This is how they do Westerns in the land down undaaaaa, undaaaa!
During the 1800s, Charlie Burns (Guy Pearce) and his brother Mikey (Richard Wilson) are captured by the ambitious-sheriff Stanley (Ray Winstone). Along with their psychopathic, blood-thirsty bro Arthur (Danny Huston), they are wanted for a brutal crime. However, both sides of the law don’t really seem to come together until Stanley makes Charlie a seemingly impossible proposition in an attempt to bring an end to the cycle of bloody violence. Will it work? Or will the bloodshed just continue on like it always does?
The film starts off with an action-packed opening, filled with guns shooting, girls screaming, and a bunch of Aussie accents that sound totally bad-ass. This starts off the film perfectly but also gets you off on the wrong-foot. See, it makes you think you’re in for a non-stop, blood-soaking, shoot ‘em up type of Western, when in reality, it’s the slow, melodramatic type where instead of shooting one another, they like to montage about their feelings. Just one of the very smart surprises director John Hillcoat gives us, that doesn’t feel like a rip-off of every other Western to come before it.
After seeing The Road, I realized that Hillcoat has a knack for setting a fine pace not only through his direction, but through his cinematography. The whole film takes place in the Australian Outback and you get a feel that this is a dirty, sweaty, and hot-ass place to be living in and it starts to set in pretty quickly that it all takes a big part of the story considering these people hate living in it, almost as much as you do looking at it. But as dirty and grimy as this flick may be, there are still plenty of beautiful visuals here to just soak up in your system. Whenever you have a film that can perfectly capture what the bloody red sky can look like when it starts to get dark in the middle of the day, then you know you have a keeper on your hands when it comes to visuals.
However, it’s not just all about the look, as dirty and sometimes beautiful it can be, it’s actually all about the tone and pace of the story that really takes over you. Is this film a slow Western that decides to take its time on its story rather than its grisly shoot ‘em up battles? Yes, but that does not mean it’s boring in the least bit. In fact, this film kept me on the edge of my seat at certain points because you don’t quite know where exactly this story is going to turn up, and where it does end up; you are damn sure as hell happy that writer Nick Cave decided to go with it. Hillcoat and Cave work great here together because they keep the story flowing smoothly and methodically, and make it seem like they are constantly on the same pace with what they want to show and how they want to show it. Through Cave’s writing, we get a glimpse at these characters, what they’re all about, what they’re motivations are, and why it all matters, but it isn’t just a bunch of guys weeping on about how they just killed for the first time, because there is violence.
And wow Nelly! When it hits, you won’t soon forget it.
The violence here is actually pretty awesome and even though it doesn’t take up the whole story with constant destruction, whenever it does pop-up; it’s bloody and gory to the core, but doesn’t feel like it’s just there to shock us and have us ready to vomit. Nope, it feels reasonable, if that’s all these characters have going for them is taking another person’s life. You can believe that some of these sick, psychotic son-of-a-bitches would actually go to these levels of violence, just to get their revenge and it feels real rather than feeling like something the creators felt like this movie needed. Can get a little cartoon-y at times with the blood-spurting out and all, but you can’t go wrong with violence that feels deserved, especially when you’re talking about a good ‘ole Western. Darn toooootin!
If there was something about this story that I didn’t like it was that I feel like it dropped the ball on the one thing that would have really made itself matter: it’s moral theme. All of the best Westerns, even the shoot ‘em ups that I’ve mentioned about 500 times in this review, all have one central message that is always looming underneath the surface, and then comes out of nowhere by the end to really make us start thinking. That’s exactly what I thought was going to happen with this movie and I think that’s what they thought as well, but the problem was that it doesn’t end up really being about much in the end. Yeah, there was some discussion about loyalty to family and responsibilities, but when you soak it with all of this bloodshed and bad-assery, does it really matter?
The answer to that is: well, not really. All of the violence and tension for the movie works, but giving it more meaning in terms of how it could have affected our train-of-thought, would have definitely made it more important. Hey, it’s fine for being all about the blood, the guns, the bullets, the horsies, and the hay stacks, but I wanted more. Hell, I needed more! Then again, I don’t really need all of that philosophical shit when I’m watching a movie about a bunch of cops and robbers, going around, shooting one another.
But everything gets better when you think about this awesome, all-star studded cast. Guy Pearce looks pretty damn intimidating as our anti-hero (if you want to call him that), Charlie Burns, a guy who just shows up and wants to do the right thing, even though the rest of his family really can’t. Actually, I don’t even know if that’s what goes through his head so I’m probably just making shit up about him. The guy probably killed families and robbed banks for all I know. But what I do know is that Pearce has that rugged look and feel to him that makes you believe that this guy could kill anything, or anyone that he wanted to, but he just chooses not to unless he actually is pushed to “that edge.” Then, all hell breaks loose and Guy Pearce at his finest.
Somebody who really shocked me in this movie was Ray Winstone, because it isn’t the type of character you’d expect to see him playing, despite it also seeming like the type of dude he was practically born to play: the rough and tough dude that you don’t want to fuck with (that is, unless your Gandhi). But it still has him starting-off like he’s going to play that type of role with him seeming like the type of guy that just wants justice done, and will do anything to get it, but sooner or later, his true colors get shown off to us, and to the rest of the people around him. Once all is said and done and things seem to get a bit too heavy for him, we all see him for the big baby that he really is. Probably one of his least-intimidating roles the guy has ever played, and that’s a good thing because the cockney-gangster bit was getting sort of tired after awhile. The lady who has him come out of his shell and be a bit of a whimp is Emily Watson who is good at seeing why such a masculine, strong dude like him, would fall head-over-heels in love with this girl, and weep at her feet. Okay, she’s not that perfect of a human-being, but she is pretty damn gorgeous so I can definitely see why.
On the other side of the fence, you have Danny Huston playing another one of his evil roles, as the broski Arthur, and gives off a very creepy performance that makes you feel like this guy is going to do some bad shit, whether or not the person he does that to deserves it. He just wants to kill people for the sake of killing people and that’s what makes all of Huston’s roles pretty much scary as hell. Honestly, when has that guy ever played anybody that’s remotely nice in a movie? 21 Grams doesn’t count cause the guy is barely even in it! Don’t worry, I’ll wait here….
Consensus: The blood and guts that are spilled throughout the run-time of The Proposition make this movie worth the watch, as well as the cast, but underneath the surface; there doesn’t seem to be much else other than a bunch of guys just wanting to kill one another and possibly ride off into the sunset when the fun’s all over. So simple, yet, so twisted.
8/ 10 = Matinee!!
At least he’s on the wagon now.
After the wild events that took place in New York with Gods of Thunders and worm-holes and such, Tony Stark (Robert Downey Jr.) has found himself in a bit of a crisis. Not only is he constantly reminded of what occurred, but he can’t seem to get any sleep and continually works on his hobby: building and building shit. It doesn’t matter what it is or what it could do, the fact is that he’s building shit, losing sleep, losing the love of his life, Pepper Potts (Gwyneth Paltrow), and losing what it means to be a superhero. However, an evil terrorist by the name of Mandarin (Ben Kingsley), might just change that feeling in the pit of his stomach and have him realize what it was about him that made him Iron Man in the first place.
Since the Avengers came, saw, and conquered the world last Summer, it seemed only right that Marvel would unleash it’s brand-new bag and go back to where it all started: Iron Man, or if you really want to be legit about it: Tony Stark. Without the first movie coming out in 2008 and taking over like it did, who knows just what the hell Marvel might have done not just with their fellow, other superheros, but in general as well. But from what we’ve all seen and what we do know is that Tony Stark is the go-to guy for when you need a compelling movie, and Iron Man is a pretty bad-ass superhero, even if he doesn’t have a big hammer. I still think that’s one of the all-time best weapons in superhero history. By far.
