Jeremy Renner plays Jeffrey Dahmer, who was also known as one of the most notorious serial killers of all-time. He killed over 17 men and boys, after he usually manipulated them into sex, drugs, and drinking, but also was able to get away with it for a pretty long time. Here’s a glimpse into his life, or at least his later-life that some may or may not find all that settling.
No matter who you, chances are that you have heard of Jeffrey Dahmer. Yeah, that dude was very messed up and going into this movie, that’s exactly what I was expecting. Sadly, I just got a really good glimpse of how freakin’ creepy Renner can be. You know, when he isn’t around, defusing bombs and such.
David Jacobson hasn’t done much since this movie hit the indie-theaters, which is a shame because the guy gives us a nice glimpse into the life of a guy that I’m sure none of really wanted to see for ourselves anyway, but yet, couldn’t keep away from neither. Why that is that we always want to see more and more about these sick, sadistic killers lives is beyond me. But then again, I’m the one who’s wondering and I’m also the one who not only watched the movie, but is reviewing it as well. So, screw me, I guess. Anyway, back to the review I just mentioned.
Jacobson does a pretty good job at keeping his direction very low-key, and never going anywhere near to over-exposing his subject. This isn’t your normal type of slasher movie where we see people constantly being hacked up into little pieces and then the killer eating them with ketchup on top, it’s more subdued in the way it tells the story, as if it most likely happened. I liked that approach and I like Jacobson’s very low-budget look that made it seem like this could be happening in any place, town, or city. There could even be people like this, who live right next door to you without you ever knowing. It was a nice way to touch on a subject like this and that’s honestly what I thought I was going to get, but that’s the exact problem with this flick: it never goes that extra mile.
When I say “extra mile”, I mean that this flick could have easily gone into extra depth about this infamous figure and showed us what really made him tick, but it never does. It does show us things that happened in his past that irked him and kind of set him to madness, but we never get inside of his head or see things the way he sees them. We get a couple of clear-cut examples as to when and how he went totally ballistic, but never anything to where I could say “oh, I see why he does this as a chore/hobby of his.” Now, I’m not saying that there should be or ever is any excuse to murder people, let alone 17 boys and adults, and there wasn’t any here at all, it just needed to give me something that I could hold onto when I was watching a person like Dahmer up on-screen. Jacobson seems to get the story, but not the subject if you know what I mean.
But other than not doing much with its subject, the film also suffers from being somewhat, dare I say it: boring. A couple of murders happen here and there, and we get a pretty crazy montage of Dahmer doing his dirty stuff with his boys in a midnight gay club, but other than that, nothing else really all that exciting happens. The movie just sort of meanders around from to scene to scene without any real genuine suspense or thrill behind it. Instead, we’re just sort of watching a guy be weird and plan to do some even weirder things. I didn’t go into this expecting a slasher along the lines of Halloween or Scream, but I just wanted something more to keep me glued. I guess I’m just a little brat because I have probably mentioned the word “more” about 10 times already in this review. Actually, if you have seen this movie, there’s something for memorable about that word “more” that comes into play in this movie. I don’t want to give it away but if you watch the movie, then you’ll understand. Until then, stay in the mysterious dark of not knowing.
This whole review that I’ve done so far may make it seem like I didn’t like this movie, but I actually didn’t mind it. That’s mostly thanks to the one guy who saved it all for me and really kept me going for this whole movie: Jeremy Renner as Jeffrey Dahmer. Renner has been a guy on my watch for the longest time and I definitely think he’s going to be the next best thing for Hollywood when the time comes around. However, it’s these roles in lesser-known movies that he does is what really gets my hopes up for him higher than ever before. Renner is absolutely amazing as Dahmer, because he plays it subtle, without over-reaching his grasps into how psychotic he can make this guy seem to be. He just is, plain and simple. Just looking at this guy from afar, would have you guessing right away that he’s crazy as shit, which he is but Renner gives him this very charming act that works not only the people in this movie, but us, the audience as well. He seems like you average, every day dude that just so happens to be one of the craziest mothaeffa’s around and Renner plays that to the brim, showing barely any emotions the whole time, but still being able to release a cold chill about him that settles in throughout the whole movie, even when it seems like everything is calm and collective. It isn’t, and just by watching Renner’s performance, you can tell that this guy has got presence whether or not he’s saying or even doing anything. He just needs to be there, on-the-screen, to really keep your pulse beating. Great performance from Renner and it’s honestly a role that should have gotten him way bigger, way back when. Thankfully, he’s on the top of the food-chain now, and it doesn’t seem like he’s coming down. Thank the movie heavens for that.
Consensus: Dahmer is one of those movies that makes you feel like it’s really going to get deep down inside the mind of a serial-killer, especially one as notorious as Jeffrey Dahmer, but it never hits that peak. It just sits there, acts a little weird, and lets Jeremy Renner take over the show. It’s not as bad to watch because Renner is so good, but there could have been more than just a weird guy, who did bad things.
6 / 10 = Rental!!
Wait till the Gingerbread Man comes around. There gon’ be some hell to pay.
Jeremy Renner and Gemma Arterton play the titular characters, who fifteen years after their gingerbread house incident, have turned into ruthless witch hunters. However, they run into a problem when an evil and powerful witch (played by Famke Janssen), finds her way into the town, taking all of the children, and bring back old memories that the two thought they had stored-away for years. Always count on Jean Grey to throw everybody a curve ball.
The fact that the trailers blew, was barely screened for any critics, and was actually supposed to come-out last year, I knew that there was going to be nothing all that amazing or great for me to watch, but then again, it’s January so what is? However, after seeing the train-wreck that was Movie 43, not too long before this, I thought to myself, “Nothing could be as bad as that. Nothing.” Thankfully, this movie didn’t prove me wrong but at the same time, still didn’t do much for me, either. Once again, just another lame-o day at the movies, people. Thankfully, the month of January is just about over. Woo-wee!
This was one of those films that I saw very recently that left me feeling very, very strange. I remember watching the movie, having an okay time, not hating myself for watching it, and not really caring what was going on with the movie. However, as soon as the credits rolled, I was out of there as quick as a banshee, got right into my car, drove home, jammed-out to some Nas (total white boy stuff), got home, sat-down, got ready to write this review, and yet: I couldn’t think of a single, damn thing I liked about it but also, couldn’t think of a single, damn thing I didn’t like about either. That may all sound very odd and strange to you all, but this movie did nothing to my mind, to my mood, or to my movie-viewing. It was literally there for me to kill time, have a watch at the movies, eat some popcorn (extra butter, too), drink some soda (Sprite to be exact), and enjoy myself, all while doing so. Maybe it’s weird because I feel more like a movie-audience member than I actually did a movie-critic, but the fact of the matter remains: nothing really happened to me while watching this movie.
