Cue the jokes about how this movie runs with scissors and ends-up tripping.
At the age of twelve, Augusten Burroughs (Joseph Cross) finds himself amidst Victorian squalor living with his mother’s doctor’s bizarre family, while she (Annette Bening) goes off and becomes a total drug-addict, amongst other fucked-up things. Oh yeah, and it’s hard for little Augusten since not only is he a poet at such a young age, but he’s a gay one at that. Yay!
I never read Augusten Burrow’s 2002 memoir of the same name, and despite what all of the literary hipsters that I know continue to tell me, I still don’t ever plan on reading it, either. I’m not much of a reader as it is but with material that’s all about people being all wacky and strange just for the sake of being so, definitely rubs me the wrong-way, especially when it’s done in a flick like this.
See, the fact of the matter is that you can make a movie about a bunch of near-functional nut jobs that can still be a bit whack-o in the brain department, but are at least likable and understandable enough to connect to. Writers/directors like Wes Anderson and Noah Baumbach can do this, and do it very well, but writer/director Ryan Murphy is not one of them, nor does he come even close. Instead of making these characters a bunch of whack-o’s that you actually feel something for, as if they were normal, functioning human-beings, you just seem them as whack-o’s with nothing really nice to say or do throughout the whole, dreadful 2 hours.
All you do throughout this whole flick is see a bunch of crazies yell, hoot, and holler at one another, and just do a bunch of random crap to each other that would seem almost too weird to be true (but trust me, this flick wants you to believe it’s source material REALLY IS TRUE!), and in ways, totally is. You never, not for one second, actually believe that all you see on-screen is actually how things happened in real-life for Augusten and if it did actually happen, it sure as hell shows you that it wasn’t a story that needed to be shown on the big-screen in the first-place, mostly because there isn’t much here to hold onto. I would say that the characters are worth the shot of standing-by and listening to, but even that’s a bit of a far-stretch since they are only there to be nothing more than just a plot-device of sure craziness. Watching people act all wacky and wild can be fun every once and awhile to watch, but as time goes on, there needs to be more substance brewing from underneath and that is just not here.
Maybe the fact that I never read the memoir was the reason why I didn’t like it all that much, because there was a lot of crap that happened or was said here that I just didn’t understand. The whole idea of people looking at every single bit of life’s details with a clear-view and making something out of nothing, simply annoys the hell out of me in real-life, and even worse, annoys the most when I see it in a movie and that’s all I saw here. Everybody speaks as if they just got done reading Hemingway and felt the need to rant and rave about what life is all about, and it’s okay at first because it makes sense to why these characters are so strange, but it becomes to be a bit of a bore and unbelievable. You know, just like the rest of the characters and the movie itself. Heck, there’s even a scene where Brian Cox is checking out his crapola (be ready to hear that term sooner or later) and talking about what it’s shape, size, and formation means to his life and everybody else’s around him. Did I get it? No, but would I have had I actually took time out of my lazy day and read the memoir? Probably not. It’s just the type of writing that annoys me and shows that people have nothing else better to do with their way of contracting humor, then just showing a bunch of ridiculous and crude things to really shock you and make you feel as if you’ve seen something from another planet. However, I think I was on another planet when I saw this movie.
It’s even worse, though, when you take into consideration at how freakin’ uneven this whole thing is. My buddy and I were just bored one night, decided to watch this because it was under the “Comedy” section on On Demand, and for the first 30 minutes, neither one of us were laughing. We weren’t laughing because what the flick was trying to do and shove down our throats, wasn’t funny (even though it really isn’t a funny movie), but it was because there was nothing really funny actually happening. It was just a bunch of dark, sarcastic drama that I didn’t know whether or not I was supposed to feel weirded-out by or just go along with it and see if I ever lighten-up to the dead-pan tone and feel. I never did and to be honest, I don’t think the flick itself did, either, because there was just way too many moments where the film changed itself-up. One second, you’ll be watching a scene of some cooky lady eating doggy biscuits, and then after that, you’ll get some heartbreaking discussion between an estranged mother and son. It’s all-over-the-place and constantly changing tones from right-to-left and that is not as fun or entertaining as it sounds. It’s obvious and it never stops to be, and that’s why I just wanted somebody in this flick to die and spice things up. I’m sorry, it’s just the thought-process I go through when a movie sucks THIS BAD.
The only, real saving-grace to this whole flick is the ensemble cast of characters that do all that they can here, but in the end, fall prey to a terrible script and direction. Joseph Cross is fine as our lead, Augusten Burroughs, and is serviceable as a kid that obviously has a lot of problems with growing-up, being a poet, being gay, and not really having a connection with his mother. It should have been a lot more relateable for most kids going through, or have been through teenage-angst, but it’s oddly not. It’s just a kid having a problem with a mother of his that just so happens to be hopped-up all of the time. Hey, I don’t know if that’s everybody else’s life story but if so, well, you just may be able to find something to suit your fancy here.
Actually, the real stand-out of this whole cast is the woman who plays that same hopped-up mother, Annette Bening. Bening is great as this drugged-up, but somewhat schizophrenic that does all that she can to make herself happy, but in the end, just can’t. Bening can play a bitch like no other and she’s great in this role as a mother that’s never there and when she is, is like a freakin’ plague of problems. Yeah, she’s a mean, old woman that seems like she really deserves a nice kick in the teeth by not just me, but anybody, but regardless, it’s still impressive to see from here, especially considering the fact that the girl keeps all of the energy alive and well in this dead flick. And by “dead”, I mean Grateful Dead because let’s be honest, you may just want to be high for this movie. It would probably help a crap-load, although, it obviously didn’t help me with anything.
