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Dan the Man's Movie Reviews

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

Tag Archives: Fred Tolliver Jr.

Broken City (2013)

If Mayor Nutter ever needs somebody to watch his woman, he can always give me a call. He just better drop my taxes.

An ex-cop (Mark Wahlberg) finds himself in a job for New York City’s mayor (Russell Crowe), which is that he must trail his wife (Catherine Zeta-Jones), whom he believes is having an affair. However, what the ex-cop stumbles upon is worse than he ever imagined and thus, the job becomes a lot more difficult than he expected.

This is one of those movies that seems like it has all of the promise with the cast, the characters, the plot, the stars, and heck, even the director (Allen Hughes, in his first movie without bro Albert by his side) all being big and well-respected. However, just like Gangster Squad, it is January, and you can’t always expect the best, no matter who may be behind it all. Why can’t it just be May already? Why?!?!??

As a director all by his lonesome, Hughes is actually not too bad. Granted, this isn’t a very showwy-direction for the type of dude that is known for this type of stuff, but he gives us a nice atmosphere and mood to start us off on the right foot. We feel as if we are in for a movie that’s all about dark stuff, happening to dark people, in dark ways, that are almost too dark to explain and believe. Basically, this movie was started-off as being one, big, piece of darkness that was most likely going to keep me guessing until the very end and for awhile; it was doing just that.

I don’t want to say that all of the twists and turns of this story work when you take everything else into consideration, but for the most part, I liked not knowing exactly where the story could go and how. Rarely do you ever get thrillers that just like to throw plot-twists for fun, but actually have them mean something, rather than just be a wake-up call to the audience and make sure they’re paying attention. You never quite know where this story could go and even the places that it does end-up, could actually take you by surprise and make you feel like this is a no-holds-barred movie, that’s ready to take you down any chance it can get. However, that would definitely be giving the movie way too much credit.

"What do you mean you thought Hugh did better?"

“What do you mean you thought Hugh did better?”

Even though the twists, the turns, the darkness, the secrets, and big reveals kept me interested in what was going on behind the closed doors we rarely get a glimpse at, they didn’t feel deserved. It was almost as if the movie itself thought, “Well, we already have these twists here, why not throw in a couple more just for good measure?”. That idea that I maybe think the creators thought up of in their heads during the writing-process, only goes to show you that there wasn’t much thought going into this script, because certain things just don’t add up. We get a look at how the world of politics can be cruel and why it’s more of a fight between the toughest, rather than the smartest, but those moments only get shoved down our throats when the movie feels like it needs to be more than just a natural-thriller where Marky Mark is going around and kicking the crap out of people.

Then, it just gets stranger and more contrived, as more subplots come in like a gay couple that seems as forced as can be, a problem with Marky Mark’s drinking problem, a love story between him and his gal-pal that has the material there to be interesting and gripping, but just isn’t due to the delivery, and a plot that shows Mark’s past and how the “hood” he used to represent, may not always be there. You put these three factors in, add a bit of the political-idea of this flick, and mix them altogether in a blender; then you’re most likely going to get a mixed-bag full of moments that work, but other moments, that just don’t add up to anything. I think where I’m trying to get at with this flick, is that even though you get into it, the movie is still nothing more than just a thriller, no matter how many debates and arguments they want to throw in there about changing NYC, by giving “the People” they’re money back. In today’s day and age, with the economy we have, maybe messages like that would work and really get inside the minds of many, fellow Americans, but put that message in a movie like this: it’s going to go nowhere and not matter a single-bit. Why? Well, because people paid over $9 to see Marky Mark and Maximilian go head-to-head, not discuss on how to make the world/NYC a better place to live free and be happy in. Yeah, wrong movie entirely.

Marky Mark definitely seems like he’s made for these types of roles where he plays the type of conflicted dude that may not have the best morals you have ever seen, but is still a hell of a likable dude that you can’t help but cheer on. His role here, as Bobby, is exactly one of THOSE roles and it’s not something new, original, or slightly refreshing to see from the guy, but it doesn’t matter, because Wahlberg is good, as always, and gives us more to like about this character. However, it’s that character himself I just didn’t believe.