Despite this strange problem that occurred to me after the movie, I still do recall having a nice-amount of fun with this movie, and not just in the, I’m-trying-to-get-over-a-really-really-bad-movie-I-just-saw-way, either. I actually enjoyed myself with this movie and I think that it’s because of the R-rating that allowed for itself to go the limits that it oh so rightfully needed. Because of the R-rating, we get more action, more gore, more nudity, more language, and more limbs and parts of the body, just flying-around. There’s a real, unadulterated sense-of-joy to this movie that is definitely contagious as you may find yourself paying more and more attention to the action and all of the other crazy shenanigans more than what really matters like plot, direction, characters, and script. The reason why it’s important you don’t pay attention to those elements, is because they sort of suck here in this movie.
Saying that everything in this movie, other than the action, just “sucks”, doesn’t seem right but it also seems suitable. The action may be able to keep you distracted for a little bit of time, but when it all goes away and you have to actually get involved with these characters, their tensions, their traits, and the story that they have to them: then the film starts to lose credibility, or any that it had going for itself in the first-place. The dialogue isn’t even that shitty, it’s just bland and dull, and makes me feel like if I was flashed $5,000 in front-of my face, I could have written it too. I probably wouldn’t have as been as witty to include the several F-bombs here and there, but still, it’s the type of script that features little to nothing new or refreshing you haven’t seen or heard done before. It’s just there to serve the action, the story, and the actors. And oh dear: the poor actors.
By saying, “the poor actors”, I don’t actually mean “poor” in the sense that they don’t have a dime to spend because I’m pretty sure that they are well-off wherever they may be residing now, but more or less that they are “poor”, because as much fun and delight as they may be having; it never fully comes onto us in-return. Gemma Arterton and Jeremy Renner are fine as Hansel and Gretel and definitely seem like they have a nice bro-sis chemistry that shines throughout the whole movie, but also feel like they deserve a whole lot more to their names. Maybe more to Renner, than to Arterton, but none the less, both deserve better scripts and better characters to work with and no matter how much charm they may bring to these characters, Hansel and Gretel still never feel like they have the type of personalities that win you over from the start. Other than some subplot about how their parents really died, we don’t get to know too much about them, what makes them tick, and who they really are, enough for us to feel like we know them and can totally root them on. They’re just the type of superheros that are there to kill witches, walk around from town-to-town, and say the F-word, whenever they feel is necessary. Well, them and the two-bit script.
Two, other actors that are here as villains that seem to be having fun are Peter Stormare and Famke Janssen, who are both character-actors that know what to do, how to do it, and make it look good. They both seem like they are having just as much fun as Arterton and Renner are, on the opposite-sides of the spectrum, but still never really pop-off the screen. Instead, they are just there to serve the plot, to show how bad and evil certain characters can be, and most of all, just chew scenery like nobody’s business. If that’s all they were called on for to do, then hey; good for them. But when it comes to giving me villains/characters I’m going to remember next month, or hell, in the next 10 minutes; nope, can’t say I’ll recall much. I guess that last statement could sort of be used to described this whole, damn movie. Oh well. It’s January.
Consensus: For an-hour-and-a-half movie, Hansel and Gretel: Witch Hunters never seems to slow-down, nor does it ever really seem to bore the piss out of a person, but it doesn’t offer anything new, flashy, or memorable to the action-genre and will probably leave your brain, as quickly as the extra large soda of Coke (or in my case, Sprite) leaves your body.
5 / 10 = Rental!!
Ethan Hunt is back once again, and he’s freakin’ cooler than ever.
Tom Cruise stars once again as IMF agent Ethan Hunt who has to go undercover along with his team (Jeremy Renner, Paula Patton, Simon Pegg) to clear his organization’s name after they are implicated in a global terrorist plot.
After a year or so of this movie, coming and going at the theaters, I still feel pretty guilty that I missed out on it. I missed out on it for many reasons, but the main, which one being that I just didn’t really care for the series all that much and didn’t even bother catching up with any of the other movies. As you all have probably been able to see, I’ve reviewed all three and rather enjoyed them all, but none stand anywhere near as close to this one. I’m still pissed I missed out! Damn you my broke ass from last year!
All of the M:I movies seem to have been all about the cool gadgets, the high-tech stuff, the crazy stunts, and the incredible amounts of punishment that Hunt was able to take. All of those factors, are still here, but they are given more class and pizzazz this time around that feels more like James Bond movie, rather than another, useless cash-grab for the audience. In a way, it is gunning for the wallets of moviegoers, but at the same time, it’s still offering us more than what we are used to seeing in action-thrillers of this caliber, and I think that’s all thanks to the one, and the only, Brad Bird.
After making animated-flicks like The Iron Giant and The Incredibles, Bird took his chances with live-action filmmaking and even though taking a popular-series like this seems awfully risky for a guy who’s never directed humans, up until now, he still over-comes the task of not only allowing us to have a bunch of fun with the material, but do it in a more sophisticated, smarter way that’s easier to believe and understand than most action movies. I know, it’s crazy to actually think a M:I movie would actually have us believe in some of it’s crazy stunts and action, but that’s what Bird does, and he does it oh, so freakin’ well here. But, what’s even crazier is how much fun Bird seems to be having, despite giving this flick a new look and feel that we haven’t ever seen before. Sorry J.J. Abrams, you tried, but the Bird will always fly higher.
There’s a couple of stunts and set-pieces that really mess with you and make you realize exactly why you love action movies so much in the first-place, that is, when they are done well and done the right way. The one scene that always sticks through my mind is when Hunt is climbing the walls of that Skyscraper, as if he was Spider-Man himself, and what’s so breath-taking about that sequence is not only how breathtaking it is to see on-screen in such a way that makes you wonder how somebody didn’t slip-off and plummet to their death, but more or less why you are so on the edge of your seat. I mean, think about it: we all know Hunt is going to survive this stunt, we all know he’s going to live, and yes, we all know that he’s going to end-up saving the day and doing all that cool, action-y stuff that we are used to seeing him do, but yet, we are still on-edge as in wondering if this guy is going to end up becoming a splat on the ground below. Seriously, the palms get sweaty, the hairs on your neck come-up, and the tensions get higher and higher, and it just continues on throughout each and almost every scene/sequence that Bird plays around with, and that’s what I missed so much with action movies, let alone, M:I movies.
The amount of effort that Bird puts into this movie and the material is outstanding and I can’t believe that this guy hasn’t done more live-action movies in his career. Hopefully, just hopefully, this will be the one flick that gets his name out-there for all of the major studios to finally take notice of and give a shot, because who knows what other animated directors are out there, just looking to get their notice for being able to direct actual people. Well, I guess we can all forget about Andrew Stanton for now, but hey! That was one time and one time only! Just choose wisely next time.
