Not only do you stay the same age for the rest of your life, but you always stay sexy and gorgeous. Yay!
When Will Salas (Justin Timberlake) is falsely accused of murder, he must figure out a way to bring down a system where time is money (no, literally) enabling the wealthy to live forever while the poor, like Will, have to beg, borrow, and steal enough minutes to make it through another day. Along with him, he takes Sylvia Weis (Amanda Seyfried), daughter of one of the wealthiest men alive, and they venture out to change the world, they once knew, and try to make it back to the way things once were before.
In today’s day and age, hearing the term “time is money” seems very relevant and places you in the world we live in where the rich get richer, the poor get poorer, and cash is getting harder and harder to acquire. It’s a mess of a world we live in and it’s another perfect opportunity for Andrew Niccol to capitalize on and make a great sci-fi future about, just like he did with Gattaca. However, comparing those two seems a bit mis-matched, as one plays out like an actual drama, where this is just guns, chases, women, sex, and money. Lots and lotsa money.
What I liked most about this flick was the set-up and premise from Niccol. He takes you into this future where everybody is practically living day-to-day, working their asses off just for another hour, and people don’t waste any time at all with what it is they do, so they just run just to keep up with time. It’s a pretty neat premise that Niccol shows and actually spends a butt-load of time developing it, showing us the perks, showing us the obvious cons, and also letting us know how people get by when they live in a world like this. It also looks gorgeous with some really lavish production designs and something about those cars that combine a futuristic look, with a 70′s grindhouse-car look and made them look so cool and retro, but something I’ve never seen before as well. Either way, this whole world that Niccol put me in was really cool but it only becomes a total shame when things started to change right in the middle, and not for the best, either.
The film changes it’s tempo from this dark, brooding drama about a messed-up future, to a slam-bang, action thriller where two Bonnie and Clyde-types are going around, shooting people, taking time, and trying to save their own time as well. You would think that with a good chunk of this film surrounding two people, running for their lives as their clock ticks and ticks away, there would be a lot more suspense and momentum to this flick, but I never felt it. The pace should have been more frantic, where you felt like these characters could have timed-out at any second and even though there were some parts where that feeling came over me (last 15 minutes were pretty damn tense), it sure as hell wasn’t enough especially when you take into consideration that the last hour is dedicated to it.
This film is also terribly silly, but not in a good way, either. There’s a lot of lame dialogue used here where characters use all of these dumb time puns and the usual corny, action bullshit where you have JT saying that he’s going “to take their time back”, and all that lame-o crap that we hear in every sci-fi, action film. But this time it’s different: because it’s all about time. Honestly, if I heard “cleaning one’s clock” ever used again when somebody said they were going to kill somebody, I was going to rip out all of the alarm clocks from my house, get a hammer, set them down, and smash every single one to pieces until I couldn’t hear a ticking noise! And yes, even the ones on the microwave and stove as well! Sounds dramatic, I know; but it gets so annoying after awhile. Just trust me on that and be ready to check-off every “time” pun you can find because I don’t think you’ll have any left by the time this is over. See what I did there? Okay, I’ll shut the hell up now.
But the idea of how these people actually lose and gain time was pretty silly as well, if not fully realized to its fullest. I’m not a big mofo when it comes to movies not making any sense or seeming illogical in terms of plot or character-development, but when a flick like this depends on it’s tools and methods, I have to expect a little something more in the plausibility department. Think about it: the only way to gain and lose time in this future is by touching arms together. That’s it. The way a person can save your life is by basically, taking your arm, saying how much time to give away, and holding it for about 5 seconds or so. That’s pretty much all there is to that idea and it would seem pretty easy to steal anybody’s time just by walking by somebody and taking their arms, regardless of if they want you to take their time or not. Maybe Niccol didn’t fully think this stuff through, just maybe.
If anything makes this film a lot better, it’s the action and the cast that this film has assembled. Since every character in this film has to look either 25 or younger, it seems like a very big stretch for this film to get people that look this age and I don’t think one person in this film was actually that age, but they all do fine jobs with it. Justin Timberlake is fine in one of his first starring roles, playing a very serious and heroic-like character as Will Salas. JT does his best with this material and even though a lot of the lines he’s given are terribly corny as hell (yes, I speak of the “time” puns), he still works through it and makes a realistic/sympathetic character that we can all stand behind easily. Amanda Seyfried begins, at first, by playing his damsel in distress that seems to just want to go home back to her rich mommy and daddy, and live the life she’s always wanted to, but that surprisingly changes when we soon start to see her and JT connect with each other, which is where her performance seems to get better. Their chemistry is very good together and I could actually buy them as love interests, as well as two bad-ass rebels that wanted to take down “the man”. It’s also surprising that I believed them as a couple because they rarely have any actual love scenes together, and even when they do, they are always rudely interrupted by the dickhead time-keeper; Mr. Cillian Murphy himself.
One of the more distracting aspects behind this flick is that 35-year old Cillian Murphy looks the oldest out of this whole cast, but other than that, is still pretty good as our “villain”, Raymond Leon. I use quotation marks around the word “villain” because the film never really seems to decide whether he’s a troubled, government worker that is just doing his job, or a guy that is truly a bad soul that just wants to make people’s lives miserable. That aspect of this character is never fully realized until the last couple minutes or so with him and it’s only because of how good Murphy is at playing him, that I can forgive the film for this mis-step. The actual villainous villain in this flick is played by Alex Pettyfer, and after seeing Magic Mike and loving him in that, I was really happy to see this kid here give a pretty good performance as a dude that goes around, killing people, and taking their times right before he does so. Such a baddie!
