At the end of the day, boys will be boys.
Sean Devine (Kevin Bacon), Jimmy Markum (Sean Penn), and Dave Boyle (Tim Robbins) were three childhood friends who lost touch over the years, all because of an incident that happened to one of them. All these years later, Jimmy’s daughter, Katie (Emmy Rossum), is found dead in the park, and it’s up to Sean to find out who killed her, why, who, what, where, and when, but somehow, Dave seems like the most prime-suspect out of them all. Whether or not he did it, is left up to these three to figure out.
Movies that try to deal both with a human-story and a mystery, never fully come together and seem to work all that well. However, Clint Eastwood seems like the type of dude who’s been in enough movies to realize that anytime you can add on real, honest human emotions; then anything can work. He also seems to know that if you can get an amazing cast, that is more than capable of delivering on every, single spectrum; then anything can, and most likely will, work. Clint knows the game he’s getting himself involved with and although he’s been racking it up in the age-department, the guy shows us he still knows what’s up with a good story.
What works so well with this flick is that in almost every aspect, something is always working. For starters, the mystery behind this flick is one that actually works, and one that keeps you glued to wondering just what the hell is going to be revealed, and possibly said, next. Most of these movies that try to add mystery to a human-story, never really seem to work and instead come off like a lame excuse to distract the audience who wants a fast-paced, exciting story, but this isn’t one of those flicks. We are never really told what happened to Katie in the beginning, other than the fact that she was murdered, by the park, and somebody called it in. After that, everything we hear, see, or try to grip and understand, are all news to us and it feels like we are learning everything, just as soon as each and every other character in this movie as well. Love a fine mystery-tale, especially when it’s done well and not for cheap-kicks.
Then, you get to the human-element of this whole story, which is really the anchor to it all and has everything come together like a fine string, between two Dixie cups. Every character in this movie, for no matter how long or how little you may see them pop-up on-screen, you still feel like as if you know them for all that they are, all that they were, and all that they ever will be. Sure, some are more pleasant to think about than others, but you still can’t help but be intrigued by the way that these characters interact with one another, and just how they find ways to connect around the a murder-case like this.
The most interesting character-relationships in this movie, were definitely the three boys we see at the beginning: Sean, Jimmy, and Dave (remember those names). At the beginning, we see how they were childhood pals, until something very disturbing and dramatic happened to one of them, and separates them all, while changing the course of their lives forever and ever. After we see this change in their childhoods, we then fast-forward to them being adults, moving on with their lives, and making ends meet, but still never, ever forgetting about that fateful day that impacted all of them, not just that one person. Throughout the rest of the flick, they always go back-and-forth about that moment in their lives, and they realize that it changed who they were, forever, but never really come to terms with how or why. They know that one person was actually hurt and had to pay the piper, but in the end, they were all hurt that day and never seemed to forget about it, nor heal from that pain. It’s interesting that they all see each other in one-on-one’s, but never show up altogether. It’s as if the movie wants you to see how separated they are, not just from each other, but the rest of the world around them. Maybe that’s just a bunch of babble from yours truly, but it’s something that I felt, and something that I saw and continue to think about even while writing all of this jibber-jab.
But trust me, not everything in this movie is as clear as I may make it out to be (or not). The movie has characters that you don’t know whether or not to trust, like, dislike, or even care for, but you still remained enticed by everything that you see them as. Eastwood also has an interest in each of these character’s lives and personality-traits, and shows how each of them react to certain situations differently. Some are cool, and some are nervous bumb-fucks. Some are suave, and some jittery-jatters. Some know all the right things to say, and others do as well, they just don’t know how to say it. You see all of these characters act and respond to the same situations, the same questions, and the same happenings, but yet; they are all different in their own ways, and watching that was just about perfect. It was even better to watch, if not just for the actual characters themselves, but the performances that were there to back them up.
When you have a story that’s so rich, so deep, and so compelling as this, with characters that are on equal-measure, it’s necessary to have a cast that can handle this, and that’s exactly what all of these heavy-hitters are ready to do, and do it in style. Sort of. Back when this flick first came out, everybody ranted and raved about Sean Penn and his performance as Jimmy Markum, but it’s rants and raves that were meant to be. Not only does Penn give one of the greatest freak-outs of all-time (second to this, of course), but he also gives us a deeply-layered, and beautiful glimpse inside the world of a man that’s trying to be right, trying to be good, and trying to be well-mannered, but just can’t because of his natural-tendencies. Markum is not a nice guy and is definitely not the type of guy you’d be easy and able to trust when it came down to getting business done the right way, but he’s trying and you can see that in every single scene that Penn shows up in. Most of the time, he’s a grieving father that’s just taken down, notch-by-notch, because of the fact that his baby girl is dead, but he continues to get back up, fight, and search for the truth. The ways he goes about it, the answers that he finds, and how he responds to those said answers, are not always the most “just” ways of going about your bizz, but Penn always remains stoic, compelling, believeable, and understandable in the way he never loses hope, even if death is staring him right in the face. It’s not as corny as I may make it sound. Trust me on that.
Tim Robbins comes very close to stealing Penn’s spotlight as Dave, an old-time friend of Jimmy’s, who also just so happens to be married to his wife’s cousin. Don’t know what that would make them in terms of family, but I guess they’re related, right? Okay, whatever. Anyway, Robbins is amazing as Dave, not just because Robbins knows how to play crazy like anybody’s business, but he really plays it up without going overboard in the sense that he’s way too insane to be considered the type of guy you’d want to marry, have, and raise a family with. He seems like an honestly-nice dude, that just so happens to have a pretty fucked-up past that gets in the way of his present-day happenings. That never makes him a bad person, but just the type of person you never know whether or not to trust, and what it is about him that’s so shady. Whatever it is, that mystery and that dark-shade of him, always stays there between us and that character, and it not only works in the movie’s favor, but Robbins’ as well. Both him and Penn received Oscars for these roles, and in my opinion: were both well-deserved. Then again, I think I share that same opinion with many, many others out there in the movie-reviewing world.
