God, I wish I was as cool as these guys. I seriously do.
Dapper Danny Ocean (George Clooney) is a man of action. Less than 24 hours into his parole from a New Jersey penitentiary, the wry, charismatic thief is already rolling out his next plan. Following three rules – don’t hurt anybody, don’t steal from anyone who doesn’t deserve it and play the game like you’ve got nothing to lose – Danny orchestrates the most sophisticated, elaborate casino heist in history. This is where the fun begins in Ocean’s eyes, and you know what? His eyes do not deceive him a single-bit.
Heist flicks are and have always been a favorite of mine, and to feature a cast with the likes of Clooney, Damon, Cheadle, Pitt, Mac, Reiner, and even Affleck (Casey, that is), you know I was even more excited because it seemed like the perfect-opportunity for a bunch of guys to just pal-around, have a good time, and pull-off some neat-o heists. However, just to make sure that this isn’t one, long bro-sesh from start-to-finish, we got Steven Soderbergh at the helm to keep everything under control and honestly, what better man to do that then the guy who has made one of the greatest heist/crime flicks of all-time, Out of Sight? Well, you could probably argue Tarantino or Scorsese, or plenty of others, but if you were to really get down to the nitty-gritty of it, I think you would be pretty damn fine with having Soderbergh behind it all, because I definitely was.
Having a guy like Steven Soderbergh doing your film means one thing and one thing only: it’s going to have a crap-load of style. And that’s not really a bad thing at all, because with a generic and relatively conventional story like this, you need that to add more pizzazz and spice to the whole-product, even though it’s obviously apparent that’s what Soderbergh is relying on the most. However, it didn’t get in the way of material and you can’t help but just love the fact that Soderbergh gives the flick a more-polished look than you are used to seeing with heists, but also realize that it makes the setting it takes place-in, all the more beautiful and smoother in it’s own, coolio way. Soderbergh is the man of being cool, looking cool, and filming cool, and he was definitely the perfect-choice for material like this.
There’s also a great-deal of fun and entertainment that Soderbergh brings to this flick and it’s not just all about the style, either, it’s more about the actual heist itself, and keeping you constantly wondering, guessing, and figuring-out how it’s all going to play-out in your mind and on-screen. Soderbergh definitely does a little-job of trickery here and there with this heist and the twists and turns it takes, but that just adds more to the overall enjoyment of what we all see and it’s perfect since everything until then, was all just one, big lead-up to what was going to go down. We see bits and pieces of how this heist is going to go down, but not enough, so that when the heist does go through and we see everything that goes-down, we’re not only surprised, but pretty gripped to our seat, as you don’t really know how it’s going to turn-out for this cats in the end. Sooderbergh has as much fun with this as his cast does, but by doing-so, he allows us to just revel in his enjoyment in making the material and it’s no surprise that the guy came-back for 2 more of these flicks. However, more on them later as the reviews keep on coming, so just you wait DTMMR readers/follows out there!
Topping-off this cake of coolness, with a sweet, little cherry on-top is the cast that is filled to the brim with the coolest mofo’s on the planet, and some, you have yet to even know are cool just yet. George Clooney is the brains behind the whole operation as Danny Ocean and is cool, lean, and suave, exactly as we know and love him to be. Clooney sort of takes the background in this flick and allows the rest of his cast to show-off and do their thing, but whenever he gets a chance to show why he’s so cool, he does it with perfection. Damn that George Clooney. Playing the “other” brains behind the operation is Brad Pitt as Rusty Ryan, a dude that knows it all, can walk the walk, and talk the talk. Pitt’s good at playing cool and smart, we all know him for that, and we all love him for that. ‘Nuff said about that. Matt Damon is the new-blood of the gang and does a great-job at playing up that cocky-rookie look to him, while also being able to put-up, when shut-up time is right there, in front of his face. Not the most memorable performance from Damon but the guy sure as hell can act and make any role, seem like the perfect-fit for him.
Playing the opposite-side of these fast-cats is Andy Garcia, aka, the guy who owns the casino that they are robbing, Terry Benedict. Garcia is a tough-guy that you really feel like can’t be out-smarted, no matter who the person/people doing the out-smarting are. Garcia’s got a lot of intimidating-looks in those eyes and you never quite know if he’s going to pull-off the win in the end, or just give it to Ocean’s dudes. Once again, it’s a tense-ride to the finish that you never quite know where it’s going to end-up or how, for that matter. Julia Roberts is fine as Benedict’s gal/Ocean’s ex-gal, but does her usual, “I’m-Julia-Roberts-And-My-Shit-Don’t-Stink” act that some love her for, some hate her for, and some are just tired and bored of her for playing so much. Me, I linger somewhere around the latter and as juicy and spicy as the scenes with Clooney may be, her character is still Julia Roberts, playing Julia Roberts.
Everybody else in this cast is pretty damn fine as you’ll see a crap-load of familiar faces pop-up, do their thing, and be done with it and continue onto the road. Seriously, everybody is good except for Don Cheadle as Basher, who is supposed to be channeling this wry, British-accent that goes in-and-out like a you know what, and is even more distracting to this character, because every time he’s talking, it just sounds like Don Cheadle trying hard to sound British. And yes, Cheadle does have a very distinctive voice that is easy to point-out as to when it’s real, when it’s being fake, and when it’s trying to be British. Oh well, I guess this cat needed to have one bad performance to throw in there for his whole filmography. Bastard.
As fun and exciting as this flick may be, you really do just end the film, happy as a fly, and continue on with your day as if nothing happened. In a way, that’s not such a terrible thing to have in life, considering it’s a happy-thought, but in other ways, it’s a bit of a disappointment considering the cast and crew that was on-display here. Yes, it’s fun, exciting, and entertaining for the 2 hours it’s alive and well on the big-screen, but other than that, you don’t have much else to really hold you over or make you think of anything afterwards either. I don’t know, maybe I was just expecting a bit too much more than I was given, but I definitely feel like there should have been more for me to seize-onto at the end, no matter how conventional or obvious it was trying to be.
Consensus: Ocean’s Eleven is no game-changer in terms of heist movies, but is still entertaining, fun, exciting, well-acted, and just really, really cool, almost to the point of where you feel cool for watching it but you soon realize, that you’re just a poor college student who drives a 2005 Scion, and has about $20 in your wallet as you speak. Yeah, I’m speaking from my point-of-view, but if only I wasn’t. If only dreams really could come true, after all.
The Ultimate Battle: Salesman vs. Farmers. Let’s get’s it on!
Matt Damon plays a salesman for a major natural gas company (so stow the “propane and propane accessories” quote) who descends upon a small town to tap into it’s natural resources, but finds himself having a bunch of problems with the locals, especially by a grassroots campaign led by another man (John Krasinski).
The topic of “fracking” is an act that has been brewing-around for quite some time and even though there have been some documentaries that talk about it, here and there, it was only a matter of time until Hollywood got their filthy, dirty paws on it and made a motion-picture, cinema-trip out of it. However, I don’t know how “Hollywood” Gus Van Sant is now, but hey, he made Good Will Hunting and that counts, right?
In case you aren’t familiar with the term, “fracking”, don’t worry, the film will let you know, every, single 5-minutes, too. It obviously seems like an action that makes people happy and filled their wallets/bank accounts, filled to the brim with moolah, but also, destroys the environment around us and makes those pot-smoking, peace-loving hippies all uppity, uppity. However, knowing this before-hand won’t do you any good and to be honest, neither will this flick because all of it just really seems to hit you over-the-head until you can’t take no more. Matt Damon is obviously a very political guy that likes to have his thoughts and opinions heard for the whole world, but maybe his script that he co-wrote with John Krasinski and Dave Eggers was a bit too much for him, or anybody else to really muster.
Instead of making this movie just one, big “message movie” that likes to talk a lot about what it’s declaring, Damon and his co-writers try their hardest to make us feel like there’s another story here worth watching and feeling something-for, even though we are all being preached-at from the highest choir. That highest choir, just so happens to be A-list actors and producers that may know a thing or two about how to make a good flick, but don’t know a thing or two about how to make one that can coincide with the point/message you’re trying to get across. It becomes over-bearing and by the third time that Damon’s character states, “I’m not a bad guy”, you start to think otherwise because who would really go on and on this long about a topic and a solution that could have been figured-out in a 5-slide Power Point production.
However, a 5-slide Power Point production is probably how long, in-fact, maybe even less, this flick could have been predicted in. Right from the beginning, we know how it’s going to start, how it’s going to coast-on through it’s story, and sadly, how it’s all going to end and what revelations are going to be made by that time. Yeah, there are some nice twists and turns that Damon and co. throws at us for good-measure, and mainly in hope to keep our eyes awake and our minds attentive to what’s going on, on-screen, but doesn’t do much good other than seem obvious. The message is obvious and so is the plot and that’s why I’m so surprised that Damon even co-wrote an intelligent script like Good Will Hunting because all of that fun, all of that flair, and all of that emotional-truth that was stuck underneath that whole flick, is barely even seen here at all. In my honest to god’s opinion, it’s all because Big Ben wasn’t around, and instead, is off doing his own thang and making a name for himself. Take notes, Matt. Start directing movies and see how current and cool you can stay.