Consensus: The set-up and initial-pace from Andrew Niccol, has In Time start off with plenty of promise, but it soon falls down after about an hour or so, where the film goes from a thriller that features no real thrills, no real suspense, and a whole bunch of corny-dialogue that makes you feel like this film was supposed to be made way back in the 80′s, when these films made killings at the box-office. They still do now, but not as much as that lame decade.
5.5 / 10 = Rental!!
Almost 30 years later, and I still don’t get what the hell they’re talking about.
Sam Flynn (Garrett Hedlund), son of the famous Kevin Flynn (Jeff Bridges), responds to a message from his long-lost father and is transported into a virtual reality called the Grid, where Sam and the algorithm Quorra (Olivia Wilde) try to stop the malevolent program CLU (a younger Bridges in CGI-form) from invading the human world. However, times have changed for dear old Kevin Flynn and he’s not exactly what he used to be, so it’s up to Sam to save the day.
After checking out the first TRON and not seeing it as anything more than just a pretty film that’s easy on the eyes (if you take the time-period into consideration), but still, very hollow once you get underneath it all, I was actually looking forward to this one. The reason being is just because it’s been almost 30 years since the original, so therefore it seems like they would have a new hold on the visuals, the story, the acting, the writing, and just about everything else that didn’t work in the original. Somehow, that idea didn’t get around to anybody working on this movie, except maybe the people working on the soundtrack. Yeah, giving Daft Punk a call was a bit different.
If you haven’t seen the original, you may want to do that now before you even bother reading the rest of this review or even seeing this movie because going into this one blind and having no idea what to expect will probably leave you in the dust. Not only does the flick barely touch on anything that happened in the first movie, but it’s story (or lack thereof) is mainly for the people who saw and could at least understand some portion of the original’s. Basically, see the first one and THEN, check this one out. You’ll be happy I gave you that piece of advice, but then again, you maybe be unhappy that I gave you that piece of advice because not only did you have to sit-through one TRON movie, but two! My condolences, people. My condolences.
Actually, all of this pre-game shit-talking may not be deserved because to be honest: I actually enjoyed myself with a good-portion of this flick. Heck, if I was to put it head-to-head with the first; I’d probably have to go with this one pulling out the close victory. Close-call, but still a victory none the less. With that being said, it doesn’t mean that the same problems I had with the first movie aren’t here, it’s just that there is more to distract me this time around. Thankfully, that distraction lies in the form of Joseph Krosinski’s visual-direction. In the 30 years ever since the first one came out and shook-up the world of movies and video-games as we knew it, technology sure as hell had changed and improved in ways that we wouldn’t have ever been able to swallow back in those days. This means that the movie actually takes advantage of that fact, the same way the original did, except with more CGI, more 3-D, and more IMAX.
Obviously, the first one for it’s time, was revolutionary and visionary with what it could do back in the dog days of Summer in ’82, but now, in the 21st Century; there’s so much more than we ever imagined. The world of the Grid looks more beautiful and breath-taking than it ever did before and you really feel as if you are swept into this virtual-reality world with the same shit from the first movie like electronic cars, frisbees, and weapons, but this time; with more pizzazz and style added to the mix. I really felt like Krosinski had a total understanding of what the look and feel of this world would be like, and he doesn’t drop the ball on it once. Especially in one scene that takes place inside this wild and crazy night-club that had me feel like I was watching a whole, different movie. Also, the scene works because that’s really when Daft Punk’s score begins to kick-in and if it wasn’t for them and their pounding, electronic-beats in the background in that scene, as well as for the rest of the movie, there probably wouldn’t have been the same amount of electronic-energy involved that just got your senses alive and pumping.
Thanks to Krosinski, you feel as if you are there in this virtual-world where everything is on such a higher-platform than it ever was before and the guy absolutely revels in it. You can tell that he really did grow-up with the original movie, and shows that he loves this world just as much as any other nerd, who probably watched it back in the day, and fell in love with it just the same. However, the difference between Krosinski is that he has a camera and about $170 million to work with, whereas the nerds are just left there, making $10 an hour, eating Doritos off their chests as they sit-back, and watch as a fellow-nerd lives out their shared-dream to the fullest. In a way, that can all be viewed as a humble experience, but it still goes to show you that if you have inspiration and a vision that you want to get-out there for the rest of the world to see, don’t hold yourself back from showing yourself. Get the hell out there and make it happen! Fuck yeah!
Anywho, I think I may have gotten a bit too carried away with what I was trying to say because yes: even though Krosinski knows exactly what he’s trying to do behind-the-camera and with the visuals, he still hits the same dead-end that the original hit way too many times: the script. For all of you who probably guessed it, then yes, the script is pretty terrible and without getting into the whole gist of this thing and finding myself in a circle of total and complete convoluted craziness, I’m just going to state that this plot practically makes no sense, even to a person that has seen the original no less than a week ago. There are some interesting ideas here, but nothing all that special that the Matrix didn’t already cover, about 11 years earlier. Which means watching it now, just seems like a bit of a re-tread of something that was done and said, a hell of a lot better before. God, you gotta love the 90′s.
As you could probably suspect, the dialogue is pretty shitty but you don’t come to a movie like this for winning-dialogue and understandings of the world we surround ourselves with; you come to these movies for fun and fun only, and that’s what element this script is missing out on: fun. What made the original a relative joy to watch was that no matter how corny, no matter how dated, and no matter how lame the rest of the script was (and trust me, it did get unbearable at-points), the film still always had this breath of fresh air that knew it wasn’t taking itself so seriously and always allowed there to be room for play-time. However, this movie, this story, and this script, only allows little to no room for play-time and really brings down the whole mood of the film. Terrible shame too, because it could have really saved a lot of the shaky-material this movie had on-display.