No matter how much people may hate or criticize his wild and crazy personal-life, when you get right down to it, Tom Cruise is still, and forever always will be a movie star and his fourth-outing here as Ethan Hunt, shows us once again why we all love him to begin with. Make no means about it, Cruise was born to play Ethan Hunt and no matter how lame or strange the past 3 movies have been in terms of plot, characterization, or action, Cruise has always prevailed in being the best of all and always being able to keep us happy and pleasant enough to watch him go around, kick-ass, and always bring out the best one-liners we can imagine in certain situations. Even the fact that Cruise does his own stunts is something to revel at, especially here, where it seems like it would be so much harder for a man who’s pushing 50 to do. However, like always, Cruise proves all of us nay-sayers wrong again and it just makes me hope and wish to see more of him in this role.
The rest of the crew that Hunt works with, all do great jobs as well, especially Jeremy Renner who, with this role and The Bourne Legacy, seems like the perfect guy to take over an action role, when the reigns need to be passed-down. Renner adds a lot of sensibility to this role and not only gets to flex some of his action-muscles every once and awhile, but his comedic-ones as well, and you know what? The guy’s pretty damn funny when you allow him to be. Just another reason why this guy is a total diamond in the rough when it comes to casting. Paula Patton’s role as Jane Carter may be a tad unbelievable mainly because she’s so young and brass that handing over a top-secret, professional-operation would seem almost too volatile to whoever assigned her, but yet, Patton prevails. Not only is the gal unbelievable sexy beyond belief, but she also gets a chance to kick some ass as well and show the boys a thing or two. Simon Pegg is always fun and nimble to watch as Benji, aka the comic-relief of the movie, but he’s not over-bearing and at least allows a lot of the tense scenes to just calm you down with his jokes. Overall, solid cast that actually gets to take-over the movie, more than Hunt ever does and that’s not so bad considering all of the characters are fun and interesting to watch.
My main gripe with this movie was that despite there actually being a villain, played by Michael Nyqvist, there’s no real-threat that ever seems to stand in the way of our lovable crew. After Philip Seymour Hoffman’s superb job in the last movie, it seems like it would be damn near *ahem* impossible to do anything as good as that, but at least give us the chance to have a villain that at least poses a threat to Hunt and everybody else. Instead, the guy is barely around and even when he does show-up, he doesn’t do shit and most of the time, just gets his ass-kicked. Where’s the real threat in that? It’s also even lamer that the show-down between the two never really occurs and even when it somehow does, it feels almost anti-climactic. Real, real bummer, especially since I can now say that Dougray Scott was probably a better villain than this chump. Does Jon Voight even count? Or Jean Reno for that matter?
Consensus: Mission: Impossible – Ghost Protocol is the best in the series for many reasons, the main one being that it always keeps you excited, always allows you to have a good time, and never loses your interest for a second, and just goes to show you that Tom Cruise can still make any movie he wants, and have it be as successful or as entertaining as his last one. Long live, Tom. Fuck you, Katie!
If only Clint Eastwood was Jesse James, then I think the story would have been different.
As the charismatic and unpredictable Jesse James (Brad Pitt) plans his next great robbery, he wages war on his enemies, who are trying to collect the reward money – and the glory – riding on his capture. However, his plans are all interrupted once he becomes entangled in a friendship with his admirer Robert Ford (Casey Affleck).
It’s very bold to have the climax of your film in the title, no matter how true it is, but I was still so surprised to see that James does in-fact actually die in the end. Maybe, just maybe I didn’t pay enough attention in history class, but for some reason, I didn’t believe that he was going to get killed at the end. Oh, I guess that was a spoiler.
This was the second flick from Australian filmmaker Andrew Dominik and it’s pretty obvious where he gets his inspiration of movie-making from, and that is Mr. Terrence Malick. Honestly, if I had no idea who the director was before-hand, I would have easily gone with Malick because every single little detail about this film is so perfect and beautiful that you really can’t take your eyes off of it one bit and I know that’s said about a lot of films but that is really meant here. Dominik focuses the camera on these long, sweeping shots of beautiful farmland where it almost feels like you’re there in the 1880′s with Jesse James and Robert Ford. Every shot is handled carefully, with just the right amount light and color added to it, to get you involved with the stark wilderness that these characters surround themselves with. There is just so much to look at here that you almost forget to pay attention to the story that’s at-hand, which is a total bummer, because this story can really grab you if you give it the attention that it deserves.
What I liked about Dominik, was that aside from his beautiful art direction, he was able to make a genuinely tense and unpredictable story out of a fact-based history lesson, and always being able to surprise us. Not everything about this story that Dominik tells us is true and he probably takes some liberties here and there, I definitely know that, but everything before the actual “assassination” itself, kept me on the edge of my seat and I like how Dominik was able to do that with his deliberate slow pacing. Yeah, this film is one hell of a slow-burner for sure, but it works as it develops each and every character in this story more and more, and also keeps you guessing just when the hell Jesse James is going to show-up, or better yet, when the hell he is going to get killed. May sound like a complaint but it’s not, mainly because Dominik is able to take his time with the story.
Anybody expecting a Sergio Leone-type Western, where it’s just constant gun-battles, witty one-lines, and a whole bunch of spaghetti style art thrown at the wall here, are really going to be in for a big surprise with this film, but have no fear, it still does have enough violence to hold anyone over. Actually, whenever the violence did rarely show-up on the screen, it felt deserved and made sense to the story but also felt realistic in a way that these people are actually dying from real-life bullets and whatnot. I don’t want to dive any farther into the violence and murders that go down in this flick, but I just want to say that they feel realistic and are handled well without being over-exploitative of it’s dark, violent side.
If there was a certain aspect to this flick that seemed to have bothered me the most here, was that it was over 2 hours and 40 minutes and it didn’t need to be that way. See, the first and last act are all dedicated to just James and Ford being around one another but in between all of that is a whole bunch of other characters that were apart of James’ gang that don’t really seem all that needed for this story to work, but are left in there just to add some character development. Usually, I would give some points to any director who can do this and do it as well as Dominik is able to do here, but it takes away from the story and really had me annoyed since those scenes with Ford and James can get so damn tense. Most of the characters were interesting enough to hold my interest, but I just sort of wanted to get down to the real business at-hand here.
Brad Pitt as Jesse James is a perfect bit of casting because Pitt is able to play up all of the sides of him that he has as the iconic figure. Every time James shows up in the story, whether or not to start some trouble or “go on a walk”, it’s always tense and unpredictable to the point of where you don’t know what this character is going to do next. From everything I heard and read about, James was one violent son of a bitch and one that couldn’t be contained because of his wits and determination for violence when needed. This is an idea that Pitt plays up perfectly, giving us a very iconic figure to begin with but also show something else that lies deep down inside of him. We get to see a lot of scenes where James lays out all of his emotions and how painful he feels with the life that he’s living and it’s not only an easy way to get us to care about him even though he’s killed over 17 people in his life, but also a great way to show some insight into an iconic figure that so many people feel like they know.