I will say one-thing about Matt Damon here with this movie, that even though his script may not work to the best of his, or the film’s ability in keeping us interested the whole-way through, Damon’s performance definitely does and the guy once again shows why he is the most dependable actor, working today. Damon’s character, Steve Butler, may have an obvious-route he’s going to drive-on about half-way through, but Damon still keeps you on-edge, wondering when it may actually happen and whether or not we are going to be able to believe it or not. In a way, we do believe it, and that’s mainly thanks to Damon’s top-notch skills as an actor, while in other ways, we don’t just because it’s so conventional, but you can’t go wrong with Damon and the guy knows how to write some great lines, even if the only great lines are for himself, and him only. That damn Matt Damon! He’s always so stingy!
Playing his enemy, of sorts, is John Krasinski as an ecologist that challenges all of Butler’s way of living and making a business. Krasinski rarely ever plays dark roles like these and it’s great to see him really work with that aspect of his acting, while also making sure to keep his comedic-abilities in-tact, as well. I wish that Krasinski was given more than to just fuck around with Damon, in a way that makes it seem like he stole his girlfriend after Junior Prom, but with what he’s given (that he practically gave himself, if you think about it) and what he’s able to do, Krasinski does a very nice-job at it, and I really hope the guy continues to take darker, more-dramatic roles like these because even though that face may always be smiling and shiny, there’s still some darkness that’s waiting to just latch-out from underneath.
Frances McDormand plays Damon’s cohort that seems to be non-other than McDormand doing what she does best: the cool, older gal that still knows what it’s like to be hip, with it, and always one-step ahead of the dudes around her, no matter what it is she may be dealing with. Maybe that was a bit too much of a lengthy-synopsis of what type of characters she usually plays, but it’s the truth most of the time, and it’s the truth here and it’s still fine and dandy with me, because the girl is good with the act. She doesn’t seem to have much more going for her other than the fact that she may just be the brains behind the whole operation when it comes to what it is that they do for a living and how they make their business, but McDormand makes the most of it and in a way, would have liked to see a whole movie dedicated to her, where she was going around and dealing with this personal and professional-crisis, rather than seeing dudes like Matt Damon go through with it. Boo the men! Yay the ladies! That’s how I look at it here.
McDormand isn’t the only gal that gets to show the boys a thing or two when it comes to acting, nope, that honor also goes to Rosemarie DeWitt as the wild child of this small, rural town in Pennsylvania, who also just so happens to be the hottest, single-teacher in the whole world. Not just PA, the whole damn world! DeWitt has been on my “crush list” as of late, and she’s great here, especially in her scenes with Damon who just goes to prove the fact that the dude can make any great chemistry, with anything, as long as it has tits and a vagina. Seriously, they are great together and if it wasn’t for the whole fracking-issue popping-up every 5-minutes, I would have probably enjoyed their scenes together a whole lot more.
The rest of the cast is pretty fine, even if it is a shame to see how little they are used here. Hal Hollbrook is great as the knowing, elder farmer of this small-town that knows what fracking’s all about, why it’s not good, and why he doesn’t like it. Rather than making Hollbrook the annoying and obvious voice-of-reason throughout this whole movie and have us dreading his presence, Hollbrook actually comes-off as a sweet and tender, old-man that has come to terms with the way the world used to be and what it is eventually, going to turn-out to be. It’s sort of sad since how this hits so close to reality and what better person to deliver this reality-check than non-other than Mr. Hollbrook himself. Seriously, when the hell is this guy getting that Oscar!?! Lucas Black and Scoot McNairy show-up here as well, as the resident rednecks of the small town and as good as they may be, are still a bit over-the-top in the way that they are type-casted as a bunch of dumb idiots that work on a farm and don’t give a crap about anything else other than the big olde bucks. I’m sure that some of this is true, but it doesn’t need to be seen to try and get a point across even more. Come on Matt! Come on John! You should know better! You get your caviar and champagne from natural food stores!
Consensus: The topic of discussion in Promised Land is definitely an important one and what Damon, Krasinski, and Eggers get-across about it is an important-one, but it constantly hammers you over-the-head with it, that you begin to lose a care for what they say and an even bigger loss of care over the predictable story, and what direction it goes in.
This is exactly what a teenager’s life is like: confusing as hell.
Anna Paquin stars as a 17-year old girl named Lisa Cohen who has to deal with her regular life as a conflicted teenager as well as the moral, legal and sexual pitfalls of the adult world. She struggles with what is right and wrong after taking witnessing the seemingly accidental death of a woman and fighting the ever-building guilt resulting from her role in it.
Holy hell is it a total surprise that I actually got the chance to view this movie! This film has been basically sitting on the shelf for about 6 years now, all because of the fact that writer/director Kenneth Lonergan had an over 3–page script, that made the movie run for as long as 3 hours. Apparently, the studios didn’t like this idea he had and they made him try to shorten up the run-time to make it under 2 hours. Surprisingly, nobody got their way because the film got cut-down to a 150-minute time-limit (all thanks to the master of swift editing, Martin Scorsese) and despite a pretty big-name cast, the film was released in limited theaters, barely even seeing the light of day. Thankfully, that’s what DVD-viewing is all about baby.
So after going over the whole history of this movie for you in that last paragraph, you would think that a production this troubled goes two ways: either it’s a unknown masterpiece that only people who go out there and reach for it, will love until the day they die, or, it’s just a bunch donkey crap, that should have just stay shelved. Somehow, the film is somewhere in the middle and I don’t really know where I stand on this flick just yet, however, being the dedicated critic that I am, I’m going to give it my all just for you kind souls out there who actually give a crap what I have to say about this little indie.
There’s a lot to this film, maybe almost too much, but from what I was getting most of the times with this flick worked for me because of Lonergan’s superb writing. This is a very dramatic but heartfelt story about a young girl who’s coming to terms with the world she lives in and she’s starting to realize just what this world is really like, for all of the good and for all of the bad. Obviously this isn’t something new, daring, or original but Lonergan makes every scene, no matter how random or awkward, seem real and to be honest, a lot of these scenes and what he’s having these character say, did ring true to me.
I am not a young lady, never have been, and maybe never will, but I can definitely say that a lot of Lisa’s problems that she goes through here aren’t just what young ladies go through, but young adults in general. Everybody around you just annoys you, you want to get your point out there to the best of your ability, everybody is out to get you, and at the end of the day, you just want to be understood and listened to. This is how a teenager thinks and Lonergan gets us inside the mind of a teenager, by showing us your typical, everyday one that just so happens to be dealing with one of the most traumatic moments in her life so far. She’s confused, she’s guilty, she’s angry, she’s horny, she’s misunderstood, she’s scared, and she’s so many other things, but this is exactly how a young person is, especially when you live in a world like the one Lisa lives in where everybody seems to be just at your neck, no matter what it is you do or say. This provides some real, heart-breaking emotional context for a character that seems so based in her own reality, that you just don’t want to see her have her heart broken when she realizes one thing about the world: it’s not all sunshine and daisies. It’s a cruel, cruel world out there that you may have to be ready to fight off every once and awhile. Maybe that’s a little bit too much of my left-over teenage angst coming out, but it still seems true and reasonable considering the film I’m discussing here.
No matter how great most of that teenage angst stuff may be, the film still feels very stuffed together and I was sort of left wondering why they didn’t just take a risk and end up going with the 3-hour version instead. There is about 4 or 5 subplots here that could have been taken out, but instead, Lonergan leaves them in and has them pop-up at some of the most random parts throughout the flick, without us ever getting a chance to fully feel for them and get behind them. I get it, Lisa’s life is hectic and has a lot going on it, but did we really need those 5 scenes with her and her daddy (Kenneth Lonergan himself in a very greedy role) just talking about random ish? Or what about that little teacher-student “relationship” she may be trying to get with a hot and young male teacher, played Matt Damon? Oh, and let’s not forget about some of the random class-room scenes where Matthew Broderick actually gets mad over a kid totally schooling him in Shakespearean comprehension? There’s a lot of material that could have been easily cut-out here. Or, if they really wanted to, which they obviously didn’t, but if they did, they could have went with the 3-hour version that Lonergan proposed in the first place and we could have had a more coherent and understandable story that lays everything out for you all nice and even.
But even with this edited-down version that were given here, some of it almost feels like Lonergan’s coming on a little too strong with his numerous ideas and messages he’s trying to get across. There’s a lot of discussion about a post-9/11 New York that is very realistic, but also feels very random and pushy, as if Lonergan was trying to find a way to voice his own opinions about what’s happening to the area after that disastrous day, so thought the easiest way would to have kids yell and holler at each other about. Doesn’t feel right for this film, given the story itself, and I think Lonergan kind of loses his head a little bit with what he’s trying to say but after awhile, I just didn’t care and tried my hardest to get involved with this story, as crazy as it could be.