Yeah, I get that it’s supposed to be a bit of a dumb movie that’s strictly for fans of the original and people that like extra butter on their popcorn, but is this really the BEST material they had to offer? I mean, you can live-off the fanboys money for only so long, all up until the point where the fanboys begin to realize something is wrong, dead-wrong with the way things are structured in a movie, especially a movie that’s living in a cult-name like TRON. Even though I wouldn’t go so far as to call the final-product a total cash-grab for that said audience; it still feels like a lame and disappointing attempt at trying to re-create the fire that was once there. The fire that also never really caught my eye in the first-place but then again, it’s a different type of movie for a different type of person. Different strokes for different folks, I guess.
The one thing they did improve on, if only a tad bit, from the original is that the characters at least have more to them than I originally expected. Jeff Bridges returns as Kevin Flynn in two forms: the goodie and the baddie. The goodie-form of him show the Zen-like fashion where he’s more of The Dude, than the precursor to Neo. This especially works for the aging-Bridges who always seems to be the most reasonable and coolest guy in the room, no matter what type of role he’s playing in any movie he appears in. However, the baddie-form of this character is where things really start to get topsy-turvy for Bridges because it isn’t exactly that it’s Bridges actually playing the character and giving a realistic-performance, it’s more that the computer is taking over and giving us another one of those terribly-creepy, Robert Zemeckis-like motion-capture performances that not only have us scared, but totally take us away from the movie.
Flynn’s baddie-version of himself was supposed to be intimidating and threatening in the way that he could control almost everything and everything, due to the set of skills and prowess he had from the computer codes Flynn gave him. However, when you give the guy the motion-capture treatment like this, he doesn’t look the least-bit scary. The only form of scary, is that he’ll probably just give the kiddies nightmares, that’s if you even bring them to see this. Don’t know why you would, but you never know: nerds have done far worse. However, instead, you’re too busy laughing your ass off by how dull his eyes look and how stupid it seems to be whenever he opens his mouth. They did nail some aspects of Bridges when he was a younger lad, but it’s still not enough to be less distracting than a form of CGI in say, The Curious Case of Benjamin Button. That was not only used to enhance the story, but done very, very well. Here, it just looks dumb and takes you totally out of the movie and character, even if Bridges does try his hardest to make this character, in both forms, work. I mean, I’ll give a lot of credit to Bridges for actually allowing a movie to take a younger-version of himself and plant it in a movie where he shows-up quite frequently, but still, for the movie’s sake, it’s a bold-move that doesn’t work.
Garrett Hedlund plays his son, in what seems to be the type of role that could make him a star and send his name up into the highest-rankings (sort of like Chris Pine in Star Trek), however, he’s just not really talented enough to allow that to actually happen. Hedlund definitely looks the part of a young, wild, and brass go-getter dude that knows his shit don’t stank, but there was just something that felt off in his delivery and sent his character into a daze of dullness. You sort of forget that he’s even around and if it wasn’t for the plot needing him to do cool, flashy action-moves (mainly because Bridges sure as hell can’t do them anymore), then he would have not served any purpose to this story whatsoever. Okay, maybe that’s a bit drastic to say but you get my drift: the guy blows here.
Olivia Wilde is the one who really saves this cast, and in a way, the movie as well. She plays Quorra, the ass-kicking femme fatale of the group and is not only a gorgeous soul to just gaze at, but also has some nice dramatic-chops to her that she shows in full-display here. Something tells me the script didn’t really ask for much with a character of her liking, but Wilde doesn’t ever seem to settle for conventionality and actually brings the cake to the screen, whereas her co-star Hedlund, seems to really fall-apart. Not only does she have the looks, but she has the brains as well. My type of woman.
Also in the cast, is Michael Sheen who seems to be having a freakin’ blast as Castor, aka, the sci-fi version of David Bowie that only gets about 10-minutes or so of screen-time, but lights it up the way he always likes to. He’s apart of that crazy, club-scene I was alluding to earlier and is one of the main reasons why it’s so electric and fun in the first-place. Still, it’s a total downer that the guy doesn’t show-up more as I feel like the film could have totally used his type of contribution here. I also have no idea why Cillian Murphy was here and decided to show-up for 5-seconds of screen-time, but hey, I guess it’s just another job to put down on his resume, so good for that guy.
Consensus: The promise for a TRON sequel may lie somewhere in-between the loads of amounts of CGI in TRON: Legacy, but it somehow falls by the same waist-side the first one did. That’s all due to lack of character-development, a story that makes little to no sense, and a feeling of joyful fun that’s about the action, adventure, excitement, and playing the deadliest-game of Frisbee, rather than incomprehensible exposition that doesn’t add anything to the final-product, other than snores from the audience. Even the nerds!
6.5 / 10 = Rental!!
Sadly, no signs of Cillian Murphy’s dong anywhere to be found here.
After a rage-virus ravaged through all of London, the U.S military attempts to take over and try to repopulate the city. Everything goes all fine and dandy until an outsider is let in, then it’s all back to normal for post-apocalyptic London.
Being as that 28 Days Later is not only one of my favorite horror movies of all-time, but also ranks up there as one of the scariest movies I have ever seen, this sequel definitely had a lot to live-up to in terms of scaring me, what it made me think, and how it made me feel. As many people do know, horror-movie sequels don’t seem to do so well in terms of sticking close to the source material but somehow, this flick does even though it definitely feels different without Jim or Selena anywhere to be found. I hope the virus didn’t get the best of them.