Marcia Gay Harden plays Dave’s wife, Celeste, who knows about Dave and what he did the night Katie was murdered, but doesn’t know how to accept the fact that maybe her hubby was the killer out of all of this. Harden is great with this role and this character because it gives us a sense that this woman loves her husband to death, but still doesn’t know if she can trust him in all of this, and finds herself in a dilemma between choosing between love, family, or being fair. She’s always nervous, she’s always twitchy, and she’s always scared, and some may call her performance one-sided for that, but Harden handles it perfectly, and never lost my interest.
Kevin Bacon seems like he got the shortest-stack of the bunch with a character that isn’t as interesting and sure as hell isn’t as memorable as these two, but still proves that he’s the man when it comes to owning roles like these, no matter how procedural they may be. It also doesn’t help that his character’s wife just so happened to have left him, with their baby, calls him almost all of the time, and never speaks. She just sits there, with the phone to her ear, in silence as the guy rambles on about nearly nothing. Still, Bacon is great through all of this, it’s just obvious that Eastwood wasn’t as concerned with this character as much as he was with the first two. Laurence Fishburne plays Sean’s fellow-detective who’s also investigating the case and is great with what he does, but is only there to give some slappy, side-comments and show how he isn’t as biased as Sean may be. Then again, Fishburne is always worth watching, especially in roles where he’s playing himself better than anybody else.
Even though the cast, the direction, the writing, the themes, and the mystery behind this whole movie, worked for me and had me loving just about every second of this, there is always a glaring-problem that never ceases to leave my mind when I think of this: the ending, or should I say: the final 10 minutes. Without spoiling all of the shite that goes down in the final-act, we leave with a dark, but reasonable conclusion that effs with our minds, our hearts, and our eyes, especially with everything we just saw for the past two hours. However, the movie doesn’t end there, just when it should have. Nope, instead, the movie felt the need to add on an epilogue where we not only get one, whole scene dedicated to Laura Linney’s characters, Jimmy’s wife, acting as Lady Macbeth-type character, but also feed us an ending that sort of contradicts the whole movie.
For instance, the movie plays around with the themes of people staying true their ways, their morals, and their nature, but somewhere, those themes get lost in a strange conundrum of characters not acting like themselves. It’s so hard to go into all of this without giving each and every thing away, but for the people who feel like they know what I’m talking about, you may be able to understand that some people realize some things about others, that they didn’t know before or has just become news to them, but yet, they choose to do nothing about it and go about their lives as if nothing happened. That would have been fine for one or two characters in this movie, but for the one that it does high-light, it seemed wrong, too theatrical, and a tad stupid, as if Eastwood really wanted us to feel like nobody was meant to be trusted, nor were they meant to be liked in any way, form, or shape. It’s not a happy-ending, per se, but it’s the type of ending that may piss you off because everything up until that point, was going swell, but had to end right there. Damn you, Clint. Why’d you have to go and ruin a good thing?
Consensus: The ending doesn’t make sense in the grander scheme of things, but everything else in Mystic River leading up to that, is still near-perfect with it’s powerful acting, realistic themes about life, and interesting character-traits and relationships that never always seem to add more heart and depth to this mystery, rather than just finding out who the baddie is.
8.5 / 10 = Matinee!!
Come on Ethan, I thought you didn’t need women.
Super-spy Ethan Hunt (Tom Cruise) has retired from active duty to train new IMF agents and start a life as a married man with his new squeeze (Michelle Monaghan). But he is called back into action to confront the toughest villain he’s ever faced, named Owen Davian (Philip Seymour Hoffman), an international weapons and information provider with no remorse and no conscience.
If you have seen the first two Mission: Impossible movies, liked them, had a good time with them, and didn’t get bored watching Cruise play cool, then chances are, you are going to like this one, have a good time with it, and not bother one-bit that Cruise is playing cool, once again. Actually, I could just use that one-sentence to sum-up my whole review and be done with it, but since I am a critic and I just spent 2 hours of my life watching this thing, I’m going to take away 5-7 minutes away from your life, just so you can read what I have to say. It’s a sort of domino effect, but trust me, you don’t really have to read this. I’m probably just going to go on and on about Katie Holmes and how right she was. Seriously, take a drink every time I mention her name. The review will be a lot better.
Anywhoo, after highly-stylish directors like Brian De Palma and John Woo took over the last two installments, J.J. Abrams comes up on-board and gives his first-shot at directing a full-length, feature movie. Before this, Abrams was known for creating Alias, Lost, Felicity, and other popular TV-shows that people loved and fan-boys went oogle over, which makes this movie all the more interesting to watch now, considering this is also the same guy that went on and brought Trekkies back to life almost three years ago. It’s great to see a director that obviously loves these old-school action movies, but yet, doesn’t forget to throw some of the newer-stuff in as well to fully get us going and have us feel like we’ve gotten the best of both worlds.
Thankfully, that is exactly what Abrams brings to the table here and right from the first-sequence where Hunt and his gal get tied-up and interrogated, you know you are in for a real, real action-treat. Actually, after that scene, the movie doesn’t really ever seem to slow down. We get a bunch of non-stop, tense action-sequences that seem to pull out something new each and every time, and a couple of twists and turns that are sure to have you wondering what’s going to happen next, but in the good way that actually makes sense and not confusing like the first-one. Basically, it was a great choice to bring Abrams along for the ride on this one and it’s obvious that the guy knows how to stage a tense, suspenseful action-scene that will have you gripping your seat, even if you do know how it’s going to end. That’s the sign of a good action director, actually, let alone, director none the less.