Seeing this movie now, in the year 2012, you have to wonder what a bummer it must have been for Anna Paquin to just see her high-rising, dramatic acting career, go almost to nowhere because honestly, this is a phenomenal performance, if not, the best I’ve seen from her, ever (still haven’t seen The Piano so bear with me for a little while). Lisa Cohen is not a very sympathetic character and she definitely is not a very emotionally-grounded character, and it’s one that Paquin plays up perfectly on almost all-sides. We see Lisa for all that she feels, all that she does, and all that she wants to do, and even though not all of her choices may be the most morally correct, they are still her choices and we have to accept them for what they are because she is a human nonetheless. Paquin was about 23 when this film was made, so it seems a little strange for her to be off playing 17-year olds, but she pulls it off perfectly and makes you believe that she really is this confused and bewildered young woman that just wants to do what she thinks is right, even if it may not have the best consequences for all involved. Yeah, I know that Paquin’s got it big now with her role on True Blood, but this film would have definitely made us think twice about her acting, whenever we saw her kill some dude by kissing him. Rogue reference, in case you didn’t catch on!
While you probably wouldn’t have been able to tell from my whole review, trailers, or poster, this film is much more about Lisa’s mom then it is about her, and I think with good reason. J. Smith-Cameron is somebody I haven’t ever really seen too much of in movies and with a performance she gives here as Lisa’s mom, I have to say I’m going to look for her more now because this gal knocks this performance right out of the park. Even though I do think that some of her scenes, just the ones where it’s her all by herself, could have been cut-out, she still gives us a sympathetic mother character that wants nothing more but to connect with her daughter like she feels like she should, but no matter how hard she tries, she still can’t seem to break the ice between them and get them together, connecting once again. It’s a sad thing to see in a film like this because you know this is how it is for almost all mothers having to deal with young adults in the house and Smith-Cameron plays it up just about as perfectly as Paquin does with her own character. They also fight like a real mother-daughter combo and that’s pretty damn impressive if you ask me.
Consensus: With a time-limit that sort of jams everything together in a very incoherent way, Margaret can sometimes feel like a film that can never make up its mind about what it wants to do or be about, but it’s also much like it’s lead character, Lisa, played to perfection from Anna Paquin. It’s a little-known flick that makes me want to see it again, just as long as I can get a hold of the 3-hour director’s cut. That’s if they actually have one for this movie.
Kevin Bacon can still dance. Don’t be fooled.
Slick and cool kid from Boston, Ren McCormack (Kenny Wormald) moves to a small town where rock ‘n’ roll and dancing have been banned, and his rebellious spirit shakes up the populace. However, Rev. Shaw Moore (Dennis Quaid) won’t stand for it and he lets Ren know about it, every step of the way.
For all of you loyal readers and followers of DTMMR, you all may be a bit shocked to find out that I have never seen the original, Kevin Bacon headliner in it’s entirety. I’ve seen bits and pieces of it, including the awesome dancing-sequences that had me inspired for a day or so, but nothing more than just that really. However, apparently director Craig Brewer has seen it all, and loved it so much that it was the one movie to inspire him to make movies. That’s right: not Casablanca, not Citizen Kane, not even The Godfather, Footloose is the one movie that made this man inspired to make such flicks like Hustle & Flow, Black Snake Moan, and now, this remake of his old-school passion. It’s weird, I know, but hey, if you’re going to have a guy do a remake of a classic, have a guy that loves the hell out of the movie in the first-place do it. Then maybe, most remakes won’t suck nowadays.
The idea of featuring a town that actually “bans public dancing” seems a bit too 1984 the dog days of the 21st Century, but somehow Brewer has it make sense and seem a bit believable. This is a small, earnest town that all know each other, know whats going on, and have an idea of what’s best for the whole community. They aren’t some sort of small-commune that’s sheltered-off from the rest of the world because of their hard-earned beliefs of God, faith, and religion, even if those themes do hit-hard in where this story is coming from. Still, the idea of keeping the original premise in this updated remake isn’t as goofy, as well as a couple of other ideas as well, mainly because Brewer knows what does and does not work in today’s day and age.
Brewer, like his last two flicks before this, definitely knows how to work in a great deal of Southern-grit to his stories, no matter how wholesome or sweet they may be. For instance, the opening title-sequence where we see everybody’s shoes moving around, is a trick that was pulled-off in the original but updated in a more standard, gritty way that would be expected by kids of today’s generation, due to there being a crap-load of dirty, kegs, and beer being thrown-around as if somebody was throwing an old-school banger in the middle of the corn-fields. Oh, those were the golden days. Anywho, that’s not the only aspect of this flick that Brewer updates with his gritty look-and-feel, there’s a couple of other cool instances where we see how the world around us has changed to where these kids could easily want to rebel by dancing and sticking-up for themselves, but in the end, Footloose is about one thing and one thing only: cuttin’ loose and gettin’ foot loose.
No matter how much it may seem like Brewer is putting his own, personal stamp on this story, he still never forgets to remind us that this is a dancing-movie at it’s heart and core, and that’s all that mattered to me. Nowadays, dancing movies are usually recognized by two words: Step Up. But thankfully, Brewer shoves a little bit of his fist in the way of those movies and give us a great deal of fun and entertainment to watch, as all of these kids just shake their asses off like no other. The stunts, moves, and choreography are off-the-charts and as goofy as it may be to see a bunch of 18-year-old kids, dancing like Michael Jackson on crack at their high-school prom, you still can get past it and have a great-old time no matter what.
Also, to make matters even better, the soundtrack is awesome and definitely worth a listen. They start-off things so perfectly by keeping the old-school, Kenny Loggins track in the movie, and then start to dive-away from that and giving us a rawer, southern-bound edge to music, filled with the eclectic likes of David Banner, Quiet Riot, Zac Brown Band, and most surprising of all, and probably used the best: The White Stripes. Yeah, his days of giving Terrence Howard some key rap-tracks haven’t gone away in the slightest-bit, but Brewer still shows that he’s got a knack for putting in some cool-tracks, into scenes that you would not expect to gel so well with. Basically, when you put the combination of awesome music and awesome dancing together, you are bound to get some fun and entertainment, and if you do not for one second tap your toes to at least one second of this movie, you have no soul and need to get this soundtrack, ASAP.
As fun as this movie may be, there are a lot of goofy moments in this flick that seem so damn earnest and self-important with itself, that it’s just really hard to swing-by (see what I did there?). There are so many instances in this movie where I just had to roll my eyes by how silly things were, such as when Ariel, or lead-gal, feels the need to play chicken in front of train to show how much of a lost soul she truly is. That’s stupid, as well as all of the scenes with her deuchebag boyfriend named Chuck, who comes into disrupt things between Ren and Ariel’s hormones, and does exactly that, but yet, it’s annoying as hell. Whenever the guy shows-up, he’s just hammy, obvious, and way too violent for his own-good, almost to the point of where I felt like the guy made the story a bit too dark by some standards. Anytime he shows up, and this movie tries to get all serious and dramatic with me, I rolled my eyes, scoffed at it all, and pretty much didn’t care. But as soon as the dancing started-up and the music began to blast, then I just forgot about it all and had a fun-time. Isn’t that what dancing’s all about?
Casting this movie must have been a total bitch for Brewer, considering the guy has to fill in the shoes for so many iconic stars like Bacon, John Lithgow, Chris Penn, and even Sarah Jessica Parker, among many others, but he does a nice-job in picking just the right names, for the right people, no matter how well-known or unknown they are. Kenny Wormald is a nice-fit for the rebellious and cool kid known as Ren McCormack and handles a lot of the dramatic-stuff, just about as good as his amazing dancing. His infamous infamous “freak out” dance scene seems a bit like parody at-first, but it just goes to show you just how talented this kid is at shaking his rump, and hey, I gotta give him credit for that because lord knows I’d never be able to achieve that. I just hope that Matt Damon or Ben Affleck didn’t catch a glimpse of this movie, or else they’d have a thing or two to teach Wormald about doing an official, Bawhstan accent.
As good as Wormald may be as Ren, the one who really impressed the hell out of me was Julianna Hough as Ariel, the preacher’s daughter. Her character is the most obvious and predictable out of everybody here, but the gal’s still very, very talented when it comes to dancing and being sexy, but she’s also very good in the dramatic scenes as well that makes a lot of her pain and anguish seem real and reasonable. Sadly, I don’t think the girl’s going to get many dramatically-acting offers any time soon, but it’s always good to know that there’s more to her than just a pretty face, a nice body, and a couple of sweet-ass dance moves.
Playing her old daddy O, is non-other than Dennis Quaid who is terrific as the preacher of the little town of Bomont, that not only wants what’s best for his little town, but for his daughter as well. Quaid is good in this role because as much as he may seem like a bit of a stiff that doesn’t budge on anything that concerns going against the sacred book of God, you can start to see a change in him by the end that’s as believable or moving as anything the guy’s done in the past couple of years. Seriously Dennis, you need to get back-out there, man, and show the world what they’re missing-out on. Everybody else is in this movie is interesting, entertaining, and likable, but the only one that really seemed to struggle is Andie MacDowell as Shaw’s wifey. To most of you, this may come as to no surprise whatsoever, but it’s a bit of a surprise to me considering that this chick has been acting for over 30 years by this point, and still has yet to churn-out a good performance. What the fuck, Andie?!?!?
Consensus: Some moments seem obvious, tacky, self-important, and earnest, but in all honesty, it doesn’t matter all that much since Footloose is a fun and entertaining movie that shows some nice/believable character-development, as well as a love and passion for the original source material, courtesy of Craig Brewer.