Anywho, instead of having Danny Boyle return to the director’s chair for this second-go around, director Juan Carlos Fresnadillo takes over and does a pretty nice job of keeping things promising in terms of mood and atmosphere. It’s pretty cool to see what actually happens when the rage-virus breaks through an already established city and how Juan Carlos keeps us awaiting for that impending doom to occur is what really kept me on-board. I must admit that this isn’t the first time I saw this flick, but it definitely surprised me with some of the scares and what Juan Carlos could do with a bunch of material that seemed to already be used before. However, instead of just trying his hardest to do a good Boyle-impersonation, Juan Carlos sticks to his guns and uses them to deliver a sense of destruction that made me still feel a little scared for my life.
Even though this film didn’t scare the pants off of me with it’s vision like the first one did, I still felt placed in a realistic, if a bit ambitious idea of the world we live in and what it would look like, especially after a catastrophic-event like a zombie break-out. Juan Carlos probably got the memo that more people wanted action, blood, guts, and gore from the first movie, and delivers on all of those accounts by giving us more, more, and more of that. It doesn’t feel needed for this type of story, but given the type of budget they’re working with here and the type of larger-scale they have to control, it feels deserved and works well rather than feeling cheap. The shaky-cam annoyed the hell out of me, but there isn’t much to see in these action moments other than zombies, people getting eaten alive, and a bunch of bullets and blood flying everywhere. So, after awhile, you get used to it and you pretty much get the gist that people and zombies are both getting off’d.
However, being the huge fan of the original that I am, I still can’t go by this flick without mentioning that this one just does not hold a candle to it, it just does not. I hate to make this “negative part of the review” all about my love for 28 Days and how it’s ten-times better than this movie, but it really is and it’s so hard to get by. The whole time I was watching the movie, I just kept uttering to myself, “Oh, Boyle did that better. See that part? Yeah, looked better with the HD-camera.” Maybe that’s a stingy-way to be with a sequel, but when something is obvious to me, hell, I’m going to point it out.
For instance, the underlining political-themes and ideas about the nature of human-beings that ran so rampant in the first-one, are barely anywhere to be found in this. The closest example I could find that connected the first-one to this one in terms of ideas, is the whole idea about how the army can be full of some sickos and I don’t think that really even counts. But for most movies, I can live without a bunch of political-themes and ideas if you give something else to grab-on to, but somehow, this film doesn’t even seem to have that either. All of the characters here really lack any type of development or real heart to them, to really have us root and care for them in the end. And even if we do root for them, it’s only because they’re human-beings and nobody wants to see their own kind get eaten alive by a bunch of rage-infected zombies. That’s the truth, Ruth.
But, when it all comes right down to it, the real-factor as to why this film pales in comparison to the original is that Juan Carlos just doesn’t have the artistic-vision like Boyle does. Boyle has such a real interest and idea for what it takes to make a beautiful scene in such an ugly and grim atmosphere, but it doesn’t really seem like Juan Carlos is all that concerned with that. That’s all fine and dandy, but it does make the picture seem a bit shallow in terms of what it’s trying to offer new and original to the already-tired zombie-genre.
There’s a couple of scenes here and there that sort of reminded me of a “Boyle-look” (that underground safe house scene scared the shit out of me), but nothing else to it. Even though Boyle produced this flick, I highly doubt the guy had a final say in what he thought was best for the final-product and it’s a real shame because this movie could have been filled with so much more brewing underneath the surface, rather than just a bunch of people running away from zombies. In a way, that’s how the zombie-genre is (people running away from zombies and whatnot), but what Boyle offered with 28 Days Later was new, and unlike anything we’ve ever really seen before, whereas this movie, brings the zombie-genre back to where it was taken away from in the first-place. I don’t want to say that I take points away from this movie for not being directed by Boyle, but it definitely goes to show you what a good director can do for your material, if he’s game for another sequel. Please Danny, do 28 Months Later, if it ever happens.
Before I go though, let me not forget to mention the performances in this movie that were all pretty good, except for the fact that some of the characters blew. Out of everybody in this whole cast, Jeremy Renner is the one who really shines as Sgt. Doyle, aka, the same role he would go on to play and get nominated for an Oscar for in The Hurt Locker. Renner just has this utter sense of coolness and warmth to his presence that it’s pretty easy to feel safe when you’re around him in the movie and his character’s motivations feel believable, even if everybody else around him feels like they just watched a Lifetime movie and felt like they wanted to give everybody a hug for no reason.
That’s what brings me around to everybody else in this film, as all of the other characters just don’t really do anything spectacular or show us anything worth really holding onto in the end. Take for instance, Robert Carlyle as Don, one of the guys who escapes a zombie-attack early on in the movie. This guy, from what we see in the beginning, is a rat-bastard who leaves his wife behind to get attacked by the zombies, but then feels sorry for what he did when she turns out to be alive. In all honesty, who the hell cares how this guy feels. There’s no real conviction to him, to the others around him, and when things start to go bad for him, I could care less and even he started to feel a bit shoe-horned in there by the end. Can’t tell you why he does, but the fact is that he does and it got on my nerves, considering Boyle would have never been all about that ish, regardless of if the character was played by Begbie. Oh, now that would have been nice. A good, ‘olde, Trainspotting-reunion in the middle of the zombie apocalypse Not only do they have to fight-off heroin addiction, but zombies as well. I can already see it now…
Consensus: 28 Weeks Later is definitely one of the better horror movie-sequels out there due to it’s grim atmosphere and mood, but still pales in comparison to what Danny Boyle was able to do with the original and the lasting-effect it’s material it had on you, in terms of horror and emotion. Please come back for one last movie, Danny, please.