The rest of the cast is fine too, but none of them can really keep up with Bening. Brian Cox plays Dr. Finch, a slimy psychiatrist who seems to be doing people favors, but also has a bit of a dark-side to him as well that’s maybe not so favorable. Cox is great, what else is new by now? Evan Rachel Wood plays the skanky-looking daughter of his that definitely should have been in this movie a lot more, considering she brings a lot of fun and wit to the screen, when everybody else seems like they’re falling asleep (count me in on that nap). Same could almost be said for Gwyneth Paltrow as the total kiss-ass of the family, Hope, and definitely seems like she got a role for herself that displayed her looks, her beauty, and her knack for comedy. Sad thing is, she’s not that funny here. Not her fault, writer’s fault. I was also very surprised to see a very good performance from Joseph Fiennes, who plays the gay boy-toy of Augusten and just so happens to be the only boy of the Finch family. Fiennes rarely shows up in anything now but it was nice to see him when he was a bit wild, wacky, and free. Too bad he had to be all that, especially in a shit-pile like this.
Consensus: Despite that obviously seems like they’re game for this type of material, it really lets them down as every character is unlikable, distasteful, annoying, and terribly unbelievable, almost to the point of where the whole 2 hours and 2 minutes of Running With Scissors seriously makes you take that title into consideration with your own life. It’s a drastic way of thinking, but it’s the truth.
Damn, Shakespeare is pretty hardcore if you think about it.
The original story revolves around the destiny of Gaius Marcius Coriolanus (Ralph Fiennes), a contemptuous Roman general who attempts to run for the Senate but fails. When his ensuing rage leads him to be banished from Rome, he must team up with his lifelong enemy, Tullus Aufidius (Gerard Butler), to seek revenge and attack the city with his army.
Now, I will admit it, I am not the biggest fan when it comes to Billy Shakespeare. In school, whenever I had to read one of his plays, I put all my heart and soul into it, trying to understand what the hell he was saying, why it was being said, and wondering why everybody didn’t just say shit like, “Hello, how are you doing?”, instead of, “Howeth now areth browneth?”. Obviously that is not something they say in any of Shakespeare’s plays, but you get my drift. Basically, it’s freakin’ confusing sometimes to fully read and understand what Shakespeare plays are all about and 9 times out of 10, I would always find myself Spark Noting the shit out of his stuff. Sorry Billy, you’re an inspiration to writers all over the planet, but I don’t know what half of this shit means.
So, that’s essentially why I was not looking forward to this flick because not only is this all based on one of Shakespeare’s last political plays, but everybody on-screen also speaks in the Old English dialect as well. After seeing Romeo & Juliet and practically despising it, I was ready to just turn it off and see what new episodes of Parks & Rec that they had on Netflix, but I decided to stay with it and you know what? Thank god for that, because this is exactly what I needed to understand and appreciate Shakespeare more, in a world where it almost seems like he’s treated as old-news, as evidenced by the homework that I used to do on him.
The reason why everything makes so much more sense here in a powerful way, is because we get to see anything and everything that Shakespeare is talking about. The script is basically line-for-line from Shakespeare, even though it’s oddly-adapted from John Logan, and because of that, we get to visualize everything that’s happening in this play, which allows Ralph Fiennes to run rampant as director and make every setting and every action, fit perfectly in with all of the dialogue. What really surprised me was the world that Fiennes created for this play, and how the grittiness and dirtiness of this setting, sort of fit in well with what Shakespeare was trying to say all those hundred years ago, and also, what’s sort of going on in our world nowadays.
In a world where uprisings in Egypt seem to happen all the time, a world where more people in America are beginning to join the Occupy movement, and a world where nobody seems to be happy with the job they have and fight back against the government, it’s surprising how universal and timeless this play comes off as despite being written in 1605. Civil unrest has, and probably always will be around no matter the country/region, and that’s what Coriolanus shows off perfectly. The world we live in may have a couple of changes here and there, but there will always be evil, there will always be revolts, and there will always be problems between the people and the government and the way that Fiennes lets all of this play-out in an understandable way, without ever getting rid of the original text is something very powerful in terms of previous Shakespeare film-adaptations.
Fiennes does a great job in allowing this story to tell itself off through amazing scenes where it’s just dialogue and nothing else. The misleading trailer pretty much screwed everybody over by promising a crazy-amount of action and blood in the same vein as The Hurt Locker, but that couldn’t be any further from the truth. There is, however, about 15 minutes worth of action but the rest of hour and 45 minutes, is just people straight-up chatting/yelling/talking/spitting about at one another, and as boring as that may sound, it’s not because it captures your eyes and engages you right from the start. That’s the great element that Fiennes brings to this source material and even had me clinching my pillow at numerous times by how tense it got with certain scenes. Seriously, this film is no joke in terms of Shakespeare and capturing the heart and soul of it, and that’s something we have to applaud Fiennes for, as a director that is.
As an actor, though, Fiennes deserves more applause because the guy is absolutely compelling from start-to-finish in this role and it’s almost un-like anything we have ever seen him do before. Fiennes’ career has been mostly all about him playing these normal-guy roles, but somehow branching out of them every once and awhile and giving us some crazy, shithead role like the one he had in In Bruges. That same role, is pretty much the same exact thing we get here but it’s a lot scarier because of how the character of Coriolanus just stands over everybody else in the film. When Corionalus first shows up, the guy silences a crowd of angry rioters, but not just by yelling and threatening them, he simply comes out, uses a small-voice, and tells them that they are useless in the world that he lives in, and he steps on them and their demands. Something that’s said like that, should totally assure you two things: 1.) this guy is a total dick, and 2.) holy shit, I should be scared of him.
That’s the initial feeling you first get when you see him, but it starts to change-up a bit as you start to see more and more layers peel off from Coriolanus and we realize that he’s just another flawed character in life, just like your and I. He kicks ass in war and we applaud him for that, but we know for damn sure that he can’t run a country; he’s all about pride and love for his country, but sure as hell doesn’t love the people that inhabit it; and he’s a guy who’s all about vengeance and seeking revenge on the country that banished him, but yet, would still kill his family if they got in the way. Coriolanus is not a very cut-and-dry character that could be determined as a good guy, or bad guy, actually nobody in this film could even be considered one, but having him at the fore-front of it all makes for one compelling piece of a character-study, and shows us exactly why Fiennes is the scariest freakin’ man on Earth, whenever he’s yelling and screaming at the top of his lungs. Doesn’t matter what he’s screaming about or how he’s screaming, it’s just that the fact that he is screaming, is what gets us.