However, if you do not like these movies chances are, you’re not going to like this even more. It’s not as stupid as the others, that’s for damn sure, but it definitely feels like a plot-line that wasn’t really thought-out well enough for an action movie of this caliber. For instance, it’s never really brought to my attention what was so bad about this Davian guy in the first-place. Yeah, he’s got weapons and materials of mass-destruction, but I never really saw any of that put to test nor did I really see him actually go to work on any of that whatsoever. I just heard that the guy was bad, realized he was a bit of a dick, and I guess, just assumed that he wasn’t a guy that plays on the good-side. There’s a whole bunch of other problems with this plot that didn’t seem to really make all that much sense to me but in the end, I soon realized that it didn’t matter a lick and all that did matter was watching Ethan Hunt be as cool, as he might as well can be.
Once again, Tom Cruise plays Ethan Hunt like he always does: cool, swift, witty, sneaky, and most of all, smart. Cruise plays this role like no other, has no intentions on leaving, and you know what? I don’t really mind it all that much, either. Yeah, the dude’s getting old and a bit funny-looking in terms of botox but the guy still can play this role in his sleep and have us love him, no matter what crazy shit he does or says in his personal life. At the time of the release of this movie, I know that was a bit hard to get by but to me, it doesn’t make much of a difference now and never really did.
The rest of the cast is pretty solid too, but the one I was really impressed by most of all was Philip Seymour Hoffman as Owen Davian, the main-villain that Hunt is forced to mess with. What makes Davian so different from the others, is the fact that the guy holds no remorse for the things he’s done or is about to do, and plain and simply looks at you in the face, tells you he’s going to put a bullet through it, and says so with no emotion or expressions whatsoever. You really feel like this guy will hold you up on his promise when he’s going to get right down to business and kill you, and that’s why this guy was so freaky to watch and most of all, actually seemed like a legitimate threat to Hunt after all. I will say that his character doesn’t meet the smartest demise of all, but before all of that, Hoffman is electric, fun, and very sinister to watch, in a way that makes me wish he played more villainous-type roles. In a way, I guess he does but oh well, doesn’t matter because the guy can act.
The only one in this cast who really stuck-out like a sore-thumb and seemed to bring everything down was Michelle Monaghan as Hunt’s new lady-friend, Julia. I don’t know if it was Monaghan’s acting, her writing, or just the shoddy-development for her character, but I didn’t give a crap that she was there, why she was there, or what really even was going to happen to her in the end. Abrams tries very hard to throw at us that Hunt is not only doing this mission for the safety of country, but the safety of his heart as well and as appealing and relateable as that may be for some audience-members watching, I for one, didn’t really buy it and give a single-crap whatsoever. If you want to know why, just go on back to my M:I-2 review and you’ll see why I don’t think Hunt should play around with gals. That is it.
Consensus: Mission: Impossible III is probably the best of the whole series because of it’s electric-direction from Abrams, tense action-sequences that never seem to end, and fun-loving spirit for both old, and new action-movies of the world and makes you feel like this is a series that will never run out of a steam, just as long as they stay fresh with new-directors coming on-board and keep Cruise in-line. Oh yeah, by the way, Katie Holmes. Drink up, people!
War is hell. Especially when you’re dropping acid.
This film tracks the journey of Captain Benjamin L Willard (Martin Sheen), a USA Army Intelligence Officer sent on a hazardous mission up river into Cambodia to terminate “with extreme prejudice” American renegade Colonel Walter E Kurtz (Marlon Brando) who has spun out of control and out of his mind. What Willard has to go through in order to get to Kurtz is unlike any other.
Jesus H. Christ. Where do I begin with this one? Well to start, I should say that this isn’t the first time I ever saw this movie, or even the first time I ever reviewed this movie. Confused as to why I’m doing a total double-take? Well, the first time I watched this flick I wasn’t as fully into it as I should have been and my review at that time (along with many others), come off as very lazy to the point of where it seemed like I was reading off of Rotten Tomatoes and piecing them altogether. Trust me, that’s not what I did but if you go back and read it, you’ll think it by all of the jibber-jabber that I typed. But after checking it out for the second time, I finally realized the beauty and the ugliness that lies behind this film but I said it once and I will say it again: this film is somewhat overrated.
Anybody who has ever done research about this film probably heard about how director Francis Ford Coppola literally went to hell in pre-production just to get this film done in his way (it’s actually the subject of a documentary, one that I need to still see), and thank heavens for that because this film would have not worked without his direction. Seriously, no way in hell would it have. What catches your eye right from the start is the beautiful, but deadly images of a Cambodian jungle being blown up to pieces, all played to a tune from The Doors. It’s the perfect combination of a dark song and a dark image coming together and starting this baby perfectly right off the bat, and it gets you ready for what’s about to come and that is pure, utter craziness that’s all from the point-of-view from Coppola.
Let me just say that this film is probably one of the more beautiful ones I have ever seen in my entire life. I don’t know how Coppola got some of the shots that he did, but the long, sweeping shots of helicopters blowing shit up to the tune of Wagner still sticks in my mind every time I think about this film and the beauty it has. Oh, and there’s also the famous bridge blowing up scene where the only source of light throughout the whole scene is just fireworks and gun shots being lift-off in the sky. But regardless of what specific scene I’m talking about, there’s something inventive Coppola does with the colors in his film and it’s just that he constantly mixes them with every new frame. One shot you got purple, the next you got yellow, the next you got red, the next you got orange, and so on and so forth. Coppola has a great eye for colors and how they convey moods for a film and that’s what really caught my eye every time with every shot. When you look at this film and the way that it’s shot, you know that you have to give Coppola enough credit for that but that’s not all he does that makes this film work. No sireee!