When in doubt, make ‘em fast.
28 days later after a rage-virus has swept the area and turned every infected person into crazy zombies, bicycle courier Jim (Cillian Murphy) awakes from a coma in the deserted intensive care unit of a London hospital. He soon meets up with a fellow survivor, Selena (Naomia Harris), and both embark on a journey to get themselves the hell out of London, and also, be able to get themselves out alive.
I’ll never, ever forget the first time that I saw this movie. I was probably in 8th grade, and it was late at-night (on a school-night of course), and I stumbled upon the beginning of this flick on FX and thought to myself, “It’s 10 o’clock. Should I watch this movie for the next 3 hours and be extremely tired tomorrow, or should I go to sleep, catch it another time, and get my 9 hours of perfect sleep? Hmmm….” Thankfully, I went with the first option and to be honest, it didn’t matter how late it was because my ass wasn’t getting any sleep at all that night after watching this. Seriously, that movie kept me up all night and at one-point, I was afraid to even go to the bathroom because it was a dark hallway, and I thought I heard noises. Little did I know that it was just my dog, but still, you couldn’t have told me that at that time and place because I was so wrapped-up in what I just saw that my mind wasn’t taking anything else in.
This whole dumb story about me and my first-viewing with this flick may come off as random and unneeded, but in my case, it totally is. See, I rarely ever get scared by horror films because I for one, know that they aren’t ever grounded in-reality. Iconic horror characters like Michael Myers, Jason Vorhees, Freddy Krueger, and etc., don’t scare me because I know they aren’t real and most likely, never will be real. But, what really scared me about this movie was how it didn’t have those elements, instead, everything felt, looked, acted, and played-out, as if it was all real and could actually happen in a world like ours. Yes, I know it all sounds pretty freakin’ goofy that I would assume a zombie apocalypse would ever run rampant in our world and go out like this, but seriously, just think about it: they don’t even have to be zombies, they can just be a bunch of infected human-beings that have no control over anything in their minds. Seriously, it could happen and if it doesn’t, I will be glad to be proven wrong, but that is why this movie scared the utter bajeebers out of me 5 years ago when I first saw it, and that’s why it still does now.
Most of the credit for scaring the hell out of me has to go to Danny Boyle and what he does with this material. Instead of making this your typical zombie-movie where all we see is a bunch of people shooting blood and guts, we get an actual story-based type of approach that not only fits the characters in it, but also the mood that Boyle has set for us as well. Right from the beginning with those iconic shots of a deserted London, we know that we are placed in a post-apocalyptic world that is sad, depressing, and as dark as you’re ever going to get with any other film of this nature, and the way Boyle sets it off is exactly how he allows it to all play-out.
Of course we all know what a post-apocalyptic world looks like: no people, no civilization, no order, and in some cases, no nothing, but there’s something so realistic-feeling about this world that Boyle paints that has me still frightened to this day. See, it seems like this could happen any day, any place, at any time, and it doesn’t matter where it begins or where it ends because it’s going to sweep the globe as soon as possible. That’s the way you mostly have it with any type of zombie/virus movie, but this one is different because it feels like a real-threat. These people can run, they can hide, and they can do whatever they want, but one of these days, they may not be so lucky and end-up biting the dust sooner than they may think. This urgent sense of danger and doom surrounds this flick in every single shot, and it never goes away, which is why I’m still clinging to my pillow as we speak.
None of this would ever feel so realistic and dangerous if it wasn’t for Boyle, and this guy sure as hell doesn’t lose that idea in his head. See, the best thing about Boyle is that he isn’t just a type of director that shoots the scenes, gets good performances from the cast, and calls it a day. Nope, this guy is all about everything else in-between all of that and it shows so perfectly here. The digital-camera brings an extra grainy-look to the flick that puts us inside of this cold and dark world that never seems to have a bright day; the music comes in at times at makes you feel happy, then makes you feel sad, and then makes you feel like your about to go crazy by how tense everything is (I’m talking about you, tunnel scene); and the color-schemes that Boyle chooses for each and every scene bring out a certain amount of beauty to each scene, as dark and hideous as it may be (the red dresses during the last-act just freakin’ popped-out at me). Basically, when it comes right down to it, Boyle is a guy that looks at everything in a flick, makes it better, and gives it his own little stylistic touches that in some ways, may come off as too “artsy”, but in other ways, it comes off as fan freakin’ tastic.
But, let’s not forget people, this is not your typical zombie story that we have all seen a hundred times before-hand, because believe it or not, there’s actually a story here that talks about something more than you might expect from a movie about a bunch of ragged-up killers on the loose. The film talks about how it sometimes takes a devastating act like an apocalypse or a break-down in society to show you who evil human-beings can be. This point is never really hammered-through to you until the last 45 minutes when the story takes a dramatic turn, but you get an essence of that the whole time throughout and you also feel like the only way most people can get through such terrible events like this, is by love and friendship with the people around you. That’s why the “romance” here works, because it’s shoe-horned in and quick for a reason, people need each other in the world no matter what. There’s also a juicy little piece of context in here about how we, as people, have been killing each other for years and years and years, but now have to actually go-forth with that in a society where that’s the only-option. It’s a fairly obvious point you can pretty much gather right from the first scene or two, but it’s still one worth mentioning because it goes beyond what you normally expect in a movie about zombies.