However, Coriolanus isn’t the most vicious S.O.B. in the film, despite what I may have you think. No, the one who really runs shit in this whole show is actually his mother Volumnia, played by the great Vanessa Redgrave, who absolutely steals every scene she is in. Redgrave is one of those actresses that I hear about all of the time, but never have really been given the chance to go out and see what she does best but I think may have to change that now because she is powerful as hell here. Every time this old gal steps into a scene, you automatically think it’s going to be another one of those goofy, old ladies that acts crazy because that’s all she can do, but in reality, with this character, you feel scared because you know she’s got something to talk about and she is not going to go away unheard from it, either. It’s a surprise that Redgrave didn’t get a nomination for Best Supporting Actress here, considering she took over the hard-job of scaring everybody’s pants off, despite being 75-years old. Damn can that woman act!
Another performance I was very surprised by was Brian Cox as Coriolanus’ chief advisor, Menenius, but not just because the guy is good (which he always is), but because the guy isn’t another villainous role for him to play. Say what you will about Cox and what he does as a villain, but the guy did need a new change of pace for him and I’m glad he got it here and took total advantage of it all. The other performance that really took me by surprise was Gerard Butler as Coriolanus’ arch-enemy, Tullus Aufilius. For the longest time, Butler has been showing up in shitty rom-com after shitty rom-com, and it left me wondering when the next time was going to be when we were actually going to see this guy be back to Leonidas-style bad-assery. Thankfully, Fiennes was thinking the same thing and decided to give him a very juicy role that not only shows this guy’s physical-intimidation he holds over people, but his way of speaking too. I can’t put my finger on it, but that Scottish accent just makes every single line of dialogue all the more compelling when it’s spoken out of Butler’s mouth and it’s great to see him get something like this. Sadly, it doesn’t seem like it’s going to last very long at all.
The lamest one out of the whole cast that really surprised me was actually Jessica Chastain as Coriolanus’ wife, because for some odd reason, she just doesn’t seem to fit very well at all with the way everybody is speaking. That’s not to say that Chastain isn’t good here, because she damn well is, it’s just that comes off as the weakest-link in terms of making the Old English sound natural, and not as if you are on-stage trying to over-exaggerate the feelings going on throughout your whole system. Still though, she’s good with what she does and that cannot be taken away from her, even though it sounds like I sort of am taking it away from her. Oh well, I’m a dick.
My other complaint with this film that took me away from giving it a full 9/10, is that every time they would focus on a television discussion, it came off as corny and really unrealistic. I get that everybody’s supposed to be talking in the Old English-way, but whenever the news hosts would come on and start speaking in that tongue, it just bothered me and made me feel like I was almost watching a spoof of a Shakespeare adaptation. Then again, it’s another minor quibble from me and there’s plenty more I could go into detail about, but I’m not because I actually enjoyed this one more than I expected. That’s for damn sure.
Consensus: Coriolanus may have some wandering off as soon as they hear the Old English dialogue still kept in-tact, but for those who stay, will be open to a powerful, compelling, and hard-hitting character-study unlike any other Shakespeare adaptation ever that shows you not only can Shakespeare’s themes still be relevant today, but they sort of go along with what’s happening in our world and with our society.
If only Ron Burgundy really did run for office. Do I hear the basis for a sequel…?
When long-term congressman Cam Brady (Will Ferrell) commits a major public gaffe before an upcoming election, a pair of ultra-wealthy CEOs plot to put up a rival candidate and gain influence over their North Carolina district. Their man: naïve Marty Huggins (Zach Galifianakis), director of the local Tourism Center.
If you are going to release an election comedy, the time right before the election would be a perfect time, really. Everybody is basically sick and tired of seeing what these candidates all have to say about themselves, their goals as president, what they think about the other candidates, how much of a wonderful family and dog they have, how they are going to lower taxes, blah, blah, and blah. So you know it’s time for a political satire, especially one with two of the goofiest and funniest comedic actors working right now, right?
You would expect a comedy about politics, being released very slightly before election-time, to have at least some sort of sides to choose or just plain and simple satire on politics themselves, but somehow, you get nothing here from that. Looking at director Jay Roach‘s track record (Austin Powers, Meet the Parents, Dinner for Schmucks), I knew that I wasn’t going to get anything that was necessarily considered biting, when it comes to satire department, but I wasn’t expecting something as safe and sometimes, soft like this. What bothered me the most about this flick is that there is so much room for political satire to the point of where you could almost make it up on your own, but for some odd reason, these guys never seem to go for it. To me, this seems like a huge, wasted opportunity that definitely could have given us a smarter look at the politics we see on TV today, but I guess they’re all fine with just settling for being funny.
Actually, this missed-opportunity probably wouldn’t have bothered me as much if it wasn’t for the fact that this film definitely isn’t as funny as I was expecting it to be. There’s a lot of those dim-witted, goof-ball jokes that we are used to getting with Ferrell and his movies, but it just seems repetitive here, almost to the point of where Ferrell and co. felt like they ran out of material to joke around about, so they just tried to say the same jokes, over-and-over again but it a new fashion. This starts to get very tiring and actually, very boring, almost to the point of where I was actually looking at my “watch” (code name for phone, but don’t tell anyone) more than anything else on the screen. Which is a total shame because I usually have a ball with these guys, as I did with Dinner for Schmucks, a very underrated comedy, in my opinion.
But for when it did make me laugh, it sure as hell did make me laugh and that’s all I can give it credit for. Some scenes stood-out to me in particular, but the best was probably in the first 15 minutes where Huggins goes around his family-table and allows them to all share secrets that they have hid underneath the table for very, very long, and some of the stuff that just comes out of these people’s mouths are hilarious and dirty. It was a sure sign that I was in for something funny and everything else from the punching-baby sequence, to the vengeful political-ad videos, to the drunk driving incident, all had me laughing enough to say that I had a pretty enjoyable time, even if I feel like there could have been so much more to this material.
