These penguins were definitely putting on a show. There’s no way they could be this cute.
The film depicts the yearly journey of the emperor penguins of Antarctica. In autumn, all the penguins of breeding age (five years old and over) leave the ocean, their normal habitat, to walk inland to their ancestral breeding grounds. There, the penguins participate in a courtship that, if successful, results in the hatching of a chick. For the chick to survive, both parents must make multiple arduous journeys between the ocean and the breeding grounds over the ensuing months.
Is it me, or are penguins not the most freakin’ adorable animals on the planet?!? Whenever I went to the zoo, I always loved watching them do their own thang, whatever it was, but I never imagined that I would feel this much for them. Yes, I know sound very unMAN-like, but there’s a soft-side to me as well and animals are the ones who always get me to express it the most (ladies?). That said, the rest of this review may make some of you laugh at and lose all respect for me. If that’s the case: then so be it! I love those furry, little things and no one’s going to tell me otherwise!
Co-creators of this flick, Luc Jacquet and Michel Fessler, deserve some huge love for all of the footage they were able to capture here considering the type of problems they had to go through. If it was below freezing for the penguins, chances are: it was freezing for them. Then, therefore, whenever anything bad happened to these penguins, they just had to sit there and let it all go down because that’s the way nature is. If it was me seeing a little penguin being ready to get chewed-up by some hawk, I would step right in there and do what mommy should have been doing, but maybe that’s why this movie wasn’t given to me. What I’m trying to say here is that these two dudes definitely went through a lot to get all of they needed to get and in the end: it all payed off for them.
What really took me along with this flick was some of the natural images and sights these guys are able to catch. And no, I’m not just talking about the sky (even though it did look pretty)! I’m talking about the scenes that would show us just how these penguins really are. We see plenty of beautiful scenes where the penguins find their mates, have intercourse, get the egg, watch as the egg grows older until finally, the egg has hatched and then a new penguin is born. It’s great to see scenes like this that shows us that penguins can be so happy and live beautiful lives, just like us. The simple things in life are what get us the most, and it’s very smiley-inducing to see our furry-friends get so worked up as well. However, it’s not always smiles and happiness with these little guys and girls. Life does throw you some sadness in there as well.
Even though I mentioned all of these beautiful things we see happen with most of these penguins, I somehow forgot to mention the fact that in between each and every single little event, danger seems to show itself at every stop and the mother and father are barely ever together with their baby, because each one is always out getting food. This is some real sad stuff but it gets worse once we actually start to see some of these little guys die and have their lives put into danger. There was this one scene where a hawk comes into attack one of the little penguins, and the whole time I was so scared for them and just wanted somebody to beat the shit out of that hawk. Then again, that’s the way nature is and I’m glad that I didn’t have to get involved with this flick, or else nothing would have been accomplished. There is also another very memorable scene where we see a mother mourning the death of her little baby and soon get jealous, and try to take another one. This scene made me well-up like a girl who just got stiffed before prom as it really made me feel like these penguins have to go through so much, just to produce an egg and keep it living. But as much depressing stuff as there may be, the film never loses that beauty to it. Some scenes will just make you smile from the joy of watching nature like this, work itself out right in front of you. Shit. I seriously got to start watching Discovery Channel more.
If there was any problem that I had with the direction of this film was that it was a little too obvious what these guys were trying to say about these penguins. I get it: they are just like us! Except for the sole-fact that they can’t run and also don’t go to the market for the food to support their family. That’s why putting all of the obvious-remarks into a film like this seems so cheap and obvious. Note to all of these documentaries out there: stop comparing humans to certain animal species. We are all alike, now let’s just cut the crap already!
I bet pretty much all of the people went into this film, not giving two shits about penguins, but walked out caring for them, loving them, and knowing everything from start to finish about them. And there is only one man to thank for that all: Morgan muthafuckin’ Freeman. Honestly, who else would be a better fit to narrate a story about a bunch of penguins that sometimes stay in one place, while other times, they move around. Freeman’s voice, is sort of like the voice from God, and he has this slight calmness to him that makes you feel like he actually knows a lot about these penguins and actually cares for them. Obviously, a lot of his stuff was written so it wasn’t just him who thought of it all on the spot to tell how he really felt, but I still couldn’t get past the fact by how relaxing Freeman could make this movie just by using his signature voice. I’m still trying to figure out what to call “his voice”. How about “Morgan Freeman’s voice”? Yup, sounds about good to me.
Consensus: March of the Penguins not only makes you feel happy to live in a world where penguins still can roam the Earth all happy and whatnot, but just make you happy to be alive in a world that is Earth, where the most-fascinating creatures live and around somewhere. You just have to find them yourself. Or watch documentaries like this that do the ground-work. Your choice.
9 / 10 = Full Price!!
Tom Cruise may not be able to dunk a basketball, but he can save the world, right?
Jack Harper (Tom Cruise) is a lone soldier who lives in the clouds above a post-apocalyptic Earth after a war made the surface uninhabitable. He lives a steady life where all he does is repair drones, in hopes that they will stop any hostile aliens from taking over and destroying the world that Harper now knows and has come to terms with. But things take a turn for the worse once he encounters a crashed space pod with a mysterious woman survivor (Olga Kurylenko), who makes him question everything he knows.
You can’t help but feel pity for most of the sci-fi movies that come out nowadays. It seems as if they aren’t taking something from a piece of sci-fi literature that they read as a big-glassed, tike, they are taking something from another form of media, whether it be intentional or unintentional. That’s what makes so many sci-fi movies hard to follow along with and get wrapped up into because nine times out of ten: it’s been done before. That was my exact problem with Oblivion: been there, done that, 1,ooo times over.
The fact that this movie isn’t anything to scream about in the writing-department is in no way a hit against director Joseph Kosinski. If anything, it’s Kosinski who saves this movie with his inspired-vision and dedication to making every single scene pop-out at you, as if you’ve never seen anything like it, although you have. That’s where this film gets you, but that’s where Kosinski keeps his feet moving and at a steady-pace too. While the film looks beautiful and never seems to look at all fake (IMAX is pretty glorious), the story’s beginning is what really got me because it wasn’t what I was expecting from seeing the trailers, advertisements, and even the numerous posters.
Rather than making this a movie about Tom Cruise, going around, and shooting the hell out of aliens/unknowns that inhabit his dying-land, it’s more about the pace and the mood. It sets you into this cold, dark world where everything is beginning to die down and sooner than you know it; the Earth will be nothing more but it’s own worst enemy. By that, I mean that it will eventually dissolve into nothing. That’s the sad, but true reality that these two characters, Jack and Victoria, are left with and to see them come to terms with that made me feel as if I was watching a different movie than I was promised. Yes, there is Tom Cruise; there is CGI; there are robots; and yes, there are some weird creatures on Earth, but is this a drama I see? I thought so. That is, until I realized that I spoke a little too soon.
The first instance I knew where this movie had a problem was when it’s first batch of twists and turns came, and I had no idea what to think of them except for, “unoriginal.” That’s all it seemed like and without delving into spoiler-territory, the places this movie goes with it’s plot shenanigans don’t really add to anything, except more and more predictability. Once Jack gets to see these warrior humans, he finds out more about himself, his species, and what he was put on this Earth to really do, but none of it seems to make any sense, yet, have us care in the least bit.
I mean, I could go on and on about how none of this plot really seemed to make a lick of sense, but I don’t care too much about that. The story made fine enough sense to where I wasn’t scratching my head too much and to where I wasn’t looking around to see if anybody else was, neither. It was fine the way it was, but I just didn’t have any feeling with it at all. And that word, “feeling”, is exactly what this flick was building on. It tried to go into spots where we were supposed to feel compelled and hit back in our seats, but those moments never came. The movie just sort of went through the motions, gave us sci-fi movie convention after convention, and went on it’s way, like we expected it to from the trailers, advertisements, and posters.