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.
How hard can it be just to tell this guy who he is?
In the new chapter of this espionage series, Jason Bourne (Matt Damon) will hunt down his past in order to find a future. He must travel from Moscow, Paris, Madrid and London to Tangier and New York City as he continues his quest to find the real Jason Bourne – all the while trying to outmaneuver the scores of cops, federal officers and Interpol agents with him in their cross-hairs.
As you all have probably already read on here before, The Bourne Identity and The Bourne Supremacy were two good action flicks, that did what they did well, and kept me entertained while it was going on. However, they weren’t really anything worth writing home about and I don’t know what it was about them, but they just fly away in comparison to this one. Oh wait, I do know why. This one’s freakin’ awesome!
Director Paul Greengrass brought a new type of style to Supremacy, but didn’t seem like he fully used it to his advantage. Here, that’s a totally different story as it seems this guy took about 5 sniffs of cocaine and washed it all down with 3 Red Bulls, just to get in the same intensity-mode here as Jason Bourne. The last two films have been action-packed and very tense, but this one ups the anty and gives us a nail-biter almost from start to finish. The pacing that Greengrass gives this film is one that never really slows up, one that never lingers, and it’s always one that keeps the adrenaline moving, even if the story itself is just focusing on two peeps just talking about CIA shit and life. It’s a real wonder why most other action films don’t try and use the same type of fast-pace as this one does here, because you really feel like you’re in the mind of Jason Bourne, as he’s running away from these people and as he is getting closer and closer to finding out who he really is. Just a total thrill-ride that never lets loose, which is something I always love with my action-thrillers.
As for Greengrass’s hand-held camera style, it works very well with the material by how frantic it makes all of the action scenes seem. Usually, whenever this type of style comes into an action film, it takes away from the action and instead of making people feel the craziness of the action, they just feel a headache coming on. However, Greengrass has this style down very well and uses it to his advantage not only to give this film a crazy look, but also give the story more and more layers of tension that feel worth it, especially since it seems like this story is coming down to the nitty-gritty of finding out what the hell is going on with this guy.
The problem with this non-stop hand-held camera shit is that the film seems to use it the whole time, even if it is just two people talking. I get that Greengrass is just trying to keep the tension up-and-up by having his camera move all-over-the-place, but when you have a scene of just two people staring at each other in silence, 9 times out of 10, you don’t really need the camera panning in and out of their faces as if we were watching a low-budget documentary. Surprised that I didn’t hate this style of film-making here, but I still found something else to complain about it also.
Another problem I seemed to have had with this flick was that the formula, is somewhat the same and even though that isn’t so bad and noticeable this time around, you can still see certain aspects that just seem lazy. One of these instances is with the hit man that are always assigned to kill Bourne. In each and every single one of these flicks, there’s always that one hit man, who is always the best at what he does it seems and makes it look like he can kill anybody he’s ever assigned to. We get that here with 2 characters this time and it just bothered me because it always seemed like that, in the past, whenever they use it, it just came off to end the same exact way it did before.
For the third time once again, Matt Damon absolutely positively kicks total ass as Jason Bourne. Bourne is one kick-ass character, we all know that, but this time we get to see him actually be a lot smarter with the situations he plans out and of course, we get to see plenty of times where it’s just him taking names and coming one step closer and closer to the truth. In the acting department here, Damon isn’t anything particularly special, but he doesn’t have to be when he kicks this much ass. Bourne is sort of like our 21st-century superhero that just so happens to be a real person, just so happens to have no superpowers, just so happens to be an amnesiac, and just so happens to be able to beat the ever lovin’ tar out of anyone who steps up to him. It’s a great character and it’s a shame that this new one coming out doesn’t feature him for a go-around, one last time. Then again, Damon can get bored of roles pretty quickly.
The others in the cast are solid, too, with a couple of new-comers here and there. Joan Allen returns as Pam Landy but isn’t as much of a sinister bitch this time around and actually shows that she has a heart that cares about Jason Bourne a bit. It’s surprising to see this character actually have a heart and have this much depth considering I was expecting her to just be that ruthless, CIA hoe that everybody wanted Jason Bourne to just bitch-slap the shit out of. David Strathairn is new to this film as Noah Vosen, another CIA member that basically takes the spot of Landy and comes off as a ruthless son of a bitch that doesn’t want to take any prisoners when it comes to finding Bourne. Also, Julia Stiles is also back here as well, and she’s pretty good and makes her character have a lot more emotional depth than you would expected from her in the past two flicks. Shame we don’t see Stiles too much nowadays because this gal can do very well when she has the right script. Be on the look-out for a nice, extended cameo from Albert Finney, as well. That guy is always bad-ass. Even when he happens to be dying in films like Big Fish.
Consensus: Being the best out of the trilogy, The Bourne Ultimatum features plenty of memorable action scenes, a direction that just gives this film a whole new level of intense, and a story that continues to get better and better as more secrets begin to come out and we eventually figure out the truth behind Jason Bourne and who the hell he really is.
Never leave a spy alive, especially if that spy happens to be Will Hunting.
This sequel re-enters the shadowy world of expert assassin Jason Bourne (Matt Damon), who continues to find himself plagued by splintered nightmares from his former life. Except this time, he has a bigger threat in CIA agent Pamela Landy (Joan Allen).
I think it’s pretty safe to say that if you liked The Bourne Identity, you’re liking this one. As simple as that.
Director Paul Greengrass does a great job here with this material because instead of doing exactly what Doug Liman did with the first flick, he molds it himself. The first one without a houbt had action but focused way too much on its plot, which in turn took away from the little action there was. So what Greengrass does is just match the plot development it but tops it off with more action. And when I mean action, I mean action, baby! Yeah!
Greengrass films more than a few of the action scenes with his infamous “shaky cam” method, but it didn’t bother me as much here as I thought it would have; actually, it tweaked the film in just the right way. All of the fights that go down here feel like they were filmed by a drunken sports fan who just wanted to see some mono-e-mono brawls and happened to fumble in the right places for his camera. Maybe that doesn’t sound (look) so awesome right now but it really makes you feel like you’re there watching Bourne layeth the Smackedowneth on all of these CIA agents’ candy-asses. You can feel the action no matter how far away from the screen you are. The frenetic editing Greengrass did here may not be for everybody, especially the ones that were huge fans of the original, but most will appreciate the gritty vibe he brings to the film and if nothing else how good he is at filming a car chase.
This film isn’t all about its action though, because a lot of it actually is dedicated to its plot which keeps on moving and moving the plot along. If you saw the original, you will probably know everything that’s going on here in the first place, so therefore when all of these mysteries start to be brought up, solved, and twisted around like a curly fry, you can’t help but feel like you don’t know what’s going to go down next. So many things are being brought up here but somehow, it all works itself out and doesn’t become over-bearing.
However, as interesting as the story may have gotten to become, it was still pretty predictable in the end which bothered me. Yes, I know that this is all used for entertainment values and anybody going into these types of films expecting anything else but just pure, adrenaline-junkie action is a total dumb-ass, but I couldn’t get past the fact that almost every action sequence would pretty much end in Jason Bourne coming out on top no matter what the odds stacked against him were. Maybe the fact that I also know that there’s another sequel to this one is what had me thinking this too. Actually, that’s exactly what it is. Damn, I just wish I saw this when it first came out!
Other parts of this film I didn’t like was when the film tried to get a little sentimental with some subplot about Boune’s first “job”. I don’t mind an action/thriller flick trying to be more than just that but the film tries to edge Bourne out more by giving him this plot to show that he really is a human and humans make mistakes. It comes up just about every 30 minutes when something strange goes down and when it’s all over, you feel like they totally dropped the ball on it. I don’t want to say how this whole subplot eventually plays out, bu the scene it ended with seemed to have left me a bit of a sour taste in my mouth. Don’t know what it was but definitely didn’t feel too right.
Matt Damon once again proves himself to be a good action star, and an even better action star as Jason Bourne. He is able to handle this “plain-looking” guy style but also be able to come off as a ruthless bad-ass whenever it comes down to him taking on other spies and the CIA. Bourne is also a bit more interesting this time around because we see him go from a defensive position to an offensive one, which allows us to root him on some more as he battles these CIA punks. Go get ‘em Bourne!
Damon is also backed up by a pretty solid cast. Joan Allen is pretty awesome as Pamela Landy because she’s a strong character that doesn’t have to use her muscles to prove her ruthlessness, instead, she uses her brain and that’s a real tough brain to go against. Let’s also not forget to mention that she’s very sexy and a chick I wouldn’t mind going up against myself, if you know what I mean..? Rawr! If you have ever seen Brian Cox play a bad guy before, (which is almost every flick with the exception of Super Troopers) then his performance here as Ward Abbott will just be another example as to know what this dude is capable of and Karl Ubran gets some pretty bad-ass scenes where it’s just him looking all tough and ready to fight Bourne. Yet, none of them ever really stand a chance.
Consensus: Though it misses a couple of beats here and there, The Bourne Supremacy is still a solid action flick because it keeps the adrenaline moving at such a solid pace, that you rarely ever forget what you’re watching and you get more and more involved with the story as it goes along.
All he had to do was call up Ben Affleck and everything would have been A-OK. See what I did there?