The real reason this whole film works is mainly because of the two comedic all-stars in the leads that always seem to give every role they have, their all and these ones are no different. Will Ferrell is basically playing-up the same buffoon he plays in every movie, but this time with a mix of his George W. Bush impression and some of Bill Clinton in there as well. It’s a nice little mix that Ferrell makes work by just being, well, Will Ferrell, and that’s all I really ask for when it comes to him and his comedies. Then, you have Zach Galifianakis as the heterosexual Marty Huggins, that just seems so sweet and nice, but can never catch a break because of Brady is always one-step ahead of his ass. Literally sometimes, too. Zach is always a funny guy and even though he hasn’t had many times to prove so outside of his roles as Alan, he proves that here and gives this Marty Huggins a lot of jeer-full goofiness to him, but not enough to the point of where it’s annoying and campy. Whenever these guys were on-screen together, I laughed my ass off and I sort of wish that they did a better movie to head-line together because this one sure doesn’t live up to what people would most expect from these two comedic fellas.
It was also nice to see Jason Sudeikis play a supporting, goofy role as the straight-man behind Cam Brady, Mitch. Sudeikis is funny, as always, but this time he allows all of the jokes play-out from Ferrell’s side of the equation and it’s nice to see what this cat can do when it comes to comedy, considering I haven’t been all that impressed by this dude as of late. Though, the highlight of the cast is probably Dylan McDermott as the evil campaign advisory, Tim Wattley. McDermott is good with this role because he plays everything with such a stern, serious look on his face that adds so many more laughs to this film, whenever it seemed like Zach and Will weren’t necessarily helping out the situation. What was even better was how they even compared him to Dermot Mulroney during this film, which I thought was funny because I actually thought he would have been a good fit for this kind of role.
Consensus: Though it’s satire never fully takes a bite, The Campaign still features a fun cast and a funny bunch of moments that are worth to see, if only for the two leads themselves.
Never leave a spy alive, especially if that spy happens to be Will Hunting.
This sequel re-enters the shadowy world of expert assassin Jason Bourne (Matt Damon), who continues to find himself plagued by splintered nightmares from his former life. Except this time, he has a bigger threat in CIA agent Pamela Landy (Joan Allen).
I think it’s pretty safe to say that if you liked The Bourne Identity, you’re liking this one. As simple as that.
Director Paul Greengrass does a great job here with this material because instead of doing exactly what Doug Liman did with the first flick, he molds it himself. The first one without a houbt had action but focused way too much on its plot, which in turn took away from the little action there was. So what Greengrass does is just match the plot development it but tops it off with more action. And when I mean action, I mean action, baby! Yeah!
Greengrass films more than a few of the action scenes with his infamous “shaky cam” method, but it didn’t bother me as much here as I thought it would have; actually, it tweaked the film in just the right way. All of the fights that go down here feel like they were filmed by a drunken sports fan who just wanted to see some mono-e-mono brawls and happened to fumble in the right places for his camera. Maybe that doesn’t sound (look) so awesome right now but it really makes you feel like you’re there watching Bourne layeth the Smackedowneth on all of these CIA agents’ candy-asses. You can feel the action no matter how far away from the screen you are. The frenetic editing Greengrass did here may not be for everybody, especially the ones that were huge fans of the original, but most will appreciate the gritty vibe he brings to the film and if nothing else how good he is at filming a car chase.
This film isn’t all about its action though, because a lot of it actually is dedicated to its plot which keeps on moving and moving the plot along. If you saw the original, you will probably know everything that’s going on here in the first place, so therefore when all of these mysteries start to be brought up, solved, and twisted around like a curly fry, you can’t help but feel like you don’t know what’s going to go down next. So many things are being brought up here but somehow, it all works itself out and doesn’t become over-bearing.
However, as interesting as the story may have gotten to become, it was still pretty predictable in the end which bothered me. Yes, I know that this is all used for entertainment values and anybody going into these types of films expecting anything else but just pure, adrenaline-junkie action is a total dumb-ass, but I couldn’t get past the fact that almost every action sequence would pretty much end in Jason Bourne coming out on top no matter what the odds stacked against him were. Maybe the fact that I also know that there’s another sequel to this one is what had me thinking this too. Actually, that’s exactly what it is. Damn, I just wish I saw this when it first came out!
Other parts of this film I didn’t like was when the film tried to get a little sentimental with some subplot about Boune’s first “job”. I don’t mind an action/thriller flick trying to be more than just that but the film tries to edge Bourne out more by giving him this plot to show that he really is a human and humans make mistakes. It comes up just about every 30 minutes when something strange goes down and when it’s all over, you feel like they totally dropped the ball on it. I don’t want to say how this whole subplot eventually plays out, bu the scene it ended with seemed to have left me a bit of a sour taste in my mouth. Don’t know what it was but definitely didn’t feel too right.
Matt Damon once again proves himself to be a good action star, and an even better action star as Jason Bourne. He is able to handle this “plain-looking” guy style but also be able to come off as a ruthless bad-ass whenever it comes down to him taking on other spies and the CIA. Bourne is also a bit more interesting this time around because we see him go from a defensive position to an offensive one, which allows us to root him on some more as he battles these CIA punks. Go get ‘em Bourne!
Damon is also backed up by a pretty solid cast. Joan Allen is pretty awesome as Pamela Landy because she’s a strong character that doesn’t have to use her muscles to prove her ruthlessness, instead, she uses her brain and that’s a real tough brain to go against. Let’s also not forget to mention that she’s very sexy and a chick I wouldn’t mind going up against myself, if you know what I mean..? Rawr! If you have ever seen Brian Cox play a bad guy before, (which is almost every flick with the exception of Super Troopers) then his performance here as Ward Abbott will just be another example as to know what this dude is capable of and Karl Ubran gets some pretty bad-ass scenes where it’s just him looking all tough and ready to fight Bourne. Yet, none of them ever really stand a chance.
Consensus: Though it misses a couple of beats here and there, The Bourne Supremacy is still a solid action flick because it keeps the adrenaline moving at such a solid pace, that you rarely ever forget what you’re watching and you get more and more involved with the story as it goes along.
All he had to do was call up Ben Affleck and everything would have been A-OK. See what I did there?