Pitt’s great, but Casey Affleck is just about as perfect playing opposite of him, as Robert Ford. Affleck plays the little boy-version of Jesse James, as he is constantly made fun of by his family and treated like he doesn’t know shit about shooting guns and robbing banks/trains. Eventually, this guy starts to show more emotions rather than this very shy and awkward young kid that just wants to be “one of the guys”, and the way Affleck plays it all up works perfectly for this very easy, yet hard to sympathize with character.
You also begin to realize that Ford is a character that seems like he tries so hard to want to be like James, that in the end, even when he has done all of the dirty work he could do to get rid of him, he still can’t reach the type of fame that his predecessor once, and still has. It’s a sad idea that makes you think more about Ford and realize just how strong of an actor Affleck is. This character is complex and Affleck shows that and when it’s just him on-screen, he’s amazing but when it’s just him and James messing around with one another, then it just gets even better. Surprised that this Ford dude didn’t end up killing everybody in sight by how much he got picked on. Poor Affleck. At least you got the Oscar nomination over Pitt. Suck on that Jesse!
As for the rest of the star-studded cast, they’re all pretty good too even though a lot of their roles/characters are featured more than they needed to be. Jeremy Renner is vicious and unforgiving as Wood Hite, the cousin to Jesse James; Paul Schneider is awesome as the womanizing crook that every lady seems to fall for; Sam Rockwell has a lot of fun as Ford’s big bro, Charley, but also shows a dark side to him as well by the end; and Sam Shepard is pretty freakin’ awesome as Frank James, and does an outstanding job with the short amount of time he actually gets on-screen. The ladies in this flick are sort of put on the back-burner but both Mary-Louise Parker and Zooey Deschanel do splendid jobs with their roles, even though I felt like they could have had more input into this story. Then again, I just wanted to see a mono-e-mono battle between Ford and James.
Consensus: The Assassination of Jesse James by the Coward Robert Ford may run on very, very long but features some of the most beautiful images caught on film with its detailed direction from Andrew Dominik, insightful story about these larger-than-life iconic figures, and a bunch of superb performances from everybody involved, especially Casey Affleck in a way you have never seen him before.
Sadly, no signs of Cillian Murphy’s dong anywhere to be found here.
After a rage-virus ravaged through all of London, the U.S military attempts to take over and try to repopulate the city. Everything goes all fine and dandy until an outsider is let in, then it’s all back to normal for post-apocalyptic London.
Being as that 28 Days Later is not only one of my favorite horror movies of all-time, but also ranks up there as one of the scariest movies I have ever seen, this sequel definitely had a lot to live-up to in terms of scaring me, what it made me think, and how it made me feel. As many people do know, horror-movie sequels don’t seem to do so well in terms of sticking close to the source material but somehow, this flick does even though it definitely feels different without Jim or Selena anywhere to be found. I hope the virus didn’t get the best of them.
Anywho, instead of having Danny Boyle return to the director’s chair for this second-go around, director Juan Carlos Fresnadillo takes over and does a pretty nice job of keeping things promising in terms of mood and atmosphere. It’s pretty cool to see what actually happens when the rage-virus breaks through an already established city and how Juan Carlos keeps us awaiting for that impending doom to occur is what really kept me on-board. I must admit that this isn’t the first time I saw this flick, but it definitely surprised me with some of the scares and what Juan Carlos could do with a bunch of material that seemed to already be used before. However, instead of just trying his hardest to do a good Boyle-impersonation, Juan Carlos sticks to his guns and uses them to deliver a sense of destruction that made me still feel a little scared for my life.
Even though this film didn’t scare the pants off of me with it’s vision like the first one did, I still felt placed in a realistic, if a bit ambitious idea of the world we live in and what it would look like, especially after a catastrophic-event like a zombie break-out. Juan Carlos probably got the memo that more people wanted action, blood, guts, and gore from the first movie, and delivers on all of those accounts by giving us more, more, and more of that. It doesn’t feel needed for this type of story, but given the type of budget they’re working with here and the type of larger-scale they have to control, it feels deserved and works well rather than feeling cheap. The shaky-cam annoyed the hell out of me, but there isn’t much to see in these action moments other than zombies, people getting eaten alive, and a bunch of bullets and blood flying everywhere. So, after awhile, you get used to it and you pretty much get the gist that people and zombies are both getting off’d.
However, being the huge fan of the original that I am, I still can’t go by this flick without mentioning that this one just does not hold a candle to it, it just does not. I hate to make this “negative part of the review” all about my love for 28 Days and how it’s ten-times better than this movie, but it really is and it’s so hard to get by. The whole time I was watching the movie, I just kept uttering to myself, “Oh, Boyle did that better. See that part? Yeah, looked better with the HD-camera.” Maybe that’s a stingy-way to be with a sequel, but when something is obvious to me, hell, I’m going to point it out.
For instance, the underlining political-themes and ideas about the nature of human-beings that ran so rampant in the first-one, are barely anywhere to be found in this. The closest example I could find that connected the first-one to this one in terms of ideas, is the whole idea about how the army can be full of some sickos and I don’t think that really even counts. But for most movies, I can live without a bunch of political-themes and ideas if you give something else to grab-on to, but somehow, this film doesn’t even seem to have that either. All of the characters here really lack any type of development or real heart to them, to really have us root and care for them in the end. And even if we do root for them, it’s only because they’re human-beings and nobody wants to see their own kind get eaten alive by a bunch of rage-infected zombies. That’s the truth, Ruth.
But, when it all comes right down to it, the real-factor as to why this film pales in comparison to the original is that Juan Carlos just doesn’t have the artistic-vision like Boyle does. Boyle has such a real interest and idea for what it takes to make a beautiful scene in such an ugly and grim atmosphere, but it doesn’t really seem like Juan Carlos is all that concerned with that. That’s all fine and dandy, but it does make the picture seem a bit shallow in terms of what it’s trying to offer new and original to the already-tired zombie-genre.
There’s a couple of scenes here and there that sort of reminded me of a “Boyle-look” (that underground safe house scene scared the shit out of me), but nothing else to it. Even though Boyle produced this flick, I highly doubt the guy had a final say in what he thought was best for the final-product and it’s a real shame because this movie could have been filled with so much more brewing underneath the surface, rather than just a bunch of people running away from zombies. In a way, that’s how the zombie-genre is (people running away from zombies and whatnot), but what Boyle offered with 28 Days Later was new, and unlike anything we’ve ever really seen before, whereas this movie, brings the zombie-genre back to where it was taken away from in the first-place. I don’t want to say that I take points away from this movie for not being directed by Boyle, but it definitely goes to show you what a good director can do for your material, if he’s game for another sequel. Please Danny, do 28 Months Later, if it ever happens.