The first piece of curiosity that sprang through my mind when I initially heard of this movie happening, was the choice of Shane Black as director and co-writer. If you don’t know who this cat is, I suggest you go and find Kiss Kiss Bang Bang somewhere on DVD and check that out because it is a gem of a movie and it’s all because of Black. The guy’s also written Lethal Weapon, but in my eyes: his directorial-debut ranks supreme against all others because it’s funny, exciting, and filled to the brim with plot that may seem like over-kill, but keeps you guessing until the end. And just as promising as that may sound for a guy who’s about to tackle Iron Man, it still seemed strange considering that not only was this his second movie to date, but also that his first one had barely any CGI whatsoever, or action for that matter. Most of it was just shooting, guns, bullets, a car-crash, and fake blood. That was it. So, how the hell did Marvel trust this guy with their biggest money-maker to date?
Well, whatever it was that the big guys at M found in him, sure as hell worked because Black does a superb job as both director, and co-writer. Not only is his humor present throughout the whole flick, but the guy also finds a way to throw in some neat and nice little twists here and there to spice things up. One plot-twist that I won’t give up unless you want to e-mail me about it (CMrok93@yahoo.com), really divided this movie into two, different ways. Some will definitely go along with it and think that it was a nice-departure from what we are used to seeing with typical, superhero movies, whereas others may be a bit pissed and wished that they exactly got that typical, superhero movie they had grown so accustomed to. I still haven’t been able to rack my brain around whether or not I liked it all that much, but I will say that in Black’s case, it sure as hell was risky, something different, and not exactly what I was expecting. So, yeah, maybe you could put me in that earlier-group of peeps, but at the same time, don’t, because I’m still not sure.
Just give me some damn time, man!
But what really worked for Black and what mainly surprised the hell out of me is how well he handles all of the action, CGI, and 3D (basically, the big-budget). Black knows exactly what the fans want to see when they see a superhero movie about Iron Man and that’s what the dude gives to ‘em. Some may actually be surprised to see that not all of this action features the actual superhero, Iron Man, but features more of Stark doing all of the ass-kicking himself, but it’s still fun and exciting to see, especially when you add a darker-element of story-telling on top of it all, which is what Black has done surely well. Of course the humor is always there to keep people laughing and giggling, but the stakes feel higher with this one and it’s no surprise that some may actually be scared as to who’s going to get off’d next, who might not make it for Iron Man 4 (although Paltrow spilled the beans on that enchilada), and who’s going to come out victorious and with a little bit of something to brag about. It’s fun to watch a movie that knows how to keep the energy rolling without a real break in the pace, but it’s even better when you feel like the seconds you see a person on screen for, could just might as well be their last. Black keeps this going for quite some time, that is, until the last-half shows up and sort of ruins things.
For the most part, about an hour and a half in, I was on-board with this movie and I easily felt like I was working on a 9-9.5 here, but something happened. No, not the twist I was talking about earlier, but the final showdown that we all know is going to eventually come. Something, I don’t know what it was, just didn’t feel right. It didn’t feel as epic as the rest of the movie did and it sure as hell didn’t do much to really knock me out of my chair with it’s originality; something I was seeing from Black’s side of the room, more and more. Don’t get me mistaken, I still had a ball with this final-act and just about lost my hearing by how many clangs, booms, and bangs I continued to hear (that’s a good thing, by the way), but something didn’t make it feel like the movie was tied-up with a pretty, little bow at the end like all of the other superhero movies have lately. Even Iron Man 2 somehow decided to do that, and as we all know: that was nowhere near greatness.
However, I can’t put anything against this cast because as usual: they are all phenomenal, even the newbies too. But I’ll get to them later, let me stick with the man of the 2 hours, the man with the power, and the man who practically has it all: Robert Downey Jr. Everybody and their mothers (the coolio ones who didn’t give up on him when he got busted all of those years ago) know that Downey was made for this role and he continues to show us why with his egotistical act, look, and feel. Yet, there’s something more to this guy that makes him actually feel like a hero worth rooting for. Stark does make some stupey mistakes and gets caught-up in situations that he could have easily gotten himself out of if he just thought more, but he’s human, dammit! That’s what we do. And even if we don’t have a mansion, a billion dollar corporation, or a suit made of iron that can kick ass and speak like Paul Bettany, we still feel like this guy would do the right thing, if he was given a chance to make the decision as to what that exactly is. Downey is funny as usual, and probably a lot better with the script considering that he practically vouched for Black to get this job, but it’s his human-aspect within that makes this character tick, rock, and kick….some ass. See what I did there? Yeah, I’m all out of being witty for the night.
Even if it seems like nobody in their right minds is willing to let all of the hate for Gwyneth Paltrow go, just for a little bit of time over 2 hours, at least the girl still shows us that she can act and be charming as hell. I don’t hate Paltrow like everybody else seems to, and that’s why I really liked her as Pepper Potts because it not only felt like her character really loved Tony and wanted him to be all fine and dandy once things were over with, but that she could also stick up for herself in the chance arose itself. Pepper isn’t the type of character that you could classify as a “damsel in distress” and that’s the route that Black turns away from and gives her more a chance to knock some people out, if she needs to. During this movie, she definitely does need to and that’s exactly what she does. Keep on going, Mrs. Coldplay!
Don Cheadle is here once again as Col. Rhodes (still thought Terrence Howard was better, but hey, that’s just me, baby) and does fine with what he’s given. Cheadle doesn’t have a huge role here but gets more to do than just pick up Tony’s scraps and make us feel like he’s more of a bad-ass too. Although, I will say that he does get to show us what makes him all bad-ass still. Oh, and before I forget about it all: Rebecca Hall is here as an old-fling of Tony’s and is good, even if her beauty and charm does seem a bit wasted on a character that is essentially around just to show how much of a chauvinistic a-hole Tony basically was back in the darker days before he fell in love with Pep. Still, the girl is mighty fine!
Now is the part where we go onto the baddies and this is where things begin to get a little dicey for me and you. See, Ben Kingsley and Guy Pearce both play some evil a-holes that definitely are not the breed you want to mess with, let alone see Tony mess with, but there’s more to them than just that and I can’t give away too much without sounding annoyingly-vague, or just giving it all up. Both do what they need to do as the baddies, especially Kingsley who actually terrified me at one point, but there are more layers to them and once you see what’s really going on with these cats, you might just be a bit surprised. I sure as hell was and once again: I still don’t know what to make of it. What I can say though, is that the movie does not, for a second, stray-away from giving these two guys plenty of scenery to chew on and that’s where all of the fun comes from. Because if you think about it: that’s all you need in a good villain, right?
Consensus: Starts off perfectly with a funny script, electric set-pieces, and a cast that never backs down from a script they can’t grapple, but Iron Man 3 ends more on a whimper, than on a bang. Which would have been all right and perfect with the world, had we not already see the Avengers and know what there is to expect with the Marvel Universe.
8.5 / 10 = Matinee!!
P.S. Stay for the credits. Even though you probably already knew that, didn’t you?
Osama’s dead! Now it’s time for Hollywood to take advantage!
The film is a chronicle of the decade-long hunt for the al-Qaeda leader Osama bin Laden following the September 11 attacks, and his ultimate-death at the hands of U.S. Navy SEALs in May 2011.
Unless you have been living under a cave for the past years (sort of like Osama himself), then you’ll probably already know how this story ends. People get on the look-out for Osama, find some tip-offs, locate his living quarters, send a search and destroy team, and basically, destroy him and everybody else that was practically in there.
After a decade of anger, frustration, sadness, paranoia, and a great deal of questions left unanswered, we, as a country, finally got what we wanted ever since those fateful hours of 9/11: we killed the son-of-a-bitch that was to be blamed for all of it. If you like to look at humanity in the eyes that every person made in God’s eyes are equal and judged the same, but if you look at it from another pair of eyes, you’ll start to realize that this was a piece of shit that deserved to die, deserved to be stuck in-hiding half of his life, and better yet, deserved to be killed the way he was. In my opinions, no matter how brutal or vicious, I feel like the guy got-off a bit easy with a couple of shots to the dome (apparently) and no torture whatsoever, when this is also the same guy that killed over 3,000 innocent people in just one day. Yeah, in case you couldn’t tell by now, I’m rooting for America on this one and I usually don’t get all this “hurrah! hurrah!”, over being a patriot of my country, but there’s just something about the idea of finding the person that was responsible for so many deaths and broken hearts in one day, killing him, and showing him, as well as his followers, what the ‘eff is up with the good, olde U.S. of A. I hate to sound all lame-ass and cliche, but damn, was I proud to be an American after seeing this movie.