Jason Bourne (Matt Damon) is a guy who has no past, may have no future, and who’s memory is blank. But now he is marked for death, caught in a maddening puzzle, racing for survival through the deep layers of his buried past into a bizarre world of murderous conspirators, aka, the CIA!
Believe it or not, but I have never seen any of the Bourne films before and trust me, I do feel ashamed about that. However, I’m not a huge spy guy either so that may have something to do with it as well.
What I liked most about this film and what I thought was very intriguing about it was how the spy dude that the story is centered around, is an amnesiac. This means that this guy has no idea what’s going to happen next, what he’s going to do next, or just whatever the hell is going on in general. Sucks, right? It’s particularly cool to see when he kicks the arse out of these two police officers kung-fu style and not only are we realizing that he’s one mofo to not mess with, but he’s also realizing it as well. I know it’s a little detail in the story but it makes it all the more interesting as we see all of the crazy twists and turns that this film makes without us ever really knowing what may pop-up or come to Bourne’s mind next. Definitely a lot of suspense to be had here and I have to give a lot of that to director Doug Liman, who obviously knows how keep a good amount of tension going on throughout the whole film even when it started to slow down a bit.
However, that’s also my problem with the film because I expected there to be so much more action and ass-kicking, that I was sort of let-down by it all. Don’t get me wrong, there is action to be had here and whenever it does happen, it’s pretty freakin’ awesome but when it’s spread apart very far in this movie. It does give the plot more development, as well as the characters and such but too much of it actually takes away from the film and comes off as a bit, well, should I say, boring. I know the word “boring” definitely isn’t what some of you were probably thinking while watching this flick but there was just something about it here that made me feel like I wanted to see some more ass-kicking, because when it does go down, the film gets a hell of a lot more intense.
What I do think is very notable about this film was the casting of Matt Damon as Jason Bourne. Even though I’m not in love with him, I still do think that Damon is great at playing “the everyday man” and can definitely bring a lot more to his character no matter what the film may be, especially here considering this character is trying to find himself in this big world of intrigue and CIA agents roaming all about. Also helps that the guy did all of his own action stunts and is pretty damn good at it too. The casting of Franka Potente was also pretty neat-o to see too because she gives this film a very European feel and her scenes with Damon actually work with the chemistry they have. I couldn’t help to think that their whole love angle was a little forced though, but I guess when you have a male and a female who are just traveling together for reasons unknown, eventually some hormones are going to start flying all over the place.
I also have to give some love to two vets who are very good at playing villains in almost every film that they do but do exceptional jobs here: Brian Cox and Chris Cooper. Nothing else really needs to be said about them other than they do great jobs as bad guys. Case closed.
The two characters in this film that I didn’t think needed to be here at all were Adewale Akinnuoye-Agbaje as Wombosi and Julia Stiles as Nicolette. The reason Adewale’s character doesn’t matter to the story and basically served this plot for one purpose and one purpose only. It seemed strange that they even had him in here considering it didn’t do anything for the flick other than add another character to the equation, which didn’t even need to happen. Also didn’t help that the dude was over-acting out of his ass and I probably would have liked it just for him to go away in the first place.
The same thing can be said for Stiles in here as well because if you t0ok her part out of the film, it wouldn’t make a single difference to their plot or anything else here. And even when she does talk in this film, she sounds like a little whiny brat that seemed to get this job because of her daddy and it probably was also a little strange how the chick was 18 and looked it when she was playing the role of a CIA underground operation. Just how many other people my age are doing shit like that? If they actually are in the real world, then I need to quit doing this and start applying. See ya!
Consensus: The Bourne Identity does slow down at points, which can take away from the fun of the action that happens here, but is still none the less very entertaining, suspenseful, well-acted, and intriguing with the ending they leave you with which definitely gets me excited to see what happens in the next installments that I still have yet to see. I know, I’m a schmuck.
Who is “The Zodiac Killer”? Actually I think the better question is who cares?
“The Zodiac Killer” was a serial killer during the 60′s to 70′s who wrote to the San Francisco Chronicle talking about what he was going to do next and stunned everybody all-over-the-world by how he was never caught. Two people, a homicide detective (Mark Ruffalo) and journalist (Robert Downey Jr.) spend half of their lives trying to solve the case, only to be shown-up many years later by a cartoonist (Jake Gyllenhaal).
Going into this and knowing that this was a David Fincher flick, I had a feeling that I was in for some utterly insane craziness that happens in just about all of his films. However, when it comes to a 157 minute film about an open-case, I got something way way better.
This is a very long film that is filled with non-stop talking, evidence, procedures, details, facts, and everything else that has to do with this case but I was never bored once. Fincher seems totally dedicated to this case and all of the investigations and claims that were made for this whole case are brought up giving us a more clear view of what is actually going on with this case. We never find out who the killer is, even though we get a general idea through red herrings, but the fact that we listen and learn as this case is following through, you can get a sense that you are here solving the case as much as they are as well. Of course this is more like a clear-cut film that seems like one long episode of ‘CSI’, but if you like mystery/crime films that show you just about everything without leaving anything out, this is a perfect watch for you as much as it was for me.
Another great element to this film that Fincher uses is creating tension in the mood as if I was watching a flick from the 70′s itself, which is where the story takes place. Fincher creates the fashions and feelings of the time, but still being able to add in his own CGI-enhanced material that will still seem relevant to the story as it gives it this very moody and grim look but still in a way full of colors when some big shine of light comes through. We also get these dark and moody feelings where something is just not right in the air and the fact that almost nothing happens (no big car chases, no big shoot-out) is a true testament to Fincher’s sturdy hand considering the whole time I was on-the-edge-of-my-seat with this paranoia that I was starting to feel a lot more than the actual characters themselves. I also could not tell you if there was a completley unneeded scene here that had nothing to do with this actual investigation, which is not very common with thrillers nowadays but then again, Fincher is just a totally different dude.
I think I was just some impressed by this film because it’s something that is incredibly different from anything else that Fincher has done before. We see him in more of a subdued drama, that may seem too dialogue-heavy in some parts, but overall keeps you watching the whole time. The fact that Fincher also never lets us in on what he feels is the right solution to this case or who he feels is really the killer, made me appreciate this film even more as it could almost be another case where even motion pictures can shed some intelligent life on an investigation that may have taken forever to solve, but could be easily solved by just facing the facts…Jack.