Jason Bourne (Matt Damon) is a guy who has no past, may have no future, and who’s memory is blank. But now he is marked for death, caught in a maddening puzzle, racing for survival through the deep layers of his buried past into a bizarre world of murderous conspirators, aka, the CIA!
Believe it or not, but I have never seen any of the Bourne films before and trust me, I do feel ashamed about that. However, I’m not a huge spy guy either so that may have something to do with it as well.
What I liked most about this film and what I thought was very intriguing about it was how the spy dude that the story is centered around, is an amnesiac. This means that this guy has no idea what’s going to happen next, what he’s going to do next, or just whatever the hell is going on in general. Sucks, right? It’s particularly cool to see when he kicks the arse out of these two police officers kung-fu style and not only are we realizing that he’s one mofo to not mess with, but he’s also realizing it as well. I know it’s a little detail in the story but it makes it all the more interesting as we see all of the crazy twists and turns that this film makes without us ever really knowing what may pop-up or come to Bourne’s mind next. Definitely a lot of suspense to be had here and I have to give a lot of that to director Doug Liman, who obviously knows how keep a good amount of tension going on throughout the whole film even when it started to slow down a bit.
However, that’s also my problem with the film because I expected there to be so much more action and ass-kicking, that I was sort of let-down by it all. Don’t get me wrong, there is action to be had here and whenever it does happen, it’s pretty freakin’ awesome but when it’s spread apart very far in this movie. It does give the plot more development, as well as the characters and such but too much of it actually takes away from the film and comes off as a bit, well, should I say, boring. I know the word “boring” definitely isn’t what some of you were probably thinking while watching this flick but there was just something about it here that made me feel like I wanted to see some more ass-kicking, because when it does go down, the film gets a hell of a lot more intense.
What I do think is very notable about this film was the casting of Matt Damon as Jason Bourne. Even though I’m not in love with him, I still do think that Damon is great at playing “the everyday man” and can definitely bring a lot more to his character no matter what the film may be, especially here considering this character is trying to find himself in this big world of intrigue and CIA agents roaming all about. Also helps that the guy did all of his own action stunts and is pretty damn good at it too. The casting of Franka Potente was also pretty neat-o to see too because she gives this film a very European feel and her scenes with Damon actually work with the chemistry they have. I couldn’t help to think that their whole love angle was a little forced though, but I guess when you have a male and a female who are just traveling together for reasons unknown, eventually some hormones are going to start flying all over the place.
I also have to give some love to two vets who are very good at playing villains in almost every film that they do but do exceptional jobs here: Brian Cox and Chris Cooper. Nothing else really needs to be said about them other than they do great jobs as bad guys. Case closed.
The two characters in this film that I didn’t think needed to be here at all were Adewale Akinnuoye-Agbaje as Wombosi and Julia Stiles as Nicolette. The reason Adewale’s character doesn’t matter to the story and basically served this plot for one purpose and one purpose only. It seemed strange that they even had him in here considering it didn’t do anything for the flick other than add another character to the equation, which didn’t even need to happen. Also didn’t help that the dude was over-acting out of his ass and I probably would have liked it just for him to go away in the first place.
The same thing can be said for Stiles in here as well because if you t0ok her part out of the film, it wouldn’t make a single difference to their plot or anything else here. And even when she does talk in this film, she sounds like a little whiny brat that seemed to get this job because of her daddy and it probably was also a little strange how the chick was 18 and looked it when she was playing the role of a CIA underground operation. Just how many other people my age are doing shit like that? If they actually are in the real world, then I need to quit doing this and start applying. See ya!
Consensus: The Bourne Identity does slow down at points, which can take away from the fun of the action that happens here, but is still none the less very entertaining, suspenseful, well-acted, and intriguing with the ending they leave you with which definitely gets me excited to see what happens in the next installments that I still have yet to see. I know, I’m a schmuck.
So does any of this explain as to why gas is up to 4 bucks?!?
This is the story that tells the oil industry from different perspectives such as a CIA operative (George Clooney), an energy analyst (Matt Damon), a Washington attorney (Jeffrey Wright), and a young unemployed Pakistani migrant worker (Mazhar Munir) in an Arab country in the Persian Gulf.
Damn, I wish I was smarter when it came to watching movies because this film pretty much killed me. However, coming from the dude who wrote Traffic, I wasn’t expecting anything less.
Writer/director Stephen Gaghan does the same thing he did with that film and give it the inter-connecting story-lines, with plenty of characters, and all centering around one central topic. This time around, it’s not as good but he still has his moments as writer and director, mostly the latter though. I liked the look Gaghan gave this film: gritty, dirty, and very realistic looking as I actually felt like I was there going from Pakistan to Texas, then to Maryland and back to Pakistan again. Gaghan also some nice moments of suspense and tension here with the script as you know something crazy is going to go down and you can feel the heat in the air rising. However, the problem with all of that is that I didn’t know exactly what or why that heat was rising in the first place.
My main problem with this flick was that I don’t think that this film really was for me. I like to watch a movie to be enjoyed, to see good performances, nice writing, and maybe learn a thing or two in the process, but the problem here is that I didn’t learn anything probably because I didn’t know anything about this topic to begin with. Gaghan knows what he’s talking about when it comes to all of this political mumbo-jumbo about the oil and foreign relations, but I honestly didn’t. Instead of trying to make it work for the audience in anyway, Gaghan doesn’t seem to really give a shit whether or not anybody understands what the hell everybody’s talking about because he’s got some knowledge to drop on us. Gaghan constantly keeps on bringing out information left and right and it was so frustrating after awhile because even though I tried to fill in the blanks myself as to who was doing what to who, I still couldn’t come up with anything and realized that I was missing out on some key plot elements to this film, not like I was going to even know what was going on in the first place anyway.
I guess the blame could be put down on me since I barely knew anything about this main topic, or anything else they talked about here but I honestly think that Gaghan could have at least dumbed it down just a bit. That’s right people, I said dumb it down and I will stand by that statement only for this flick. Hell, maybe dumb it down isn’t the right thing to say, maybe it just needed to be more coherent for an average folk such as myself. Yeah, coherency is what I really meant.
The key audience for this flick who will understand just about everything that’s going on are probably dilettantes, politicians, pundits, and all of the other people that are involved with the government, but for your regular movie goer, it’s hard to understand anything really and I think that Gaghan could have really benefited from some explanation or more time to keep this flick going and making a lot more sense to the wider audience. Maybe this film is too smart or maybe I’m just too dumb, either way, I can’t say that I was on the edge of my seat nor did I have any real clue as to what was going on.
Where the film really did start to pick up though was about the last 30-45 minutes when everything started making sense after awhile. All of the stories start to come together and even though I didn’t really know what the hell was going on in the first place, I could say that the ending was definitely a satisfying ending because I did pay enough close attention to it the whole time. I know it’s a cheat saying that I almost forgave the film for it’s last act, but I still think Gaghan handled it well. Wish I could say the same for the rest of his flick.
The ensemble Gaghan was also able to get here worked very well even though it really comes down to three people: George Clooney, Matt Damon, and the criminally underrated Jeffrey Wright, who are all great and perfect choices to be the anchors for this flick. They are all very good with their roles as is everybody else in this big-ass ensemble too but really, it’s Clooney who shines the most. Clooney got his Oscar with this performance as Robert Barnes, and as good and strong as it may be, I don’t quite think it was pure Oscar material but this guy is going to get a big win in the future so it’s all fine and dandy for now.
Consensus: Gaghan’s direction is well-done, and his work with this big ensemble is also very impressive, but the problem with his script is that it’s way too confusing with all of it’s jargon that will only make sense to people who actually pay attention to this stuff in the first place. I don’t know if it was just me or the flick itself, but something wasn’t going too well here and that’s why I can’t say it’s as great as everybody says it is.
A video-game come to life on screen, but in a good way this time.
Set in the year 3028, many years after the planet Earth has been blown to bits by an alien race named the Drej, a young boy named Cale (Matt Damon) is discovered to hold the secret map of the Titan machine inside of his hand. The machine holds the power to unleash another planet for the few surviving humans still roaming around in space, and the opportunity to re-ignite their evolution.
This may seem like a totally random flick to review but for some odd reason I caught this on my Netflix queue and I haven’t seen it ever since it first came out so I thought it would definitely be a great way to get some nostalgia. Being a kid ruled.
One of the best things about watching movies is how they can sometimes take you out of the world that you’re living in at the present and transport you into this different world with all of its inhabitants and beauty. This is one of the main things I liked about this movie because it takes you out into the galaxy above and around us and shows its beauty and sometimes its darkness. The visuals in some cases may be dated, but they still look glorious because they show these little animated sketches but give it this 3-D look that almost makes it seem like a live-action flick. The film does a great job of combining both styles of animation here which works and takes you to this vision of space that I haven’t seen done before. There are so many great sights to see that it’s hard to just put my finger on one and I almost wish it was in 3-D and released again in 2012 because I think it would actually look even better and maybe get a better box office return.