This also really surprised the hell out of me as well, mainly because I wasn’t expecting feelings like this to pop-up, after expecting this to be Kathryn Bigelow’s big, follow-up to The Hurt Locker, a war movie in which, it seemed like the theme was very much against the war, rather than creating a love-letter to those who fight for our safety and freedom, day-in and day-out. It’s not like Bigelow went full-throttle at the army’s throats and showed them how much of dirty and despicable bastards they can truly-be, but instead, showed them more as a bunch of people that have problems, just like you or me. It was a nice movie, a nice war movie, and a very nice movie with a smart message to-boot, but that’s not the film I’m reviewing here.
The movie I am reviewing instead is this one, Zero Dark Thirty. Up until a couple of days ago where I heard this movie has been destroying film festival award shows, I wasn’t really all that amped-up to see this flick. Yeah, we all know the story about Bin Laden, we all know the cook gets shot, and yes, we all know that people did a lot to figure-out just where, how, and when this guy hid for so long. It was an obvious story that just seemed like it was going to be the more modern, war-version take on a “based on factual events” story like Argo. However, slowly but surely, this movie really started to creep-up and find it’s way into my mind and have me very, very excited to see what was going to go down and after awhile, I got to thinking: I didn’t really know all that much about the whole Bin Laden-killing as it was.
Yeah, I knew how it began and how it ended, which is pretty much enough for some people, but being the type of guy that likes reasons, explanations, and understandings to most of the stories that I find-out to actually be true, I knew there was more than meets-the-eyes and that is exactly what you can expect from this movie. Right from the start, you know you are in for a thrill-ride that is full of suspense, espionage, exposition, clues, hints, interrogations, arguments, conversations, torture, and best of all, action. This movie basically has it all and even though the first 20 minutes seems to go a bit over-the-top with the whole “torture” idea, it soon builds into something that doesn’t need to have things exploding or people being shot to keep you interested and riveted; it just uses conversations, and wonderful conversations at-that.
Seeing how this whole investigation got from Point A, to Point B, is pretty damn interesting, but what’s even more interesting is how much feels like it’s on the line in this flick. When these characters are out searching for Bin Laden, where’s he hiding, and who the hell helped him with terrorist attacks, we feel as if we are there searching with them as well, with just enough terror and suspense as you could imagine. I knew how this was going to turn-out and if you are the biggest-idiot on the face of the Earth and don’t know by now, well then, you do too. It’s a real-life investigation that just so happened to turn-out successful but getting to that point where everybody is happy, jolly, and feeling victorious, is a real, fucking ride that will take you all-over-the-place in terms of emotions and thoughts. Actually, maybe saying it will fuck with your mind is the wrong-impression to give you, but if you like a thriller where you have no idea what’s going to happen next and like to have your palms sweaty for about 95% of the actual-movie, then this is the type of thriller for you that will stick with you just as much as it did to me.
And as for the rest of that 5%, well, I sort of left that out, mostly because it seems like more of this flick is about getting the facts straight and telling it like it is, which was all fine and dandy with me for the most part, especially because all of it seemed to be pretty legitimate. As with most of these movies that take on an actual, real-life investigation that had to deal with the U.S. government, there’s always a lot of speculation as to what is real, what is dramatized, and what is fake. For the most-part, after all of the controversies this flick has seem to be dealing with as of-late, I can easily state that most of what you will see and hear here, is in-fact told in the way it went-down. Of course not every scene was filled with as much witty-lines and moments of humor that this movie’s scripts throws in there to great-effect, but the ideas, the hints, the clues, the thoughts, and the actions, all seem to be very reasonable and I never really found myself scratching my head as to how the hell somebody could pull something-off like this, no matter how much leverage she may have had. However, it’s less of a history-lesson and more of a thriller that shows you what went-down, how it went-down, and what exactly was going through the minds of the people behind all of the actions. Some good, some bad, some are just not worth giving a fuck about but at the end of the day, Osama was killed and everybody was happy and joyful together. Yippie-Kay-Yay!
Featuring a cast that doesn’t really have any real, blockbuster names to attract an audience to a flick that already seems like it may have a bit of a struggle with making moolah around this time of the year, definitely seems like a risk that Bigelow is willing to take, and a risk I want to watch her take, more and more now, especially after what I saw what she could do with an amazing cast like this. After having what is essentially the greatest year of her freakin’ life so-far (other than that one, beautiful summer where she went to camp and become a woman for the first-time, I don’t know, just guessing that it’s what all girls have memories of), Chastain builds on top of that with a stellar-performance that is probably the best she has given so far, mainly because her character goes through so many changes throughout the whole flick, but yet, they all feel real.
When we first see Chastain as Maya, we see her as soft-spoken, scared, and a bit of wimpy-like girl that can’t handle the sight of so much blood and torture that she sees within the first 20 minutes, but after awhile, she gets used to it and realizes that maybe, just maybe, she, as well as the rest of the CIA, needs to get their shit together and find this summbitch who caused all of this trouble in the first-place. Chastain is strong-as-hell in this role and you can totally tell that as time continues to go-on for her and for this mission, that the look on her face and her eyes, begin to change and get more and more disrupted by the anger and frustration that sort of domes come with the job of being a very-skilled member of the CIA and handling a mission like locating, and taking-out a top-terrorist. Every look she gives another character in this movie feels deserved and she is such a strong female-character that you are able to stand-by, trust, and feel like she is literally a nice human-being that only wants what’s right for her, her own well-being, and her own country that she fights for day on a daily-basis. No surprise whatsoever that this gal is getting so much damn Oscar buzz for this and if she does win (which she just might), I will have no objection or angry-tirade whatsoever. Hell, after all that she did last year, the woman deserves it. But please, somebody just give her my number!
Her co-star from this year’s earlier-release, Lawless, Jason Clarke has the next best role as another member of the CIA, but yet, has a way different job than her. See, Clarke’s character is a guy that has to deal with the torturing and question of their Iranian prisoners and as hard as it may be to watch some of the actual torture that does go-down in the flick (mainly within the first 20 minutes, just to let you know how crazy, wild and disturbing this movie is going to be), it’s even harder to watch a character like this have to suffer from doing something that literally makes him a miserable human-being. Clarke is a guy I never really payed attention-to in the past, mainly because I never thought he really needed to shine in the spotlight, he’s just always been there, but here, every chance the guy gets, he absolutely nails it in showing us how a character that does something so vicious and violent for a living, can actually still stay sane and normal in the outside world around him. If it wasn’t for all of the buzz that has already been surrounding every-other aspect of this damn movie, then I would definitely have to say that Clarke would be up for an Oscar nom., but as for right now, I think I may just have to wait and keep my, Minnesota Fats-like fingers crossed.
Even though Clarke and Chastain may be the real stands-out of the flick, you know, the ones you really remember when all is said and done, they sure as hell aren’t the only ones that give solid performances worth-mentioning. Mark Strong shows up in a couple of scenes, and absolutely hits the high-rising emotions in this flick, and hits them hard, especially with an introduction-scene that is one of the best he has ever done in his entire career. Trust me, just ask the fellas I saw this movie with. They’ll probably tell you I couldn’t stop quoting his damn scene and with good reason: it’s memorable, important, and best of all, perfect. And no, for all of you people out there wondering: Mark Strong does not play Osama Bin Laden, regardless of what his past-decisions for characters may have you think otherwise. Kyle Chandler seems to be having a lot of fun playing, once again, another member of the CIA that seems to always have the right, witty answers to every solution, but yet, still can’t keep an eye on his own shit and even get the chance to cover his own-ass. Chandler’s been doing some real splendid work as of late, and I think this flick is only going to prove that point a whole lot more. James Gandolfini also shows-up in a scene or two as the main, higher-up of the CIA that always has to give final-word to the president and even though it’s not a glamorous-role for the guy, it’s not one that shows how much of a fat-slob he has become, either. He’s just a normal dude, with a very demanding job.
