt-out without ever admitting it, but yet, still have us love the guy to death and feel as if we are cheering him on, just as much as his wrestling fans are. It’s one of the best performances I have ever seen and it’s one that Rourke was freakin’ robbed of and without Mickey, this film just would have not succeeded. Yeah, if they went with Nic Cage like they had originally-planned, things would have been a hell of a lot different come Oscar-time.
Another character that is basically Randy “The Ram” but with tits and more naked than he is throughout the whole movie, is Marisa Tomei as Cassidy. Tomei is playing the usual, “hooker with the heart of gold” role, but knowing Tomei and what she can do with any role you throw at her, she changes it up and makes her feel more raw than you’d ever expect from this gal. Cassidy is a lonely, sad, and aging piece of work, just like Randy, but still feels the need to push the ones away from her that still may make a difference in her life. Watching her and Randy interact with one-another, shoot the shit, and pretty much start to connect with each other more than they have with anybody else, is a thing of beauty and I think all of that is mainly because of the chemistry between the two. Evan Rachel Wood is good as Randy’s estranged daughter, Stephanie and even if she may be the weakest-link out of the three, that still doesn’t mean jack shit because she is still so good, providing us with great insight into a character that wanted to be loved and held, just as much as Randy does now.
These three performances are mainly who tie this film together with it’s neat and nice little bow at the end, but I’m telling you, this flick will take you down a dark, sad road you may feel very affected by. Now don’t get me wrong, it’s not totally depressing and in-fact, will actually have you laughing a good, couple of times throughout. However, when the film wants to make you feel any type of emotion that has to do with sad, heartfelt, or touching, it hits the spot right away. You can say that’s because of Rourke, you could say that’s because of Tomei, and you could that’s because of Aronofsky, but I say it’s every single piece of this puzzle is what makes it so damn near-perfect, and yes, after 4 years and seeing it just about 5 times, I still cried my eyes-out like a big freakin’ baby and you know what? That’s alright with me, because once Monday Night hits, I’m watching RAW baby!
Consensus: Whether or not you’re a fan of professional wrestling, won’t matter because The Wrestler is about more than just a bunch of guys fake-fighting in a trampoline/ring. It’s a perfectly-acted, somber-look at the life of a broken and depressed old-man that is starting to come to terms with where his life is going, why it’s headed there, and what he can do to make right again. It’s an emotional-trip that still hits me where it hurts all of these years later.
Hey, I don’t blame Bond. I’d be pretty pissed if Eva Green was taken away from me.
Returning once again, James Bond (Daniel Craig) battles wealthy businessman Dominic Greene (Mathieu Amalric), a member of the Quantum organisation, posing as an environmentalist who intends to stage a coup d’état in Bolivia to seize control of the nation’s water supply. Bond seeks revenge for the death of his lover, Vesper Lynd (Eva Green), and is assisted by Camille Montes (Olga Kurylenko), who is seeking revenge for the murder of her family.
After falling in love with Casino Royale right from the first-shot on, I realized that the only way to keep this “new” Bond series going-strong, would be to up the ante a bit and give us some more action, more intensity, and most of all, more of Bond just being cool. That last one isn’t really hard to do, but the first two can sometimes be pulled-off well and other times, cannot. Sadly, I think director Marc Forster took this idea of “more, more, more”, and decided to just go to town with it and that’s where I think the film/”new” series takes it’s sudden-dip.
See, what makes Bond so cool is that the guy is able to do all of this crazy, violent crap that definitely makes you go “Ouch!”, but is also able to pull off some sly and witty stuff like faking people out, getting in between buildings without being seen, and just being the ultra-sneaky spy we all know and love him to be. However, all of that violent crap starts to take over the film and as fun as it may be to watch, you can’t have a Bond flick with over 15 minutes of non-stop action, already happening in the first 30 minutes of the actual-movie. That makes it seem more like an action-thriller that is more about being thrilling, rather than being a Bond flick and as weird as that may sound, yes, they are both two different types of films in their own right and I think it comes off more as Bourne movie.
A lot of people complained that the last one felt a bit too much like a Bourne movie with all of the non-stop shaky-cam work, crazy stunt-work used, and high-flying, action set-pieces, and sort of getting rid of the old-school, classy-way that Bond usually does his line of business. However, as much as I agree with that statement, I can definitely say that some of that is true because it is a very gritty, actiony thrill-ride that delivers more action than it deserves class, but at least it had the classic, Bond class. This film, somehow, doesn’t even seem to really have that. It goes on and on and on with Bond killing almost every single person that walks into his way, without him ever getting a chance to ask question them or interrogate them in any way possible, and to top that off, the story makes no sense despite picking right up 5 minutes after the first-one ended.
In a case like this, I think it’s easy to blame the writers, the producers, and the companies who were behind this movie, but I think the one to really blame is Foster of all people. For people who don’t know who the hell Marc Forster is, well, let’s just say that he’s a guy that’s most known for directing character-based dramas like Stranger than Fiction, Monster’s Ball, and the Kite Runner, among others. To be honest, the only type of action that happens in any of those movies is when Halle Berry and Billy Bob Thornton decide to get down and dirty, late one night, so why the hell would they decide to give this guy a Bond movie that’s all about guns, cars, violence, girls, and Bond? Seriously, it’s not like the guy does a terrible job or anything, it’s just that it’s pretty obvious that the guy brings nothing new to the table in terms of action or story-development, and instead, has this movie come off like a failed-attempt at trying to create a Bond spin-off for a far, far away future. It’s no surprise that this guy’s screwing up World War Z now, because he sure as hell came close to screwing this one up, big-time.
But as much as I may get on Forster’s case, and this movie’s case, I can’t lie anymore because I really did have a fun time with this flick and all of it’s action. Some of the set-pieces are a bit unbelievable and ridiculous, but you know what? So were some of the ones in Casino Royale and that’s what sort of made me love that movie even more, so I can’t really get on this film for all of that crap either. At the end of the day, it’s still a James Bond movie that definitely features plenty of thrills worthy of seeing and worthy of being in a Bond movie, and even though they sure as hell aren’t as memorable as Bond playing poker, they sure as hell keep your attention on the screen for as long as it can.