My one and only problem with this flick is that I didn’t really like what it turned out to be in the end when we start to focus on Gyllenhaal’s character, Robert Graysmith. We see how Graysmith starts to become terribly obsessed with this case so much that he starts to alienate his family, grow paranoid in everything he does, and basically make his house a shit-sty of papers that have to do with the case that he can’t get over and just let go. We have all seen this idea and material way too much and it wasn’t like the last act had me annoyed, I was still easily interested but I just think it was more of a bummer to see Fincher resort what seemed like ‘The Number 23′.
Fincher has a huge cast of characters here but only a couple stand out in my book. Jake Gyllenhaal gives a very good performance as Graysmith and shows that he has a lot of craft, energy, and tension in almost every scene that he places himself in. It’s such a shame that him and Fincher vowed to never work again because Gyllenhaal was able to give one of his best grown-up performances that I have really seen so far. No, I do not mean you, ‘Prince of Persia’. Mark Ruffalo is also very good as David Toschi, showing that he is able to throw himself into an eccentric role that demands you to feel his pain and anguish. Robert Downey Jr. is a lot of fun as the flamboyant and funny, Paul Avery and shows why Downey should just go back to playing normal people roles rather than just Tony Stark or Sherlock Holmes. There are so many other people in this film that just do phenomenal jobs with each of their own respective roles and I really have to give it to Fincher for nailing down just about every single role.
Consensus: Zodiac is a film where barely anything happens, except for a lot of talking and investigation into a case that is still open today, but Fincher keeps this long flick totally entertaining, exciting, and tense with a great screenplay that dives right into the investigation itself, and show perfect performances by just about everybody involved.
This is the main reason why they stopped making VHS tapes.
A strange videotape makes it way around a circle of friends. Strangely, everyone who views the tape seems to die exactly one week afterward. After believing this to be a strange urban legend worthy of an article, cynical reporter Rachel Keller (Naomi Watts) watches the tape and shortly thereafter unsettling occurrences begin to happen to her. Is she slated to be the next victim of some kind of bizarre and seemingly supernatural force?
After seeing almost all of the ‘Pirates of the Caribbean’ flicks, it’s very strange to see director Gore Verbinski doing a horror film that originated from Japanese. I also have to say that seeing this film for about the 7th time, it still remains quite freaky.
What works here so well is when it comes to the horror that this film has to deliver, it doesn’t feel cheap or something we’ve seen before. Verbinski is all about creating suspense rather than just throwing things right at you with the constant jump-scares just about horror flick has nowadays. You don’t know what’s going to happen next at most points and right when you think something is about to happen, Verbinski pulls the rug underneath you completely and every single time he does it, its something that works.
Another cool element about this flick is that it’s not only a horror flick but a mystery film as well. As the film moves on, we start to find out more about the story that lies behind the type and why all of the crazy shit that happens in it, happens in it and what it exactly means. Speaking about that tape, it’s freaky as hell and probably one of the freakiest things that I have ever really seen in a film in the past decade. If I woke up in the middle of the night and my TV had static on it, I would throw that damn thing out right away.
The problem with the story that is behind the whole video, is that it doesn’t really make much sense. It’s never explained why the mother does what she does to the daughter and why, and another thing I never understood is where the hell that the tapes of the girl in the psych-ward came from, if she was apparently dead. Still, without giving way too much away I just have to say that this film doesn’t hold up when it comes to its plot.
Another problem I had with this flick was that when you watch it for as many times as I have, it starts to lose it’s freshness. I won’t lie and say that barely any of the scares work, because I still got a little bit scared here and there by what I saw but to be honest, I couldn’t really get terrified when I knew everything that was going to happen. Also, why the hell would a mother leave a tape that if it is watched will result in a death sentence, around the house where her young son can watch it? Mommy of the year everybody!
Naomi Watts is fine as the slightly-bitchy but also very determined reporter, Rachel; Martin Henderson is a lot of fun to watch as her ex-boyfriend and investigative partner if you know what I mean, Noah; and let’s not also forget to mention the little cameo by Brian Cox who is always the man in no matter what he does. The one performance that seemed pretty blank was the one given by the kid who plays Aidan, David Dorfman. He seems more like a copy of the usual creepy little kid we see in every horror film and he just seems to be put in the film for that matter. But then again, he is just a kid so I guess I’m kind of a dick for beating this kid up.
Consensus: The Ring has its fair share of plot holes that don’t make sense, but Gore Verbinski creates suspense to the point of where you don’t know what’s going to happen next, and the mystery behind the whole story is pretty interesting as well. Don’t go see the sequel though. It blows.
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.
The freaks are back, and surprisingly a lot better this time around.
Professor Charles Xavier (Patrick Stewart) and his team of genetically gifted superheroes face a rising tide of anti-mutant sentiment led by Col. William Stryker (Brian Cox). Storm (Halle Berry), Wolverine (Hugh Jackman) and Jean Grey (Famke Janssen) must join their usual nemeses Magneto (Ian McKellen) and Mystique (Rebecca Romijn) to unhinge Stryker’s scheme to exterminate all mutants.
After watching the first X-Men film, I was bummed to say that it wasn’t as awesome as I once thought it was. Then, when I watched this, I realized just how awesome this one actually was.
Director Bryan Singer knows what he’s doing with this material here and takes the events of the first film and builds on them in such a way that when you see the credits you know that big things have happened. There is a lot of action here but there is also a deep story about being accepted in a world that won’t even look at you without judging you as well.
Singer knows how to balance a good story with some great action, and as the story kept getting deeper and deeper, the action kept on getting better and better, something I thought could never happen in a superhero film.
In the first one, I thought they focused too much on way too many characters, but here the movie is more focused on these characters throughout this moving story, and it doesn’t start dragging at all. This one actually felt more epic as well with its story and I guess that’s how all superhero films should be, but when you have something like Mutants vs. Army, you know you’re going to be in some pretty big shit.