However, these three are the only three I could really think-of off the top of my head and say exactly why I liked them so much here, because everybody else, I kid you not, is as great as they should be. Every tiny, little-role that Bigelow needs filled-up, she fills it up with a great actor/actress that gives their all and might into scene that sometimes doesn’t mean a shit in the long-run, but after it’s over, you are still left remembering it because of how well-acted it truly was. The only bad apple out of this whole cast that really seems like he may have been trying a bit too hard was Chris Pratt as the main, Navy Seal that goes into Bin Laden’s cave. I love Pratt to death and I think he is an absolute riot as Andy Dwyer, but seriously, you can’t go from a character that’s all about being a man-child, who is dumb, big, and slow, in terms of understanding the things around him, and go right to a character that practically slimes his way around and about Bin Laden’s head-quarters. Don’t get me wrong, I love Pratt and he’s not even that bad here, but he just seems like he should be off, doing something more comedic that would use him well.
Despite all of this big and bad jibberoo about why the movie works and how, I can only imagine the real question on your mind: what about the whole Bin Laden-shooting? Well, without giving too much away or even letting you know of what fully goes down, I’m just going to state that Bigelow handles it in the most understandable, most respectful, and most perfect way that makes you realize how far everybody has come to this point and in a way, what is to come of us next, not only as a country lead by an army, but as humans living in the country as well. Bigelow handles this last-sequence where all of the Navy Seals find their-ways to Bin Laden as if we are actually there, right next to them, as they make all of the tough shots and calls, and it’s probably the most exciting and suspenseful, piece of 30 minutes at the theaters I have spent in a very, very long-time. And mind you, I am talking about the whole Bin Laden-shooting. Something that I actually have prior knowledge to knowing that it did actually happen!
Yup, it surprised the hell out of me too, but if there is anything that surprised the hell out of me, is how happy and proud I was to be in a country where most humans have the rights to do whatever they want, however they want it, and mainly because we all are humans, no matter what eyes you look through. Now, I’m not saying that it’s right for people to do anything they want, whenever they want because they’re humans (last Frdiay’s shootings come to mind), but for people that can choose between right-and-wrong, and are given a set of ideas as to what is right for the world and everybody else living in it, it’s a beautiful country we live in and it’s one that makes me happy, just knowing that I am being protected by people who are days and days away from me, but yet, still continue to keep me safe at-night, while I sit here, half-naked, drink a Mountain Dew, and talk about a movie that’s all about them. Yes, thank you all for saving my life day-after-day, please don’t stop either, because I really like not having to look over my shoulder every five seconds.
Consensus: Some historical facts and inaccuracies may always be up for discussion here in Zero Dark Thirty, but what cannot be up for discussion is how entertaining, enlightening, smart, provocative, well-acted, and perfectly-performed this flick truly is and I really do see it winning a crap-load of Oscars, come February of 2013.
If a mansion looks freaky, don’t enter it and make yourself at home.
This is the tale about a young girl (Bailee Madison) who moves in with her father (Guy Pearce) and his girlfriend (Katie Holmes) and discovers they are sharing the house with devilish creatures, that can only attack you when the pitch-bright lights aren’t shining on them.
It seems like no matter what horror movie he produces, Guillermo del Toro’s name always seems to pop-up more than the actual stars in the movie. I mean it’s obvious that horror-aficionados love the hell out of this guy because of what he can do with any weird, creature design but does it really matter whether or not the guy produced the flick or not? I don’t, and this is flick is a prime example as to why I think that way.
Instead of making the smart decision and handing the directing duties to del Toro, the honors are given to a dude named Troy Nixey and believe it or not, for the first hour-and-a-half, the guy doesn’t do a bad job with what he’s given. Nixey does a nice job of not relying too much on showing his monster/ghost, but instead uses the darkness to keep our suspense up and to have us continue to wonder just what the hell is this thing that were dealing with here. This also sets up a pretty nice mood, where everything’s tense and creepy, and had me going for awhile. That is, until Nixey got the bright idea to show off his monsters about 30-minutes in, and then that’s when things went all downhill from there, folks.
Usually when flicks show us the monster right-away, it doesn’t bother me unless they’re scary and have a distinct look to them that deserves to be feared whenever they show-up. These ones here, are not those type of monsters. Without showing you exactly what they look like, I’m just going to say that they look like tiny, mouse rats that just got it on with a Gremlin, who just so happens to be the brother of Gollum’s more-deformed, little bro. It’s a very lengthy synopsis as to what these creatures look like, I know, but that’s the whole problem with this film is that they look absolutely as ridiculous as I made them out to be and totally takes you out of the film right away.
However, Nixey doesn’t even get that idea from the get-go, so instead, he just continues to pile and pile on more and more of these little creatures, in a way so that he can actually get us scared by them, but it doesn’t work and just made me laugh. Hell, it made me angry that these dumb-asses in this movie couldn’t just find it in their guts to pick up something and smash their fuckin’ bodies or do something. And also, what’s all that shit about them being sensitive to bright-lights, that nobody, absolutely nobody seems to use against them? This movie went from having me pretty creeped-out, to having me just angry with everything that was going on and most of that is because of the characters.
Notice how I ended that last paragraph by saying the “characters” and not the performances, because believe it or not, the performances are actually okay. I’ve never, ever been a big fan of Katie Holmes (one of the few similarities between me and Tom), but she’s actually fine here as the girlfriend that reaches-out to this girl early-on in the movie. Then, there’s Bailee Madison as that said girl and is okay too, but it’s obvious that she’s only there to be a bit weird and scream. And lastly, the one who I was very sad to see show-up in a pile of junk like this was Guy Pearce as the father, who just seems like he’s phoning it in beyond belief and that’s a real shame too, because Pearce is a great actor but just has never really been given the chance for the break-out role here in the U.S. If he thought this was going to do it, he was dead-wrong.
What irked me the most about the characters these three portray is that they are the standard, most obvious, most unoriginal characters to ever show up in a horror movie. It all starts off like nobody believes the little girl, who sees all of this weird shit; then weirder shit starts to happen; then they call up the psychiatrist; then one of the adults finally catch-on to what’s really happening; and then it’s almost too late and just about everybody dies. I’m not going to give away whether or not that last part actually occurs in this movie or not, but you pretty much get the gist of what I’m throwing around here. This is exactly the same type of crap you can expect from a horror movie, and it’s a shame because this is one that starts off with a whole lot of promise and even worse, it’s one that del Toro even signed-off on. I didn’t care a single-lick for any of these characters and I didn’t even care what these little ‘effers did to them either. It was a very blank feeling for me throughout this whole movie and just goes to show you that no matter how creepy or weird-looking your monster may be, do not, I repeat, DO NOT, show it in the first 30-minutes. That my friends, is what we call “jumping the shark”. And oh, does this movie do that all right.
Consensus: Even though it starts off promising with a creepy atmosphere, Don’t Be Afraid of the Dark soon piles in to a cliche, predictable horror movie that we have all seen done before, but this time, with weirder-looking creatures/monsters that make you laugh more than squeal.
The Wettest County in the World would have totally been a lame title. Unless by “Wettest” they mean with blood. Then it’s cool.
Lawless revolves around three brothers (Shia LaBeouf, Tom Hardy, and Jason Clarke) who become bootleggers in the South during the Prohibition. As business is booming, it attracts the attention of the local authorities who soon want a piece of the proverbial pie. One local authority in particular, played by Guy Pearce, doesn’t take all of this success so kindly.
After all of the big and glamorous Summer blockbusters come and go from the theaters, studios try their hardest to bring out any film between August and October that could be somewhat Oscar-worthy, yet, not enough due to it not being the Holiday season where all of the heavy-hitters. However, if you’re looking for something that may pack a hard-punch like all of the best Summer blockbusters this year, but yet, still have some Oscar qualities to it, then look no farther than John Hillcoat‘s latest. Trust me, it’s not THAT depressing.
If you have seen Hillcoat’s other two flicks (The Proposition and The Road), you’d know that this guy has a real sight for when it comes to making his films feel like they fit the setting, but also do something that helps the mood even-out all of the problems it may have somewhere along the line. This film definitely isn’t as grim and sinister as those other two, but there’s still enough of a tense atmosphere that Hillcoat brings to this material that got me going, even if it did seem take-off a bit too late in the game. There’s nothing new or original that Hillcoat brings to this material but the whole time I was watching, I felt like I was in the 30′s, where boot-legging was a very serious “no-no”, but everybody still went about doing it anyway.