Before I go though, let me not forget to mention the performances in this movie that were all pretty good, except for the fact that some of the characters blew. Out of everybody in this whole cast, Jeremy Renner is the one who really shines as Sgt. Doyle, aka, the same role he would go on to play and get nominated for an Oscar for in The Hurt Locker. Renner just has this utter sense of coolness and warmth to his presence that it’s pretty easy to feel safe when you’re around him in the movie and his character’s motivations feel believable, even if everybody else around him feels like they just watched a Lifetime movie and felt like they wanted to give everybody a hug for no reason.
That’s what brings me around to everybody else in this film, as all of the other characters just don’t really do anything spectacular or show us anything worth really holding onto in the end. Take for instance, Robert Carlyle as Don, one of the guys who escapes a zombie-attack early on in the movie. This guy, from what we see in the beginning, is a rat-bastard who leaves his wife behind to get attacked by the zombies, but then feels sorry for what he did when she turns out to be alive. In all honesty, who the hell cares how this guy feels. There’s no real conviction to him, to the others around him, and when things start to go bad for him, I could care less and even he started to feel a bit shoe-horned in there by the end. Can’t tell you why he does, but the fact is that he does and it got on my nerves, considering Boyle would have never been all about that ish, regardless of if the character was played by Begbie. Oh, now that would have been nice. A good, ‘olde, Trainspotting-reunion in the middle of the zombie apocalypse Not only do they have to fight-off heroin addiction, but zombies as well. I can already see it now…
Consensus: 28 Weeks Later is definitely one of the better horror movie-sequels out there due to it’s grim atmosphere and mood, but still pales in comparison to what Danny Boyle was able to do with the original and the lasting-effect it’s material it had on you, in terms of horror and emotion. Please come back for one last movie, Danny, please.
This guy can diffuse bombs. What can you do, Jason?
Everything that happened to Jason Bourne (Matt Damon), is pretty much all lost now and brought back onto to this new CIA agent, Aaron Cross (Jeremy Renner). He just so happens to be on the run, and everybody at Treadstone is going wild all over again because of this. Typical.
Many people have been dreading this film ever since the day that Matt Damon and Paul Greengrass both said, “no”, to doing another Bourne flick, let alone, another sequel when they ended it off so well with The Bourne Ultimatum. And as much as I wasn’t necessarily looking forward to this like as much as everybody else on the planet, I still got to give it to this franchise and say that it still has some steam left, even if it’s without the constant “crack-cam”. You heard it here first, people.
Writer/director Tony Gilroy (who worked on the early Bourne films) shows that he wasn’t really going for the same-old formula that somehow worked it’s magic, for three movies, but seem to be a little too tired for a fourth one. Instead, this guy gives us a pretty tense ride that may have you almost forget about Bourne, about half-way through (even though Gilroy brings him up about every 10 minutes, just by flashing his pictorial up on-screen). I will say that it does take it’s good-old time to get started up, but once the adrenaline starts picking-up, and the blood starts to flow, this film doesn’t seem to really want to stop, which I don’t think I ever wanted it to.
Since there is no “crack-cam” in this film, that means we can actually tell what’s going down in the action sequences, whether it be hand-to-hand brawls, knife-fights, guns-a-blasing battles, or the simple car-chase, you can actually see everything that’s going on and I have to say that’s a bit of a big-step up for this franchise, since it seemed like Greengrass used that a bit too much with the last entry. Did I miss some of the elements where we were practically on Damon’s tail as he was flying through ceilings and windows? Yes, but it wasn’t like I was in the corner sobbing over this, because I actually found myself to be having a lot of fun with what Gilroy did with this story and this action. Gilroy is a very talented film-maker and I would have never thought he’d be able to make such an exciting action-picture, let alone, a Bourne one.
But as fun and exciting as Gilroy made this film, there was still a lot of the conventions that we got from those Bourne films that came before this, and I thought since Gilroy seemed to be one-step ahead of the crowd that we wouldn’t get the same shit. Sadly, we did. Franka Potente-like damsel in distress? Check. Lots of undercover CIA dudes yelling at computer-screens? Check. Par-cor on buildings? Check. And my least favorite: top assassin out to kill target? Major check. I don’t know what it is about that last one convention that bothers me so much but it seems like it’s the one that they use in all of these flicks and think that it’s going to make us think differently about the fate of them or their target, but it never changes.
My next real beef with this film is how abruptly it ends, which bothered me more than anything else in this movie because I was having a real ball here. What I liked most about the last 30 minutes of this movie is how it just continued to build-up, and up, and up, until it finally just left me with one big-ass car chase through the streets of Manilla that is sure worth the price of admission alone. It also didn’t occur to me that this was actually, the last 30 minutes of the entire movie because once the story actually seems like it’s getting somewhere with itself, seems like it’s going to get better, and seems like Gilroy is really going to be pulling out all of the stops, that freakin’ song by Moby just kicks in and then we get the credits rolling. I honestly thought that this film would have gone on longer, and even though it’s the longest of the whole franchise with a time-limit of 135 minutes, it didn’t feel like that at all. In fact, it just whizzed right on by, which is not necessarily as much of a negative, as it is a positive, but I think about 20 more minutes would have made things a tad bit better for my taste. Then again, it’s just my taste and I’m a dick-head so don’t listen to me.
One element to this film that has people the most curious is how it will do without the presence of Matt Damon as Jason Bourne. The answer to that is, pretty fine, especially when you have Jeremy Renner playing a bad-ass character, that’s a bit different from Bourne in more ways than I expected. Right from the first couple of scenes, we see that this Aaron Cross guy is actually a bit more content with his line of work that he does, unlike Bourne, and actually remembers his past, unlike Bourne, as well. But he also has a lot of personality where we see him act a bit more talkative and jokey towards other people he meets and encounters, and it gives you a sense that this is a real guy, that is just caught-up in all of the wrong shit but he has no one else to blame but himself. This role is perfect for Renner because he not only gets to show-off, once again, how much of a tough-ass guy he can be, but also show that he can make any generic action-hero, seem a bit more complex just by adding a likable personality onto him. Renner was a great choice for Cross, and I actually look forward to seeing what he can do with this character in the near-future, if they ever give him that chance, that is.
Rachel Weisz is also perfect for the role of the scientist that Cross comes around to sweep her away from danger, Dr. Marta Shearing. Weisz is such a lovable actress that it makes it a lot easier to buy this very generic character that seems to be a staple in these types of thrillers, but the difference here is that this girl actually seems like she has real-feelings and the feelings she may, or may not have for Cross come out perfectly in their chemistry that I would like to see worked on in the future installments. Then again, it all depends my people. Edward Norton is fine as the main dude that is orchestrating this whole hunt for Cross because he does what he can with a guy that seems so two-dimensional, but it’s almost like I expected him to just lash-out at everyone, every chance he got. Maybe it’s just that I think Norton deserves better roles, in better movies sometimes, but I think he could have been used a lot better here and should have gotten just more than one scene to show his true colors. Also, was it me or did anybody else feel terribly distracted when Norton and Stacy Keach were in the same scene? I kept on getting flash-backs to Vineyard just kicking the shit out of Cameron Alexander and I think that’s what Norton’s character here would have benefited from in all honesty. If only Hollywood allowed to polish more scripts.