And come to think of it, as much as this film may not be worthy of his skills, Daniel Craig still kicks plenty of ass as Bond and shows us exactly why he was chosen for this role in the first-place. Craig, no matter what all the haters may say, just has this dirty and tough look to him that makes you scared for the baddies that go up against him in brawls, but also has this charming and swift look that makes you feel like he is the coolest guy in the room, and definitely the type of guy you would go up to and try to conversate with, but no words would come out because he is simply that cool and intimidating. Maybe I put too much thought into this guy’s look and role, but I don’t care, because Craig is awesome.
Olga Kurylenko plays his “Bond girl” and is alright for the most part, even though she really has nothing to work with here other than a forced, sympathetic-route her character takes. I just want to know why the hell Craig doesn’t bone her, instead, goes off to bone Gemma Arterton as some red-headed, secret-spy that shows up for 5 minutes, gets laid, and is practically gone from the rest of the movie after that. I mean you put them side-by-side, Olga definitely takes the cake and it’s a shock to me that Bond would make a silly-mistake like this. Once again, gotta blame it on Forster. That guy should know Bond, and Bond’s taste in women. Damn you!
Matthieu Amalric plays Greene, the typical Bond-villain that we need in these movies to make it work and although he does what he can, the character is too thinly-written. It’s a good thing that Greene isn’t your typical Bond-villain, where all he does is twirl his mustache and hat and make huge, unbelievable promises of destroying the world around him, however, I felt like we sort of needed that in order to hate this guy even more and actually feel scared for Bond. Yeah, Greene does do some bad things, but never to the point of where I felt like Bond needed him to kill him right-away, or else all hope was lost. Also, the guy was a bit of a softy and I even think M could have kicked his ass, just as much as Bond could have.
Consensus: Quantum of Solace is definitely fun, entertaining, and a relatively mediocre addition to the Bond series, but still feels like it should have been so much more, instead of just settling for typical, action-thriller conventions, two-dimensional characters, and choices that seem to come from a place that isn’t all about Bond, and more about making a lot of money and making it quick. Hey Hollywood, news flash for ‘ya: It’s a James Bond movie, therefore, it’s already going to make a shit-load of moolah at the box-office. Now shut up, and let James get back to work!
Guy Ritchie is such a wimp. He makes heist movies about fake crimes. Who does that?!?
A car dealer with a dodgy past and new family, Terry (Jason Statham) has always avoided major-league scams. But when Martine (Saffron Burrows), a beautiful model from his old neighbourhood, offers him a lead on a foolproof bank hit on London’s Baker Street, Terry recognizes the opportunity of a lifetime.
I don’t know why I like crime movies so much, especially ones that are about a bunch of cons pulling off a heist. I think it has something to do with the fact that I’m such a wimp and couldn’t really do what most of these characters in these films do or that I just like to watch what would happen if some sort of heist went down, but either way, I enjoy these types of movies. Which is why I enjoyed this one.
The film itself, moves at a pretty nice pace where we get to know these characters, what they’re going to do for this heist, why they’re going to do what they’re setting out to do with it, and just exactly what may or may not happen once a heist is complete. It was pretty cool to see all of these crooks map out a certain plan of what they’re going to do and what was a lot different from the regular “heist” we see in all of these certain movies is that this particular heist has about 12 subplots connected to it, but I never once got confused with what was going on. Yeah, the accents were a little hard to understand at first but after awhile I just got so tired of them so I decided to turn on the subtitles, and woolah! I could understand everything these characters were saying. The beauties of having a DVD with you. Notice how I said the word, “DVD”.
As for the heist and story itself, it’s pretty fun as it continues to develop more and more since the heist happens within the first hour and then we have the insane after-math of it all too. To be honest, there were actually some real tense moments here that worked and made me feel like this story could go anywhere, whereas as sometimes, it actually did. Definitely a good sign when you have a heist flick that can be pretty unpredictable.
The film states that it’s “based on a true story” but the problem with that statement, is that it still can’t help the film in being another generic, heist flick. Yes, it’s a fun movie but I never really felt like much was at stake here nor did I think that any main character was going to go down in flames or be sleeping with the fishes by the end of all this. I know I did state in that last paragraph that the story did get unpredictable at times, but all of the other times, I felt like I knew what to expect next and thus, the surprise factor was sort of lost for me. Doesn’t matter how true of a story it is, if it’s generic, it’s generic.
Director Roger Donaldson does do a nice job here with giving this flick a very cool and hip 70′s look that hearkens way back to the days of such gangster classics like Get Carter or The Italian Job, but there isn’t much flair or color to this, other than a couple of funny moments. Don’t get me wrong, there is a lot of fun to be had here but it lacks the frenetic energy and originality to it all like a Guy Ritchie gangster flick. I know that Guy Ritchie may not be the definitive director for such gangster flicks, but I think he brings a lot more to them than people expect and that’s what I kind of wish Donaldson went with.
Whenever people see this poster and see the headliner is Jason Statham, they automatically think it’s going to be some insane action flick like Crank where he just goes around, killing people left-and-right. However, his character isn’t really like that here and he actually builds up a very nice-guy character that makes us feel a lot more for him, so when his life actually does get put into danger, we can feel worried and scared for him. He’s basically just a scared old bloke, who’s looking for the score of a lifetime and he has hope, which makes him feel a lot more realistic than any other character he’s ever played before. Not a spell-binding performance by any means, but it’s one that makes us realize that this guy can do a lot more outside of just smashing skulls and shooting guns.
Let’s also not forget to mention the always stunning Saffron Burrows. Nope, she’s nothing all that special here either but she is still perfect eye candy and that’s all that matters. Rawr!