See, the beginning really screwed the rest of this movie up because it makes you feel like you’re in for a somber-look at a dystopian future. But once it gets going, the movie dives into more action-y elements that are fun to watch, but feature no human-connection involved. When I see an action scene go down, I want to feel raw and terrifying emotion as if I was right there, cheering these characters on for fighting the good fight and hoping that they come out alive. However, that movie didn’t have that. It had alright-looking action scenes, but with nothing underneath it. All flair, but no substance. And that would have been fine, if the flair really kept itself going but after awhile; I stopped caring and just wanted more with my story. Now is that too much to ask?
But no matter how shitty the script can be (and definitely is), you got to give some credit to Tom Cruise for at least taking a step by deciding to take this material and make it his. Love him, or hate him, Cruise is a bonafide movie star, and an action one, at that. Cruise is good here as Jack because he gives him a lot of charm and likability that makes us feel like he’s one of those guys that knows it all, what to do, and how to do it, yet, is also just like us in where he doesn’t believe everything around him is really happening, and has the nice-enough soul to realize what’s right and what’s wrong. Of course the guy hits some holes on the way, but Cruise keeps him grounded in reality, where a film doesn’t seem to want that.
Playing the two gal pals of his this time around are Andrea Riseborough and Olga Kurylenko, who are both good with what they are asked on to do, but nothing more than that. Some scenes where they have to be more than the “romantic love-interest” are fine, but they aren’t called on to do many of those scenes, so it’s rather useless, really. What was really useless in a movie like this is not only having Morgan Freeman in a supporting role, but even going so far as to advertise him like he’s a big part of your movie, when in reality: the dude only gets about 15 minutes or so of screen-time. Yes, THAT Morgan Freeman! Don’t let me fool you into thinking Morgan isn’t good with what he’s called on to do here, because he is; but it just feels like a waste of a big name, for a role that serves no real purpose other than to be the bearer of good news (or bad, depending on the type of person you are). The rest of the cast isn’t really all that filled with many people, but that doesn’t matter because this isn’t the type of film that’s too concerned with that. They just want to show you shiny, futuristic thingy-majigs, blow up and blow other shit up in the process. Then again, it is a sci-fi movie so what else could you expect? But seriously, don’t answer that. Or else we’ll have another four paragraphs to go.
Consensus: Kosinski’s direction is beautiful and always a sight to gaze at, but the rest of Oblivion can’t sustain his look, and drops beneath his feet with a weak screenplay, no emotional connection to anything that’s happening, and a bucket-list of cliches and conventions I think I speak for everyone when I say; we are tired of seeing used, over and over again in sci-fi flicks.
5 / 10 = Rental!!
Rocky Balboa’s only real competition: a woman!
In the wake of a painful estrangement from his daughter, boxing trainer Frankie Dunn (Clint Eastwood) has been unwilling to let himself get close to anyone for a very long time. That all changes when Maggie Fitzgerald walks into his gym, but also walks into his life. Maggie wants to box, but Frankie ain’t about teaching girls to box since it’s considered a joke around the league and his buds that have respected him forever. However, Frankie sees something in her and realizes that maybe there’s more than just a woman underneath it all; there may even be a true fighter. And I’m not just talking about in the ring either, folks.
You have to really give it to Mr. Clint Eastwood; the guy just never stops. Most 82 year olds out there, wake up at 7 a.m., have a nice piece of toast for breakfast, watch golf, sit on the porch, read the paper, talk about the good old days with whoever’s present (sometimes nobody), watch the news, go to sleep at 9, and do the same thing all over again the next day after that and so on and so forth. However, that’s not how Eastwood rolls, nor is it how he likes to spend his latter-years, and even though the guy has had some stinkers in the past, you still have to see that this guy has some real talent left in him and he shows no signs of stopping.
What I liked most about Eastwood’s direction here is that he takes your ordinary story about a trailer-trash girl who has high hopes of one day being the next big thing for boxing, and turns that cliché into something heartfelt and real. No matter what form of advertisement you saw of this film, everybody had it being planned-out as the “female Rocky“, but that really couldn’t be any further from the truth. You feel like all of these character’s motivations are understood, realistic, and best off all, believable to where you can hold everything closer to heart. It’s also a sure thing of beauty to see the relationship between Frankie and Maggie build over time, almost to where he becomes a father-figure for her and she becomes a daughter-figure for him. It all sounds so predictable, mushy, and ham-fisted but it’s surprisingly not, which is mostly because of how much of this rings true to not only these characters minds, but also their souls. You can tell that each and every character starts to wear their hearts on the sleeve by the end, and for that: I think I decided to join along in the heart-wearing festivities.
I haven’t gotten choked-up at a film in quite some time, so by the end, when I started to tear up just a bit, not only did it make me feel good but it also made me realize how great of a director Eastwood can be if he just plays it light and assured. So many films from Eastwood, especially lately, have all been about him trying too hard to get in the way of the story and because of that, he makes some big mistakes in the process. Some of which, actually cause him to lose control of his whole movie, then that’s where he leaves his actors to pick up the pieces. That is different here as you can tell that Eastwood is not all about getting pigeonholed into another genre flick; instead, he’s more about telling the story from his heart and that’s evident through this compelling, but always-subtle direction.
Even though this film did work for me so well in so many ways, there were other problems I had with this flick that made me take away from my final grade. One of the main elements of this film that bothered me was Maggie’s, trailer-trash family that was so one-dimensional that every time they were on-screen, I couldn’t help but laugh, which was something I’m sure I wasn’t supposed to do in the first place. I get it, they’re a bad bunch of siblings that only care for themselves rather than the down-and-out daughter that’s doing everything she can for them, but every time they showed up (which was usually the most emotional scenes out of the whole film) I couldn’t help but think that the only way to get rid of these stereotypical characters in a good way was to have Eastwood take out a .44 Magnum and blow ‘em all away. Obviously, he didn’t feel like doing that this time around but it would have been the best solution to getting rid of these characters and their annoying ways of speaking and acting. Seriously, what a bunch of grateful asses.
Another big element of this film that I couldn’t take in for certain was the champion boxer Maggie ends up facing. Not only is this chick as one-dimensional as Maggie’s familia, but she is also unbelievably ruthless and cruel, to the point of where I don’t really think she would even be allowed to fight in the ring again, let alone, hold the crown for a big bout. Both of these elements may not mean much now, but in hindsight, when they are placed in some real, dramatic scenes, you can’t help but feel like you’re being cheated just a teeny, weeny bit. Hey, I didn’t say Clint was always perfect.
Speaking of Clint Eastwood, this guy is pretty stellar (no surprise there) as the notoriously cranky boxing trainer, Frankie Dunn. Eastwood starts the role off with his usual grumpy, old fart character that we usually see him pull-off so well, but by the end, he starts to reveal some dramatic-layers within his acting that I didn’t even know really existed and even though I did, I still haven’t had the privilege to see them in awhile. Of course, we’ve all seen Eastwood pull out some of his dramatic chops every once and awhile, but not as much as we see here and it’s something of total beauty to see because you feel for his old man, mostly cause you know that this guy is a good man. He’s an old fart that yells, cranks, and pisses on everybody, but he’s still a person none the less and should be treated as one for that. Throughout the whole movie, you can tell that he is trying to forgive himself for all of the time he has spent away from his daughter and more on in the ring, but you realize that Maggie is the one last hope of forgiveness for him and for that, you root him on as much as you do for Maggie.
And as for Maggie, the gal that’s playing her, Hilary Swank, gives yet again, another top-notch performance of hers as the trailer-trash boxer, but this time; with more layers to a character that could have easily been deemed as “conventional”, “obvious”, and “not worth spending more than 2 hours of your time with”. Maggie is a character that annoyed me at first, considering she seemed like she was just too damn happy and optimistic to be in the boxing atmosphere, to be training, to be getting into shape, and to be trying to make a living off of punching the hell out of people in the face, therefore, made her too much for me at first. But then I thought to myself: who cares!?!? Give me more! Well, that’s what I got and I have to give a lot of credit to Swank for pulling this role off perfectly because not only do we see her for the bad-ass that she can be whenever she’s in the ring, but we also see her as a very sad, lonely, and hopeless little girl that just can’t make right with her family, or her life. Pretty sad stuff, but Swank makes it hopeful with her performance and it was a good choice for Best Actress that year.