Consensus: The Bourne Legacy features fine performances from this ensemble, plenty of action that will excite, and offers us a new franchise that will hopefully meet up with it’s old one that came before it, but it’s also very similar to that old one and that déjà vu feeling may be a bit too much for some viewers, as it sort of was for me.
Summer season here we gooooooo!!!!
When an unexpected enemy emerges threatening global safety and security, Nick Fury (Samuel L. Jackson), Director of the International Peacekeeping Agency (known as SHIELD), finds himself in need of a team to pull the world back from the brink of disaster. Spanning the globe, a daring recruitment effort begins.
Ever since 2008 swung by with ‘Iron Man’ on its shoulders, Marvel Studios has pretty much been patiently waiting and building up to this moment. And needless to say (however still said), the wait was worth it.
The best thing about this flick is how Marvel was able to get a director/writer like Joss Whedon. Whedon knocked it out of the park last month with ‘The Cabin in the Woods’, and he pretty much does the same thing here; but instead of focusing on the horror genre, he focuses on the superheros that we all know, love, and hope to be someday. Maybe I’m alone with that last one, and maybe I snuck it in so quick you didn’t even notice, but basically what I’m trying to say is that these are superheros that deserve the right treatment with everything they get. Whedon gives them all that, and much, much more. I mean after all, Whedon is a fanboy at heart but he is also a film-maker, and that is something he’ll always live up to. He knows what comic ban fans expect to see from this type of material, and he absolutely delivers.
Whedon’s great attribute to this flick is that he is able to stage so many excellent action sequences that are some of the best I have seen lately. Of course, the special effects and CGI are perfect. And the IMAX 3-D does makes this film look so cool it seems like you’re right there along for the ride, but when it comes down to some awesome, kick-ass throw downs, Whedon knows how to do it; and even better, do it right. They’re all breath-taking because they have so much intensity, but a lot of it’s because plenty of the action scenes consist of superheros fighting superheros. We get to see Thor versus Iron Man, Captain America versus Thor, Iron Man versus The Incredible Hulk, and so on and so forth. If any of you out there love these superheros and want to see what they would be like stacked up against another superhero, then definitely see this flick because almost every fight shows these heroes pulling just about everything they have out of their arsenal. It’s like King Kong vs. Godzilla, Lincoln vs. Washington, or even Backstreet Boys vs. N’Sync. It’s the battle between two opposing forces that can almost never be stopped, and it’s just pure fun. It’s as easy as that.
The strangest but most awesome thing about this movie is that it’s turns out bring one of the funnier comedies of the past couple of years. Whedon shows that he’s even better when it comes to writing witty scripts, and pinpoints perfection here with this cast of characters. I mean all of these superheros are pretty much egotistical freaks who think they’re superior to others because of their freakishly powerful skills they inherited; and that’s exactly what Whedon touches on here. There are plenty of scenes where it’s just a one-on-one outrageous verbal battle between two characters and it’s probably some of the funniest dialogue you’ll hear this whole summer. But it’s not just these verbal battles that are funny, everything else here is too, and it doesn’t even seem like Whedon is trying to write funny dialogue just to be funny and cool; it comes naturally. Even better is that it’s not just one character who gets a chance to be funny, EVERYBODY here does. There will definitely be moments where you come close to rolling out of your seat. My buddy next to me was on the brink a couple times there and I couldn’t blame him.
I honestly think that the reason this film does work so well the way that it does here is because that we’ve had all this time (4 years to be exact) to get to see, know, love and understand these characters in their own movies; and it’s just awesome to finally see them all together in the same room doing exactly what it is they do best: be freakin’ awesome. Robert Downey Jr. obviously is the star of the show and gives off a whole bunch of hilarious one-liners as Tony Stark/Iron Man (remember when people thought that movie was going to blow?); Chris Evans is THE MAN as everybody’s favorite red, white, and blue superhero, Captain America; Chris Hemsworth is once again likable and charming as the Olde English speaker/Norse God, Thor; Mark Ruffalo does a great job of replacing Edward Norton here as Bruce Banner/Hulk, and gives him this scruffy, worn-out look that coexists well especially when he gets angry and turns green; Scarlett Johansson is pretty cool as Black Widow even though it didn’t really seem like she was going to be around here much, but surprisingly, she is also great and doesn’t let us down; Jeremy Renner is pretty much cool and tough as Hawkeye; and Samuel L. Jackson‘s performance here as Nick Fury is basically him playing the Samuel L. Jackson we always see him play, but this time with an eye-patch. Is that a bad thing? Not at all people, not at all.
A superhero film like this is usually made or broken by the villains, and I think they chose right with Tom Hiddleston as Loki. To be honest, I wasn’t the biggest fan of Loki in ‘Thor’ and I actually found him to be a somewhat weak villain no matter, despite how entertaining the flick was. However, Whedon gives Loki just enough time to show how evil and dangerous of a villain he is when he allows this guy to cut a villainous monologue every time he is around one of these heroes. It sounds a bit tiring, but thankfully, Whedon keeps all of these speeches interesting simply while showing how incredibly powerful Loki can be. Also have to give a lot of credit to Hiddleston who shows that he’s definitely able to carry one villain role all by himself, but also exercise a bit of his comedic chops here as well. A lot of the funnier scenes in this movie revolve around Loki and just how ridiculous this damn dude can be.
Actually, it’s not just Loki who gets the special treatment from Whedon here, come to think of it, everybody does and that’s what’s did it for this flick. There are so many characters/superheros here, but Whedon’s still able to keep them all relevant by showing how all of their powers, skills, and elements as heroes can change the situation that they’re in while simultaneously reminding us why and how we fell in love with these characters in the first place. For example, Black Widow is definitely a character that you would expect to be forgettable in this huge cast of characters. But Whedon shows her as being a kick-ass spy and assassin that actually adds a lot more to the team than you would expect. You think a lot differently of her and what she can do with those nice, strong legs. It’s just great that Whedon lets every character have their time to shine and not have any of them get over-shadowed by one in particular. Hell, even Clark Gregg as Agent Phil Coulson gets to have a couple of memorable moments! Joss surely does know how to share the love.
If I had to be a total dickhead here and nit-pick, it would have to be that sometimes, the film did seem to hit a lull in its pace. And not only did it seem to take a bit away from the final product, but it also made me want more action up on the screen. The scenes with Hawkeye and Black Widow were a little lame and didn’t do much for me, but then again, it didn’t matter because when it got to them kicking ass, that’s exactly what they did.