Consensus: The Bank Job is as generic as they come, but is still a perfect time-burner, with an interesting story, believable plot twists, and characters that we actually care about and want to live on past this heist.
OK Batty, you had your fun, you had your box-office records, and you had your hype. Now, it’s time to get the hell out of here!
It’s been 8 years since Harvey Dent was killed by Batman and Gotham City is pretty much going to hell. It’s turning for the worse, there’s no central peace or order to be found, and Bane (Tom Hardy), has a huge gang of thugs basically taking over the city. However, little does he know that there’s a certain someone who’s always there to stop evil at once: Batman (Christian Bale).
Honestly, who the hell has not been waiting for this freakin’ movie!?! Ever since The Dark Knight came, stayed for a long-ass time, and went back in 2008, people have been waiting day-after-day just to see what Nolan was going to pull off for his last hurrah. Thankfully, this is his last hurrah, and what a perfect hurrah it is.
Director Christopher Nolan proves, once again, why he is in-fact one of the greatest story-tellers working in film today. I know the same exact thing in The Dark Knight review, but this guy really proves that he has some insane skill with this flick because from start-to-finish, I was basically on-the-edge of my seat, wondering what the hell he was going to do with this story, these characters, and everything else in between. I’ve never been a huge comic-book fan and to be honest I’ve never really read much of Batman comics, but from what I see here, this guy takes the story of Batman that we all know and love, gives it a dark edge, and makes you feel like it can and will go anywhere he wants it to. There were certain parts of this flick where I really felt like some major characters were in danger of being killed off right away and even though that danger comes and goes, much like normal superhero movies, you still feel like the danger is not over. Just when you think that things are going to get better for these characters and Gotham City itself, it doesn’t and throughout the whole film, I was constantly thinking who will I be seeing for the last time and who will I be seeing again to fight the baddies. Sounds lame, I know, but this story really feels like it will go somewhere where no other superhero film has ever dared to do so far before, and sometimes it does, but it’s all I could ask for in an entertaining, superhero movie. A lot of this story harks back to Batman Begins, so be ready for that, but this is it’s own story, through and through.
Nolan is a daring film-maker, well all know and love that, but it’s not just because of how epic and twisty the story can be, it’s all because of what that guy brings to the table that makes this film all of the more enjoyable. There’s a certain type of suspense in this film the whole time that not only made me feel the energy going throughout my veins, but kept my eyes locked on the screen at all times. Every single action scene feels like it’s going to be even better than the last one, which they usually are, but there’s just something so much more epic about the action scenes here that made me want to get up and join in the action, whatever that may have been at the time. You can just feel the energy of this movie escalating into something bigger and bigger as the run-time goes on, and once it gets to that breaking-point, all hell breaks loose and there’s just so much action and excitement going on that you cannot help but feel it come off the screen as well. But, however, as good as a lot of this action may be, it’s still feels very epic and I think a lot of that has to do with Mr. Nolan and what he does behind-the-camera.
This is definitely one of those films to see in IMAX, even though it’s not always shot in that format the whole way through. The shots Nolan grabs here are great, whether it’s these sweeping action set-pieces or just beautiful over-head shots of Gotham City, either way, the IMAX looks great and if you do pay extra for that ticket, you will not be disappointed with what you see, or hear. The sound is just so loud and clear, that whenever an action scene happens, you can almost hear and feel the hits with the loud-ass booms of the speakers, and it gets even better with the score that Hans Zimmer has made up here. As soon as you hear it come up, it hits you and you can just feel like shit is about to go down, one way or another, and sometimes it does, and sometimes it definitely freakin’ does! Didn’t make much sense, but I don’t care! I know I don’t mention scores a lot, but with a film like this, you need an epic score just to give you the feeling of how epic this film truly is. Yeah, I know I said the word “epic” again, but it’s the truth, everything from the score, to the cinematography, to the story, to the action, makes it that from beginning to end. Yeah, there may have been a couple of problems with it’s story here and there, but I was able to let that all go by me and realize that this story just totally grabbed me and never let go. And thank the lord for that.
For every single person who has ever talked ish on Christian Bale and what he does with Batman and that “growl” of his (trust me I’m one of them), be ready to feel ultra sad knowing that this will probably be the last time you ever see this guy do that ever again and what a way to go out with it. This is probably the best performance Bale has given as Wayne out of the whole trilogy because he brings out that warrior-like darkness that arose in him from the second flick, but also goes back to when he was just learning the ways of his anger from the first one, as well. It’s a pretty cool mish-mash of character ideas going on with him in this flick and Bale handles it perfectly, just like I expected him to.
After having such an iconic villain like The Joker, played by the late, great Heath Ledger, it feels very obvious that Nolan would try his hardest to make Bane out, almost the same exact way, if not more, but he doesn’t go down that route which I liked. Bane seems like a strange choice of a villain to be in this dark trilogy, but he’s given a lot more development here that gives him a pretty bad-ass origin story to start off with, a bunch of intellectual skills that match his fighting skills, and a pretty intimidating physique, courtesy of rising-star Tom Hardy. Hardy is great with this role and proves to be more intimidating and dangerous than The Joker in more ways than I expected because whenever he’s on-screen, you can just feel that tension whenever he is, but when he isn’t, you can still feel it as if he’s just planning what he’s going to do next in the background somewhere. There’s this great use of his eyes that Hardy uses to convey all of these evil and mean thoughts that are going through his head, and you almost feel happy that you don’t see what else is going with his face. Definitely a great threat for Batty, and another reason why Nolan should have been trusted with this character from the first place. Oh yeah, and that “voice” of his? Easy to understand most of the times, other times, you can’t really hear it fully, but you pretty much get the gist of what he’s talking about. Evil shit, and that’s all you need to know.