Oh, and in case I forgot to mention already, but Morgan Freeman is here as Eddie, the washed-up boxer who works/lives at Frankie’s gym. Freeman narrates this movie, and of course, it’s as classy and stylish as ever, but his voice is only used to enhance the story-telling, his performance is a whole, ‘nother thing completely Freeman is always a solid actor and always gives it his all no matter what the shit-pile may be, but his performance as Eddie is as rich and emotionally-powerful as it’s gotten for him, recently at least. Eddie is a bit of a smarty-pants that may not have the best past for a human-being, ever, but he still is somebody that you love and feel for just because you know that underneath it all, this guy is hurting from the life that he could have had in the ring and for some reason; just never did. Freeman has this one, special scene where he talks about his last match and it’s not only a great scene, but one of the best in Freeman’s career. Underneath all of that narrating he does, it’s still nice to see him pull his acting-chops out every once and awhile and amaze us, as we all know he can do. These three are amazing and keep this film grounded in emotional honesty, and brilliance.
Consensus: This may look like your normal, predictable sports drama that we have all come to know, see, and sometimes love/hate from this genre, but Million Dollar Baby is different than that category most movies get sucked into. With a steady and sturdy direction from Eastwood, characters to care for, emotional-truths behind people we want to hear speak, and a trio of solid performances, it’s better than those types of movies and one that you won’t soon forget, long after you’ve seen it for all that it is.
8.5 / 10 = Matinee!!
Look out, Barack. Shit’s about to get real for you this year.
A bunch of North Koreans, intent on having the U.S. pull out of their territory so they can continue their civil war on the South, take over The White House and hold President Asher (Aaron Eckhart) hostage until he gives in to their demands. However, they don’t realize that ex-Secret Service Agent Mike Banning (Gerard Butler) is in the building, and not taking it easy on any of them when it comes to saving his friend, his president, and his country.
Yes, it seems abundantly-clear to me now that Hollywood has finally started to run out of smart, original movie ideas, so now, they just copy one another in hopes of seeming different. See, this is the first movie where terrorists attack the White House we’ll be getting this year, but it sure as hell won’t be the last when White House Down, marches into theaters some time around the Summer. However, regardless of where Hollywood stands in the originality-department, and whether or not they can make smart movies about the leader of our country, is totally meaningless. What does have meaning, is whether or not this movie is as fun as it promises, and that’s all that matters. Oh, and yes: it is as fun as it promises to be.
Judging by reading that premise up-above, you can already tell that is mostly just a Die Hard carbon-copy, but placed inside of The White House. Most of you will probably say it’s stupid, unoriginal, and not worth the watch, but after the recent Die Hard debacle we were just hit with recently (I refuse to call it by it’s title), I think it’s safe to say that anything resembling the original is a-okay with me or any of us for that matter. The idea of a bunch of terrorists taking over one of the most-secured landmarks in our country, does seem a bit ridiculous, especially when you see how these terrorists pull it off, but this movie isn’t made to be thought-about or construed as a believable flick that could give potential-ideas, to potential-terrorists out there. It’s stupid, for the sake of being enjoyed and that’s what mattered to me.
However, the first 20 minutes did make me think otherwise. Not only does the movie start-off poorly, but it made me feel like I really got myself into some bad-business, when they decided to kill off Ashley Judd, within the first 5 minutes. I don’t love, nor do I hate Ashley Judd as an actress, but this unextended cameo just felt like a needless pry to slap another big name on the poster, and get somebody famous in there for a short-span of 5 minutes, to only provide a reason for the story to exist and die. Seemed stupid to me, but hey, I guess every stupid movie needs a reason to exist, right?
Well, it only got worse after that, because then Antoine Fuqua decided to show us how much he loves showing things blowing-up, but the problem is: it looks absolutely terrible. I’m not kidding; IT’S BAD. The special-effects (if that’s what you want to call them), seem like they came right out of a computer game, but not a recent, jacked-up one that almost seems like real-life, pasted into a tiny cartridge of fun and excitement. No, it seems like the type of graphics that were used for the first World of Warcraft, where only 20-30 year olds who lived in their mom’s basements and ate Doritos off of their chests, spent hours and hours of their lives playing and gaining no confidence whatsoever when it came to talking to women. The sequence where Fuqua gets over-zealous and shows us the terrorists attacking and destroying The White House and all of nearby Washington, is so cheap-looking and made me feel like Fuqua didn’t have much of a budget to begin with, and it was only going to get worse from here. Thankfully, I was wrong, but not by much.
After these initial-problems, the movie gets better, as it decides to not go for the big, bad, and the ugly, but stay grounded and have all of the shizz go down inside the actual White House. Once again, probably took place inside The White House so much for the sake of the budget, but it wasn’t so terrible to sit-through, considering Fuqua seemed to have a lot of fun with this aspect. The action, as goofy as it may be sometimes, is fun, exciting, and gets you really involved, right away. It’s the classic, action movie where guns, fist-fights, machines, and explosives all come together, to create this beautiful blend of dude’s yelling, girls closing their eyes, and everybody in the theater clapping and screaming, “Hell yeah!!”. In fact, I would be lying if I didn’t say I wasn’t at least one of them. It actually got to the point of where I found myself involved with one of the fights and felt the pain that was happening in front of me. Sounds a bit dramatic coming from me, but that just goes to show you what I can feel when an action movie does it’s action right, and doesn’t cheap-out on giving me the goods. That’s all I needed, and that’s what I got. Thank you Antoine Fuqua, for at least 75% of your movie. The other 25% can kiss my ass.
However, I cannot go on and on about this movie, without mentioning it’s best-factor of all: the leading man. Yes, after years and years of rotting his career away in rom-com-after-rom-com, finally, Gerard Butler has returned to being an action hero that we not only love and can get behind, but can kick as much ass as we expect and want him to. Butler is awesome in this role as Mike Banning, and even though the character is your quintessential good guy that does everything right, has a solution to every problem, and always has a witty-quip or two to say, Butler still owns it and makes this character watchable in the best-sense of the word. Not only does Butler seem like he’s capable of doing roles like thee, but he also seems like he’s having a great-deal of fun being able to knife the fuck out of terrorists, and telling them all to kiss his rear-end, and not just to the enemy, but to the people on his own side. Yep, Butler is THAT good as Banning, and even if he isn’t and I’m just over-hyping this thing up like crazy (which I might just be); it’s still great to see Butler back in his prime-form. Let’s just hope it stays that way and we never, ever get another Playing for Keeps. Please, Gerard. I’m begging you! Stay away!
The problem with Butler being so awesome, is that the rest of the cast sort of pales in-comparison to him, but that’s not such a bad thing when you have an ensemble such as this. Aaron Eckhart is a bit weak as President Asher, who instead of standing up for himself and showing that he’s more than capable of taking matters into his own hand, is just meant to sit there, yell a lot, and say how much he does not negotiate with terrorists, even though that’s exactly what he does. Barack would be SMHing right now. However, that’s where Morgan Freeman comes into play the speaking-president (for the 2nd time, mind you), and does an alright-job, even if it seems like a bit of a waste for the guy to just sit around a room, with equal heavy-hitters like Robert Forster and Angela Bassett, and react to everything Banning says, does, or follows through on. Hey, I would rather have them in this movie, then not at all, but at least give them more to do than just reaction-shots that they could pull off just by looking into the mirror.
On the opposite end of things, Rick Yune isn’t just taking a little nibble with the scenery, but is constantly gnawing and teething at it with all of his might and will-power. Yes, it does get a bit over-board at times, but it was actually fun and nice to see a villain that seems smarter than everybody else around him, and one that’s more-than capable of getting away with a blood on his hands. Dylan McDermott plays the American who’s on his side, and does what he can, but once again, seems like a bit of a waste for a guy who’s so, so, so much better at playing dick-heads in movies that it’s not even funny. I mean, it’s funny to watch him in this, but it’s not funny when he can play it well. Everybody else is here for window dressing, and that’s about it. They are all fine, but nothing too special to write home about.
Consensus: Even if it isn’t the best, or the last “White House in danger” movies that we’ll be getting this year, Olympus Has Fallen still excels in being a fun, wild, exciting, and brainless exercise that gets us involved, gets us enjoying ourselves, and gives us back the Gerard Butler that we all knew and used to love. Please stay with us, Gerard. And never, ever leave our sides.