To add on with the visuals too, the action is very fun and there is some sort of great energy that co-directors Don Bluth and Gary Goldman both contain that makes this flick so much fun. There is just enough story here to make sense but when the shoot-em-up action scenes pop-up, they bring a lot to the film and make it feel like a lot of fun as if you’re watching ‘Star Wars’ in cartoon version. Let me also not forget to mention that there are some pretty cool rock songs courtesy of Jamiroquai, Lit, and even Fun Lovin’ Criminals. I don’t understand why more animated flicks let alone more movies in general just don’t use a pretty up-beat rock soundtrack to add to their action because it can honestly do wonders like it did here.
However, on the writing front, there is a lot of problems to be had here. First of all, as understanding as the story is in the first place it still doesn’t mean that it’s original by any means. There’s so much here that seems borrowed from plenty of other sci-fi flicks/stories that it can be very annoying at points. I mean there’s no big surprises at the end of the flick, but I was at least asking for some originality for me to get to that point. I also can’t forget to mention that this flick seems very adultish for an animated flick. Sometimes there will be a random sex joke that may seem more subtle than you expect but it’s still random, and there is plenty of other moments where it seemed like this flick really stepped over the whole PG rating, especially when it’s trying to connect with a kids audience but maybe that’s why it didn’t do so well at the box office in the first place anyway.
The characters here are also very bland and they aren’t very interesting, except for maybe one character, who wasn’t even human. Matt Damon, Bill Pullman, and Drew Barrymore, among others, all do their best with their voice jobs it’s just that their characters are so bland that it’s almost way too hard to root for them to save mankind. They all seemed to be written very dry or lifeless and they didn’t stretch my imagination as much as the cool visuals did either. However, the one character that I seemed to like the most was the Caterpillar-looking type named Gune, voiced by John Leguizamo. I don’t know what it is, but it always seems like Leguizamo is able to make any character he is playing, likable beyond belief.
Consensus: The visuals are very pretty to look at and there is a lot of fun to be had here with the energy in the action, but Titan A.E. still suffers from unoriginal writing, characters, and plot devices that seem to be used from so many other sci-fi stories. Still, what stands out from all of those other ones is its great visuals which make it a lot better than it has any right to be in the first place.
Wow they really run that house like a zoo. Thank you, I know I’m funny.
‘We Bought A Zoo’ is based on the Benjamin Mee memoir of the same name and an actual true story. It tells the story of how Mee (Matt Damon) and his family used their life savings to buy a dilapidated zoo and restore it to its former glory.
What is with the films that are coming out that have to do with a father taking over his family as the wife dies (this, ‘The Descendants’) or ones that have to do with animals (this, ‘War Horse’)? Oh wait, it’s the holidays and everybody needs some good old cheer even though I’m not buying it.
Cameron Crowe returns to the big-screen after 6 years and being a fan of films such as ‘Jerry Maguire’, ‘Vanilla Sky’, and ‘Almost Famous’, I was excited to see him come back but he could have chosen something a lot better but thanks to him, it’s a lot better than I could have imagined. The film itself is co-written by Aline Brosh McKenna who has done fairly light-comedy flicks but you can almost tell where Crowe inserted his own writing and lines in. The main character is a writer (though he doesn’t do much of it), he’s going through a mid-life crisis of sorts and is dealing with the loss of his wife while raising an adorable child. Oh and let’s not forget that there are also the little speeches that characters give each other about life and just living it out to the fullest.
Although this all may sound cheesy and predictable (which in a way it is), Crowe somehow makes this film believable and entertaining to the point of where you do start to get involved with this story. The story is cliched beyond belief but there is just something about all of these characters that makes you smile and make you feel like you are apart of this zoo as much as anybody else on-screen. Crowe also out-lines the film with a lot of humor that is sometimes very witty, sometimes very obvious, and other times very dark (such as the Chilean miner reference which came out-of-nowhere). I think because of Crowe, this film isn’t as bad as it should be.
The problems that this film runs into is its dramatic moments where Crowe stumbles quite a bit. Since this is a family flick, Crowe feels the need to bring in these ultra-sappy and corny moments where a character is saying something sweet or giving another montage about their own feelings. It gets even worse when the score starts to blast on in every sequence something cute or bubbly happens. Maybe if they didn’t have the stupid score, I would have smiled at more scenes but it’s so cloying and distracting that I honestly just wish Crowe used the soundtrack for ‘Almost Famous’ instead. Could you imagine a zebra running around to the tune of Tiny Dancer?
Another problem I had with this film was that I think Crowe didn’t know how to trust his audience here so he just hits people over the head with everything he’s trying to show and do. When Benjamin does something dumb, there is automatically something there to hit his head or fall down from or when Benjamin starts to think about his deceased wife, she pops up right away. Crowe tries to spell everything out for us and instead of letting us think about it for ourselves, we have to get constant visuals of whatever is happening just so Crowe doesn’t lose us.
However, the power with this flick really lies in Matt Damon’s performance as Benjamin Mee, and it’s great to see him once again in top-form. Damon has the perfect balance of charm, humor, and normal look to him that makes him seem like a real dude with real emotions and even though his daughter sort of takes away any moment he has of being funny, Damon still seems like he knows what he’s doing. Scarlett Johansson is great to watch as Kelly, and the romance between her and Damon is really under-played which I liked because judging by the previews, I automatically knew I wouldn’t have been able to believe it and I still didn’t.
The rest of the cast is great with everybody getting a chance to strut their stuff. Thomas Haden Church is funny and brings a lot of wit to his character as Benjamin’s big-bro, Duncan; Patrick Fugit is back on the big-screen with a chimpanzee over his shoulder the whole time as Robin Jones; Angus Macfadyen is funny as the Scottish crazy-man, MacCready; and John Michale Higgins plays his arch-nemesis, Walter Ferris, who shows his perfect comedic timing with just about everything he says or does. The one disappointing performance and plot I was bothered by was the sub-plot between Elle Fanning and Colin Ford which seems very forced the whole time, even though the film constantly brings it up. Fanning has been really good in the past two films I’ve seen her in so for her to kind of just be a one-note character was a real disappointment, but hey, she’s got more films way ahead of her.
Consensus: We Bought a Zoo mainly benefits from Cameron Crowe’s writing and the fun performances from the cast, especially a very likable real Matt Damon, but is also way too sentimental and tries too hard to get us to feel something with constant speeches about life and spelling everything out for us.
This is what Coppola has done ever since his days of The Godfather. But that’s not so bad.
When Rudy Baylor (Matt Damon), a young attorney with no clients, goes to work for a seedy ambulance chaser, he wants to help the parents of a terminally ill boy in their suit against an insurance company (represented by Jon Voight). But to take on corporate America, Rudy and a scrappy paralegal (Danny DeVito) must open their own law firm.
Director Francis Ford Coppola (The Godfather, Apocalypse Now, etc.) is a guy known for making classics, but has recently fallen off the map. However, even an OK effort by him isn’t so bad.
Coppola does a very good job with this script because he just directs this the way it should be directed. He isn’t really trying to go for any big emotional punches with this story, he just shows what this court case is all about and how to win it basically. I actually found this more entertaining than anything else because I just want to watch a courtroom drama, and I don’t really need some big life-lesson out of it.
The screenplay is also very well done here and not only has a lot of good moments where their all in the courtroom “duking it out”, but there are also a lot of moments of actual comedy that had me laughing a lot much to my surprise.
However, there are still problems that lie here. The problems that Damon’s character has to go through to win this case, aren’t so deadly as the film makes it seem to be. His character is made to be looking like he’s struggling against all odds, when really he’s just a rookie lawyer going up a lawyer who’s been in the game for about 30 years. I mean yeah, that is pretty nerve-raking but the film made it seem like he would never be able to pull it off, when in reality, it was pretty obvious he could.
Another problem with the movie is the sometimes ridiculous names these characters were given. A major insurance company named “Great Benefit” seems just a little corny to me, as does a sneaky lawyer named “Deck Shifflet,” and a woman who is looked on by her insurance company as a piece of trassh, named “Dot Black.” I mean, come on, you actually expect me to believe these almost comic-book-like names.
The real benefit of this whole film is the cast that really brought these characters to life. Matt Damon is charming here as our hero, Rudy Baylor; Danny DeVito is perfect as this sneaky and shady para-lawyer named Deck Shifflet; Mary Kay Place is good and emotionally there as a mother; and Claire Danes is sort of chilling in her performance as Kelly Riker, who has to constantly put up with the assault from her hubby. There are also some nice little spots in here from the likes of Virginia Madsen, Mickey Rourke, Roy Scheider, and a randomly uncredited, Danny Glover as our judge. He was probably getting too old for that shit too! OK that was lame I know.
The best out of the whole cast though is Jon Voight as this smarmy and ruthless lawyer named Leo F. Drummond, who on paper seems like a totally cliche and predictable character, but the way Voight plays him makes this character a great guy you just love to hate because you can always see that he’s one step ahead of everyone else. The film brings no actual surprises but at the end of the film, there’s this little touch that the film provides and basically tells us that even when you win, sometimes you lose, and this is what Voight shows perfectly.
Consensus: The Rainmaker may not offer any real surprises, but the strong direction from Coppola and the good performances from this ensemble cast, keeps this film watchable and interesting as it goes along.
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.
Shows that the dudes who clean the toilets in my school, aren’t as dumb as they seem.