Another big worry that people had with this film’s cast of characters was Anne Hathaway as Catwoman/Selina Kyle. It’s not that people didn’t trust Hathaway and her skills as an actress, it’s more or less that fans didn’t know what to expect from this character that seemed so weak whenever she was adapted onto film the other times, but somehow, they pull it off perfectly here, mostly Hathaway. Right from the get-go when you see this girl, she is just bad-ass, smart, witty, sly, evil, and sexy, but you never know what’s on her mind, what she’s going to do next, or who’s side she was going to end up being on in the end of it all. That mystery about her, made her character so much more awesome and bad-ass than anybody ever expected and she totally seems like the type of chick-character that could hold her own with the best of them. Don’t hold me to this, but I sort of do see an Oscar nomination for Hathaway here, but if it doesn’t happen, I won’t surprised, either. Just one of those things I could see happening in the future, and with good reason, too.
As for everybody else in this flick, they’re all pretty good, too. Joseph Gordon-Levitt, aka the effin’ man, does a great job with a character that comes out of nowhere, we know nothing about, and just seems like one of those cookie-cutting good guys that every superhero story needs. However, JGL makes this character so much more bad-ass than anybody, even myself, first thought and he makes a great supporting character that you know you can trust every time he shows up on-screen. JGL is getting bigger and bigger with each and every role he takes, and it’s not for long until this guy finally nabs an Oscar. Maybe even two, hell, maybe even three! I don’t know! The sky is the freakin’ limit with this dude! Marion Cotillard is also new to this story as Miranda Tate, and does a splendid job, as usual, even if her character does seem a little bit forced with the hum-hum romance between her and Bruce Wayne, but it’s easily forgivable since she’s so good in everything she does. As with out returning veterans of the series, Gary Oldman, Morgan Freeman, and Michael Caine, they all do their parts and show why exactly their characters have stayed so strong throughout the whole time of these movies.
I know that throughout this whole review, I kept mentioning and bringing up the word “epic”, but if I had to sum this flick up in one word, it would be exactly just that: epic. You can just feel like this film is going to culminate into something big, something extravagant, and overall, something that will stay in your mind forever because of what Nolan has done with this series, and does with this goodbye to the series and stories that he has made so damn popular once again. Now that he’s done with these flicks, Nolan will go off and do the film he’s always been wanting to do and probably kick as much ass with them as he has with these three, but I will never forget this amazing trilogy and as sad as it may be to see the last time for all of these characters happen right in front of our eyes, I know that I had a great time with all three flicks and I couldn’t have asked for anything better. I’m getting a little teary-eyed here right now just writing this and when you see this flick, trust me, you won’t be able to blame me. Thank you Christopher Nolan. You truly can do no wrong.
Consensus: Though it may be very long, The Dark Knight Rises delivers on every spectrum: acting, writing, directing, cinematography, score, etc. It’s exactly what you could want in a summer blockbuster, and superhero movie, but it’s also exactly what you could want in a film that’s saying “adios” to all of its characters that it’s introduced to us for the past 7 years and it’s a legacy that I won’t forget. That’s for damn sure.
9.5/10=Full Effin’ Price!!
Damn, when they say “Dark”, they freakin’ meant it!
Batman (Christian Bale) raises the stakes in his war on crime. With the help of Lieutenant Jim Gordon (Gary Oldman) and District Attorney Harvey Dent (Aaron Eckhart), Batman sets out to dismantle the remaining criminal organisations that plague the city streets. The partnership proves to be effective, but they soon find themselves prey to a reign of chaos unleashed by a rising criminal mastermind known to the terrified citizens of Gotham as The Joker (Heath Ledger).
Come on now! You can’t honestly sit there and try to tell me that you didn’t see this one coming. I mean with The Dark Knight Rises only about a few short days away, I had to realize again why I’m so juiced up in the first place and thank God for that, cause this movie still kicks ass no matter how many times you see it. And to answer any of your suspicions, I saw this more than 10 times. In it’s entirety, as well.
Let me just get this out of the bag and go off by stating the obvious when I say that this is one of the, if not, the best superhero movie of all-time, and all of that can be attributed to one of the best storytellers working today, Mr. Christopher Nolan. Batman Begins was a pretty damn dark origin story to how Batman became who he is, but this film goes even farther in the dark departments where almost everything here is complex, gloomy, depressing, scary, sad, and most of all, tense. Holy shit is this movie ever so tense! Nolan lets the story be told the way that it should, which works in its own right, but what really got me every time was whenever he would pack this film with another insane action sequence that would last over 10 minutes and just keep my attention up on the screen the whole time. The sounds are loud, the shots are booming, and the whole time, you feel like you’re there and you have no idea what’s going to happen next.
That’s also another aspect I loved about this movie, you never knew what was really going to happen next. Too much in today’s world whenever we get a superhero movie, it’s pretty much the same song and dance but there’s just something different that Nolan brings to this story here and he makes it all the more unpredictable. I mean there is obvious, generic plot points that this film follows through on, but not everything is exactly as you would expect it to be. And honestly, even when things are even remotely up-lifting or happy, they aren’t as sunny shine as you would want. Instead, the daaaaaaarknessss taaakesss overrrrr!!!
So when you do have a story that’s somewhat unpredictable and plenty of hardcore action scenes that kick your ass right into shape, you pretty much have a movie that keeps you on the edge of your seat the whole way through, which is in fact what this film does if not more. Every single scene feel like it matters to this story, only to build it up more and give it more layers, and every time a piece of action would come out on screen, it not only made the film feel that much more intense but also added to the ruthless mood that Nolan gave this film in the first place. You almost feel like this director will do anything and everything to entertain us and keep us watching, but he also doesn’t allow for it to be just his story to tell, we all know and love it the way we do and there’s a spirit underneath it all that really makes it fly (pun intended). It’s not everyday that you get to see a story like this that’s so damn complex and fun, but also one that doesn’t seem like it’s going to be pulling any punches and could literally go anywhere with itself. That’s the type of director Christopher Nolan is and if you don’t believe me, go on and check out his résumé, and see what the eff I’m talking about. This guy means business and it shows through every single film he makes, and that’s why I have total and complete faith in him handling this last one.