The special effects are just plain awful (as in “awe full” – funny how a word can have two diametrically opposed meanings). Seamless integration with the live action, astounding in their inventiveness, so enticing that you want to be a mutant yourself. Exactly what special effects should be. They are worth the price of admission all on their own.
My problem with this film was that I did feel that there were some plot holes that I didn’t fully understand. Such as all these mutants can use their powers against a normal human-being and kill them right away, but when this young dude named Pyro throws fire balls at these people, nothing happens except a little sun burnt. These mofos should be dead! There were also some problems I thought that the plot had as it went along but I don’t want to give away too much here.
The cast from the first one is back, and better than ever actually. Hugh Jackman continues to be excellent as the angry and awesome Wolverine. The guy is not just dedicated, he’s frustrated but he never lets that stop him from finding the right thing to do, whether it’s protecting the weak or punishing the bad. Jackman totally improves his performance from the first one, and does a great job here as always. Patrick Stewart is also very good as Professor Xavier; the evil and maniacal Magneto, is played just so so well by Ian McKellen; and Brian Cox plays William Stryker, to the point as to where every time he was on screen, I just wanted somebody to beat his ass. All your other favourite mutants are also more interesting and more advanced than they were in the first film. Halle Berry’s Storm is sexier and more dangerous, while Famke Janssen manages to overcome Jean Grey’s hairdo (the worst I’ve seen on an actor in a long time) and really kick ass. The new mutant in this film is Alan Cumming as Nightcrawler, who is a little strange but at the same time very innocent and there’s something about him that you just like. Everybody else does a great job here too, there’s just so many to talk about though and so little time.
Consensus: Despite some plot holes, X2 is a total improvement from the first showing a lot more action, special effects, and a more deeper and darker story-line that will take you by storm (pun intended) and won’t let you go until the credits are up.
Now I know more about history.
In 1193 B.C., the love-struck Prince Paris of Troy (Orlando Bloom) kidnaps legendary beauty Helen (Diane Kruger) from her husband, King Menelaus of Sparta, setting the two nations on a fast-and-sure collision course for war and bloodshed. The Greeks, including Achilles (Brad Pitt), marshal their entire armada, sail to Troy and begin a decade-long siege. Eric Bana plays Hector, the leader of the Trojan forces, and Sean Bean is the wily Ulysses.
I’m not a huge reader of old Greek mythology, but I know my way around it. However, due to this film, I may want to give them all a second reading.
This film is really great to look at, and you do have a fun time. The set pieces and costumes are extremely beautiful, and you almost feel as if you are in ancient Greece watching all these battles go on. The battle sequences are awesome. If you love watching bows fly in the sky, and swords be thrown around like frisbees, then this is definitely the film for you cause the violence here is down-right bangin’.
The problem with this film is that when all the action is not going on, there really isn’t much else to this film to keep you entertained for long. I thought that the script was pretty lame, and there are a lot of lines that seem cheesy and cliche.
You also can’t really connect to these characters cause the film is more about the events happening, and less about the actual people involved. The film doesn’t really give you an idea as to who the bad, and the guys are, and it’s not that you can make up that assumption for yourself, the film doesn’t really let you in to figure that out. So by the ending, I didn’t feel any real connection to these characters, and their fates were kind of not as important to me. These actual historical figures seem more of action hero cliches rather than actual people, and that’s the problem cause you could have actually rooted behind some of these people if the film just let you. But you are never really given that chance.
The acting for me here was pretty good. Brad Pitt is oddly in this film, and it seems kind of strange, but I think this was his days before Angelina, so it’s kind of understandable that his career didn’t really pick up just yet. He’s good as Achillies and actually brings a charm to his character that I wasn’t expecting him to do with such a cheesy script, but that just proves his skills as an actor. I also liked Eric Bana as well, and thought that his performance as Hector, brought a lot of emotion to the film that it needed. Orlando Bloom was kind of a downer for me, cause his performance isn’t that good, and his character is even worse. I don’t know what he was trying to do here, but being compelling surely wasn’t one of them. Diane Kruger is alright in this film as well as Sean Bean, Brendan Gleeson, Rose Byrne, Peter O’Toole, and the always reliable Brian Cox.
Consensus: It’s beautiful to look at, and the action is exciting, but the film’s bad script, keeps Troy away from the emotional resonance that could have actually helped the film be more than just a standard action movie.
One of the worst, and most confusing writer blocks ever…well…written.
Charlie Kaufman (Nicolas Cage) is a Los Angeles screenwriter battling enormous feelings of insecurity and impotence as he struggles to adapt The Orchid Thief, a book by Susan Orlean (Meryl Streep), whose main character, John Laroche (Chris Cooper), is searching for love. Add to the mix Charlie’s twin brother, Donald (also played by Cage), and you have a surreal, Spike Jonze-directed gem about the search for passion.
When it comes to Charlie Kaufman and Spike Jonze, they literally are two great minds that just cannot be controlled without a doubt. Just by seeing this film you can tell that they should do more and more films together, no matter what the subject matter.
At first, the film may seem really confusing, and it may have you keep on wondering: whats fact or fiction? However, the film is structured in a way that it actually feels like your in Kaufman’s mind, with the over head narration, constant imagination shots, and the fact that his brother keeps on popping up.
The screenplay is what really works here, because it shows that writing about yourself sometimes works. Now take it for granted, this is a historical fiction piece, but some elements show the fact that Kaufman really did start getting nuts while writing this screenplay and we start to feel it. The blending of comedy and drama really works, cause the comedy at times is actually very very funny, something you wouldn’t expect, and also the drama in this film almost brings a tear to the eye sometimes, while providing a lot of info about life itself, something you wouldn’t expect. The film is alive, because it keeps on inventing itself as it goes along, surprising and challenging us, showing us something we weren’t expecting.
I had only one problem with this film and it was sort of obvious, and it was the sudden change of tone by the last act. I don’t want to give too much away, however, it just feels like the ending had a sort of Coen Brothers, thriller/comedy feel to it, and didn’t quite match with the rest of the film.