The whole general story of this flick starts off pretty strange, but only gets worse after that whole “Wagner sequence”. We start to see these soldiers go across Vietnam running into other soldiers that are either completely insane, or have no guidance whatsoever, or run into a bunch of innocent Vietnamese that are just trying to make it across without getting killed or hurt, or just another bunch of people that keep on making this film tick and tick away some more. There are no sunshine and peachy days with these people that we soon meet on this “trip”, if you will, and they automatically shock and compel you every time somebody new shows up. This is fairly one of the strangest films of all-time, with characters that only make it so, but it’s all there for a reason and that’s to show you the type of effect the war has on people from all different sides of it.
Not once do we see the enemy from their point-of-view, or do we ever really see them up-close-and-personal. Instead, we get to see plenty of the American soldiers that are fighting against them and just how much of a terrible toll this isolation and destruction is taking on their bodies, on their minds, and on their lives as well. This is all some scary shit that we have seen before in anti-war flicks of the same nature, but never this disturbing to the point of where you really feel like it’s about to get bad. Coppola gives us the images to really stick in our heads, but he also gives us the situations and characters to think about and how all war, brings pain and misery no matter whichever way you make it out to be.
However, you heard me going on and on about this film but the one question in your head still has to be left there thinking, “Just what the hell does this cat think is so overrated about this movie, because all he’s doing is having orgasms over it?”. Well, have no fear because here’s the answer to exactly why I think so: not as much character development as there should have been. That’s right, in this whole 2 hour and 30 minute movie, we get plenty of crazy and bizarre-o characters that pop in-and-out and provide us with a lot of philosophical shit to chew on for the time-being, but when it came to the main players of the story, I found it very hard to care for.
Let me give you the prime example of this flick, and that is Martin Sheen‘s character, Captain Benjamin L Willard. Willard is a very confused fellow that seems like he has no motivation for this duty he has to do, other than the fact that he literally had nothing else to do and was just assigned to it. We see Willard go throughout the whole war, meet up with new characters that eff his mind up as much as it effed mine up, challenge what he thinks is suitable of the war, and teach him some new things about life that he never once realized. Problem is, I think I’m looking into that a little bit too much because we never get much from this Willard guy, other than a very cold and intimidating stare from Sheen. Don’t get me wrong, Sheen does an amazing job with this role and handles the lead with such ease and perfection, but he’s not given much to work with outside of just looking pissed and barely saying anything. All of his motivations and convictions feel real, it was just that we don’t really know what to think about him since the guy is so damn stern the whole time and barely loosens up with the exception of a couple of scenes where he actually cracks a smile.
Everybody else kind of suffers from the same thing, but that doesn’t matter as much because of the awards-caliber performances they give as well. Robert Duvall is a sensation to watch as the hip, fun, and cool as Lieutenant Colonel Bill Kilgore. Of course everybody knows the famous “Napalm” line that Duvall utters in this film but honestly, how can you not love that line as well as this dude’s charisma? The whole film is essentially one, big downer of a movie and Duvall brings a whole bunch of comedic relief to the film that makes you appreciate him a whole lot more once he’s out of the film for good but you never forget one of the lines he says, and trust me, it’s not the “Napalm” one either. You’ll see.
Then of course, you got Marlon Brando who caused all types of shit (as usual) on the set of this film by showing up overweight, needy for money, and dicking everybody around like he normally does. However, it’s kind of hard to be mad at him for something like that especially when he gives off such a commanding but brief performance as Colonel Walter E Kurtz. As soon as Brando shows up, the film takes a much darker turn, which I thought wasn’t even possible, but once I started hearing all of the shit Kurtz discusses, then I realized it was. Brando hits like a wrecking ball in these types of roles and his small role here as Kurtz is no different and you can’t help but just wait, and wait for him to show up as soon as you see his picture-perfect face within the first 10 minutes.
Also, be on the lookout for plenty of other supporting performances from people you obviously recognize, but other’s, you don’t by how young they are. Especially a very young Laurence Fishburne, who deserves major props for being 14-years old in this film and still not getting blown out of the water with the type of talent they have on-display here. Nice going Morpheus!
Consensus: While it’s not the pitch-perfect masterpiece so many people laud it as being, Apocalypse Now is still a powerhouse of a film to watch, mainly because of the inspired direction from Coppola that pulls out all of the stops, awesome performances from this wide ensemble, and plenty of themes and moral issues to chew on about the war and all of the misery it brings to those involved.
Snow storms just make everything worse.
During a snowy New Year’s Eve, a most-wanted mobster, Nicholas Zambrano (Laurence Fishburne), is temporarily incarcerated at the doomed Precinct 13. As the sun sets and a long night begins, a motley crew of policemen and prisoners, reluctantly headed by Sergeant Jake Roenick (Ethan Hawke), must band together to fight off a rogue gang that wants to extract Zambrano at any cost.
This is a loose remake of a film that was done by John Carpenter and even though they aren’t considered the same thang, I think I’ve seen enough already. Although, I do have to say that John Carpenter is a pretty solid director in his own right.
Director Jean-François Richet doesn’t try to re-invent the wheel of the usual slam-bang, action thrillers we’re so used to seeing but damn does he do a great job with it! Richet brings in a whole bunch of crazy weapons here all ranging from the likes of hand-guns, sniper rifles, lazer sightings, silencers, a samurai sword and basically anything that can be used as a weapon in one way or another. It all shows up here in this flick and used to great effect because the action here is what really kept this story going. Even when it seems like the story is about to fall into its softer/slower side, it picks itself right back up from where it started and gives us plenty more deaths and action to behold. It’s not like Richet tries to go for anything new here, it’s more of like that he knows how to film action and make it work.