If there is any complaint I have to give to this film is that it is almost too tense to the point of where I feel like I was getting tired by the end. I know, I know, I’m going to get attacked in the comments by how lame of a complaint this is but the film does run on a little too long and you feel like there should have almost been an intermission for people to go out and stretch their legs and get some over-priced goodies at the concessions stand. Then again, it’s just another sign of Mr. Nolan not taking any prisoners when it comes to watching his movies and being there for the end, with every body part still in-tact.
Christian Bale, once again, does a pretty solid job as Batman/Bruce Wayne and shows that he definitely has the skills and charm to pull of a complex character like Batman where we see him as this happy and rich playboy, that has to stand up for what is right, put on the cape, belt, suit, and everything, just to show what he believes in. Maybe that was a little too corny for Batman, and hell, even this movie, but you know what I mean. Bale is always awesome and regardless of what he does with his voice, you know this guy always kicks ass. It was also awesome to see everybody else return here and give their characters more development this time around with Gary Oldman as Lt. James Gordon, Morgan Freeman as Lucius Fox, and of course, Michael Caine as Alfred Pennyworth. Also, people will probably notice that Katie Holmes didn’t return to her character of Rachel Dawes (for Mad Money, great decision honey!), so they put Maggie Gyllenhaal in for her and she does pretty awesome. She isn’t necessarily a damsel in distress character as she can stick up for herself but also makes it clear why two dudes like Wayne and Dent would be fighting over here.
But when it all comes right down to it, you cannot talk about this film without going over it’s two main villains: Harvey Dent/Two-Face and The Joker. I feel bad for Aaron Eckhart here because this guy totally gets over-shadowed by all of the hype with his character, as it’s obviously always more focused on The Joker, which isn’t fair because the guy kicks some sweet ass in this role. Eckhart definitely seems like a great choice for Dent because he’s always been able to play these somewhat slimy characters, that you know you can’t hate because deep-down inside, there’s something good in them. Take this role for instance, as it is a lot harder to portray a dude that is pretty much a romantic rival to our main hero, and also goes from good guy to bad guy pretty quickly and dramatically. But somehow, Eckhart pulls it all off and I’m glad to see that he finally got his chance to be apart of the A-list because this guy has something about him that just really clicks.
However, you can’t talk about this film without not talking about it’s main attraction in the first place, and with good reason: Heath Ledger as The Joker. This is one of those rare, inspired bits of casting that comes around almost once a decade where a random actor gets put in this role where it doesn’t seem like it fits that person one bit, but somehow, they pull it all off perfectly to the point where you almost don’t feel like you’re not watching that same actor do their own thing. That’s this rare role where Ledger just got to do anything he wanted with this iconic villain. Does he have the same wit and charm as Nicholson’s? Of course, but it’s a lot more darker now and goes along with the tone so perfectly because Ledger isn’t a Joker that’s all about fun and games, this ‘effer will kill you when he has the chance to do so and he’ll laugh and smile about it. Don’t believe me? Just try and remember that magic trick. Thank you, I rest my case. But honestly, this is one of Ledger’s best performances ever, which is obvious because he won the Oscar that year anyway but it should not be all about because he died and the Academy felt bad. No, this guy commands the screen every time he is up there and you get the perfect feel for what this actor really would have done, had he lived on and saw what this iconic role done to his career. Really is a sad thing to see when you have somebody with such a bright future right ahead of them, just fall short because of some stupid drugs, but we will always have the movies and that’s what matters.
Consensus: The Dark Knight is exactly what you would expect from a superhero flick, especially one that is considered the greatest of all-time: awesome action sequences, tense storytelling, unpredictable story, great acting, easy-to-root for hero that has more problems at stake than just a bunch of baddies, baddies that are as menacing and evil as you can get, and a direction that just reminds you that Christopher Nolan is a man amongst men when and when it comes right down to it, this guy can do it all if he wanted to! The Dark Knight Rises, here I come baby!!
Who’s brilliant idea was it to have a whole film where Eddie Murphy can’t talk?!?
When he learns that his karma will permit him to speak just a thousand more words before he dies, fast-talking agent Jack (Eddie Murphy) must make every syllable count to make peace with his wife, Caroline (Kerry Washington), and his celebrity author client, Dr. Sinja (Cliff Curtis). But can the man notorious for his idle flattery truly change his ways?
So after sitting on the shelf for over 4 years, I went into this flick expecting nothing but pure and utter crap. I mean with the director of such other Eddie classics like ‘Meet Dave’ and ‘Norbit’, how could one expect anything different?
The premise we have here is one of those high-concept premises where we see an ass of a dude, get flung into a situation that makes him re-think his life and do better for ones around him. That concept does not change here and everything is basically by-the-numbers, which wouldn’t have been so bad if everything weren’t so damn unfunny. I mean I had a chuckle or two but the rest of the film tries so hard to make constant jokes that either don’t hit the mark, or just come off as awkward. The jokes actually seem out-dated (even for a flick that was made in 2008) and sometimes it honestly just seems like the writers are recycling material from past comedies that are in the same air as this (‘Click’, ‘Bruce Almighty’). Basically, this film is not funny in the least bit and is what you would expect from an Eddie comedy of this nature.
Obviously this film goes into some pretty schmaltzy and sympathetic territory but it’s not what you would usually get with these types of comedies because even though all comedies seem to go in this direction and create some life lesson for their protagonist, this film really nails that in. By the last act, the score starts to swoon and there is just constant scene after constant scene where they practically show this guy breaking down and crying to everyone around him telling them how much he loves them and will do right. It’s downright cheesy and is a little too over-dramatic for a “comedy” flick like this, even by its own standards.