Consensus: The Avengers is pretty much everything you could expect it to be with fun action, great performances from this ensemble cast of characters that we all know and love, very funny screenplay, and just a reminder as to why nerds rule, and will never, ever go away. Best film of the year so far and a totally kick-ass ride from start to finish. Long live Marvel!
BTW: If you guys get a chance to, check out a website called GuysNation. It’s a pretty far-out site I’ve been writing for, for quite some time and just go on by, show me some love, and check out some of the other non-related movie stuff that’s on there as well. Have a good Friday night everybody!
If you have recently seen the new Marvel hit the Avengers and you feel like watching more action packed Summer blockbusters then why not try one of the available online movie services. Visit LOVEFiLM vs Netflix UK to compare two of the leading brands in the online streaming service business.
Run, jump, hit, shoot, kill, bleed, boom. That’s what S.W.A.T. is all about.
This modern-day “S.W.A.T.” stars Colin Farrell as Jim Street, a Los Angeles cop who joins the department’s elite special weapons and tactics unit commandeered by Hondo (Samuel Jackson). They’re up against a drug lord (Olivier Martinez) who’s offering a million dollars to the first person who springs him from jail. Only the S.W.A.T. team can stop his plan.
Having actually watched the TV show, I knew what to expect, but I mean there could have even been more of what I expected really.
This is one of those films that doesn’t really have any intelligence whatsoever in it’s script but instead it’s just here for the crazy, big-budget, and insane action that it actually provides. However, the problem with this film is that the script doesn’t do anything different we haven’t seen before. I like how it doesn’t take itself too seriously but there were just too many moments where I got exactly what I’ve seen in so many other action thrillers.
However, the real fun of this film lies within it’s awesome action sequences that actually provided a lot more fun and excitement then I actually expected. There’s a couple of huge shoot-outs that go down, cars that go booom booom, and many cheesy one-liners but overall it’s a fun time with some good attention to detail that I wasn’t really expecting.
The cast is OK here but their not really anything special. Samuel L. Jackson does his usual bad-ass, black man role we all know and love him for; Colin Farrell is also good as Jim Street with a lot more of a tougher side to him than most would expect at first; Michelle Rodriguez is here to be the bad-ass chick; and LL Cool J is just the man, nothing else. They all have good chemistry together and all play off one another well which adds more humor to the film, even as cheesy as the lines may be.
The villain here is played by Olivier Martinez but I thought was a pretty lame choice considering they could have had such a better villain already in the film right from the get-go played by Jeremy Renner. The film seems like it’s going to have him pop-up later on in the film, which he does, but the film doesn’t make him the main bad guy which kind of sucks considering Martinez isn’t that good as the villain here and just seems even more lame once Renner pops up.
Consensus: The cheesiness is here and the obvious cliches we have all seen in these types of films show up as well, but S.W.A.T. is a fun B-movie that doesn’t try too hard for anything else other than a bunch of crazy explosions and cool one-dimensional characters.
Why does all-of-a-sudden every dude just get horny when they automatically see a chick here?
Based on an inspiring real-life event that took place in the 1970s, North Country stars Charlize Theron in another low-glamour but high-impact role as Josey Aimes, one of only a handful of women working in the Minnesota iron mines. Forced to labor under sexist conditions, she and her female colleagues decide to stand up against the unrelenting harassment from their male counterparts.
You’re probably sitting there now, wondering to yourself after you just read the premise and thought, “Haven’t I seen this before?’. And the truth is yes have, almost every two hours on Lifetime channel.
The film actually does have some moments where it was actually a bit up-lifting, which is probably because the way they depict the way these chicks are treated, was just absolutely terrible and I really wouldn’t wish it on anyone else at all. It’s also kind of sad that these events are actually true and it kind of makes me ashamed of the ways dude treat their women. But other than that, that’s all I felt from this film.
The main problem with this film is that director Niki Caro lets all of this just seem totally over-dramatized and so unbearably obvious that it makes the film almost seem like a really crappy soap-opera rather than an actual inspiration tale that changed the way women work with men forever. I didn’t really get a reason as to why these dudes acted like complete and such little boys with these girls, and the reason we’re actually given, is totally unbelievable and just forced.
I also never understood why any of these guys actually stood up for these chicks, instead of just sitting back and letting it happen. I mean, can every single guy in Minnesota not think for themselves and actually stand up for other human-beings when their being treated like pieces of shit? It’s also kind of weird in a film that basically preaches respecting humanity, it sure does have a lot of pain inflicted on its characters.
Charlize Theron is good as Josey Aimes and shows how her bitterness increases into something that makes her stronger as a woman, and gives her the power to fight back against these d-bags. The only thing is that we don’t see any other side of Josey other than this, and even though Theron plays her very well it’s kind of a disappointment to see what could have been a really complex and great lead, sort of one-note.
Frances McDormand is fine as Glory in her little feisty role that always works so well for her but isn’t in the film as much really; Sean Bean and Woody Harrelson are good as the only two men in all of Minnesota that seem like they actually have a soul; and Richard Jenkins and Sissy Spacek are both good as Theron’s parents. However, the best performance out of the whole cast is Jeremy Renner as this uber d-bag named Bobby Sharp, who Theron’s character went out with when she was younger and almost every scene he had, sort of started to give me the chills. Renner scores emotional depth in a character that would just seem like a total cliche and when the film was over, I remembered his character more than Theron’s actually.
Consensus: What could have been up-lifting and inspirational, gets totally bogged down by hokey, predictable, and sappy cliches that takes a lot away from what’s being talked about in North Country, which could actually seem very important had it been given better direction.
So as everyone among the film community know, it is Oscar time babyyyyy!!! So that means get ready for some of the biggest upsets, wins, and probably tearful moments of the year. It was a great year in the film, and this is what has all come down to it people. The big night, and here are my predictions, I hope I do well.