"I told you, Michael. The doctor said only 3 times a month for sex, or else."

“I told you, Michael: the doctor said only 3 times a month for sex, or else no Wall Street 3.”

Without spoiling too much about this plot and basically telling you what goes down with Mark and everybody else, I’m just going to state that Mark’s character goes through some sort of self-realization phase where he soon starts to find-out that there’s a set-up somewhere along the lines, and it’s up to him to not only save the day, but show the bad people, for everything that they are: bad people. In any movie where Wahlberg does the same, exact transformation, not only do you believe it, but you like Wahlberg more and more cause you see the cool guy come out of his performance, but here, you just don’t care. Billy is one of those dudes that’s got a troubled-past and some issues that he’s dealing with at the present-time, but never so much to the point of where I feel like the guy would really turn his life around and eventually go balls-deep in a case, that doesn’t seem like it concerned him, well, ever. I can’t give away anymore of what happens, but trust me; you won’t believe in Bobby, no matter how much Wahlberg may distract you with those big guns and crooked, angry eyebrows.

Out of the cast, the two that really shine are probably Jeffrey Wright and Russell Crowe, who both feel as if they were just called-up to have a good time, and do exactly that. Especially Crowe, who seems like he needed to give the audience a nice-reminder that yes, even though he can’t sing, he can sure as hell own the screen like no other. I mean, hell, the guy has an Oscar at his household, and has been nominated close to three times by now! The guy’s got talent, it just doesn’t necessarily mean it’s in his vocal-chords. Oh well, nice to see you back, Russell. Now, stay away from Broadway musical-adaptations!

Consensus: The promise that lies within Broken City is exactly there for the first 45 minutes or so, but once the flick decides to spice things up with an over-abundance of plots, twists, conventions, and obvious-narratives that don’t feel believable, then it just loses all of it’s steam and is nothing more than just another thriller, with more talking than usual.

5.5 / 10 = Rental!!

Of course I'll say hello to my mother for a face like that!

Of course I’ll say hello to my mother for a face like that.

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Red Hook Summer (2012)

Does this count as Sunday Mass?

Flik (Jules Brown) is 13-year-old, spoiled-brat who is forced to live with his grand-daddy (Clarke Peters) for a whole Summer. However, Flik isn’t doing exactly what he dreamed of this Summer when he’s with his Grandfather Enoch, who just so happens to be a pastor and trying to get Flik back in the eyes of God.

After giving us two, relatitvely-solid mainstream movies (Inside Man, Miracle at St. Anna), Spike Lee finally returns to his roots, in more ways than one. Firstly, he’s going back to indie-filmmaking which he seems to have abandoned for the longest time, and secondly, he’s back to filming in his native Brooklyn, where it just so happens that Mookie is still delivering pizza’s for Sal. However, cool your jets while you still can, people, because even though Mookie is in this flick and shows-up for about 3 minutes, this is nowhere near a Do the Right Thing sequel, or even a Do the Right Thing-caliber movie. Heck, it’s not even a Spike Lee-caliber movie, if we’re not including She Hate Me.

In the past, Lee has been attacked for being too self-indulgent with his material and not knowing how to separate style from substance, and in the past, I have stood-up for him and said, “nay”, to those attackers but here, he makes me look like a fool. The usual trademarks that we see with a Lee flick are here, however, there’s no driving-narrative to really help it out. Instead, there’s just a bunch of scenes where kids are being kids, and a crap-load of sermons about God. And for all of you people out there who were pissed about Michael Parks’ over-long sermon in Red State, don’t worry, it’s even worse here as I would say about 30 minutes of this flick is probably dedicated to these preaches about everything from God, technology, being black, being poor, being white, Obama, and so on and so forth.

No, just let them talk it out. Maybe, just maybe, the kid will become a better actor after.