Will Hunting (Matt Damon) spends his days as a janitor at MIT, but the aimless young man is also a mathematical genius. So when his talents are discovered, a therapist (Robin Williams) helps Will confront the demons that have been holding him back.
Good Will Hunting is directed by Gus Van Sant and right away you can tell that there’s going to be a little quiet, and subtle indie-feel to this film, but since it’s not written by him, it doesn’t go in that direction it goes plenty of other places you wouldn’t expect.
Ben Affleck and Matt Damon both wrote this screenplay, which actually won an Oscar, and it was their first script ever written! I like the script because there is a lot of great one-liners and quirks here that will have you laugh with this story and enough truth about life here as well that will open your eyes to a lot of what is being said here. My problem with this script and the film as well, is that it does get overly sentimental at times and gets too carried away with it’s dialogue.
It’s hard to describe but there are times here that a lot of the things that are said here, just feel like long speeches that just seem overlong and not needed. This is about over two hours and for that time limit I was entertained but I have to say that there were many times where some of this could have gotten knocked down, because there were just too many speeches that didn’t need to be used, mainly because they didn’t feel like it was actual conversation between these characters, it was more of just verbal diarrhea. But for a rookie job at writing a screenplay, these two kiddies do a great job of creating a story that keeps you glued in.
Many times with plenty of Van Sant’s films, I feel like his direction and style can sort of get in the way of his story, but here it’s different. He just lets the story tell itself off for once and provides beautiful images of Boston during the “falling leaf” season. Let’s not also forget to mention Elliot’s Smith’s amazing score/soundtrack that adds perfectly to the overall feel and nature of this film. If you’ve never heard of him before, watch this film and you’ll see why he’s a great musician.
The characters in this film are fleshed out so well here and the performances add a lot to that reason too. Matt Damon is perfect as Will, the troubled working class man who needs to address his creative genius and with almost every scene shows why he is the real reason why Will is so likable. Damon has that cocky and smart attitude that makes Will seem so witty but he also has that emotional depth within his acting that makes him so damn vulnerable as a character. Robin Williams won an Oscar for his performance as Sean and shows why he should just stick with dramatic roles. The scenes he has with Damon are just about perfect and fully add up to the whole drama effect that this film gives off. Ben Affleck is good as Wil’s best buddy, Chuckie, and Stellan Skarsgard ain’t that bad either as Will’s math professor at MIT, Lambeau. Minnie Driver is good here as Will’s main squeeze, Skylar, and although her accent isn’t that good, she’s still equally as likable as the rest of the dudes here.
Consensus: Some toning down was needed here and there, but Good Will Hunting is still an emotional and at times witty tale of being the best to your ability, anchored by great performances from the cast, as well as a great first-time script job from Damon and Affleck.
If this was the true story of the Bible, I would love to go to Church every Sunday.
Fallen angels (Matt Damon and Ben Affleck), a gnarly demon (Jason Lee) and a half-baked apostle (Chris Rock) walk among America’s cynics and innocents and duke it out for humankind’s fate. A modern-day battle against evil takes place in suburban New Jersey, after an abortion clinic worker (Linda Fiorentino) gets a higher calling from two clueless prophets (Jason Mewes and Kevin Smith).
Writer and director Kevin Smith is one of my favorites and always seems to have something to talk about, except for maybe Cop Out. This one isn’t as amazing as people say, but it’s pretty balsy altogether.
Smith took on a lot of risks here talking about God, religion, apostles, Catholics, abortion, as well as plenty others and he does a relatively good job at talking about all of these themes in a funny way, without insulting anybody which I was not expecting. In a comical and thought provoking way, Kevin Smith was trying to present the idea that most of the masses are sheep when it comes to religion…that they are going through the motions and consider themselves religious because they do what they are supposed to do: go to church, confession, tithe, etc.
The film is still very funny because you still have a lot of the juvenile humor Smith is known for, and the satire of cosmic errors work well also, but this just didn’t keep me laughing like his other pictures have. I had a lot of chuckles here and there, but with his other films, I was laughing my ass off right away and even if the plot was a little bit weak, the comedy was still there to keep me entertained. The plot here is a very smartly thought-out one but it soon starts to drag on and it becomes less and less fresh and more of just a reason to have a lot of conversations about faith. Also, the ending is pretty weak because then it starts to get very strange and actually serious which kind of struck me as odd considering you have Jay & Silent Bob there the whole time. I don’t know it just seems to me that it could have been a lot funnier than what I was given.
The huge ensemble cast is what really brought the laughs out though. I loved watching Matt Damon and Ben Affleck play off of each-other the whole time as Bartleby and Loki. Linda Florentino is OK here as Bethany, but I don’t think really did well with her lines and kind of looks like she’s sleeping through the whole film. I don’t know what it was about her, but her performance just annoyed me. Salma Hayek is funny and sexy as Serendipity; Jason Lee does a good job as the evil Azrael; Alan Rickman is the one guy who brought out the most laughs as Metatron, the voice of God; and Chris Rock was a riot as Rufus, the 13th Apostle. Also, let’s not forget Jay & Silent Bob who are always hilarious with everything they do. Lastly, George Carlin as Cardinal Ignatius Glick is a classic bit of casting.
Consensus: Dogma has it’s fair share of laughs and provocative themes about faith and religion, which Kevin Smith takes on so boldly, but isn’t as funny or nearly as entertaining as his other pictures, just clever in it’s own little way.
Whoever thought you could be getting so ripped off for just buying a can of corn! Damn ADM!
While gathering evidence against his institutional employer to help the FBI build a price-fixing conspiracy case, affable agribusiness executive Mark Whitacre (Matt Damon) begins to piece together a fantasy world of his own.
So this film is really hard to advertise at all. I mean it’s part dark comedy, part satire, part thriller, and sometimes part drama, but it all works out OK.
The film is directed by Steven Soderbergh and he does a fine job of bringing all this different material together. The film doesn’t work as a broad comedy, but it’s funny in a more subtle and satirical way that actually works. You can tell that this film is aiming for laughs behind all this serious lying, and illegal corporate dealings, but the film somehow finds a way to bring comedy in between all this.
My only problem with this is that it is too long for the material that it’s given and some viewers actually may find themselves bored, as I did. The film is about 108 minutes long, and the big pay-off that were all waiting for is about 88 minutes too late for this material. Also, I saw that this film tried to go somewhere with this story, and have us root behind this guy, but after all this lying and making-up of stories, it was kind of hard to actually back this guy up. I also never saw the inspiration behind all this guy’s lying, and in the end the film doesn’t really tell us either.
Also, what the hell was up with that score?? I liked how it reminded me of an old 1950′s crime show, but then at the same time I felt like they were placing it in there to be wacky, and to bring laughs out of the cast. This just showed that Soderbergh didn’t really have much fun material to begin with, so they just relied on a goofy score.
This whole film really belongs to Matt Damon as the ridiculous Mark Whitacre. He is the opposite of the slick, and sneaky FBI undercover informant, he’s a bumbling, nut job that gets stuck in series of unfortunate events, however Damon has you believe him throughout the whole film. He really inhabits this guy and has you believe him as this total chump, and speaks more about Damon’s skills as an actor because it shows that he can carry any film, regardless of material. You also have all these comedians such as Joel McHale, Scott Bakula, Melanie Lynskey, and hell you even got Biff from Back to the Future here, but the problem is that their not really doing anything funny. It was nice to see all these familiar faces, but there was too much of them and it started to get a little distracting, and seem like an episode of I Love The 90′s.
Consensus: Certain elements of The Informant! are entertaining, including Damon’s hilarious performance, but the slow pace, and the mishandled use of the story, feels like it should have been so much better than what it really was.
Boston accents always create a good movie.
While an undercover cop (Leonardo DiCaprio) curries favor with the mob kingpin (Jack Nicholson), a career criminal (Matt Damon) rises through the police ranks. But both sides soon discover there’s a mole among them.
Martin Scorsese is a man among men. He always knows the perfect way to tell a story, and show it with his only little trade-marks. And even though this is based pretty closely to a Hong Kong film, it is still no exception.
Scorsese does a great job of keeping our attentions. This story gets a little crazy at points, but Scorsese handles it so well that we can’t help but to keep our eyes on the screen. That’s probably the best thing that Scorsese does, he can have anyone watch his film no matter how long, or sometimes ridiculous it may be. He has the perfect knack for capturing intense suspense and that constant moving back, and as well as the perfect tone for a gangster movie in the 21st century. There’s now cell-phones, texting, and internet, but not much has changed when it comes to gangsters, and Scorsese doesn’t lose his flavor.
I think my favorite element of this movie was the script. Judging from this plot, you would think that this is totally a super cereal gangster drama, however, it’s got plenty of comedy to have you laughing the whole way through. I actually caught myself laughing at plenty of these one-liners and probably because they happen out of nowhere, and when the films trying to be the most serious it can be. There is also a lot of interesting double-crossing, and morality themes here as well that totally seal the deal on this package.