Another element to this film that made it all the more enjoyable was that the story does go through some twists and turns here and there that are pretty funny and kept me guessing. Now I’m not saying the whole film is unpredictable but what I will say that there are a lot of times that the film does something out of the ordinary like kill of a main character or throw in a couple of “who is the bad guy?” scenes here and there, which all kept me watching. Once again, nothing that is terribly original or new, just entertaining to watch.
The problems that I had with this film are all pretty obvious. With this type of material, you basically know that it’s all going to play out in the same way that all of these other films have been doing for the past 30 years, actually dating back to Carpenter’s original. The good guy has a dilemma, the bad guy has a connection with him, they both realize who they are through a death-defying situation they get thrown in to, and yadda yadda yadda this and yadda yadda yadda that. It’s basically the same old shit that we have seen done 100,000 times before and it’s no different here, except for maybe a couple of cool little twists and turns along the way. But those cool twists and turns can only go on so long.
Even though the plot was fun and entertaining, there were plenty of plot-h0les that still seemed to bother me. One memorable problem was the realization of the underground tunnel beneath the compound. I mean honestly, you would think that something as life-saving and crucial to this predicament as an underground tunnel would be the first thing 0n somebody’s mind and brought up within the first 10 minutes that this attack was going on. But for some very odd reason, it just so happened to slip this dude’s mind. Then again, it wouldn’t have served the plot if they did do that in the first place so I guess it all makes sense in the end.
A lot of the credit has to go to this cast that is actually pretty good with their roles by adding a lot more humanity to them and making them characters that we care for and want to see live after all of this havoc is over and done with. Ethan Hawke did a nice job as the burned-out cop and plays snarky so well that it’s almost hard to take him in as anything else. Also, it’s pretty fun to think of this character as his character from Training Day but this time, only 4 years down the road and fed with all of this shit. May sound lame but hey, I can have a little bit of fun while watching these movies. Laurence Fishburne also adds a real deep sense of coolness to his evil gangster, Bishop. It’s not like this is a stand-out performance from Fishburne but I definitely think its a lot better than half of the shit we’ve been seeing him do lately. However, I’m not talking about Contagion considering he was probably the best out of that whole cast.
Consensus: There’s no re-inventing of the action wheel here or any new surprises to be seen, but what Assault on Precinct 13 does bring is a lot of blood, action, gun shots, violence, and some fun twists in order to have a good time.
Oh, if only Arnie was still around to do this and wasn’t off with chicks that weren’t his wife.
Rugged mercenary Royce (Adrien Brody) inherits command of an elite team of human fighters — including dorky-but-dangerous Edwin (Topher Grace) and tough-but-beautiful Isabelle (Alice Braga) — as they are hunted by a race of ruthless alien trackers known as Predators.
Being a fan of the original as I was, a sequel that was practically 20 years in the making almost seemed too cheesy to be true! Sadly, it just made me miss the governors and Apollo Creed so much more.
Director Nimród Antal does a very good job here playing with a formula that we already know, and making it very fun to watch due to his incredibly fun style. Antal knows how to make a film entertaining with some really cool visuals and some slick production designs that actually add a lot more to the environment, as well as the story and the action.
The first 30 to 40 minutes the tension is fully raised up as the characters are trying to gather up what’s going on, and what’s going to happen next, until the CGI dogs come out and it’s killing time! But then that energy is suddenly lost so we can have some down-time for these characters to talk and so we can actually care about them. This was fine since we need character development for this type-of film to actually give two-shits, but by the second or third time they have some down-time it’s nothing but annoying considering the fast pace that it goes through sometimes.
The premise itself also starts to fall into the usual and predictable way the first one originally panned out which was kind of expected, but for some reason I still thought it wouldn’t happen. Every character gets picked off one-by-one, the kill count goes up and lands on the characters you would expect it too, and the premise pretty much turns out the way you would expect it to. Also, the way these people begin to find out what’s going on here is kind of far-fetched considering a lot of it is trying to date back to the first one and seems nothing more than just to reference that superior film.
However, as bad as some of the writing and pacing may be, I still found myself having a fun time here especially with the action and just how it kept the pace going at a rapid speed. The predators this time around are also something that are a lot more menacing, and for once I actually just wanted those mother-humpers dead rather than not caring one way or another. I thought the way they were dudes in costumes, and not just CGI effects made it incredibly realistic (well, as realistic as this material can get), and kept me further excited when the action scenes were going down.
The characters may be more of character devices rather than actual humans, but the cast surprisingly makes it all better. Adrien Brody is fine as the tough-as-nails Royce, and although he’s the main bad mofo, I never really felt like he was in trouble; Alice Braga does a good job of keeping up with the dudes as Isabelle; Topher Grace is kind of funny and extremely dorky as Edwin; and Laurence Fishburne shows up about half-way through the film to show that he is still Morpheus after all these years and is pretty good but I just wondering one thing: why was he so fat when his character had been on that “planet” for so so long? I never understood but then again, the writing didn’t really seem to care either.
Consensus: The pacing may be off, and lacks any genuine surprises as well, Predators still has enough action-packed sequences, cool visuals and production design, and a quick pace that feels like a better sequel than those other pieces of crap that have come out in the past.
An apocalypse with no zombies. LAME!
Contagion follows the fast progress of a airborne virus that is lethal and kills within days. As the fast-moving epidemic grows larger, the worldwide medical community runs and races to find a cure and control the panic that spreads almost faster than the virus itself.