What was also pretty weird about this flick too is the audience that it doesn’t really seem to have an audience that it’s reaching out towards which makes a lot more sense for it to be delayed for so long. There’s barely any kiddie stuff in here whatsoever, they say the word “shit” about 20 times also not forgetting the one F-bomb I think heard as well, and on top of that, it’s rated PG-13. It’s definitely not the type of movies that are centered toward the family audience that Murphy has been aiming towards lately, but it’s also not nearly as edgy or dangerous as his older material neither. In a nutshell, this is just a weird film to market considering there is no audience for this flick and that probably makes it a good reason as to why it was number 6 at the box office for the weekend.
As for Eddie Murphy himself, his performance here as Jack is one of his usual hammy, by-the-numbers, and lazy performances that we didn’t think we were going to see much more of ever since ‘Tower Heist’, but sadly, it’s all back. I don’t know why the film decided to have him in a premise where he doesn’t get to talk and use that hilarious voice we all know and love him for, but it’s also no help that his shtick gets old real quick considering he isn’t very known for his physical stuff. It’s a shame because this guy really was one of those comedians that people were afraid of because of how dangerous he could be but now he just does family-oriented junk like this and really starts to lose cred from the very few fans that still think he’s funny. Yes, I am one of them so eff you guys.
As for everybody else, I have no idea why the hell they even decided to even be in this flick and I don’t think they do either when they think about it. Clark Duke is the only funny thing about this flick but also looks embarrassed to be apart of every scene here as Jack’s assistant/little white bitch; Kerry Washington is beautiful and elegant but is given nothing extraordinary here as Jack’s clueless wife and it’s a shame considering she is great actress and is definitely on the high rise; and Ruby Dee has probably one good moment as Jack’s mom, who is starting to lose her mind, and she’s good but is definitely wasted here and could have been used for a far better flick.
Consensus: A Thousand Words is not funny, predictable, and one of those shelved comedies that should have stayed right where it was and released as straight-to-dvd flick, rather than actually making people go out there and have to pay 10 bucks for it. However, that’s why I snuck in. Teehee
I guess my life consisting of watching movies and then reviewing them isn’t so exciting after all.
This is the true story that took place on August 7th 1974, when a young Frenchman named Philippe Petit stepped out on a wire illegally rigged between New York’s twin towers, then the world’s tallest buildings. After nearly an hour dancing on the wire, he was arrested, taken for psychological evaluation, and brought to jail before he was finally released.
Basically this is a dude who everybody knows as “that dude who walked on a wire between the twin towers” however, it’s still a great story none the less and one that I’m really surprised wasn’t tackled until 2008.
The subject material is just so rich that just about everything that this film throws at you works. I know that the story itself is real, and that nobody was really harmed but the fact that the film still made me have a lump in my throat just about every time he even thought about stepping on that wire, shows that this film really can work despite knowing the outcome. It also helps that I’m a total bitch when it comes to heights so there is that factor as well.
Director James Marsh does a great job here of making this film seem like something you wouldn’t normally expect right from hearing what it’s all about. Marsh makes the look and feel of this film as if it were a heist its self with people talking about what they were going to do, how they were going to do it, and just giving you this total feeling like something is up and that not everything is exactly what it seems to be. This isn’t you normal and average documentary, it has a lot of thrills to it and it’s also great that Marsh was able to find so many pictures, videos, and etc. for this subject to give you the full feel of what you’re seeing here is real.
The real reason why this film is so fun is because of the star himself, Philippe Petit. Petit is a total nut-job who doesn’t really have any real reason for why he wire-walks, it just gives him the high of being in a new world and he enjoys taking huge risks. The guy is a lot of fun to watch on-screen every time he is talking about what’s going on in his head, with his crew, and just everything else we would want to know from a dude that could have died if he messed up just one little step. He’s a fun guy to watch, but he is also the main problem with this film as well.
Don’t get me wrong by what I say here, Petit is a very charming guy but at the end of the film I started to realize that this dude was kind of a dick head after all. After he’s done his momentous achievement he goes off and bones some chick who just wants his wire-walking ass in bed, even though he has a lady for him waiting at home. I’m not a big fan of dudes that cheat on their girlfriends but his infidelities wasn’t all that bothered me. Petit’s friends that also insisted him with this “mission” were all exiled from the U.S. and it’s almost like Petit didn’t care because he was just way too busy talking about himself and everything that he did for about 15 minutes. I mean these were the people, that if it weren’t for them, you wouldn’t be up there in the first place buddy so go ahead and enjoy the fame you have, just don’t be surprised if when you get back home, nobody wants to see you at all.
Despite these problems with Petit himself, the film still carried an emotional wallop that I was not expecting one bit. As the film starts to come to an end, you see how all of the people involved with this moment reflect on what they did and how they’re happy to be apart of it and you realize just how lucky people can be to apart of one moment that will stay in their minds for the rest of their lives. It shows the real beauty that can come with any certain happening that may not be a total world-changer, but just may be something that is a work of art and shows you that you can do anything you want if you put your mind, heart, and soul to it even though I will probably never do such a thing like this in my life. Yes, everybody, I am still a total bitch.
Consensus: Man on Wire features some very rich source material that not only knows how to entertain and inform, but also make you feel suspense as to you having no idea what’s going to happen but at the end when it’s clear the effect that this moment had on everybody involved, then the documentary really works.
I would have definitely liked it more if they interviewed the Nixon from Futurama.
This is a period piece, that centers on little-known talk show host David Frost (Michael Sheen), who goes way out of his way to interview probably one of the most controversial and famous presidents of all-time, Richard Nixon (Frank Langella). This is the story of how those interviews went.
I really didn’t know too much about the Frost/Nixon interviews other than the fact that they both were interviews between two dudes. Goes to show you how much I paid attention in history class after all. Surprisingly though, this is not a history lesson and more of a film about the two dudes who were in these famous series of interviews together.
Director Ron Howard really gives it his all with this film because of the way he makes these interviews seem less like actual interviews and more like a boxing match of words between two famous figures. Howard keeps the tension building up and up on these interviews and gives us enough character development to realize just how much both of these people need these interviews. One for fame, the other for forgiveness and setting the record straight.