Perhaps that was my only major complaint about this flick is that Hillcoat and Nick Cave (writer for this flick) don’t really bring anything new to this material, other than just an old-fashioned, shoot ‘em up story with drama here and there. This story can be very unpredictable but you also can’t help but think that Cave sort of chickens out on some of the more darker elements to this story that could have been developed more, and actually came together at the end of the flick when all hell breaks loose. Other than Hillcoat’s style, this flick feels like it could have done by anybody else which is a disappointment because after seeing what these guys have been able to do in the past, I was expecting to be totally knocked out of my seat with something cool that I have never seen before in a story like this. This definitely won’t be getting any looks in the writing and directing department, but with a film this fun, I don’t really think it matters.
So yeah, the film does take awhile to get up-and-moving but once it actually does, it’s a whole bunch of unpredictable fun that reminded me a bit of Public Enemies, but without the terrible Southern accents via Christian Bale. It seems to me that the sight of a 30′s-era Tommy Gun in someone’s hands is a lot cooler, than an 21st century AK-47 in someone’s hands and that somewhat of a fact, stands true with this flick as there is a lot of shooting, bleeding, killing, double-crossing, and a whole bunch of violence to really make people squirm right in their seats. Much like The Proposition, this film isn’t as based around it’s violence as you would expect from all of the advertising for it. But whenever the violence does come into play with this story it’s just brutal, bloody, and amped with a whole bunch of sadistic energy that you could only get from a story that gets very bleak, very quick. Even if this is familiar territory Cave and Hillcoat are covering here, the story itself still leaves a whole bunch of surprises for us to see and that’s what really got me in the end because when the shit really starts hitting the fan late in the game, I really felt like the story could have gone anywhere and was just about to do so. Problem is, it sort of does and doesn’t, but I’ll let you figure that out for yourselves.
A lot of people seeing all of the advertising for this flick are seeing some dramatic heavy-hitters like Pearce and Oldman, as well as some fast-rising stars like Hardy and Chastain, will probably be terribly shocked by the casting of Shia LaBeouf leading the whole film, but have no fear people, he’s not all that bad. Maybe that’s not so warm to hear considering in every movie review I do for one of his flicks, I always give him the benefit of the doubt and talk about how good he is (Disturbia: check, Transfomers: check, Transformers 2: OK, I won’t even go there), but here, he actually is as the young and wild-cat, Jack. LaBeouf, out of everybody else here, probably does the best with his Southern-ish accent and can nail a lot of his dramatic parts very well, especially when his character is really pushed to the edge, by the end. Hopefully this flick shows that LaBeouf can be taken seriously as an actor, or if worse comes to worse, it could just show that it’s only a matter of time until we get that Even Stevens reunion we’ve all been waiting so anxiously for. Either way, it’s a win-win for him.
Another great performance comes from none other than Tom Hardy as his older brother, Forrest. Hardy, as we all know and have seen in the past years, is a total bad-ass when it comes to his roles and takes all of his character’s, and gives them this edge to them that not only makes them intimidating as hell but also very lovable in the long-run. Forrest is a great example of that acting skill because we see Hardy go for this no nonsense talk, brooding character that may not say much in his simple way of life, but still gets our appreciation whenever he has to knock someone’s teeth in with one of his lethal brass knuckles. He may not be in the film just as much as LaBeouf, but he still creates enough of a presence to make him feel like a lead in his own right.
The last great performance to high-light is none other than Guy Pearce as the terribly distasteful city cop, Charlie Rakes. Pearce seems like he’s getting more and more juicer roles as of late, and I think Rakes may be his best one so far because this character is just so damn unlikable that you really want him to die or something bad to just happen to him whenever his groomed, eyebrow-less face shows up on-screen. This is a black-as-coal character that makes no mistakes in being the ever-loving shit out of everybody he has a problem with and makes no apologies, either. This is just one sick son of a bitch that doesn’t give a shit what you think of him, he’s just going to do what he wants and I honestly couldn’t get enough of this character (I mean, that is why he gets the pleasure of being my poster for this review). It may be a tad too soon to start talking about some Oscar talk for him, but you never know because this is one of those “evil performances from a character actor” that the Academy usually eats up.
As for everybody else that I failed to mention, they’re all pretty good, too. Jessica Chastain plays a lovely gal named Maggie, who seems to attract the eyes of Forrest and gives a good performance, even if she does seem a little wasted here. Another piece of wasted talent (I think) is Mia Wasikowska as Jack’s little, love-interest. Both of them seem like they were just here for some female appeal for this flick and even though they don’t do much to keep this plot moving, they still do their best with what they’re given. That’s all that really counts. Another performance I was slightly disappointed by was Gary Oldman‘s as a notorious gangster, Floyd Banner. Oldman is great at playing a villain with a conscience, which he does very well here, but he isn’t in the film for more than 8 minutes which is a real surprise since this guy can really hit it out-of-the-park when he chooses to. But something also tells me he allowed those duties to be left to Pearce, and thank him for that. Almost like a passing of the torch for character acting, if you will.
Consensus: There’s nothing new or original about this take on a pair of bootleggers in the 30′s, but Lawless still provides a good story, with some very good performances from the ensemble cast, and plenty of action and violence to satisfy anybody’s late-Summer needs. Just make sure that THIS Tom Hardy doesn’t tell The Dark Knight Rises Tom Hardy you weren’t fully satisfied, then you may be screwed.
Crews of explorers should just not go into space unless they are with a freakin’ army.
Prometheus centers around a team of explorers who discover a clue to the origins of mankind on Earth, leading them on a thrilling journey to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race.
Let me just start off by saying that after watching Alien and realizing it to be the true sci-fi/horror classic that everybody has ranted about, I was very pumped for this quasi-prequel of sorts. Problem is, when you watch Alien, there isn’t really any need to see this flick.
What makes this “prequel” so different from many others out there, is that it’s directed by Ridley Scott himself. The thing with Scott, is that he won’t just go for a quick and easy job where he’ll just make some moolah. No, instead he’ll put his heart and soul into production that quite frankly, deserves it and that’s what makes this film better than plenty of the other prequels we see out there. Scott brings us back to the universe he made famous and expands it, answering more questions for us that we already had. But even though this film’s big selling point is it’s tie-in to Alien, it’s a real beautiful film to just gaze at.
Scott always has a great attention to detail and his production design for Prometheus just totally backs that up. There’s some cool, futuristic stuff here like space suits, vehicles, holographic displays, medical devices composed solely of robots, and plenty of other impressive treats to see here as well. Everything looks so dazzling, especially if you see it in 3D, where a couple of scenes may just take you by surprise by how you feel like you can just reach-out and touch whatever it is that’s on the screen. Some real beautiful stuff here, mainly because Scott feels something for this universe that he’s created and has given all of his might to make it work.
The problem with this flick isn’t really Scott’s fault, it’s more of the story itself. The core of this story is basically Alien done all over again. Crew wakes up out of deep sleep, spaceship lands on mysterious alien planet for some strange reason, crew discovers some ancient alien crap, alien force is awakened by them, people get others infected, and then they are all picked off one by one. It’s pretty obvious where this story is headed, because it’s pretty much the same thing around and that took away from the surprise factor for me. I knew that only a few were coming out alive and the only sense of guessing with this film, was who was it going to be. Sadly, I guessed right.
Even though this film is about 2 hours long, for some odd reason, a lot of it feels like there were some actual big scenes cut-out from the final product. The main reason for me saying this is because there’s a lot that goes down here, that makes no sense and seems somewhat random. One example is how Captain Janek is able to explain the purpose of aliens and what was inside of them so damn quickly. It almost comes out of nowhere, without any clues or signs to how Janek must have known this and comes off like a way to make the finale hit harder. Another example is how David knows how to work the Space Jockey devices without any faults whatsoever. How did he know how to do all of this? What, did he just learn it all by reading a bunch pictographs from Earth or is it just that he’s so totally uber smart cause he’s a robot and all? Not explained at all and it gets even worse when he can apparently speak the alien language fluently, as if he has been doing it his whole life. Yup, didn’t make any sense.