No, just let them talk it out. Maybe, just maybe, the kid will become a better actor after.

As usual, the points that Lee bring are up are reasonable and very smart, considering that this is a guy who has a big brain and a very big mouth, but they aren’t done well-enough here to be considered in your mind. Instead, all of the smart views, points, general ideas Lee has in his head and tries to get out on-screen for all of us to see and get into our minds, just fall-flat on the ground as if somewhere after the 4-year hiatus from filmmaking Lee has taken, he lost his sense of telling an important issue, with an important story. In ways, this doesn’t really feel like a Lee flick because it’s almost as if the guy just lost his skill and if that is the case, then damn. It’s disappointing to see a filmmaker of these heights just get so high up there, in terms of knowing what he’s doing, how to do it, and master his craft, to just fall-apart right in front of our eyes. You can talk as much shite on Tarantino as much as you’d like to, Spike, but the fact is: he’s making better films than yo ass.

The film runs a very long 130 minutes (that actually feels twice as long) and for about the hour-and-45-minutes, I was bored stiff-less. However, the last 20 minutes or so of the flick came-around and automatically, I found myself alive and interested in what Lee was bringing to the table. Without giving too much away, there’s a curve-ball that Lee throws at us that shows us more about Enoch than we originally thought and really livens up the story and gives us a new-perspective on all that we see. Yeah, it could be viewed at as a cheap-way for Lee to make a conventional-story, seem less conventional and more thought-provoking, but at the same time, it didn’t matter to me because it kept my interest, almost all the way until the ending, and then everything fell apart once again. But hey, those 20 minutes still kept me watching and that’s a hell of a lot more than I can say about the rest of the flick.

Get back to work, Mook!

Get back to work, Mook!

Everything in this flick may suffer, big-time, but the only person who really gives it his all and actually comes out on-top is Clarke Peters as Da Good Bishop Enoch. There is a lot about this character that could be terribly annoying and terribly one-sided, as he spends almost half-of-the-film just constantly yelling and preaching to people about how they need to get “the big man” in their lives, but Peters shows more effort than that. Peters makes this guy seem very nice, very comforting, and like a relatively normal guy that just so happens to be so high-strung on the G-O-D, that is is a rather off-putting, to say the least. Still, once this twist by the end is actually shown to us and comes into our minds, Peters handles the material very-well and gives us a glimpse at a real man, with real problems, and real, deep, dark secrets that can come out at any time. Peters is definitely the flame that keeps this fire moving and without this dude, doing his own thing, the flick would have definitely been a lot worse and painful to watch.

The reason I say that, is because when the flick isn’t focusing on Peters and all of his sermons, it’s about the forming of love between the two kids in this movie, played by youngsters Toni Lysaith and Jlues Brown. Now, as much as I hate to get on kids’ case about how they can’t and handle the material that’s thrown at them, I still can’t get past the fact that in this movie, where half of the film/story revolves around them, Lee actually gave the “okay” on some of these final-cuts, because being a director that knows how to direct actors and give some of the best performances of their careers, this is almost an embarrassment  Seriously, these kids are drop-dead terrible and the stuff they say to each other not only doesn’t feel genuine, but seems like Lee has lost his touch and should have just stuck with Nate Parker and the gang of Bloods that he lead. To be honest, and I hate to say this, but his performance, his character, and his gang, would have probably been a lot more of an interesting story to focus on, and probably a better-road for Lee to go down considering the guy is one of the best at writing stories for them. However, when it comes to kids, I think he’s got to stay away, as dirty as that may sound.

Consensus: It’s great to see Spike Lee finally back in-front of and behind-the-camera, but Red Hook Summer is not the type of flick that I was imagining all that glee coming from. It’s long, poorly-scripted, boring, and to be honest, only good and worth a recommendation for the last 20 minutes where a phenomenal performance from Clarke Peters, gets better and better by each scene.

5/10=Rental!!

"Please God, don't let Oldboy be a bust."

“Please God, don’t let Oldboy be a bust.”

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