6.5 / 10 = Rental!!
OK Batty, you had your fun, you had your box-office records, and you had your hype. Now, it’s time to get the hell out of here!
It’s been 8 years since Harvey Dent was killed by Batman and Gotham City is pretty much going to hell. It’s turning for the worse, there’s no central peace or order to be found, and Bane (Tom Hardy), has a huge gang of thugs basically taking over the city. However, little does he know that there’s a certain someone who’s always there to stop evil at once: Batman (Christian Bale).
Honestly, who the hell has not been waiting for this freakin’ movie!?! Ever since The Dark Knight came, stayed for a long-ass time, and went back in 2008, people have been waiting day-after-day just to see what Nolan was going to pull off for his last hurrah. Thankfully, this is his last hurrah, and what a perfect hurrah it is.
Director Christopher Nolan proves, once again, why he is in-fact one of the greatest story-tellers working in film today. I know the same exact thing in The Dark Knight review, but this guy really proves that he has some insane skill with this flick because from start-to-finish, I was basically on-the-edge of my seat, wondering what the hell he was going to do with this story, these characters, and everything else in between. I’ve never been a huge comic-book fan and to be honest I’ve never really read much of Batman comics, but from what I see here, this guy takes the story of Batman that we all know and love, gives it a dark edge, and makes you feel like it can and will go anywhere he wants it to. There were certain parts of this flick where I really felt like some major characters were in danger of being killed off right away and even though that danger comes and goes, much like normal superhero movies, you still feel like the danger is not over. Just when you think that things are going to get better for these characters and Gotham City itself, it doesn’t and throughout the whole film, I was constantly thinking who will I be seeing for the last time and who will I be seeing again to fight the baddies. Sounds lame, I know, but this story really feels like it will go somewhere where no other superhero film has ever dared to do so far before, and sometimes it does, but it’s all I could ask for in an entertaining, superhero movie. A lot of this story harks back to Batman Begins, so be ready for that, but this is it’s own story, through and through.
Nolan is a daring film-maker, well all know and love that, but it’s not just because of how epic and twisty the story can be, it’s all because of what that guy brings to the table that makes this film all of the more enjoyable. There’s a certain type of suspense in this film the whole time that not only made me feel the energy going throughout my veins, but kept my eyes locked on the screen at all times. Every single action scene feels like it’s going to be even better than the last one, which they usually are, but there’s just something so much more epic about the action scenes here that made me want to get up and join in the action, whatever that may have been at the time. You can just feel the energy of this movie escalating into something bigger and bigger as the run-time goes on, and once it gets to that breaking-point, all hell breaks loose and there’s just so much action and excitement going on that you cannot help but feel it come off the screen as well. But, however, as good as a lot of this action may be, it’s still feels very epic and I think a lot of that has to do with Mr. Nolan and what he does behind-the-camera.
This is definitely one of those films to see in IMAX, even though it’s not always shot in that format the whole way through. The shots Nolan grabs here are great, whether it’s these sweeping action set-pieces or just beautiful over-head shots of Gotham City, either way, the IMAX looks great and if you do pay extra for that ticket, you will not be disappointed with what you see, or hear. The sound is just so loud and clear, that whenever an action scene happens, you can almost hear and feel the hits with the loud-ass booms of the speakers, and it gets even better with the score that Hans Zimmer has made up here. As soon as you hear it come up, it hits you and you can just feel like shit is about to go down, one way or another, and sometimes it does, and sometimes it definitely freakin’ does! Didn’t make much sense, but I don’t care! I know I don’t mention scores a lot, but with a film like this, you need an epic score just to give you the feeling of how epic this film truly is. Yeah, I know I said the word “epic” again, but it’s the truth, everything from the score, to the cinematography, to the story, to the action, makes it that from beginning to end. Yeah, there may have been a couple of problems with it’s story here and there, but I was able to let that all go by me and realize that this story just totally grabbed me and never let go. And thank the lord for that.
For every single person who has ever talked ish on Christian Bale and what he does with Batman and that “growl” of his (trust me I’m one of them), be ready to feel ultra sad knowing that this will probably be the last time you ever see this guy do that ever again and what a way to go out with it. This is probably the best performance Bale has given as Wayne out of the whole trilogy because he brings out that warrior-like darkness that arose in him from the second flick, but also goes back to when he was just learning the ways of his anger from the first one, as well. It’s a pretty cool mish-mash of character ideas going on with him in this flick and Bale handles it perfectly, just like I expected him to.
After having such an iconic villain like The Joker, played by the late, great Heath Ledger, it feels very obvious that Nolan would try his hardest to make Bane out, almost the same exact way, if not more, but he doesn’t go down that route which I liked. Bane seems like a strange choice of a villain to be in this dark trilogy, but he’s given a lot more development here that gives him a pretty bad-ass origin story to start off with, a bunch of intellectual skills that match his fighting skills, and a pretty intimidating physique, courtesy of rising-star Tom Hardy. Hardy is great with this role and proves to be more intimidating and dangerous than The Joker in more ways than I expected because whenever he’s on-screen, you can just feel that tension whenever he is, but when he isn’t, you can still feel it as if he’s just planning what he’s going to do next in the background somewhere. There’s this great use of his eyes that Hardy uses to convey all of these evil and mean thoughts that are going through his head, and you almost feel happy that you don’t see what else is going with his face. Definitely a great threat for Batty, and another reason why Nolan should have been trusted with this character from the first place. Oh yeah, and that “voice” of his? Easy to understand most of the times, other times, you can’t really hear it fully, but you pretty much get the gist of what he’s talking about. Evil shit, and that’s all you need to know.
Another big worry that people had with this film’s cast of characters was Anne Hathaway as Catwoman/Selina Kyle. It’s not that people didn’t trust Hathaway and her skills as an actress, it’s more or less that fans didn’t know what to expect from this character that seemed so weak whenever she was adapted onto film the other times, but somehow, they pull it off perfectly here, mostly Hathaway. Right from the get-go when you see this girl, she is just bad-ass, smart, witty, sly, evil, and sexy, but you never know what’s on her mind, what she’s going to do next, or who’s side she was going to end up being on in the end of it all. That mystery about her, made her character so much more awesome and bad-ass than anybody ever expected and she totally seems like the type of chick-character that could hold her own with the best of them. Don’t hold me to this, but I sort of do see an Oscar nomination for Hathaway here, but if it doesn’t happen, I won’t surprised, either. Just one of those things I could see happening in the future, and with good reason, too.
As for everybody else in this flick, they’re all pretty good, too. Joseph Gordon-Levitt, aka the effin’ man, does a great job with a character that comes out of nowhere, we know nothing about, and just seems like one of those cookie-cutting good guys that every superhero story needs. However, JGL makes this character so much more bad-ass than anybody, even myself, first thought and he makes a great supporting character that you know you can trust every time he shows up on-screen. JGL is getting bigger and bigger with each and every role he takes, and it’s not for long until this guy finally nabs an Oscar. Maybe even two, hell, maybe even three! I don’t know! The sky is the freakin’ limit with this dude! Marion Cotillard is also new to this story as Miranda Tate, and does a splendid job, as usual, even if her character does seem a little bit forced with the hum-hum romance between her and Bruce Wayne, but it’s easily forgivable since she’s so good in everything she does. As with out returning veterans of the series, Gary Oldman, Morgan Freeman, and Michael Caine, they all do their parts and show why exactly their characters have stayed so strong throughout the whole time of these movies.
I know that throughout this whole review, I kept mentioning and bringing up the word “epic”, but if I had to sum this flick up in one word, it would be exactly just that: epic. You can just feel like this film is going to culminate into something big, something extravagant, and overall, something that will stay in your mind forever because of what Nolan has done with this series, and does with this goodbye to the series and stories that he has made so damn popular once again. Now that he’s done with these flicks, Nolan will go off and do the film he’s always been wanting to do and probably kick as much ass with them as he has with these three, but I will never forget this amazing trilogy and as sad as it may be to see the last time for all of these characters happen right in front of our eyes, I know that I had a great time with all three flicks and I couldn’t have asked for anything better. I’m getting a little teary-eyed here right now just writing this and when you see this flick, trust me, you won’t be able to blame me. Thank you Christopher Nolan. You truly can do no wrong.