Scott does do a pretty good job with the pace of this film and I can easily see that he put a lot of effort into making this film thrilling, just like he did with Alien. However, there is a huge difference between both of those films and it’s pretty obvious considering the whole hour and 50 minutes of that movie was filled with tension out the wahzoo, whereas this one, had about 4 to 5 scenes of actual tension in it’s whole 2 hour run-time. I don’t know what it was about this flick that made it so different but for some reason, I wasn’t really on-the-edge of my seat wondering what was going to happen next to these characters. I just sort of sat there and kept on waiting for Scott to really knock me out of my seat. Which was a shame too, because there seemed to be plenty of opportunities for Scott to do this but just ended up, well, keeping me somewhat satisfied. Somewhat satisfied is not something I want to feel with a product like this, especially when it’s coming from Ridley Scott.
As for the performances, everybody is good but nothing out-standing by any means. Noomi Rapace is fine as our leading lady, Elizabeth Shaw, but feels too much like Ripley and definitely isn’t as strong as her considering we never fully see her lash-out and get “tough”. She just runs away and screams, except for one scene that feels too much like the infamous “chest bursting” scene from Alien. Logan Marshall-Green looks like Tom Hardy, but is fine as Charlie Holloway even though the character comes off extremely dicky at times, to the point of where you don’t care if he lives or dies. Charlize Theron plays a villain for the second week in a row, but is more subtle and stoic this time as Meredith Vickers and does a good job with her, even though I think they could have done more with her. Idris Elba is good as Captain Janek and probably has the most likable personality on the whole spaceship.
Probably the stand-out performance from this cast would have to be Michael Fassbender as the robot David. David is a pretty unsettling character the whole way through this flick as you have no idea whether or not he’s going to be good or going to be bad. He’s also a character that sort of just goes his own way the whole movie and doesn’t really care about the others, but you still can’t let that get in the way of what you may think of him since we all know that robots in sci-fi movies usually aren’t the nicest “things” around. Thankfully, those results are told to us by the end but for some very brief moments, he kept me guessing and I think a lot of that is credit to Fassbender’s skills as an actor. Wish I had more to say about him considering he was the best but it’s just one of those good performances that are notable once you see the movie.
I usually love Guy Pearce in everything he does, but his casting here as Peter Weyland just didn’t seem like it belonged in this movie at all. Peter Weyland is an elderly character, so why did Scott feel it was necessary to cast a younger dude as him and just keep on stuffing his face with make-up and effects. First of all, it looks stupid and fake, and secondly, it just seems like such a waste of a talent like Guy Pearce.
Consensus: Prometheus has some great moments that dazzle and excite, but still has plenty of pot-holes that make this story more confusing, makes the characters seem very one-dimensional, and also make a lot of the genius opportunities Ridley Scott had here, seem to go right out the window.
It’s like ‘My Date With the President’s Daughter’ except its in space and filled with more serial killers and rapists.
A former government agent Snow (Guy Pearce) wrongly accused of a crime gets a shot at freedom — if he can engineer a high-risk mission to outer space in order to rescue the president’s daughter (Maggie Grace) from a prison where the inmates are in control.
Right from checking out the trailers, I knew that this was basically ‘Escape from New York’ in space. Hell, it could have even passed as a sequel from John Carpenter himself but it at least still deserves more credit than that. Ok, maybe not that much but come on it’s April!
What this film did and did well was that it was an action movie that kept a pretty quick pace going on throughout the whole time. It went from point A to point B without feeling the need to muck it up or try and bring in some soft moments so we could feel something for these characters. It gets the job done in a slick pace that doesn’t feel like they’re holding you over for too long either.
Just about anybody could correctly guess the entire story based on the trailers/commercials or if you have ever seen an action film from the 90′s, but I think that’s the charm underneath it all. It’s not trying to be anything else other than dumb, mindless entertainment that is pretty much meant to be watched for the sake of passing time. Also, the fact that the script doesn’t take itself too seriously and actually allows plenty upon plenty of jokes to come up also added a lot of the fun to this film as well. Basically, you get what you pay for: action mixed with sci-fi, that doesn’t need to be watched or enjoyed with a brain intact.
The film itself only cost about 30 million dollhairs to make (which may not sound all that cheap but when you think about how much ‘John Carter’ went up for, then you’ll understand) but for some reason I feel like a lot more money could have been used on this. Not all of the visuals are bad, actually they are quite good but the times when they are bad, they are noticeably bad. There is a scene in the beginning where Snow is riding away on this motorcycle while some peeps are shooting at him and it honestly looks like a freakin’ video game cut scene. The SFX looked clumsy and it was almost as if the film didn’t have enough money to fix the scene up, so they just left it in there hoping people wouldn’t notice it’s horrible look. Sorry dudes, I’m a pretty observant guy.
It was also sort of strange that in a that consists of 500 prison inmates on the loose, that the most dangerous threat to these protagonists was the space ship that they were all in. The inmates obviously get their times to shine and show that they can be pretty bad-ass and killer when they have to (that’s what got them in there in the first place), but too much of the film was focused on the problems that Snow had to deal with when it came to the actual space ship itself. It would constantly shut-on and shut-off, change room temperature, come close to blowing up, and a whole bunch of nonsense that sort of took away from the dangerous level of all of these bad guys in the first place. Maybe the other problem also had to do with the fact that whenever the two main bad guys talked, I couldn’t get past their thick, Scottish accents. Then again, that’s probably my fault so don’t mind me.
Guy Pearce has been one of those actors that you can depend on no matter what the material is, and it was pretty cool to see him finally get his shot at showing he can be a leading man once again here as the wise-cracking Snow. Snow is basically the Snake Plissken-type where he’s dangerous, smart, and very much a loose cannon but Pearce sells that every single second here and makes us like Snow a whole lot more. I would say about 95 percent of this dude’s dialogue is either a wise-crack, insult, sarcastic comment, or just a plain and simple joke but it never gets boring one bit and makes a lot of the scenes with him a lot more playful and lighter. Pearce obviously is having a blast with this role and I couldn’t help but have fun watching him myself.
Maggie Grace is pretty good as the president’s daughter, Emilie Warnock, even though she is pretty much playing the same role she did as Liam Neeson’s daughter in ‘Taken’ but at least this time, she can fight back. Grace has some obvious chemistry with Pearce and I could actually see these two characters play together very well in a sequel to this, but judging by the box office for this one, I highly doubt that it will ever come around. Yeesh! On another thought though, can anybody tell me just what kind of accent Peter Stormare was gunning for here? The dude sounded like a strange mixture between a cowboy and Ivan Drago, and sometimes he would even go back and forth between the two. Strange accents aside, the guy is still a good actor though.
Consensus: Predictable, dumb, and unoriginal, Lockout barely has any of the elements that makes a good, if memorable, sci-fi flick but with a reliable cast, quick pace, and fun action to boot, it doesn’t do so bad when it comes to just killing some time.
Not as amazing as everybody says it is, but still awesome.
In 1950s Los Angeles, three wildly different cops (Guy Pearce, Russell Crowe and Kevin Spacey) form an uneasy alliance to ferret out deep-seated police corruption. But some people will do anything to land their faces in the pages of trashy Hollywood tabloids such as Hush-Hush magazine.
This is one of those films that almost every film geek has as one of their all-time favorites. I wouldn’t really put it in mine but I will say I had a great time.
The best thing about this film is it’s overall feel is just very cool and slick. The story is your typical detective story that you would see in any neo-noir film, but there are little twists and turns that really keep you involved with it. But this is also a great “whodunit” as well because you have to pay attention real well to the story as it moves along because all the little clues, double-crosses, and twists come when you least expect it too. The whole time you’re constantly wondering just what’s going to happen next, and the script really adds to that suspense level well.
Curtis Hanson does a great job here as director because he takes this pretty enjoyable script, and makes it even better on-screen. This is a great detective story, but also a very fun one because it just looks beautiful, with the 1950′s look and the action is great too. You have a lot of great shoot-outs here, to add to the mystery appeal of this film, and the pace is very taut and gives enough detail to the story so we’re not totally lost.