The acting for the most part is actually pretty good here. Leonardo DiCaprio, as always does a great job with William Costigan Jr., keeping this film together with his signature toughness, with a tint of likability, that has us cheering him on the whole movie. Matt Damon is also good as Colin Sullivan, and is always good but he plays kind of a bad guy here and his decisions aren’t always the best, and you kind of start to hate him at points. Never thought I would start to hate him, but Matt sure can do it. Jack Nicholson plays mob boss, Frank Costello. He does a good job, but he doesn’t perfect the job which kind of had me a little bit disappointed, because with this role he could have totally been sweeping the Oscars. The problem is that he does a bit too much of ad-libbing, and over-acting, so we kind of get a little annoyed of his character and want him to do something a little bit more new, and cool. But he is still the man so don’t get me wrong. Mark Wahlberg got an Oscar nomination for his performance as Sergeant Dignam, and I’m glad he did because he really knocks his role out of the park. His character wasn’t even in the original film, so he had to basically make this character from scratch, and does a perfect job bringing so much comedy to this film, that he’s the character at the end of the film you probably remember the most. Vera Farmiga is also here and plays Damon’s love interest, Madolyn, and this is one of her earlier roles, and shows that she can hang with the big boys. There are others in this cast that are amazing such as Martin Sheen, Alec Baldwin, Ray Winstone, and randomly everybody’s favorite black man, Anthony Anderson.
This film is very very close to being perfect but its big problem comes in its last 15 minutes. I think the whole film had so much steam in its story that when the end actually had to come around, it didn’t quite know where to go so it just sort of lingered around. The film spends a great deal developing these characters so perfectly and well, that it was just a shame that Scorsese let them practically fly out the window by the end. I wish the ending was better, but I still can’t lie it was suitable, just could have been better.
Consensus: A fearless direction from Scorsese, perfect screenplay, and great acting makes The Departed a crime/mob classic for the ages. The ending may have not been the best way to go out for this film, but the whole film keeps your attention, and that is something that makes this a near-perfect film.
If Jason Bourne suddenly turned into Rambo.
U.S. Defense Intelligence Agent Clark Poundstone (Greg Kinnear) doesn’t want to hear what Army Chief Warrant Officer Roy Miller (Matt Damon) has to say about not finding the weapons of mass destruction — evidence that could launch a war — he’s been sent to Iraq to unearth. Why the cover-up?
Director Paul Greengrass has teamed up with Matt Damon many of times on the big-screen with the Jason Bourne films, and as this film does look like a “Jason Bourne goes to Iraq” picture, it never gets as cool as it was going to look.
Probably my problem with this film was that it’s camera was all over the place. Greengrass is known for using hand-held cameras to create this realistic and gritty feel, but there are parts where this film gets so shaky, that I had to actually advert my eyes away from the screen just so I wouldn’t puke. There was also many moments where I couldn’t even tell what was going on. The action was good, especially by the last 15 minutes, but there wasn’t enough to keep me watching.
Green Zone’s writing is also kind of lame. I wish there was a little bit more poignancy to this film, rather than just all this military talk, and war battle sequences. We never get a real message, or even insight into the life of a soldier here, and that kind of took me away from this film, because then I just saw this as being an action thriller and nothing else, even though it was trying to be more.
Sometimes when you see certain actors in a role that Matt Damon is in, they just aren’t believable but he does a great job. Whether he’s questioning superiors, or giving orders, Matt Damon sounds completely natural speaking in the language of a militarist. He doesn’t try to be too cute, he just acts like an action movie star should. Greg Kinnear is basically the main bad-guy in this film, and does a good job but he doesn’t get that many scenes to prove it, which kind of bummed me out cause I was just waiting to see the brothers from Stuck On You go at it. Brendan Gleeson, Amy Ryan, and Jason Isaacs also show up here doing their things, but not that much time to show anything more.
Consensus: Green Zone has some action that will keep you over, along with some good performances from the cast, but the script doesn’t really go anywhere, and just gives us action film cliches.
Fate is decided by the snazziest dressed men.
A congressman (Matt Damon) who’s a rising star on the political scene finds himself entranced by a beautiful ballerina (Emily Blunt), but mysterious circumstances ensure that their love affair is predestined to be a non-starter.
This is a film that was supposed to be released back in the days of 2009. Somehow, just somehow this has got kicked so far back, and had people worried that this may actually kind of suck. However, it’s not like any of those other films with changing release dates.
My favorite element to this film was the screenplay, and how the tone was pretty crazy. I liked how the film didn’t take itself too seriously and brings a lot of questions about free-will, control, and love. But they bring up all these questions with a smile, and sometimes a little bit of a goofy-like attitude. First-time writer/director George Nolfi does a good job here of also creating suspense, and having us not know what is going to happen next, thus giving us that paranoid feel that the film strives for.
The premise here is actually a very smart one, but it isn’t used to it’s advantage honestly. There are moments here that were amazing and had me totally excited for what was going to happen next, however, the idea they chose next, was kind of lame and I was expecting something at least more. I think with this premise they could have done so much more and had us more involved with this story the only problem is that it doesn’t go that extra-dimension. Also, many questions in this film were left open, and I think for a film like this, people don’t want a mystery, they actually want to know what’s really going on. With a run-time of 99 minutes, I think that they crammed way too much here, and could have made it all better with a little bit more time.
Matt Damon here is once again perfect at playing the every-day man put into a crazy situation. He’s just got that genuine likability to him, and you root for his character the whole time as he’s running away from these dudes in hats. Emily Blunt also does a commendable job fleshing out the character of Elise, and brings a lot of wit and charm to her character. I loved it when these two were on screen together, because they play off each other so well and it reminded me almost of a screw-ball romance from the 1940′s. The humor of this script comes with these two, and you can’t help but love these two together, and hope that they end up together in the end. I thought that when Terence Stamp came into the film as Agent Thompson, he gave a very ominous, menacing performance that took the film in the second act to a very dark, creepy place that I had hope the film would stay on that course. One of my favorites Anthony Mackie is also here as Agent Harry, and his cool, stern performance really shows that given the right material, he could be a box-office sensation. It’s just a shame everybody knows him as the dude from 8 Mile.
Consensus: The tone may be all over-the-place, and the premise doesn’t go the extra mile it could have, but the script is nice, and the overall genuine chemistry between Damon and Blunt has us really involved with this story.
The Dude playing a sheriff. This is heaven.
Fourteen-year-old Mattie Ross’ (Hailee Steinfeld) father has been shot in cold blood by the coward Tom Chaney (Josh Brolin), and she is determined to bring him to justice. Enlisting the help of a trigger-happy, drunken US Marshal, Rooster Cogburn (Jeff Bridges), she sets out with him – over his objections – to hunt down Chaney. Her father’s blood demands that she pursue the criminal into Indian territory and find him before a Texas Ranger named LeBoeuf (Matt Damon) catches him and brings him back to Texas for the murder of another man.
The western genre has been kind of dead as of lately. I mean there have been your occasional westerns like Appaloosa, or 3:10 To Yuma awhile back for that matter, but never has there been one in the last couple of years that has brought it back to the “The Good, The Bad, and The Ugly” stages it used to be. But I think it just needed somebody who could handle it right, and those were The Coens.
The Coen Brothers direction is solid here. They use a lot of time to focus on the story, and keep the pace going at a minimal pace. The script that they wrote is also very good for this movie, as it keeps humor, in light of the bad and serious tone this film tries to maintain throughout the whole film. I was glad to see The Coens do something completley different, and once again, keep me watching.
However, my problem with this film is that it just kind of disappointed me. I like how they focuses on the story a lot, but the pace at times, was just way too slow. It would get to a point, and I thought it would go somewhere, and then it just ended up going right back to the dead pace. I will not lie this film is very enjoyable, but the problem was that there are certain times, where the film feels like it doesn’t have much really going on, so they just throw in a little gun-fight. The gun-fights were good in this film, but they didn’t come all the time to keep me entertained, because there still were some dry parts.
Jeff Bridges as usual, is the effin’ man in this film, playing Rooster Cogburn. He’s very good at playing the rough, tough, and stubborn man, who also has a good heart, and you have a feeling that in the end he will do the right thing. Sometimes it was hard for me to understand just what on the earth he was saying, but he is still always a joy to watch. Matt Damon is also very good here playing LaBeouf, giving us that dry, sophisticated timing we haven’t seen from him in so long. It all reminds us as to why he really is one of the best stars out there, and should be given each and every role he is offered. New-comer Hailee Steinfeld is perfect in this role, as Mattie’s Ross, as she is the heart of the movie, and we have to kind of rally around her for this film to work, and we do. She also shows that she can hang with stars such as Bridges, and Damon, and I cannot wait to see what she has planned next. Josh Brolin is also strangely good as Tom Chaney, and Barry Pepper also shows up, doing what he always does best. He gets under-casted, but doesn’t let you forget that he was in this film after all.
The main gripe I had with this film was the fact that I was kind of expecting something new, and improved to the Western genre, since this was done by The Coens and all. But instead, I didn’t get that. It all felt too by-the-book, and certain things happened, that you knew were going to happen, and it’s kind of a disappointment, cause this is The Coens, who are always known for keeping you on the edge of your seat, and surprising the hell out of you. But instead they just keep us entertained, which isn’t so bad, I just was expecting something so much more.
Consensus: True Grit is entertaining, with some good action, and great performances from the cast, but almost a big disappointment as I was expecting something more, and different from The Coens, and instead got your average, generic western, with more wit, and less surprises.