Consensus: Though it may be very long, The Dark Knight Rises delivers on every spectrum: acting, writing, directing, cinematography, score, etc. It’s exactly what you could want in a summer blockbuster, and superhero movie, but it’s also exactly what you could want in a film that’s saying “adios” to all of its characters that it’s introduced to us for the past 7 years and it’s a legacy that I won’t forget. That’s for damn sure.
9.5/10=Full Effin’ Price!!
Damn, when they say “Dark”, they freakin’ meant it!
Batman (Christian Bale) raises the stakes in his war on crime. With the help of Lieutenant Jim Gordon (Gary Oldman) and District Attorney Harvey Dent (Aaron Eckhart), Batman sets out to dismantle the remaining criminal organisations that plague the city streets. The partnership proves to be effective, but they soon find themselves prey to a reign of chaos unleashed by a rising criminal mastermind known to the terrified citizens of Gotham as The Joker (Heath Ledger).
Come on now! You can’t honestly sit there and try to tell me that you didn’t see this one coming. I mean with The Dark Knight Rises only about a few short days away, I had to realize again why I’m so juiced up in the first place and thank God for that, cause this movie still kicks ass no matter how many times you see it. And to answer any of your suspicions, I saw this more than 10 times. In it’s entirety, as well.
Let me just get this out of the bag and go off by stating the obvious when I say that this is one of the, if not, the best superhero movie of all-time, and all of that can be attributed to one of the best storytellers working today, Mr. Christopher Nolan. Batman Begins was a pretty damn dark origin story to how Batman became who he is, but this film goes even farther in the dark departments where almost everything here is complex, gloomy, depressing, scary, sad, and most of all, tense. Holy shit is this movie ever so tense! Nolan lets the story be told the way that it should, which works in its own right, but what really got me every time was whenever he would pack this film with another insane action sequence that would last over 10 minutes and just keep my attention up on the screen the whole time. The sounds are loud, the shots are booming, and the whole time, you feel like you’re there and you have no idea what’s going to happen next.
That’s also another aspect I loved about this movie, you never knew what was really going to happen next. Too much in today’s world whenever we get a superhero movie, it’s pretty much the same song and dance but there’s just something different that Nolan brings to this story here and he makes it all the more unpredictable. I mean there is obvious, generic plot points that this film follows through on, but not everything is exactly as you would expect it to be. And honestly, even when things are even remotely up-lifting or happy, they aren’t as sunny shine as you would want. Instead, the daaaaaaarknessss taaakesss overrrrr!!!
So when you do have a story that’s somewhat unpredictable and plenty of hardcore action scenes that kick your ass right into shape, you pretty much have a movie that keeps you on the edge of your seat the whole way through, which is in fact what this film does if not more. Every single scene feel like it matters to this story, only to build it up more and give it more layers, and every time a piece of action would come out on screen, it not only made the film feel that much more intense but also added to the ruthless mood that Nolan gave this film in the first place. You almost feel like this director will do anything and everything to entertain us and keep us watching, but he also doesn’t allow for it to be just his story to tell, we all know and love it the way we do and there’s a spirit underneath it all that really makes it fly (pun intended). It’s not everyday that you get to see a story like this that’s so damn complex and fun, but also one that doesn’t seem like it’s going to be pulling any punches and could literally go anywhere with itself. That’s the type of director Christopher Nolan is and if you don’t believe me, go on and check out his résumé, and see what the eff I’m talking about. This guy means business and it shows through every single film he makes, and that’s why I have total and complete faith in him handling this last one.
If there is any complaint I have to give to this film is that it is almost too tense to the point of where I feel like I was getting tired by the end. I know, I know, I’m going to get attacked in the comments by how lame of a complaint this is but the film does run on a little too long and you feel like there should have almost been an intermission for people to go out and stretch their legs and get some over-priced goodies at the concessions stand. Then again, it’s just another sign of Mr. Nolan not taking any prisoners when it comes to watching his movies and being there for the end, with every body part still in-tact.
Christian Bale, once again, does a pretty solid job as Batman/Bruce Wayne and shows that he definitely has the skills and charm to pull of a complex character like Batman where we see him as this happy and rich playboy, that has to stand up for what is right, put on the cape, belt, suit, and everything, just to show what he believes in. Maybe that was a little too corny for Batman, and hell, even this movie, but you know what I mean. Bale is always awesome and regardless of what he does with his voice, you know this guy always kicks ass. It was also awesome to see everybody else return here and give their characters more development this time around with Gary Oldman as Lt. James Gordon, Morgan Freeman as Lucius Fox, and of course, Michael Caine as Alfred Pennyworth. Also, people will probably notice that Katie Holmes didn’t return to her character of Rachel Dawes (for Mad Money, great decision honey!), so they put Maggie Gyllenhaal in for her and she does pretty awesome. She isn’t necessarily a damsel in distress character as she can stick up for herself but also makes it clear why two dudes like Wayne and Dent would be fighting over here.
But when it all comes right down to it, you cannot talk about this film without going over it’s two main villains: Harvey Dent/Two-Face and The Joker. I feel bad for Aaron Eckhart here because this guy totally gets over-shadowed by all of the hype with his character, as it’s obviously always more focused on The Joker, which isn’t fair because the guy kicks some sweet ass in this role. Eckhart definitely seems like a great choice for Dent because he’s always been able to play these somewhat slimy characters, that you know you can’t hate because deep-down inside, there’s something good in them. Take this role for instance, as it is a lot harder to portray a dude that is pretty much a romantic rival to our main hero, and also goes from good guy to bad guy pretty quickly and dramatically. But somehow, Eckhart pulls it all off and I’m glad to see that he finally got his chance to be apart of the A-list because this guy has something about him that just really clicks.
However, you can’t talk about this film without not talking about it’s main attraction in the first place, and with good reason: Heath Ledger as The Joker. This is one of those rare, inspired bits of casting that comes around almost once a decade where a random actor gets put in this role where it doesn’t seem like it fits that person one bit, but somehow, they pull it all off perfectly to the point where you almost don’t feel like you’re not watching that same actor do their own thing. That’s this rare role where Ledger just got to do anything he wanted with this iconic villain. Does he have the same wit and charm as Nicholson’s? Of course, but it’s a lot more darker now and goes along with the tone so perfectly because Ledger isn’t a Joker that’s all about fun and games, this ‘effer will kill you when he has the chance to do so and he’ll laugh and smile about it. Don’t believe me? Just try and remember that magic trick. Thank you, I rest my case. But honestly, this is one of Ledger’s best performances ever, which is obvious because he won the Oscar that year anyway but it should not be all about because he died and the Academy felt bad. No, this guy commands the screen every time he is up there and you get the perfect feel for what this actor really would have done, had he lived on and saw what this iconic role done to his career. Really is a sad thing to see when you have somebody with such a bright future right ahead of them, just fall short because of some stupid drugs, but we will always have the movies and that’s what matters.
Consensus: The Dark Knight is exactly what you would expect from a superhero flick, especially one that is considered the greatest of all-time: awesome action sequences, tense storytelling, unpredictable story, great acting, easy-to-root for hero that has more problems at stake than just a bunch of baddies, baddies that are as menacing and evil as you can get, and a direction that just reminds you that Christopher Nolan is a man amongst men when and when it comes right down to it, this guy can do it all if he wanted to! The Dark Knight Rises, here I come baby!!
It doesn’t matter who you are, you love this damn film.
The film tells the story of Andy Dufresne (Tim Robbins), a banker who spends nearly two decades in Shawshank State Prison for the murder of his wife and her lover despite his claims of innocence. During his time at the prison, he befriends a fellow inmate, Ellis Boyd “Red” Redding (Morgan Freeman), and finds himself protected by the guards after the warden begins using him in his money laundering operation.