It’s been awhile since director Steven Soderbergh has gone back to the scale of Traffic, and to be honest, it’s kind of a good thing since he does get a little out-of-hand sometimes.
Soderbergh fully explores what would happen if a deadly virus were to hit the planet in today’s society and just how the government, scientists, people, and every single person known to man would react. I just wonder how the media would actually handle this virus and what they would do to spark it up and gain attention. This film shows that as well as the well the panic that would travel throughout the world, and just what everybody would do if they almost couldn’t touch anything.
However, the story never really goes anywhere and instead of actually being immersed in all of these characters, I never felt moved by this story at all. What the problem that Soderbergh usually has with many of his films is that he tells a story, and instead of allowing us to feel something for what’s going on, we just feel like we’re along for the ride with Soderbergh. And if I was in for a ride like this, I wanted to go on a new one.
There were moments were I felt that sort of paranoia and feel that the film was striking for so very very much but in the end, nothing here really kept me involved with this story other than the fact that everyone seems to be dying, and I couldn’t really care that much. Soderbergh has this film go on at a slow-pace, which isn’t really bothersome to me in other films, but when you have a film that seems to just move along its pace with no actual connection or emotional feel, then I just get a little, dare I say it, bored. I can’t believe it either, but for some reason, there were times when I checked the time just to see how much longer of the virus we had left.
Though I must say, when the story didn’t keep me going, I still felt a bit affected by the technical aspect of this whole film. Soderbergh shows that even though he may not be able to get this story in your hearts, he will get it in your mind with some really great visuals and camera-tricks that actually made just little scenes of a door-knob or a fork so terrifying and showing how by touching each item with your hands, you can spread the virus more and more. The score that was done by Cliff Martinez actually adds an under-lining tension to a lot of the scenes where people are just walking around and gets you in this full feel of just fear of everything around you.
The ensemble is also one of the best that Soderbergh has shown as of late, and even though they don’t do an amazingly perfect job, their altogether pretty solid. Matt Damon is good as the loving father, Mitch, who plays that everyday man put into a radical situation and gets some really good scenes going here; Laurence Fishburne probably does his performance in the past couple of years as Dr. Cheever, a guy who has so much on his plate but still seems to somehow have it all together and can still do his best to save others he wants to, even as manipulated as he is by the government; and Jude Law is probably the best out of the whole cast as a know-it-all blogger that is all about spreading the real truth, while all of these government officials keep the truth away to keep getting more and more money. His story was the best and I think I actually connected with it more now that I’m becoming that little rebellious teenage pissant nobody wants to deal with.
The ladies here are also good but don’t show up as much as the dudes. Marion Cotillard‘s performance as Dr. Orantes is good but her character is in the film about every 30 minutes, and when her time-limit is up, we find out nothing that has happened to her. Kate Winslet is really good as Dr. Erin Mears, the CDC’s “detective”, and brings a lot of emotional weight to her character for us to actually care about her, even though her character’s motives aren’t clear; and Gwyneth Paltrow is here for about 10 minutes and basically is just there to look sick and have foam pop on out of her mouth. I still don’t know why her character had to begin the film with her having any sex and therefore cheating on her husband. The rest of the cast has some notable faces such as John Hawkes, Bryan Cranston, Jennifer Ehle, Elliott Gould, and a random Demetri Martin.
Consensus: Contagion has an impressive ensemble and makes you feel as if you are in a world of fear and panic during this epidemic, but you never actually feel totally involved with this story, and more of just a watcher of Soderbergh’s annoying way of showing how much cool science stuff he knows.
Now I know what’s going through my body when I’m pinching a load.
40-year-old man (Bill Murray) who’s the host to various organisms, tissues and blood cells all trying to do their assigned tasks. Chris Rock provides the voice for Osmosis Jones, a daffy white blood cell who tries to police Murray’s body.
I remember seeing this film back in the day when I was about in 2nd grade, and I loved it. The poor thing about this movie is that it made about $12 million, and it cost about $75 million to make. So does this still hold up as a good for me? Oh yes indeed.
The best thing about this film really is the animation. I liked how it looked, and overall I liked the story, and the action it provided. Your inside of this guy’s body, and you see how all these little cells act like humans, and do human-like things, except their in a human body, and their just a bunch of cells really. The action is also fast-paced, and you can’t help but be entertained by everything that’s going on in the body, it’s just a shame that when we pan out of the body, that this is where the film is most weak at.
The screenplay is not so good. There are a lot of dumb, stupid, and just plain grotesque toilet humor jokes. There’s non-stop farting, burping, snot, sneezes, and hell even a pimple bursts. That’s where I draw the line, cause that ish isn’t funny, that’s just plain old disgusting. I guess I don’t know what else to expect from gross-out humor kings The Farrelly Brothers, but at least some of the other disgusting stuff is funny, this is just stupid. The human parts are actually very boring compared to the animation, probably cause their both directed by two different people.
Chris Rock does a good voice job with Osmosis Jones, and doesn’t bring too many of his blackness to this in order to bring laughs from the more African-American viewers. David Hyde Pierce was such an odd choice for this, but he really does shine, and bring a lot of comedy with his signature delivery. You also have Laurence Fishburne playing the cool, bad-ass villain Thrax, and he does a very good job too. Bill Murray really isn’t that funny in this movie, probably because he plays such a bum, and does nothing but basically kill himself in this movie, he wasn’t very exciting to watch on screen.
When I was watching this I couldn’t help but remember all the good old times watching this movie with all my buddies, and laughing at the fart jokes in this film. But as I’ve gotten older, I’ve come to realize, fart jokes, done right are funny. Still, any movie that can bring me to my child-hood is A-ok with me.