Jeez, I feel like I’ve gone on way too long about this movie but the fact is, after seeing it over 8 times now, I still can’t get enough of it and look at each and every scene as if it was just another piece of art that Boyle chose in his mind and was somehow able to paint it all out onto film. The sturdy story that takes over the first hour or so, does change-up drastically by the last hour and becomes more of an action/thriller type of movie but even that still works, even if it is a bit conventional. Still, though, I realized there was a lot more to this plot than just blood, guts, and violence, and in a way, all of that shit that does go down in the end sort of justifies it’s point and by what it’s trying to say. Trust me, the plot-conventions and cliches are more than you think they are, and that’s the whole beauty and uniqueness of this movie.
Boyle also did something very daring and smart with this movie and chose people for the roles, that were the normal people you’d see in movies like these, let alone in movies in general. I mean now, these people are pretty big-stars, but before this, they looked like nothing else except for just real people, that were stuck in a real world, and tried their hardest to find happiness in it. Cillian Murphy does a great job with his role as Jim because the guy starts out as such a wimp, and dumb-ass that seems to be a bit way too in over his head with the world he has yet to get a grasp hold onto, but after awhile, builds up enough courage and steam of his own to actually have you believe that this guy can really stick up for himself and survive in this world. The transformation Jim goes through isn’t touched-upon enough, in my book, but is still shown in a believable and understandable way, thanks to both Boyle and Murphy themselves.
Rounding out the rest of the cast is a nice line-up that all do perfect jobs with the limited-material that they’re given. Naomie Harris plays Selena as a bad-ass that would kill you in seconds if she had to, but also shows there’s a lot vulnerability to her as well that makes her seem more well-rounded as a human-being rather than just a straight-up, vicious beotch; Brendan Gleeson is a delight to watch as Frank, the loving father that always seems to look on the bright-side to any situation and kept me smiling the whole time he was on-screen; Megan Burns wasn’t so good as the daughter, but I think she was supposed to underplay this role a bit so I can’t be too hard on her; and last, but certainly not least, is Christopher Eccleston as Major West, a guy who comes off as a knight in shining armor right from the start, but starts to slowly change your mind about him and you never, ever know what this guy is going to do next. I like that with characters and I think Eccleston handles that well and shows to be more of a human-being, rather than just showing off as a villainous d-bag.
Consensus: Maybe, just maybe, I’m in the minority with this one but 28 Days Later is one of my favorite horror films of all-time. The world that Boyle paints is as devastating and frightening as it gets; the characters are more well-rounded and developed than the script actually gives them credit for; the scares and chills get to you by the utter feel of realism that shoots-out in every frame of this picture; and the message about who we are as humans and what we’ll do to live-on in life is as heartbreaking and brutally honest as it can get. Definitely go out there and see it, not just to be scared, but also to be a bit enlightened as well.
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!!
Fear the Batman and his raspy voice!
As a boy a young Bruce Wayne watched in horror as his millionaire parents were slain in front of his eyes, a trauma which led him to become obsessed with revenge but his chance is cruelly taken away from him by fate. The discovery of a cave under his mansion, and a prototype armoured suit leads him to take on a new persona, one which will strike fear into the hearts of men who do wrong, he becomes Batman (Christian Bale).
Since everybody and their mothers have been hyping up the release of the epic conclusion of the Christopher Nolan Batman Saga, I thought it would be a good time to go back and check out what these other two did to have all of this excitement. However, it only got me more and more excited for what’s bound to come July 20th.
What Nolan does here with this Batman flick is give it a whole new look, edge, and feel to it. Instead of going for the slap-happy, goofy type of Batman we usually see from Adam West and the terrible Joel Schumacher, we get a real serious Batman that works a lot better. That’s right, no Prince jams, no Bat nipples, and no hammy villains: everything is played straight to the core and that is one of the main things that Nolan does here perfectly. Nolan actually gets into the character of Bruce Wayne more and find out how, why, and for what reasons he goes off from being this million dollhair playboy, to all of a sudden becoming a kick-ass dude dressed in a Bat suit. Of course being dressed as a Bat when you’re laying down the law on somebody is a little kooky in its own right, but they actually bring that up amongst other topics, and it all comes together perfectly.
Nolan also knows how to make this film look great with some perfect shots coming from the cinematography, but also with the sleek and dark look this film had the whole time, especially when it came to Gotham City itself. Gotham City here, actually looked like a metropolis rather than just a set with some fancy designs on it and it got me into this setting where every one and everything is just dirty as hell, everybody and their mothers are all corrupted, and there is no law being brought down on anything bad happening. Gotham City has never looked better and it only gets cooler and cooler to look at once Nolan begins to bring in some of Batman’s cool gadgets and whatnot, all of which, are going to make you want to head on back down to the local Toys R Us and play around a little bit. I’m probably alone on that one but it’s just another excuse to go and play with my toys.
There was plenty of action that worked, especially the finale which kept the energy flowing, but it start to bother me after awhile. Yeah, Nolan gives us the action we want but whenever he does, the camera is constantly up each person’s asses and you can’t see anything else other than a couple of figures throwing punches and kicks at one another. With all of these “hand to hand” combat fight sequences being edited so tightly, it was really hard for me to even get a feel for who was hitting who and who was doing what to whom, and I guess I just also wanted that “awww shittt he just broke that bulls….” moment that I usually get whenever I watch a superhero/action movie. Instead, I just guessed who was winning and who ended up winning and 9 times out of 10, I was right.
Christian Bale was a great choice for Bruce Wayne/Batman because the guy can look and act the part no matter what it is that he does, and he is no different here. I like how Bale gave off this dark but cocky attitude about him that made his character seem more like Patrick Bateman, which isn’t such a bad thing considering that is by-far one of his best performances of all-time and it’s definitely a lot easier to cheer on this guy when it comes to the beat-downs. Katie Holmes was pretty damn flat as Rachel and I think that’s mainly because the writing didn’t give her much to do, other than constantly bitch at every one around her, especially at Bruce and then act like they’re in love at the end. Yeah, didn’t really believe that after all of the hissy-fighting but maybe she was just tense. Then again, that’s always an excuse for ladies.