Best Animated Feature: Will Win: Toy Story 3 Should Win: Toy Story 3 Wild Card: How To Train Your Dragon
Best Documentary Feature: Will Win: Restrepo Should Win: Restrepo Wild Card: Exit Through The Gift Shop
Best Foreign Language Film: Will Win: In a Better World Should Win: Dogtooth Wild Card: Biutiful
Best Documentary Short, Best Live Action Short, Best Animated Short: Will Win: Can’t say I care too much
Best Editing: Will Win: The Social Network Should Win: The Social Network Wild Card: Black Swan
Best Cinematography: Will Win: True Grit Should Win: Inception Wild Card: The King’s Speech
Best Visual Effects: Will Win: Inception Should Win: Inception Wild Card: Alice in Wonderland
Best Sound Editing: Will Win: Inception Should Win: Inception Wild Card: Unstoppable
Best Sound Mixing: Will Win: Inception Should Win: Inception Wild Card: The Social Network
Best Art Direction: Will Win: Alice in Wonderland Should Win: Inception Wild Card: The King’s Speech
Best Costume Design: Will Win: Alice in Wonderland Should Win: Alice in Wonderland Wild Card: True Grit
Best Makeup: Will Win: The Wolfman Should Win: The Way Back
Best Original Score: Will Win: The Social Network Should Win: The Social Network Wild Card: Inception
Best Original Song: Will Win: We Belong Together (Toy Story 3) Should Win: We Belong Together (Toy Story 3) Wild Card: I See The Light (Tangled)
Best Adapted Screenplay: Will Win: The Social Network Should Win: The Social Network Wild Card: 127 Hours
Best Original Screenplay: Will Win: The King’s Speech Should Win: Inception Wild Card: The Fighter
Best Supporting Actress: Will Win: Hailee Steinfeld Should Win: Melissa Leo Wild Card: Amy Adams
Best Supporting Actor: Will Win: Christian Bale Should Win: Christian Bale Wild Card: Geoffrey Rush
Best Actor: Will Win: Colin Firth Should Win: Jesse Eisenberg Wild Card: James Franco
Best Actress: Will Win: Natalie Portman Should Win: Natalie Portman Wild Card: Annette Bening
Best Director: Will Win: David Fincher Should Win: David Fincher Wild Card: Tom Hooper
Best Picture: Will Win: The King’s Speech Should Win: The Social Network Wild Card: Toy Story 3
I must say that this is a pretty solid year for the Oscar’s this year. All the nominees look just about right the only problem is how will the picks turn out? This year, everything seems like it’s coming down to Old School (The King’s Speech) vs. New School (The Social Network). The past couple of years The Academy (I hate that word) has been looking more towards hip, new films to win it’s Oscar Best Picture. Films such as Slumdog Millionaire, The Hurt Locker, and American Beauty have all been unconventional new films that have seen their taste of Best Picture gold. But there has also been countless period piece wins for films such as Gladiator, Shakespeare In Love, and The English Patient. Also, many other major award shows have already presented the Best Picture win to The King’s Speech which is really chasing up people’s noses, as many other award shows have been choosing The Social Network as theirs. In my opinion, I liked Inception more than both of them, and yeah it’s nominated, but in all honesty it has no chance of winning. When it comes down to it I think that The Social Network should win, because it is an age-defining film, that went from being known as “The Facebook Movie” to being known as the top contender for every Oscar it’s nominated for. I hope that The Academy goes for the new school, because if they had The King’s Speech win, everyone would feel robbed really.
As for Best Actor, I think that Firth deserves to win for all his years dedicate to films, but Eisenberg fully deserves it. I think what the Academy is doing more and more now, is honoring actors & actresses not for just a certain performance they had, but their careers and saying that it’s their time. I don’t mind seeing stars like Jeff Bridges, Kate Winslet, or Colin Firth win an Oscar, because of the career they have but I’d rather see the “best performance of the year award” go to the BEST PERFORMANCE OF THE YEAR.
When it comes to the Best Actress category, it seems like Natalie Portman is the sole winner for here, as she has won almost every single Best Actress nomination at every award show. However, there is once again that little idea that it’s Annette Bening’s “time” to win, as she has been nominated twice, and still has not won yet even though her career has been going on for so long. I want Portman to win, and most likely she will, but I still have a feeling that The Academy may pull something out of their pockets and surprise us all with a Bening win.
I’m very disappointed that my main man Christopher Nolan was not nominated for Best Director this year. He was snubbed for The Dark Knight, and now he’s being snubbed again, and it just pisses me off knowing that certain directors that do such a good job with daring material, don’t get the credit they deserve. I think if Nolan was nominated, he should have won, but I know it’s The Oscars, and not everything works out the right way.
This year had great films, and I’m glad to see that the Oscars have turned out to be this way. I loved 2010 as a year, and the films made it awesome. Here’s to 2011, and let’s just hope that the Oscars are awesome.
Thanks everybody for always reading, and keep on checking!!
I guess we can’t be making fun of big Ben anymore.
Career bank robber Doug (Ben Affleck) and his volatile partner, Jim (Jeremy Renner), hit a roadblock when Doug falls for bank manager Claire (Rebecca Hall), whom he kidnapped during their last heist. Worse, an FBI agent (Jon Hamm) is now trailing the thieves around their Charlestown, Mass., territory.
Ben Affleck has always been a guy in film, that stars in some pretty good movies, and then stars in some completely shit movies. But now that he has started directing, writing, and starring in his own material, it raises a lot of questions as to whether, he can actually do it all, and do it all well.
This is Ben’s second time behind the camera, and he shows that the first time, Gone Baby Gone, was no fluke. He is very good at creating suspense, and directing the hell out of action sequences. The heist scenes are some of the best I have seen in awhile, cause he keeps the camera on all the action that’s going on in this one particular event, and doesn’t go all over the place, like what most action directors in today’s world do.
This film is also a romance story, and it actually works considering it’s stuck with this heavy-action genre. Ben knows how to balance out the film with real emotional, and overall touching scenes, but knows how to put the energy one when it comes to his action scenes, and well, it doesn’t feel forced, and works well with the story at hand. The screenplay works well here too because it brings out a lot strong central themes, in the midst of all the havoc. These people are trapped in their own, little world of crime, violence, and hopelessness.
My one complaint about this film is that it is kind of formulaic, because it’s a lot of a bigger budget, and you can already tell what’s going to happen. Don’t get me wrong, there were plenty of moments where I was on the edge of my seat, much thanks to Ben, but then there were also other parts, where I knew what was going to happen, mainly because I have seen plenty of heist films, and usually they are always the same thing.
I liked how the characters were all so realistic, and basically three-dimensional, so you actually did care for these people. Ben Affleck comes together as an actor with this film, as he gives off a lot of emotional scenes, because his character is stuck between his friends, and his girlfriend, which creates a lot of stress for his character, and you can tell by his performance. Jeremy Renner is perfectly cast here as the bad-ass, gun-slinging, punk. But he plays it so well here, he doesn’t over-act it, and when he’s on screen, you just feel uneasy, because you never know what he’s going to do next. I hope by awards time, I see him again on that ballot. Rebecca Hall is a very sweet character, that we do like when we first meet here, and through plenty of poignant scenes with her and Affleck, we care for her, and their relationship. Jon Hamm does well here, playing the main cop, that does whatever he can to catch these guys, and I don’t know if Affleck meant for us to dislike him or not, but I sort of did, but that’s not really a bad thing, it made his character more watchable. Blake Lively is also in this playing a trashy, disgusting looking whore, and does a pretty good job at it too, and I actually may start to take her more seriously as an actress now. Chris Cooper is only in one scene, but he does such a good job, and it reminds me as to why he did win that Oscar so long ago. Pete Postlethwaite has good scenes here, showing his character in a lot more menacing way than I was actually expecting. Very good ensemble, that all know how to act out their own respective characters.
Consensus: Directed with plenty of suspense, and thrills, to keep you on the edge of your seat, and excited, as well as provide a great character story, that has even better actors attached.
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.