Let me just say this, if you have not seen this film, stop reading and get out there to your local video store/Redbox/Netflix account/illegal movie download website and check this ditty out. Honestly, everybody loves it. Of course when people say that about anything, it usually means that it’s just their opinions and that about 2 people they know agree with them so they feel like hot shit but that’s not the case here at all. You could ask anyone their thoughts on this and I’ll bet they’ll all tell you the same thing: perfection.
The craziest thing about this flick is how this was writer/director Frank Darabont‘s first movie he ever made. That’s right people…..FIRST MOVIE HE EVER MADE! Darabont really deserves all the credit for this story and for this flick because he found a way to match all of Stephen King’s writing in such a perfect way that it made every line of dialogue, feel like a piece of art itself. When the film wants to be funny, it’s funny; when the film wants to be emotional, it’s emotional without ever being hokey; and whenever the film wants to find its own little sly ways of getting us more and more involved with this story, it does and never stops the whole time. All of the dialogue, if placed in a lesser hand, could have been written off as corny but Darabont and King work wonders together, and it’s no surprise that Darabont went after another King adaptation about 5 years later with The Green Mile. Oh yeah, and he’s the guy who also adapted The Walking Dead so that definitely earns some brownie points in my book.
I think what really makes me truly love this film the way that I do is that I have seen it about 5 times and not once does it ever get old. That’s the true sign of a good movie. Since you know everything that goes down in the end, you get the chance to look at everything once again and see all of the little hints and clues that this film throws at you, without you ever really knowing in the first place. It’s really cool how Darabont was able to throw these little things in there to have it all make sense in the end but still allows you to get something new out of the movie each and every time you watch it. The film is all about the human spirit and how we can all be free no matter where it is that we are at in our lives. These prisoners feel trapped but it’s all about how they can all break free from these walls without ever having to take a step over them. It’s a message that we have all seen done and talked about before, but for some reason, this film does it the best and really makes you want to just get out there and live like a free person anywhere you go.
At the center of this whole film though is the performances of everybody involved, especially those ones of Tim Robbins and Morgan Freeman. These guys were already big names before this film came out but I think it’s definitely the best performances of their careers by far, and if you have ever seen any of their other work you know that this is a very bold statement to make in the first place. Robbins is very mysterious and strange as Andy, but he’s also a very likable character that makes it easy to see why all of these guys take such a liking to him in the first place. We also see Andy as a free soul that wants to do anything in his power to do right for everyone around him and gets even better and better once you start to see just how smarter he is than he lets on. It’s such a shame that he didn’t get nominated for an Oscar here because he really brings a whole lot to Andy. Morgan Freeman is also the perfect choice as Red. Red is our narrator for the whole movie and shows us a look at everything that’s going on with Andy from the outside-in and it just works because you feel a huge deal of warmth and comfort from this character that it really shows as one of Freeman’s signatures when it comes to him playing in any role. I heard that Darabont chose Freeman over such legends like Clint Eastwood, Harrison Ford, Paul Newman, and Robert Redford, and to be honest, I couldn’t see any of them playing the part as perfectly as Freeman does here.
What made this film work the way it does on me is the friendship these two create together. Red sees something in Andy that he never expected in the first place and from then on, we see two people who are both struggling for freedom in a place where all hope is lost, gain some sort of hope together. What I’m describing right now may sound a bit too much like a mixture between Brokeback Mountain and Cool Hand Luke, but it’s honestly the best aspect of this whole movie because you see this friendship blossom over time and you see how they each look out for one another in every single situation they have. By the end, everything they have together starts to come in full circle and that’s where I actually started to tear up a bit because this is where the film’s message comes around and it’s also where you notice that these two guys were meant to best buds and live free after all.
Consensus: The Shawshank Redemption is just one of those perfect movies that seems to have it all: great writing, great direction, amazing performances, a message that is meant to inspire anybody who watches this, and so much more to it. Basically if you are reading the end of this review and have still not checked this one out, then get off your butts and do so. I promise you will not be let-down in the least bit.
10/10=Love and Cherish Forever!!
Fear the Batman and his raspy voice!
As a boy a young Bruce Wayne watched in horror as his millionaire parents were slain in front of his eyes, a trauma which led him to become obsessed with revenge but his chance is cruelly taken away from him by fate. The discovery of a cave under his mansion, and a prototype armoured suit leads him to take on a new persona, one which will strike fear into the hearts of men who do wrong, he becomes Batman (Christian Bale).
Since everybody and their mothers have been hyping up the release of the epic conclusion of the Christopher Nolan Batman Saga, I thought it would be a good time to go back and check out what these other two did to have all of this excitement. However, it only got me more and more excited for what’s bound to come July 20th.
What Nolan does here with this Batman flick is give it a whole new look, edge, and feel to it. Instead of going for the slap-happy, goofy type of Batman we usually see from Adam West and the terrible Joel Schumacher, we get a real serious Batman that works a lot better. That’s right, no Prince jams, no Bat nipples, and no hammy villains: everything is played straight to the core and that is one of the main things that Nolan does here perfectly. Nolan actually gets into the character of Bruce Wayne more and find out how, why, and for what reasons he goes off from being this million dollhair playboy, to all of a sudden becoming a kick-ass dude dressed in a Bat suit. Of course being dressed as a Bat when you’re laying down the law on somebody is a little kooky in its own right, but they actually bring that up amongst other topics, and it all comes together perfectly.
Nolan also knows how to make this film look great with some perfect shots coming from the cinematography, but also with the sleek and dark look this film had the whole time, especially when it came to Gotham City itself. Gotham City here, actually looked like a metropolis rather than just a set with some fancy designs on it and it got me into this setting where every one and everything is just dirty as hell, everybody and their mothers are all corrupted, and there is no law being brought down on anything bad happening. Gotham City has never looked better and it only gets cooler and cooler to look at once Nolan begins to bring in some of Batman’s cool gadgets and whatnot, all of which, are going to make you want to head on back down to the local Toys R Us and play around a little bit. I’m probably alone on that one but it’s just another excuse to go and play with my toys.
There was plenty of action that worked, especially the finale which kept the energy flowing, but it start to bother me after awhile. Yeah, Nolan gives us the action we want but whenever he does, the camera is constantly up each person’s asses and you can’t see anything else other than a couple of figures throwing punches and kicks at one another. With all of these “hand to hand” combat fight sequences being edited so tightly, it was really hard for me to even get a feel for who was hitting who and who was doing what to whom, and I guess I just also wanted that “awww shittt he just broke that bulls….” moment that I usually get whenever I watch a superhero/action movie. Instead, I just guessed who was winning and who ended up winning and 9 times out of 10, I was right.
Christian Bale was a great choice for Bruce Wayne/Batman because the guy can look and act the part no matter what it is that he does, and he is no different here. I like how Bale gave off this dark but cocky attitude about him that made his character seem more like Patrick Bateman, which isn’t such a bad thing considering that is by-far one of his best performances of all-time and it’s definitely a lot easier to cheer on this guy when it comes to the beat-downs. Katie Holmes was pretty damn flat as Rachel and I think that’s mainly because the writing didn’t give her much to do, other than constantly bitch at every one around her, especially at Bruce and then act like they’re in love at the end. Yeah, didn’t really believe that after all of the hissy-fighting but maybe she was just tense. Then again, that’s always an excuse for ladies.
As for the villain(s) of this flick, each and every single one of them do fine-ass jobs and give a lot more to this story, even if it is without any real iconic villain that we all know and love from the Batman series. Liam Neeson is sinister as Henri and seems like the type of dude you really don’t want to mess with, even if it is Oskar Schindler; Tom Wilkinson was freakin’ funny (in a good way) as the last mobster in Gotham City; and Cillian Murphy does a great job playing up that whole crazy-persona here as Dr. Crane, and thankfully, he doesn’t overdo it one bit. Oh yeah, another surprise is that The Scarecrow is actually scary this time around. Never going into the corn fields ever again.
Consensus: Batman Begins is not perfect but it’s a very dark, bleak, and serious type of superhero film that works due to it’s inspired direction from Christopher Nolan, and some awesome performances that all of the cast gives out, with the exception of Katie Holmes which was pretty predictable.
Was Allstate Insurance around in the 50′s?