Consensus: Osmosis Jones brings me back to the good old days of when I was a kid, with its awesome visuals and action, but doesn’t satisfy when it turns to the human aspect of this film, and it’s non-stop array of terrible potty jokes.
If this is what college is like, well I better start taking boxing lessons.
College is a battleground in the hands of writer-director John Singleton (Boyz N the Hood). As several students make their way through school, they find themselves traversing a minefield of race and sexuality. The stellar cast includes Laurence Fishburne, Ice Cube, Jennifer Connelly and Michael Rapaport.
Higher Learning is a very underrated film for many reasons. One of the major reasons is the fact that it’s directed by John Singleton, who everybody considers a one-hit wonder, because of Boyz N the Hood. That is all bull-crap, because he does a good job here as well.
One of the best things about this film is that it’s script really is amazing. Singleton does a good job at combining all these little, inter-twining stories, that each show conflict in every way. There are always problems with sex, race, and heritage, everywhere we go, and we are shown that it can always lead onto something more serious than we originally think it will. Racism is never a good thing, and through this we see how both whites, and blacks, criticize one another, and how that leads onto more serious consequences.
The problem with this film is that Singleton’s direction kind of gets distracted by the middle, and you can see that he doesn’t know what to do with all of this story-telling in one movie. He has a strong message, no doubt about that, but he doesn’t know how to deliver it. He steps into way too much melo-drama, that seems misplaced, and handles bigger issues than he should be. I will admit, he keeps the film interesting, but there are parts in this film that just had my head turned sideways, and too cliche.
I did like Singleton’s style however. He’s a very energetic director in this film, and there are some nice shots that show emotion, like how dark this world can be. The campus he filmed this on seems so real, and adds a lot to the realism this film was going for, especially when you got all these young adults running around, drinking, having sex, and causing havoc.
The performances here are actually quite good. Omar Epps never shines away from being stunning at all. Ice Cube is good with what he does, but doesn’t show up enough, and literally is gone for about 30-minutes of this film, which is odd considering he has top-billing. Laurence Fishburne is very good here as Professor Phipps, and the character is very smart, witty, and true to himself, and Fishburne handles that pretty well. Kristy Swanson is good here, as the shy, naive school-girl, that just wants peace, and Jennifer Connelly kind of got annoying after awhile. She would show up at random times, and then we had no idea why her character was there in the first place. My favorite performance of the whole film was Michael Rapaport, who does a great, and strong job at playing this weird, lonely, and out-of-place dude, that soon follows in with the Neo-Nazis, and you see how he transforms into something more. Every time he’s on screen, you can feel the tension, and presence within him, and it sucks that he doesn’t get much of a credit in today’s world, cause he knocks this one out of the park.
Consensus: It has its flaws, and problems, but Higher Learning has a great message, that is shown with its terrific script job, and acted so well, that you almost forget your watching a fictionalized film.
A B-grade Reservoir Dogs.
Armored truck guards Mike (Matt Dillon), Baines (Laurence Fishburne) and Quinn (Jean Reno) turn against one another after their plan to steal $10 million from their own company goes seriously haywire. A witness throws a wrench into their seemingly flawless strategy, so each man scrambles to save his own skin — whatever the cost to the other conspirators.
The film starts off very, very slow, and I was just already sick of this movie by the 30 minute mark, cause it was all the same predictable, same crap, I have seen before. But then as we get onto the heist, things really do pick up, which I was surprised by.
Director Nimród Antal (what a silly name), directs this film well, because he actually creates a lot of suspense with this film, even though most of it is, a guy in a huge truck, that is just waiting to be released. He does a lot of cool camera tricks that put more suspense within the film, which I was surprised by, and there is even some cool action sequences, that look pretty cool.
The problem with this film is that the suspense is totally in this film the whole time. By the last 20 to 30 minutes, you could see where this film was going, which was kind of a bummer since I was on the edge of my seat before that. Also, the film is only about 88 minutes long, which kind of blows, considering the ending does feel rushed, and if they wanted to, they could have made more interesting character spots, for these guys, so we could have cared more about them, when something bad happened to them.
Columbus Short does a good job in the lead, providing a lot of emotional depth to his character, considering the film allows him to do this. Matt Dillon is convincing as the evil, and utterly bad-ass deuche bag, that basically puts all this together. Laurence Fishburne does a good job at playing the big, mean guy that we all know and love him for now. Jean Reno is good also to see work in something that makes him menacing again, instead of these clown roles, he’s been doing lately. Milo Ventimiglia has one good scene, where he shows a lot of emotion, and it was good. Skeet Ulrich (aka Billy Loomis all grown up), does a good job here too, surprisingly he has a lot of screen time given to him, and does a good job with it.
Consensus: It may get way too predictable by the end, and lose its story, but compelling performances from a good cast, and some tense filming, makes this old-style film, better than expected.
One of those trippy war films.
Francis Ford Coppola’s epic adapts Joseph Conrad’s Heart of Darkness to the Vietnam War, where special operations Capt. Willard (Martin Sheen) must travel deep into the Cambodian jungle to locate and kill the mysterious — and insane — Col. Kurtz (Marlon Brando).
The one thing right away you will notice about this film is that it is not your typical war film. And that is a good thing, but also a bad thing.
The best part of the film is just the amazing visuals that inhabit this movie from start to finish. The vibrant colors that Ford Coppola use, especially at the end, all convey a sort of emotion that nothing is right and you are in hell where there is no way out.
The film is a lot more trippier because its also about the haunting fear of the war. I liked this part and yet I thought it was pretty much goofy. One reason was because I feel like there were times where the film could have succeeded with being a natural war film with nice war scenes, but instead gets into this weird world by the end of the film that we really have no idea about and its kind of freaky, but also unrealistic.