Another great element to this film that makes it so damn watchable is that it’s script is very very good with a lot intelligence, wit, and small doses of humor to keep us laughing and entertained. It’s basically a “talking heads” film where you just watch a whole bunch of people talk without anything really happening, but it’s a very fun one that relies solely on the fact that it can keep people glued into what Frost is going to ask, and what Nixon is going answer with. I never actually saw the play that this is based off of but apparently everything is taken verbatim which makes the transition from stage to screen even better.
The problem with this film that keeps it away from being anything perfect or amazing like it could have easily been is that I feel like Howard could have really went out-of-bounds with this film. Granted, this is a very small film where there isn’t really a lot happening other than these two guys talking but I feel like there could have been more of how the nation felt about these interviews, and more about other characters that are just sort of there.
I also never understood why Howard have the actors who portrayed these actual people, come off and randomly narrate what was happening and why. I feel like the film is trying to give a sort of documentary feel when in reality it could have just stayed away from that or even used the real-life people itself. We all know who the actors are and who the real people are, so there’s no need to trying to show us otherwise.
Michael Sheen is a lot of fun to watch as David Frost because this guy is sometimes at the lowest points of his life, but no matter what keeps a big olde smile on his face. Sheen reminds me of that very cheeky, very corny, but always funny British guy that always seems to think he’s better than everybody, and usually is depending on who you are talking. However, this film really does belong to the one and only Frank Langella as Richard Nixon.
Even though he doesn’t look like Nixon, Langella probably does the best performance/impersonation of the man that any other actor has ever done in their whole lives. Yes, Anthony Hopkins has played Nixon too, Langella is THAT GOOD. You notice the physical differences within the first 5 minutes but then you totally got lost in this guy because he really just sells this whole conflicted, and tormented soul that knows what he did was wrong but he can’t get past it with everyone around him always breathing down his neck. There is some pretty wild stuff that Langella does as Nixon, such as losing his temper like a 7 year-old would do if his mommy didn’t buy him ice cream, but it’s totally easy to see why Langella got nominated for an Oscar and hopefully he keeps on getting better roles from now on.
Consensus: Though it doesn’t achieve greatness, Frost/Nixon is still a great flick with two great performances, a clever script, and a direction from Howard that keeps this film tense and on its toes.
I will never be able to look at pumpkins the same again.
Halloween’s usually boisterous traditions turn deadly, and everyone in a small town tries to survive one night in pure hell … but who will still be alive in the morning? Several stories weave together, including a loner fending off a demented trick-or-treater’s attacks; kids uncovering a freaky secret; a school principal — who moonlights as a serial killer — poisoning his candy; and more.
I’m not quite sure exactly when this film came out, or when it even hit theaters but since it’s the right time for the season, I thought why the hell not!?!?
This is an anthology film feature all of these four different segments that aren’t really all that connected other than the fact that everybody seems to live pretty close to each other. This approach to the film worked because I constantly got that feeling of knowing what’s going to happen next because you get to see just what is going to happen, when maybe the first time around you were a little bit confused by what you didn’t see on-screen.
First-time writer/director Michael Dougherty does a pretty good job of keeping the feel and spirit of Halloween alive in this film because there are moments where this film seems like a lot of fun, and although it didn’t really scare the pants off of me, it really did keep me entertained as to where this guy was going to go towards next. A lot of this film is pretty messed up (kids getting killed) but somehow there is a fun touch to it that isn’t campy or tongue-in-cheek, it’s more just fun and that’s why I enjoyed myself.
However, the film did have some moments where I think it messed up and sort of dropped the ball. Each little segment has their own twist in there, which I thought was cool, but what I didn’t like is how too much of this felt more scary and serious without any real comedy added to it. The one segment with Anna Paquin I can think of was actually very funny the whole way through, but other than that, there wasn’t much of a balance between the two to get it perfect right away.
There’s also a lot of this film that doesn’t feel all that original and kind of bummed me out especially the segment about the kids at the site of the supposed “bus crashing incident”. This to me felt like it was directed by a whole different person because it spent its time on jump-scares, what we don’t see, and the run away and hide thingy that bothers me so much. This was a little annoying and by the end of the film, I feel like it totally drops the ball when it shows what that freaky little dude on the poster looks like without his mask. He looks really freakin’ weird (not in a good way), and I think the film could have really kept me a bit more freaked out if I didn’t know what the hell that creepy thing actually looked like.
The cast is here and there but they are all good. Brian Cox is awesome as the grouchy and grumpy old dude from the last segment; Anna Paquin is funny as well as pretty hot as the “virgin”; and Dylan Baker is probably the best out of the whole cast because he constantly kept me laughing and giggling even when he just killed a kid by feeding him a terrible chocolate bar. Yeah, it’s that disturbing sometimes.
Consensus: Trick ‘r Treat may not score the most points when it comes to originality and scares, but it keeps a fun tone and segments that bring a lot of twists and turns that you can’t help but have a fun time.
Little kiddie vampires are still tougher than ones named Edward or Jacob.
Twelve-year-old Oskar (Kåre Hedebrant), the constant target of bullies, spends his time plotting revenge and collecting news items about the grisly murders plaguing his town. But things change when he meets a new girl named Eli (Lina Leandersson), a misfit vampire who steals his heart. As a serial killer continues to prey on teen boys in their small Swedish village, Eli helps Oskar find the courage to stand up to his tormenters.
When this film came around 3 years ago, I always heard great things about it but never got a total chance to watch it myself. However, I’ve realized that those damn Swedish people are messed up and cute as hell.
The one thing that this film has going for it is that it blends two different stories together real well. You have this sort of creepy and disturbing horror film about a teen vampire constantly killing people for more blood, but then you got this sweet little kiddie drama about the romance between a troubled kid and a teen vampire. This seems strange that they would both actually fit very well into one film together but what really works so well here is just how genuine both sides of this film feel which is something you almost never get let alone see in any type of film.