Cathy (Julianne Moore) is the perfect 50s housewife, living the perfect 50s life: healthy kids, successful husband and social prominence. Then one night she discovers her husband Frank’s (Dennis Quaid) infidelity and her tidy world starts spinning out of control. In her confusion and grief, she finds consolation in the friendship of their African-American gardener, Raymond (Dennis Haysbert) – a socially taboo relationship that leads to the further disintegration of life as she knew it.
Writer/director Todd Haynes does something very strange with this flick that I don’t think I have seen done before ever. He takes what is the style of a 1950′s film and puts themes and conversations that would only be talked about in film’s today. It’s sort of like a confusing combination between two different time-periods but I have to say he makes it work.
This is definitely Haynes’ film right from the get-go as almost everything here is meshed-out perfectly and completley with style. Everything here fits the look of the 50′s with all of the bright colors that take over every scene and seem to pop right out at us, the costumes look real instead of making it seem like these famous people are just dressing up for Halloween, and the cinematography captures some real pretty shots that add so much more to this flick and give it this feel of beauty. The score is also done very well, almost a little too well as it constantly comes into scenes with a soaring sound, but that’s pretty much done on purpose. Haynes has a style here and he keeps to it which makes this one of those films that even a deaf person can enjoy since every shot just oozes beauty.
The screenplay, that was also written by Haynes, is very well-structured in a different way. This is very much a film that shows people in the 50′s talking about social taboos during the 50′s but still being able to talk like as if they were living in this time-period. Everybody is so corny and says such things as “aww shucks” or “gee golly” but then when they start talking about such topics as racism and homosexuality then the film gets a little edgy but in a good way and not over-exploitative. There’s a good story here as well and as it goes on, you start to feel more and more for this woman even though it may be a little hard to relate to her considering not many out there have to deal with a gay husband.
Even though the script is well-structured, there were still moments where it had its big faults. The whole racism subject is touched upon gently when it’s just Cathy and Raymond talking but when it comes to the other people and how they respond to it, well that’s where the film seems a little too over-dramatic. The scenes where other people see them together have this score music that almost makes it seem like the shower scene from ‘Psycho’ or any other horror flick to give it this hyper-charged feel. Not only was this a problem but even the scenes where we see the differences between black and white people from Hartford seem way too different to even be considered in the same film. The black scenes seem a little too modern as if they were filmed in a completley different place than the rest of the film was located and it seemed like too much of a fault to let go.
Still, this film definitely depends upon its lead performance from Julianne Moore, and she does not let it down. Moore is an actress who I think always seems to play the same type of gal in every film but she’s very good here as this very simple, nice, and sweet lady who starts to see her world crumble down. She’s curious, sad, confused, but most of all, real and that’s the type of genuine feelings I got from Moore’s performance here as Cathy. Dennis Quaid is amazing as her husband, Frank, and he gives off one of the better dramatic performances of a confused guy that I’ve seen in quite some time. It’s a real wonder as to why Quaid doesn’t do more dramas because he’s really good here.
Dennis Haysbert plays Raymond with a great deal of subtlety and restraint to give you this feel that he is totally nice dude and would never ever hurt a fly. We always see this guy in those Allstate commercials (see the pun up top) but with this performance here and as the daddy in ‘Love & Basketball’, he shows why he can really pull out some great dramatic chops with a voice that almost has Morgan Freeman running for his money. It’s also pretty funny to see Viola Davis play a role here as the nanny, Sybil, a role she would still be playing all these years later but actually getting nominated for it in ‘The Help’.
Consensus: Far From Heaven is a film that perfectly matches the style of films from the 50′s, with a great story that touches on the life-styles of the times, and performances from just about everybody involved that make this an emotional and heart-felt story, even if it seems a bit over-dramatic.
If I ever need someone to drive me around, I definitely would want Morgan Freeman as the dude.
A genteel but strong-willed Southern matron (Jessica Tandy) is an old-crochity lady who wants to do everything herself. That is all until one day when her son (Dan Aykroyd) hires a driver for her by the name of Hoke (Morgan Freeman). She’s displeased with this, but she soon starts to form a bond with him.
Adapted from the 1988 Pulitzer Prize winning play, ‘Driving Miss Daisy’ is a film that I have been wanting to see for a quite awhile now considering it’s the last PG film to win Best Picture. To be honest though, there were better films that year.
Director Bruce Beresford does a great job here of giving us a story that is initially slow-paced but feels real by the way it moves and by the way characters act. The film starts off by showing these two characters who talk their own way, act their own way, and basically live their own way but soon start to change after they continue conversations with one another. Beresford really down-plays a lot of the changing moments between these characters and it almost feels like something that would happen in real-life is two people of different races and backgrounds were to come together and realize something about each other.
The film also has a great deal of love and warmth in the air, which I think is a real testament to Alfred Uhry’s screenplay. Beresford and Uhry make a great team because the smooth direction almost goes hand-in-hand with this very charming but very real screenplay that not only addresses a lot of the racial problems that were going around the time-period (1948 to 1989) but doesn’t over-do it and does it more subtle than I expected. I think it’s the way that Uhry is able to combine heart, humor, and race issues into this film is the reason it won so many Oscars and why I actually enjoyed listening to these characters talk.
The problem with this film is that even though it may talk about these racial issues, it never seems like anything we haven’t heard or seen done before. We never really get any insight on how these characters feel and even though we get glimpses of them changing, there’s never any real moment where we really see these race issues tackled up-front and center. Don’t get me wrong, I liked what the film was trying to show me but there isn’t anything really new or surprising that this film has to say other than old white women should not drive.
Also, I like the film for being very relaxed and warm with it’s direction and writing but I never actually felt involved with the emotion of this story. Yes, it does have a nice little friendship between two different people that is at the heart of this film but we never actually feel any certain type of heart-wrenching moments towards either of them until about the last 20 minutes. Before these 20 minutes actually happened though, the film brings up little snippets of these two actually getting along and becoming very close but there was not enough of that for me to fully get into the emotion that this story was trying to make me feel.
What really saves this flick is the performances by everybody in this small-cast of characters. Morgan Freeman gives an incredibly likable performance as Hoke and probably the one that put him right on-the-map. Hoke is just one of those Southern bumpkins you get that is always happy about something and finds joy in making others happy but is also true to himself no matter what may come his way. Freeman plays this up perfectly and he uses a lot wit to great advantage and makes us feel so much more for his character. Dan Aykroyd is also here and gives a very quiet and subtle performance as Boolie, and even though it’s a little too hard to forget who’s playing the role, it’s still great to see him actually watch him doing something that makes you laugh considering he doesn’t do much of that nowadays.
Jessica Tandy was absolutely perfect in this film as Miss Daisy and deserved the Oscar she got that year. Tandy is playing a Jewish woman and even though she may never seem Jewish her role as this old and grumpy old woman who complains about anything and everything, still somehow made me feel a lot for her. We see little moments in this film of her being alone and being very scared to be alone but as soon as somebody is there with her, she goes right back to her old and grumpy self. These moments were very moving as we see an old woman who starts to see not only the world changing, but her life as well and the way Tandy plays it all up works perfectly for this character. Her and Freeman actually work perfectly together using moments of silence to actually convey more emotions rather than when they actually are speaking.
Consensus: Though Driving Miss Daisy doesn’t have anything new or biting to say about its subject material, the performances from Aykroyd, Freeman, and especially Tandy and the warm screenplay will make you feel something for this story even if you won’t be crying your eyes out by the end of it.
Pitt being Pitt, Morgan being Morgan, Spacey being Spacey, and Fincher being Fincher. Hell yeah.
Two homicide detectives are on a desperate hunt for a serial killer whose crimes are based on the “seven deadly sins”. The seasoned Det. Sommerset (Morgan Freeman) researches each sin in an effort to get inside the killer’s mind, while his novice partner, Mills (Brad Pitt), scoffs at his efforts to unravel the case.
David Fincher is a total mad-man and I think he has only gotten better as the years have gone on, but it’s great to see where it all started.