However, my only problem with this film is that something just didn’t fully glue me in like I was expecting it too. Something was just not there and I don’t know if it was the script that kind of left me hanging, or the direction that was just a little too taut for me, I don’t know what it was but I just couldn’t get fully involved with this story, even though I liked the angle on police corruption. Not much really has changed in the past 50 years, and that is a real damn shame.
The ensemble cast is what really had me going with this film. The best thing about this cast is that they do so well with characters that are so fully fleshed out, that they could have had about dozens of spin-offs of each and every one of these cool characters. Kevin Spacey is great as Jack Vincennes and plays that cool, but slick cop so well. Guy Pearce is very good as Ed Exley because he starts out as this smiley-faced, bright-eyed rookie who just wants to do the right thing and make sure justice is served. However, he starts to get a little more vicious as he soon starts to realize all the corruption within the force, and he does a believable transition too. This was probably the first introduction of Russell Crowe to the world, and with good reason because he’s awesome as brutish, brawling and self-righteous police “Bud” White. Crowe is great at playing those big and bad characters who have a lot more to them then meet’s the eyes. Kim Basinger won an Oscar for her role as Lynn Bracke, which is OK, but she didn’t do an amazing job here, just pretty good. Danny DeVito is perfect as the slimy and snarky gossip magazine writer Sid Hudgeons, James Cromwell is ever so evil and corrupt as Dudley Smith, and David Strathairn is only in a couple scenes as Pierce Patchett but does a good job as well.
Consensus: Though there was something that just didn’t compel me as much, L.A. Confidential is still a well-directed, perfectly scripted, and fun detective story, that keeps you guessing with it’s smart story and will just entertain any popcorn-friendly watcher.
I wish there were more swashbucklers, well more swashbucklers like this.
Edmond Dantés’s (Jim Caviezel) life and plans to marry the beautiful Mercedes (Dagmara Dominczyk) are shattered when his best friend, Fernand (Guy Pearce), deceives him. After spending 13 miserable years in prison, Dantés escapes with the help of a fellow inmate (Richard Harris) and plots his revenge, cleverly insinuating himself into the French nobility.
If you are reading the Alexandre Dumas story this is based on, this could be your ultimate use of a cheat, because not only does this tell the whole story like it really is, but also provides some nice sword-fighting, if your into that sort of thing.
I was totally surprised by how good this film actually was. The story is your same old, same old, revenge story, but the way it moves from one scene to the next will keep you watching. For the most part, the script is pretty good. It’s an old story so you can’t really do much different to it, but there are plenty moments of actual wit, and true messages in the screenplay.
I liked mostly how this film reminded me a lot of the old 1940 swashbucklers that were so good. The many sword-fights were awesome to watch, and even the beautiful 13th century scenery was a sight to look at. I wish there were more swashbucklers in today’s world of cinema, but the latest one we have gotten was Robin Hood, which I have still not seen, and from what I hear, isn’t much of a sight in the first place.
The only problem with this film is that it does start to drag at one point in the middle of the story. It kept its pace nice and breezy throughout the film, but then one little part of this film came up, and it just kind of got a little un-interesting. But that is my only complaint, considering that I wasn’t expecting this film to be a master-piece.
Jim Caviezel is surprisingly good as the script is a little lightweight: he brings Edmond to life such that you always know the torment he suffers. So when you do start to see him develop throughout the film, you cheer for him, as the film goes on. Guy Pearce is such an absolute prick that you wonder how the two were ever friends let alone the best of friends. It’s a shame that both of these guys really haven’t been given much work lately, because I know they both could still knock today’s material out of the park. Richard Harris shows up in this film, in actually one of his last roles, and does a great job as usual.
Consensus: What you get with The Count of Monte Cristo is a good, entertaining, old-fashioned story about people wanting what they don’t deserve and going through hell to try and get it.
Hugh Grant really is going to kill someone!
Britain’s King George VI (Colin Firth) struggles with an embarrassing stutter for years until he seeks help from unorthodox Australian speech therapist Lionel Logue (Geoffrey Rush) in this biographical drama. Logue’s pioneering treatment and unlikely friendship give the royal leader a sense of confidence that serves him and his country well during the dark days of World War II.
Period Pieces really haven’t been as great as they used to be. And after this one, it looks like they may be right back on track.
You really do feel like you are in 1920′s-1930′s Britain with this movie. The set pieces look so realistic, as if they were almost all taken out of a old photograph, and the costumes all feel ripe and in style just like the time. For anybody that likes to look at old outfits from the 20′s, and feel like their there, this is surely the film.
The dialogue is also very good presenting a lot of the problem’s that people face with a stuttering problem, as well as kingship, and the honor as well as pressure it holds. The only problem I had with this movie, is that it really is nothing different. It is your typical, inspirational story, that takes the route your expecting it to right from the beginning. In all honesty, it’s not a good thing, but yet at the same time, it’s not a bad thing either. The film is pleasing because it keeps you entertained even though you know where this film is going, and it really is a film that the whole family can watch and learn something from it. Hell, my grand mom saw this before me, that just shows you the films appeal. At times it does get too sweet for my taste, and in the middle there is a bit of a drag within this film, and it doesn’t quite know how to get itself out of it.
It really is a film that since I’ve watched it already, I can say that I have watched it and be done with it. I’ll watch it maybe in the next year or two with my pop-pop, and I’ll like it, but it won’t be something that I’ll watch again, and again.
Colin Firth who has been in all those British romantic comedies, and every weird girls English sexual fantasy, does a very good job here of playing King George VI. He’s faced with the challenge of a stutter which from an actor’s perspective, is hard to pull off but he really does well here. He may not be the heart-throb in this that many expect from him, but he has that signature likability, almost that palpable general goodness about him that wins you over right away. I also liked seeing Helena Bonham Carter actually in a normal persons role, rather than the crazy, weird-looking Tim Burton/Harry Potter films. When she was starting out she was in a lot of period pieces, and it was nice to see her return to form once again. The best performance out of this cast is Geoffrey Rush, who I have never seen half-ass a role in his career. He’s frank, funny, and likable and brings so much to the screen every time he’s on, cause you can tell he really is having a great time with this material, and that didn’t bother me one bit. The times he and Firth are on screen together, feel genuine and really do bring out a lot of emotion within this film that I was not expecting. Also, many other familiar faces show up such as Guy Pearce, Derek Jacobi, Michael Gambon, and Timothy Spall.
Consensus: Though you know the direction of where it’s headed, and it’s not something different, but with its great performances, and realistic feel and look of the 20′s, you still can’t help but fall for the goodness that is The King’s Speech.
I think I had better bedtime stories in my own life, then this damn movie.
Skeeter Bronson (Adam Sandler) is a down-on-his-luck guy who’s always telling bedtime stories to his niece and nephew. But his life is turned upside down when the fantastical stories he makes up for entertainment inexplicably turn into reality. Can a bewildered Skeeter manage his own unruly fantasies now that the outrageous characters and situations from his mind have morphed into actual people and events?
Before all of you start judging, I had to watch this with my little 5-year old cousin, because if I did watch it on my own time, GOD, I would need something else to do.
This film is strictly for the family, and mainly younger kids. There is a lot of crazy things going on, like colorful visuals, random action, and the of course occasional little cute spots for the whole family to enjoy. But if you a 17 year old, movie critic, your in the back just about ready to go crazy.
Now I would lie to you, if I didn’t say I didn’t laugh at this. Cause surprisingly I had a chuckle here and there, mainly from Sandler, but other than that, this comedy was just poor. But I can’t be too mean to this film, and it’s little amount of comedy, mainly because it’s centered towards kids, and they will laugh at anything that seems different, or cool. But since this is a Disney movie, i was wondering, where is the heart at??? And I didn’t really find it honestly, and with a film that is centered towards the kids, and the whole family I expected more, but hey, whatever.