As for the villain(s) of this flick, each and every single one of them do fine-ass jobs and give a lot more to this story, even if it is without any real iconic villain that we all know and love from the Batman series. Liam Neeson is sinister as Henri and seems like the type of dude you really don’t want to mess with, even if it is Oskar Schindler; Tom Wilkinson was freakin’ funny (in a good way) as the last mobster in Gotham City; and Cillian Murphy does a great job playing up that whole crazy-persona here as Dr. Crane, and thankfully, he doesn’t overdo it one bit. Oh yeah, another surprise is that The Scarecrow is actually scary this time around. Never going into the corn fields ever again.
Consensus: Batman Begins is not perfect but it’s a very dark, bleak, and serious type of superhero film that works due to it’s inspired direction from Christopher Nolan, and some awesome performances that all of the cast gives out, with the exception of Katie Holmes which was pretty predictable.
When Sheryl Crow sang, “I wanna soak up the sun”, these people took that to the heart.
With permanent darkness looming, scientists devise a plan to reignite the sun before the lights go out forever. To do so, a crew of astronauts is sent hurtling through space on an intense mission to determine the fate of the planet.
Director Danny Boyle is a dude that has been doing great things for the past decade. Ever since he flew on the radar with Trainspotting, people have been watching this guy for just what crazy story he’ll bring out next. This is one of them.
Boyle does a great job with this film because he creates this ultra-freaky sense of claustrophobia as the crew members get closer and closer to the sun, and farther and farther away from the actual planet. This is how Boyle creates suspense as he shows more close-up shots, confined structures, and basically telling us what’s going to happen next but still leaving that little thought and idea that something, just something may go wrong.
Another great thing that Boyle does here is show us perfect actually almost seamless dazzling effects that look like an actual spacecraft if it were to travel to the sun. I liked how Boyle used all these different types of vibrant colors to contract the over-bearing darkness in space. The scenes of where we actually see the sun hitting these people’s eyes or just seeing the sun in general are actually very well-detailed and if Boyle did one thing right here, it was to show us just about pitch-perfect visuals that never seemed to disappoint and brought me more and more into this world.
My main problem with this film is that none of this really seems original which is what anyone could see from a mile away. I almost got the sense of claustrophobia that I had with Alien, or the talking space-ship from 2001, or hell even the little plot twists that happen here reminded me so much of Solaris and plenty other sci-fi flicks. This isn’t saying that this one doesn’t stand well on it’s own two feet because it does well, but the constant reminders of countless other sci-fi films started to annoy me.
I like how Boyle chose this international cast and actually all had them live together so he could get this very legit feel between all of the, and to say the least it worked. Cillian Murphy is the real showcase of talent here as Capa; Rose Byrne is gorgeous but also very good as Cassie; Michelle Yeoh creates a very good character which is something I wasn’t expecting as Corazon; and Cliff Curtis does a good job as the reasonable nice guy, Searle.
The best out of the cast though is a guy I actually talked about not too long ago in my Captain America review. Chris Evans is stunning here and attributes to a lot of the scenes he has because he has that legitimate feel to him and it almost seems when everybody’s getting all too freaky and crazy with what’s about to happen. He’s the one who always seems to breath some fresh air of smarts into their sci-fi heads and even though the rest of the cast is good he is still the one that seems to do it for me the most.
My final problem with this film is that the tone starts to switch very dramatically by the last hour. The first hour is this building of suspense, sci-fi, and unknowings, but then the last half comes up and then we get this strange, trapped, almost slasher flick kind of film. This kind of disappointed me because it was never explained why the last half actually happened the way it did and the way everything happens just seems so run-of-the-mill even though I thought the ending had a good touch.
Consensus: This isn’t a totally original film, and the final act may disappoint, but Sunshine benefits from Boyle’s inspired direction that creates suspense, beautiful visual effects, and a cast that actually do well with their roles and seem like actual people rather than just a bunch of action cliches.
Happy Last Day Of Summer of Everyone! It’s been a great one!
I don’t mind to sound corny or anything, but this movie really is a dream come true.
Inception deals with the concept of sharing dreams with Leonardo DiCaprio as Cobb, a conman who enters the dreams of others and steals ideas from their subconscious (known as “extraction”) for unknown employers. After a lengthy career in dream thefts and being away from his family, Cobb is offered a job of the seemingly-impossible task of “inception,” the crime of implanting an idea instead of stealing one, and he assembles a crew (Joseph Gordon-Levitt, Tom Hardy, Ken Wantanbe, Ellen Page, and Dileep Rao) to pull off the perfect crime with hopes of being able to return home.
Christopher Nolan, would probably be known to your everyday person, as the guy who directed The Dark Knight. That is true, but he is also the director of plenty of other movies, that the everyday person may not know about, that totally mess with your mind. Films like: Following, Memento, The Prestige, and Insomnia. In this, he combines both of his different styles together, and gets my favorite film of 2010 thus far.
The script itself has all the elements of The Matrix. There’s a lot of talk about life, and how we are living a dream-world, and our minds create illusions for ourselves, and all that other hickory-doo. However, it comes out in such a good way, that it’s too hard to ignore. It never shows us the “What if…” side, but always brings up the side about dreams, and our illusions, and how we make things up in our world, just to make ourselves feel better with the life we have, and what would we do if someone was to take them away from us. It makes you think a lot, almost too much for a damn summer blockbuster, and I might just think twice about my dreams when I wake up the next morning.