As a horror film, there isn’t many scares here that keep you constantly jumping out-of-your seat but more of give you this eerie feeling that something just is not right with this little teenage vampire running rampant on the whole neighborhood. All of the creepiness and horror of this film eventually leads up to the final act, and that’s when everything gets pretty scary. There’s also plenty of gruesome blood and gore that I felt were very well-done and came in at the right moments rather than just popping up every-time to be a gory, horror vampire film.
Despite the gore and blood this film showed me, there are other couple instances of special effects that this film has, which is probably about 3 scenes but they are all pretty laughable I hate to say. There is a scene where these CGI-like cats start attacking this woman who has come under the bite of the vampire and there faces and her reaction just had me cracking up unintentionally, which is sad to say because I didn’t laugh at all once during this whole film by how serious everything was. CGI cats are no good no matter what you do.
As a drama/romance film, this is a pretty genuine take on first loves. I have to say that in the beginning it was a bit slow and I had no idea where this relationship between Oskar and Eli would go, but where it ended up going seemed like something that was so realistic and honest that I almost forgot that Eli had the craving for some human juice. The scenes with these two just talking and being very sincere with each other and it’s a very beautiful thing to see because this is how little kids talk especially if their little hearts are in love. If you really want to know how it feels to be in love for the first time, then check out the little love-fest going on with Oskar and Eli, it will probably make your tummy all warm and fuzzy inside. It did to mine.
The one thing about this film that kind of bothered me was that we never exactly find out why and how Eli is this vampire, we just guess she’s one for some odd reason. The whole film I was expecting to find out why she is the way she is and in return almost got noting. Did her daddy or mommy get it on with Bela Lugosi? How old is she really? Who is the strange man she’s with? Why doesn’t she give in to her hunger and eat up Oskar like crazy? Also, why the hell is she even a vampire is all I wanted to know! This pissed me off because I feel like I deserved to know and it would have made a lot more sense if the film just explained exactly why she is the way she is.
The kids here though are perfectly cast and made me want to practically cry my eyes out by how real they seemed. Kåre Hedebrant plays Oskar and Lina Leandersson plays Eli, and they are just both amazing at everything they do here with almost every single scene. Apparently for the casting of these two kids, director Tomas Alfredson went all over Sweden for over a year to find the perfect Eli and Oskar and the choice of these two was perfect. Every time they’re on screen, it doesn’t feel like either of them are even acting and more or less just being themselves in front of a camera like a documentary almost. The spot-light is on them the whole time and not once did I question their abilities to bring emotions to the screen and make me believe in the little love that they have.
Consensus: Let the Right One In isn’t necessarily scary as it is disturbing, bloody, and kind of gory but still features drama that brings out the most in its two young actors, heart and a genuine feeling to the story, and a look of how important having that first love and how beautiful, romantic, and sweet everything is when it’s happening to you.
If everybody around me was naked and I could see, I’m would go naked 24/7. But then nobody would be able to see my six-pack. Never mind then.
After a plague of blindness overtakes the residents of a city, all sense of order breaks loose in the hospital where the victims are being quarantined. It’s up to a woman (Julianne Moore) who’s keeping her sight a secret to lead a group safely to the streets.
Director Fernando Meirelles (City of God) is the man who really makes this film work because he does not once let loose from keeping this film terribly bleak and just claustrophobic. There’s no real happiness in this story, except for some parts, but this film moves slowly with a very sad atmosphere that makes you feel confined with the rest of these people as well.
Meirelles never lets us out of the confined little head-quarters were in, and it started to have an effect on me because I wanted to know just what was going on in the outside world, but are questions are never really answered which kept me even a little more freaked out.
Another good element of this film is the cinematography is just beautiful and really keeps you involved with this film. The constant use of black and white really added a lot bleakness to this film and brought me into this post-apocalyptic world of just nothing being the same or simple. Everybody is blind, everybody is lost, and most of all, it’s just about every man/woman for themselves. You may actually get tricked by a lot of the visuals, which kind of added a bit more of a great feel to this film of just not knowing. It’s kind of like I Am Legend except instead of zombies, it’s just people who keep walking into things.
However, my big problem with this film is the fact that it seemed like for the longest time this film was going nowhere. There was no real drive behind this film except for a bit of a conflict that was there, but I never felt totally driven by it. I almost just felt like I knew where this was going, and no matter how it ended, I didn’t really care since it almost seemed like these character’s themselves didn’t either.
I also felt that this premise had so much more promise than what actually came of it. I mean just imagined if we were all blind, and what would we do to survive? I think this film could have been paced a lot better because even though films may be terribly dreary, sometimes they can be a tad enjoyable by the way the film moves. Blindness just moves at a very slow-pace with no real idea where it wants to go, it just wants to be dark and depressing and try to provide social commentary that was really lame.
Speaking of the social commentary, I didn’t understand what exactly this film was trying to say because either we’ve seen it all before, or it made no sense. The film looked like it was trying to say that the government won’t know what to do with an out-break, and we’ll all be left to fend for ourselves basically, which is something that has been said plenty and plenty of times before. It also seemed like it was trying to comment on the way the government treats the blind and this made no sense since blind people aren’t really made this much of fools to begin with. So wherever Meirelles was trying to get at that with, he didn’t do such a good job.
The cast here is alright as well but nothing entirely special. Julianne Moore is good as our hero, who always seems to “see” more than others (teehee); Mark Ruffalo is good and conflicted; Gael García Bernal is good as the villain/blind asshole that stirs up the pot early in the film; and Alice Braga is good as well as pretty sexy I must say. The only real bad performance here is from Danny Glover because he seems out of place in such dark material and everything he says, just seems corny.
Consensus: Blindness is beautifully shot and directed, and keeps your interest for the longest time, but the social commentary sucks, the plot doesn’t seem to go anywhere, and the pay-off is kind of disappointing considering all the promise this premise had but in the end, it was stylized.