Adam Sandler I think is funny, even in his worst movies. And this is where he actually tries something new, and aim his comedy at a younger audience, while also entertaining the older ones as well. For the most part, he does a good job at it, because he’s funny when he wants to be, and brings out some chuckles, mainly because some of the jokes are centered towards adults at times. Russell Brand is randomly in this, and just feels, and looks awkward mainly because he isn’t able to bring his usual, adult laughs to the screen, though he does have some funny moments. Keri Russell is just there not doing much, as well as Courtney Cox. But the funniest, and most random casting of them all, was indeed, Guy Pearce. That’s right, that Guy Pearce. He play’s the main bad guy in this film, and I guess he does a good job, but you can’t be really sinister in a family-oriented film, and actually be believable, so he’s just randomly in this for laughs I guess.
Consensus: Here and there was a couple of chuckles, mainly from the cast, but Bedtime Stories is a great kids movies, that may be too colorful, dull, and little heart, for the whole family to enjoy, especially the adults.
After reading the novel over the summer, finally got to seeing this.
In the near future, the world has been virtually destroyed. From the ash-covered, post-apocalyptic remains of Appalachia, the Father (Viggo Mortensen) and Son (Kodi Smit-McPhee) take to the road in search of a better life. The Father’s health is failing, lending urgency to a journey impeded by nomadic bands of cannibalistic humans.
The Road is a film, much like the Cormac McCarthy novel, that is incredibly bleak and depressing. It is set in a world that is just full of disaster and death, and with having a son-father duo in the middle of it made it all the more emotional.
The set pieces really do look great here as I would have imagined. Director John hillcoat chose not to use CGI for the world which is a lot better considering it makes the disaster itself a lot more genuine with its look. Also, the film thankfully doesn’t tell us what happened at all to the world when the disasters started. This allows you to add your own horrific apacolypse happenings in your mind, and from what I was imagining was quite freaky.
However, I felt that way too many times Hillcoat was trying way too hard to win a bunch of Oscars. By putting all these little heart-warming scenes, and over direction at points, I didn’t feel the heart and nature of the novel come out in this film.
The film is bleak but not quite bleak enough. I felt like it was just going through the motions of when and how bleak and depressing it had to be. I feel like their giving the audience a lot much more of an easier time to sink all this time in, and not be quite true the heart and soul of the novel.
Mortensen is spectacular in this role as the dad here. He shows that he can handle a movie where there are barely any other humans, and make it seem believable. Kodi Smit-McPhee is surprisingly very well here as the son, as you can feel the confusion but also the despair of this poor child in his performance.
Consensus: The Road benefits from the commitment to the Cormac McCarthy novel, with powerful performances from its cast, but doesn’t quite capture the soul of the novel and feels like its just reading the letters.
ABBA songs are so fun to just dance to!
Invited to perform at a casino in remote Alice Springs, Australia, drag queens Mitzi (Hugo Weaving) and Felicia (Guy Pearce) and transsexual Bernadette (Terence Stamp) hit the road in a broken-down lavender bus named Priscilla in this campy comedy classic. Along the way, the friends change into their most outrageous costumes and lip-synch disco tunes — including plenty of ABBA — for the outback’s befuddled locals.
If you do not like big grown strong men fully exposed and dressed in woman’s clothing then do not see this film. This movie will surely test your homophobic ways and if you can get past the very gay themes you will enjoy the film almost as much as me.
This film showed off to be a film that supported the gays and was going to be the calling card for the gay community, but surprisingly it wasn’t. I liked how this film humanizes these three men and shows how all people gay or straight should be treated all equally. The trip is metaphor for the life journeys each of the characters are involved in with each growing in some important way by the time they reach their destination.
Adventures is funny but not laugh out loud hilarious. I found a lot of the scenes to be very clever due to the writing of the script. There are many moments in this film that just made me smile and have a little chuckle here and there but its mostly the memories of a lot of these scenes, that make me smile.
This film surely takes a lot out of its actors to play gay men dressing in woman’s clothing. The trio of leads are all great. Guy Pearce (Memento) is highly energetic and brings much comedy, Hugo Weaving (The Matrix) is your normal average gay man but is very good as well. But the one performance that sticks out in my mind is Terence Stamp. He surely does give a very touching performance as making these three characters very believable and true. The chemistry between these three is also very well done as you can feel these three all have known each other for a long time.
If there is any problem with this film at all is that I wish the ending was handled a little bit better. I feel like the ending was a bit too bland and wasn’t very effective for when it came to a film about being accepted as a human being.
Consensus: Not for the slight bit of homophobia, but is a funny but true look on being accepted in life gay or straight.
If you can’t remember anything, don’t be this guy.
Suffering short-term memory loss after a head injury, Leonard Shelby (Guy Pearce) embarks on a grim quest to find the lowlife who murdered his wife. To carry out his plan, Shelby snaps Polaroids of people and places, jotting down contextual notes on the backs of the photos to aid in his search and jog his memory.
One of the most mind-bending films I have ever seen in my life. Memento is a story that’s hard for the main character to keep straight just like us, because it tells its story. The ending of the story is actually the beginning and it is shown in such a way that it makes you think but also keeps you amazed, by this very original but clever way of story telling.
What this film really does is make us feel like him, because he knows less and less every time and we start to feel that, as his life goes on. I felt like I had short term memory loss after I watched this, but this is the only film that has ever had an effect on me that it also has on its main character.
The way the story is told is genius because we always have to think back to the beginning of the film. The film’s way of telling itself starts to take a toll on you as you have to think throughout the whole thing, it could’ve easily become a gimmick but it actually is one of the smartest movies ever told on film.
The only problem that by the end of the story I feel like it’s resolution wasn’t very told well. It brings a twist at the end which I wasn’t expecting but I still felt like I didn’t get it and it would’ve been told better through flashbacks.
The acting from the trio of leads is great and really smart. Guy Pearce does an amazing job as playing Leonard because his dry sense of humor towards his condition doesn’t make us feel pity but makes us cheer for him. Carrie-Anne Moss and Joe Pantoliano are very good as supporting acts because one minute you think their the good guys then the next minute their the bad guys and it really does play with your mind of your thoughts about these characters.
Consensus: Memento is a mind-boggling film that thrives in originality and a fresh new way of story-telling, that will keep you thinking even after the movie is over.
Possibly one of the greatest war films of all time.
In Iraq, a U.S. Army Explosive Ordnance Disposal( EOD) unit is forced to play a dangerous game of cat and mouse in the chaos of war in a city where everyone is a potential enemy and every object could be a deadly bomb. Jeremy Renner plays the leader of the EOD team, as he contends with not only defusing bombs in the backdrop of a war, but also the psychological and emotional strain that it inflicts.
This is the exact war movie for people who don’t like war movies. Director Kathryn Bigelow (Point Break), takes what you would expect from a normal Hollywood war movie and turn it on its side and provide a different angle and aspect on war, that makes everything more effective. Bigelow directs the film with such a real look, that at points I was wondering if this is actual real footage of the Iraq war itself. Its a great way of showing whats going threw that soldiers mind at that exact time.
The film gives a very deep close insight on one of the most nervous and skillful jobs in the army. The music during most of these scenes are used with such authenticity and one it comes in and out it is used during moments when they’re is nothing else but bomb defusing going on, and it keeps you on the edge of your seat. Being stressed out during a movie is not very uncommon, but parts in the film are so nail biting that I was shaking by how stressed I truthfully was.
The acting is also incredible. Big kudos to Jeremy Renner who is amazing, so amazing at times that I forgot that he was even acting. He brings much humor and a great outlook of life to the film which is one of the main reasons it is so great. Anthony Mackie also does a very great job at capturing the man who is opposed to Renner’s character, but yet, sort of envy’s him and how he can move on with his life. Some of the big names like Guy Pearce, Ralph Fiennes, and David Morse aren’t put in the movie just to have big name cameos but more fpr support and they have a reason for being in the film.
The Hurt Locker pushes away a lot of the preaching that have plagued films of this Iraq War, and this makes the viewer more interested in what happened and what has been happening in that war zone of Iran. Easily one of the best films of this year possibly of the past 10 years. I pray to God that the Academy, come to Award time, doesn’t forget about this movie and gives some big nominations. I’m thinking if Kathryn Bigelow is nominated for Best Director she would win and be the first female to win in that category. Cause if anyone can do it, it is her.