The plot, at first, may confuse the crap out of so many people, hell, it confused me, but after awhile you start to get a whole feel for the film, and you understand what’s going on, how everything happens the way it does, and although the answers may never be fully explained to you through words, you kind of make assumptions as the film goes along. It doesn’t hold your hand the whole time, but yet, it doesn’t let you go, and fall behind, creating a wall between the material, and the audience, which is hard for any psychological thrillers in today’s film world.
But any film can have a good script, and cool plot, but still boring as shit. This is where this film is different from all others of the same kind. The action scenes were also very good. They were more stylized and tense than bombastic, something along the lines of James Bond, where Nolan obviously draws inspiration from, and I thought that it worked perfectly well for a film with this kind of concept. The tense situations the characters get into toy with the minds of the audiences without throwing them out of the film, and when bullets and fists start flying, you get treated to some of the most unique action scenes. But it’s not just the fight sequences that make this film fun, it’s the visuals, and all the tricks Nolan has up his sleeve to make things unique. The visual aspects in this film will take your breath away. I liked how Nolan, in a world where 3-D is on every the big screen every damn weekend, he sticks it straight, with the original 2-D visuals, which I think I loved more than any 3-D film I’ve ever seen. He uses a lot of CGI, but it doesn’t look like it at all, it really does look these people are walking around in a world, that they have created themselves, and as they start to change it around, it looks even cooler, cause your wondering, just how they made this seem all realistic. My favorite scene that rightfully shows how great of a director Christopher Nolan can be with the setting, and many tricks, is the fight scene in the hall-way. If you saw the first trailer, you have seen what some of it looks like, but the whole scene with that makes you think: “How in the hell did they do this?”. It is literally the greatest film sequence I have seen in awhile, probably one of my favorite Top 5.
The whole ensemble cast is what really lifts this too. Leonardo DiCaprio, is well, what you would expect him to be, is great as usual. He plays that sort of troubled, straight-forward guy in almost all of his movies, but it’s never really seem to have worn out. The film may be advertised as the Leo show, when in reality, its the rest of the cast, that keeps us in. Ellen Page ditches her smart-ass teen days, and actually shows some good acting skills, giving us a look at the potential she has, as a serious actress, although she will always be remembered as Juno. Joseph Gordon-Levitt, who is one my favorites, is showing up in more stuff, and is good to see on-screen cause he handles a lot of the big dramatic scenes, really well, almost showing up Leo. Yes! I said it! Gordon-Levitt vs. DiCaprio on PPV. That’s something I would always pay to see. Tom Hardy is good here, bringing a lot of funny moments to the film, but not without showing he is still a bad-ass, and can whoop some booty. Ken Watanabe is also good, however, I couldn’t understand him a lot, he still doesn’t lose his composure while on-screen. Cillian Murphy, another one of my favorites, shows up and gives some more good scenes, with an American accent, that actually seems real. It was also good to see Marion Cotillard, playing a different type of role, than the strong female lead. She is playing a crazy chick, and is shown in some pretty dramatic scenes, but she still holds her own, and I have to give her props for that, cause I could see plenty of actresses messing that up. I was disappointed to see Lukas Haas, Michael Caine, and Tom Berenger, get little bitch roles, but it’s whatever, I was glad with the cast they got.
The film is not perfect, the film doesn’t show us a glimpse into these characters lives. They don’t have enough in their roles to show how great they are or how great they can really be. But despite that, I still had a good time watching these actors perform all together.
Consensus: Inception is the rare summer blockbuster that has almost everything you could want in a film: fun action, interesting plot, original screenplay, unique and stylish visuals, inspired direction, and wonderful performances from an ensemble cast. It’s not perfect, but it’s damn sure as hell close to it.
Great way to spend some Christmas joy!
This collection of 11 comic stories set in Dublin stems from one single circumstance: how the breakup of one couple’s relationship can have unexpected repercussions on the lives of the people around them. One of those people is Lehiff (Colin Farrell), a thief trying to set his life straight by pulling off one last heist before retiring. Too bad dogged detective John Lynch (Colin Meaney) will stop at nothing to bring Lehiff to justice.
Now this film is a big slap in the face to conventional story telling. All these stories are weaved together and at times one acts like a whimsical romance, then the next scene is involving somebody getting punched in the face or shot.
Director Jon Crowley has a very good way of keeping this film on the level of pure entertainment. He develops a good way to follow some hard and gritty action, with some funny laughs. The film goes from one story to another in a very quick way so you are interested yourself in a lot of what’s going on. It reminded me a lot of a Pulp Fiction mixed in with some of Guy Ritchie’s films, if it was Irish.
I developed a lot of love for these characters even though they are all a bunch of low-life slime bags. We feel like we know all these people, and although they are really terrible people we start to actually like them for who they are and what they do.
The writing is very rich in this film. It is written as a amazingly dark comedy, but a lot of the times they didn’t even seem that dark. A lot of them were typical state of the art jokes, that if you understood you would laugh your ass off at. I almost felt bad for still laughing cause something terrible would happen, and I would still be laughing from before.
If there is one problem I had with this film, it was that in the middle of the story there is a kidnapping story which really wasn’t funny nor was it all that compelling. So this was the only bad thing although it did have some good consequences.
The whole cast is very good but if I had to choose one it would probably be Colin Farrell who does the best job in my opinion. He plays the bad guy that we all know him for, but he does it really well in this film, while still maintaining a sense of humor. Cillian Muprhy is also quite good here as the younger and confused guy.
Consensus: Intermission is a quick, funny, and exciting ensemble piece, with funny as hell moments, and great actors in the roles.