I have to give most of the credit to director Ford Coppola who basically directs this film with sure power and makes sure no detail is left out. The way he lights his scenes, and makes them look is beautiful, but just the overall setting especially the one helicopter sequence which really shows some great film making. Ford Coppola gives you this sense of madness that is going around at this time, to a point where you feel as your going mad with these soldiers as well.
The young cast is awesome here with recognizable faces, but not so much of recognizable performances. Sheen is the fore-front of this film and brings out a lot of craziness with his character, but doesn’t get too nuts and stays sane most of the time. It was funny to see all these performances from all the actors so young like Laurence Fishburne, Harrison Ford, and a great Robert Duvall. But the best here that will leave a mark on you at the end of the film is the always great Marlon Brando. The whole movie is basically all about him waiting to be seen and the one scene when him and Sheen finally meet is just shot so perfectly, and after that Brando has a short monologue which is just so perfectly delivered gave him so much more gratitude by the end.
Consensus: Apocalypse Now is not your typical war film, but has a fearless direction from Ford Coppola, who gives us these beautiful colors on-screen, a haunting setting, and brings out great performances from its young cast.
Reason why I don’t take pills, or trust guys that wear sunglasses indoors.
In this complex story that aspires to mythology, a computer hacker (Keanu Reeves) searches for the truth behind the mysterious force known as the Matrix. He finds his answer with a group of strangers led by the charismatic Morpheus (Laurence Fishburne).
This movie is someting of a sci-fi classic. It features so many great special effects that look so unreal at points that you don’t even know how they did it, even until this day. The Wachowski Brothers really make something extraordinary here by blending all these different kinds of gneres together. There is all this cyber-punk stuff going down, mixed with Bruce Lee kung-fu action fighting, and a little bit of noir mixed with a scene of spaghetti western here.
The way that the special effects are used are so beautiful in the way they look. Wachowski Brothers pretty much just use about anything from models, to cuts, to name well they used it and all of basically works here. I mean they took almost every 20th century sc-fi material they could get and just make such a run for it, its wonderful.
The Wachowski Brothers make a very good attempt at saying something that we have seen many times before, but never like this. That is if reality is just something we are living in our minds and if so how do we run away from the dream to make it real. I give them major props for trying to say something here but it’s kind of a let-down with its story and pay-off. That’s why sometimes I felt the script could have been so much better than what it actually was, because so many bad lines are thrown out, I just had to laugh at times.
The action scenes in this are highly exceptional and were probably the best parts of the film. The fight scenes are filmed in such a way with stunts that happen so out there that even though there hard to believe there still very awesome. Wachowski Brothers film the scenes by using all these different cuts and showing the action as it happens rather than just having one scene and go back and forth to another.
Say what you will about Keanu and how much of a terrible actor he is, but he was born to play Neo. He is so cheesy with his confused act and ultra-cheesy one liners that its hard not to see him as The Chosen One, cause he handles it so well. Laurence Fishburne here is great as Morpheus as the one leader who never loses his patience and mind no matter how much crap is going down. Hugo Weaving gives a very sinister performance here as Agent Smith who is engagingly odd, and plays one of the best and most unusual villains of all-time.
Consensus: The Matrix has all the great things a sc-fi film needs with beautiful cinematography, awesome and exciting action, and good performances from the cast, even if the screenplay does seem a bit of a let down.
Thee boys reunite over a lost childhood, in both ways.
Tragedy reunites childhood friends Sean (Kevin Bacon), Dave (Tim Robbins) and Jimmy (Sean Penn) when they’re linked together in the Boston-based murder investigation of Jimmy’s teenage daughter. But while detective Sean works the case, Jimmy launches his own quest for the truth.
Mystic River is Clint Eastwood’s 24th directorial effort and it is one of his best. This is an extremely well-crafted and powerful film that shows us the real feelings of a childhood lost. Mystic River is based off of the novel from Brian Hegeland which works both as a taut thriller and a important character study.
After seeing all, the critical acclaim this film has gotten I will say that I was expecting to be taken away with one of the greatest films I have ever seen. But to be truly honest I wasn’t. Much of the story is great but there are some plot holes that I just didn’t believe such as the plot concerning Sean and his wife how she always calls but doesn’t say a word. Also Tim Robbins’ character as a young boy was molested, and throughout the whole movie he just acts like a nutcase, and throughout the whole time I was thinking, how did this guy have a smoking hot wife and a kid.
I liked how the film shows how these three men’s lives were changed when the incident with Tim Robbins occurred. The film isn’t a fast-paced thriller, but features elements that everything mysterious and wrong all lurk in the air.
Its a tremendously powerful film about the American tragedy that features characters that I did actually believe. I felt like the setting they were in was very true and actually was a character in the movie itself, and how each character reacts with one another felt true as well.
The performances are what really captivated me in this film however. The whole star-studded cast does a great job and all the performances jell together really well when their all on screen at once. Sean Penn gives one of the best performances of his career, and shows that he can take your typical average working American and switch him into something more than just that. There is a scene where he finds out his daughter has been killed and it is amazing to see his reaction, that scene though so early in the film kept me standing in my one spot. Tim Robbins does a great job as well despite his character being a little nutty, but he plays him real well.
The problem with this film that ultimately killed it for me was the ending. I don’t want to give anything big away but the ending was total junk. I felt that by the end of the film it was supporting murder, and vigilante justice, and didn’t make any sense or create a feeling of anything was right in this film.
Consensus: With some upsetting plot holes, Mystic River is well-acted, suspenseful, and full of great emotional power that shows a great portrait of real characters in real situations.