The best thing about this film, that really elevates it to the highest power, is the wonderful performance by Nic Cage. He plays both Charlie and Donald Kaufman, and it is just one of the greatest dual roles of all-time. There is no fancy-shmancy make-up done to either of these characters, nor do we get a huge announcement of who this is, we simply know by the way Cage acts each one out. Donald is funny, witty, and aspires to be something Charlie already is, while Charlie himself is nutty, smart, and also is going through some crazy stuff, but we can tell who each character is.
There is also a wonderful supporting cast here. Chris Cooper, plays his best role ever, as John Laroche, the free loving flower nut, who at first seems like a total dick, but somehow by the ends becomes our favorite character. I was glad he won the Oscar, because its just a type of character that have could have been played totally wrong, however gives us the feel and passion that lies within this great character. Meryl Streep also has a good supporting performance, although I somehow feel her scenes with Cage could have been better, if given more time on-screen. Also, Brian Cox is in this, need I say more.
Consensus: Adaptation seems confusing at first, but ends up turning into a superbly-acted, witty, and heart-felt realistic fiction, showing that sometimes writing about yourself is better in some cases.
Just proof as to why you don’t mess with the Scottish, they will always beat your ass.
Enraged at the slaughter of Murron (Catherine McCormack) — his new bride and childhood love — legendary Scottish warrior William Wallace (Mel Gibson, who also directed the film) slays a platoon of the local English lord’s soldiers. This leads the village to revolt and, eventually, the entire country to rise up against English rule.
There’s a lot to be said about this film that hasn’t already been said before. It’s a great film, but its influence seems to be over-shadowed.
The influential thing about this film starts with its gritty look. Many epics before this film have either romanticized or cleaned up the look of 13th century locations. However, with this film, Gibson gives us a dirty, disgusting look, something that many back in 1995 haven’t seen before. The people in this movie are dirty (even though they have clear teeth), and the habitats they choose to live in are even worse looking them they are. Without this film we wouldn’t have been able to see the true disgusting side of the 13th century.
Another great thing about this film is that the great epic battle sequences are straight up in your face bloody. The best part of this film is obviously the awesome battle sequences that occur, but some seem to forget that these battles being so effin’ bloody, got other directors thinking, more blood the better. I mean look at any other epic battle film after 95: Gladiator, Troy, 300, hell even enough to say, Lord of the Rings, even though it isn’t as bloody as this. They all have a lot of bloody action, that brings out a lot of emotions by showing how brutal mid-evil times were.
Gibson as director, is spot on perfect here. He captures every single emotion there is to capture in a epic like this. The battle scenes are great mostly because of the way he films them showing every single detail of brutality. Another reason for it’s greatness is the message. The reality of freedom we live and enjoy started with a dream. A dream turned into reality by men with conviction like William Wallace.That comes with pain and sacrifice,and sometimes involves violence.
I did have some problems with this film though, as many others did when it won Best Picture. There is not much we know about William Wallace, a poem I think, but I couldn’t help myself to think that none of this actually happened. I remember quite faintly, that the big battle scene in the beginning, happened on a bridge in real history, and the primae noctis was never used by King Edward which starts the battles off in the beginning.
Mel Gibson possibly could be the greatest action star of all-time mostly thanks to this. Gibson creates this great character William Wallace, by backing him up with so much charisma, so much courage, and so much humanity, that it’s hard not to wish that he defeats the English. Wallace will be an icon in film for some time now, and when you scratch your head and wonder why, then check out this wonderful scene. Why Gibson wasn’t nominated for an Oscar, still baffles me.
Patrick McGoohan also does a great job at playing Edward Longshanks. He plays the villain the old-school way, but still shows us a great deal of depth, when he’s fighting against his son, demanding terrible orders, and overall being a total and complete jack-ass to everyone he knows. But hey, I hated him so it must have worked.
Consensus: Though it’s not completley accurate, Braveheart is still one of the best epics, with its great action sequences, influential gritty style, as well as a great directing job and acting job from one of the greats, Mel Gibson.
If I had one last day in the real world before a prison senteance, I’d party non-stop.
This is the story of the last 24 hours Monty Brogan (Edward Norton) gets to spend with his two best friends — Frank (Barry Pepper), a bonds trader, and Jakob (Philip Seymour Hoffman), a high school English teacher — and his girlfriend, Naturelle (Rosario Dawson), before he goes to prison for 7 years for pushing heroin. As they plan to party the night away in New York City one last time, Monty tries to touch base with his father (Brian Cox).
This is one of those films that you have to watch if you really want to know how everything looked, felt, and was in New York City post-9/11.
Much of the credit of this film has to go to the always amazing director Spike Lee. I want to salute him for shooting this film the way it was post-9/11, and having his characters acknowledge it without exploiting any wounds that are still raw. This is probably one of most straight-forward films that doesn’t hide behind too much racist symbolism, and gives you the heart0felt tale.
Lee uses a lot of these jump-cuts, and visual looks that are actually very astonishing. However, he doesn’t quite use the visuals to his advantage and keeps a hold on the story. As the film progresses we get flashbacks of Norton’s life and how his life came to be now, and as we go on longer we know more and more about him every time. Also, we understand his feelings about the loss, doubt, fear, and regret, about all of the decisions he has made in his life, and through this film and it’s story that moves on, we can connect to him.
However, I wasn’t happy with the ending. I didn’t think that we should have left all of this whole film up to us. I still felt like there was something that needed to be done before it ended and we never got that. I think the ending needed to be more straight-forward and likable.
The real heart of this film lies within its characters and their amazing performances. Norton is the main reason of why to see this film, he carries it all the way with his great charisma, that shows his anger, depression, and regret all at the same time. We actually don’t hate him, he’s just a guy that did bad stuff, but yet we feel bad for him. The supporting cast of Seymour Hoffman, Pepper, Dawson, and Cox are just amazing and the one thing I mostly liked about these characters is that they are just like Norton’s by the fact that they also have some ugliness to their characters and have all done something wrong just like him.
Consensus: 25th Hour has a less than powerful ending, but is backed by a fearless direction from Lee, true look at New York City post-9/11, and wonderful performances, but mostly due to the riveting performance from Norton.