This film is straight-up messed up however, it is also a very smartly written one to say the least which is a lot of thanks to writer Andrew Kevin Walker, who did a lot of junk before and after this film but somehow got thing clickin’ at the right time and place. The film shows the characters always one step behind the killer so we’re constantly left wondering how is this damn guy so freakin’ smart and we don’t quite know what he’ll do next. It fully keeps you on the edge of your seat, until the grand finale comes up and then were left with, “Wow”.
However, it’s not the smarty-pants that the killer has is what’s so good about this screenplay, it’s the fact that it is actually horror/thriller film that has something to say. The killer’s motives really stuck into my head because he is only doing this to people that are not innocent, but more as to people who deserve it because of the hurt and pain they push onto others so subtly. This film will mess with how you view the world and most of all will take you inside of the mind of the serial killer it’s showing, which is unlike any thriller I have ever seen before. What the killer says is still in my mind and will stick with yours probably too.
The real reason this film works though is Fincher’s direction, that is almost nothing short of brilliant. His use of lighting still works in any film, and especially here because he knows how to make any place, no matter where it may be, and just make it the most dirty, grimy, and disturbing place you have ever seen on film. The thing is though, that he’s making Chicago look like this shit-hole where it doesn’t stop raining for a whole week. All of Fincher’s visual flairs add to the depressed and dark setting of this film and just about every sequence is thrilling just by the way he keeps the tension and mystery going.
Oh and let’s not forget the opening title sequence to the remix of the song “Closer” by Nine Inch Nails. Like that damn song didn’t already have me creeped out. Thanks Finch.
I also liked the fact that we never actually got to see any of the killing’s happen, and more of just the aftermath of these grisly murders. There’s a lot to be shocked by after seeing this film, and although I have seen this about 4 times now, I have to say that I still get a little grossed out by what I see. Others may like this, may despise it and this is one of those films where it’s just “not for everybody”. That can be said for a lot of Fincher films except for maybe his last two that came out, but with The Girl With the Dragon Tatoo, I think he’s back on-track for grossing people out again.
The cast is also nothing short of magnificent either. Brad Pitt is great as the young, cocky, and headstrong cop David Mills who wants to get the bad-guy at any way possible, and Morgan Freeman is even better as William Somerset, the laid-back, seasoned cop who plays the voice of reason every time Mills gets a little loose with it. They’re contrast of old school vs. new school is amazing to see on-screen and they work together so well having me actually believing them as a real-life detective team. The real shining star of this whole film is probably Kevin Spacey, who you will probably be stuck remembering long after the final credit reels off the screen. I can’t say much else about this role, but this is easily the best performance from the whole film by just how much he gets into not only the character’s heads, but also the audiences head as well.
Consensus: Although it may not be for everybody, Seven is still one of Fincher’s best with a tension-filled atmosphere, brilliant script, superb writing, and a grand finale that will be sure to stay in your mind way long after the film is over.
If every single 80′s classic is being remade, there’s no reason for Howard the Duck not get a little one too.
A quest that begins as a personal vendetta for the fierce Cimmerian warrior soon turns into an epic battle against hulking rivals, horrific monsters, and impossible odds, as Conan (Jason Momoa) realizes he is the only hope of saving the great nations of Hyboria from an encroaching reign of supernatural evil.
So it seems like Hollywood is running out of any original ideas so they are practically remaking every 80′s film known to man. Sadly, they should have let this legendary Arnold flick alone.
The one thing that works for this re-work is that the action and gore is pretty freakin’ awesome. I loved just watching Conan slice up almost every single person that walked into his way and not give two shits about it after wards either. Another good thing about the action here is that I could actually tell just what the hell was going on because to be honest, so many action films come out nowadays and you can never know who is getting killed or who will be.
The movie is directed by Marcus Nispel, who is most well-known for the Texas Chainsaw Massacre and Friday the 13th reboots and the godawful Pathfinder. Conan the Barbarian has more in common with the latter, but it is thankfully a much better movie even if that doesn’t say much. Nispel’s direction here isn’t anything mesmerizing but he handles a lot of the action scenes very well whether it be a huge war going on, or Conan taking on a bunch of baddies, Nispel seems to have his head on the right track a lot.
However, when this movie is not killing people, it’s pretty weak in every aspect. The plot of this film has been done about 500 times before and probably a lot better and as the second half of this film comes around, the bloodshed tones down so we can actually understand these characters when we really don’t give a shit and just want Conan to pick up his sword and start chopping heads off. I hate when any film tries to do this because it usually takes so much away from the action, and here it’s just about 10 times worse.
The dialogue also tries to be so incredibly witty and smart but it just fails terribly, however, I don’t know what this film was trying to go for. The one-liners here are just terribly cheesy and just made me laugh-out-loud but I have to say that I don’t really think that this film was trying to take itself too seriously either, so I guess I can’t hate on it too much. But he writing for this film is just only writing in the sense that words were put down on a piece of paper, with no real sense of knowledge and just lines of dialogue that are just made to move the film along.
The film also looks insanely cheap and something that just screamed “straight-to-dvd release”. I mean sometimes I usually don’t mind this but the film honestly looks like half of the sets were made from plastic, and CGI backgrounds that look as realistic as a high-school play stage. The rocks on the ground also bounce up higher than usual rocks actually should bounce up and it doesn’t just happen once, it happens a couple of times and I noticed it right away. It’s a shame that these production designers didn’t put more effort into the look of this film because I actually feel like I really could have gotten into this setting, if it wasn’t for the cheesiness.
The cast of this film tries what they can but in the end, the script is only a huge let-down. Jason Mamoa makes the most of his performance as Conan and uses these crappy lines to show how barbaric he is. He is one of the things that makes the film barely tolerable; he’s ruthless, threatening and very badass. I wish I could compare him to Arnold Schwarzenegger, but Mamoa does a good job on his own, and when it comes to Arnie, there is not comparison whatsoever.
Stephen Lang is good as the same villain he plays in every film, but instead with funky-looking hair that makes him look like a chick as Khalar Zym; Rose McGowan is very strange but pretty good in a kind of Marilyn Manson way as his daughter, Marique; Ron Perlman is good as Conan’s daddy; and Rachel Nichols is pretty alright as Tamara. But the one real mystery of this film was how they actually got damn Morgan Freeman to narrate a little portion of this film! I mean this guy has another Batman flick coming up and he’s getting bothered doing this crapola! Stay away Morgan!
Consensus: Conan the Barbarian is dumb, terribly written, cheap-looking, and no emotional connection whatsoever, but it still has a lot of fun and awesome blood, gore, action, half-naked barbarians, naked chicks, Morgan Freeman narrating, and a feel to it that doesn’t take itself too seriously but by all means, leave your brain in the car, as far away from the actual area you see this flick.
Does bringing a bat to school organize a school? I guess it does, in this movie.
When tough-talking principal Joe Clark (Morgan Freeman) takes over decaying Eastside High School, he’s faced with graffiti-covered walls and students wearing gang colors. But he’s determined to do anything in his power to turn the school around. He begins by expelling drug dealers and padlocking the doors to keep the riffraff out. But he also demands maximum effort from the students and staff inside in this uplifting drama based on a true story.
The whole story is very predictable, you can already tell where all of this is going to turn out. In ways that’s an OK thing, but at the same time, the film has two conflicting sides. The performance from Freeman vs. the story itself.
The performance from Morgan Freeman, is what really keeps this film’s on its toes. He is very strict, powerful, and he is very believable as this guy that just comes in, and takes over the place, leaving no prisoners.
However, questions are raised about him being very egotistical, and too much of an hard-ass. You can see times when they start to talk about this in the film, but never are the questions fully brought up, or even answered for that matter, and your disappointed cause you know that this guy, wasn’t the best person to keep everything in line. We never do see any actual learning going on as well. We just see Freeman yelling, and demanding, but never any of the actual learning.
Although the film may have its problems with the general message, it still does have a lot of powerful scenes. Mostly due to the fact, that Freeman goes for the gut in a lot of his scenes, but the scenes do get to the core of you, and you do have a good watch.
Consensus: Lean on Me is highly predictable, with too much questions unanswered, but Freeman’s performance, and a couple of moving scenes, make this one work.
Its hard for some people to actually play Mandela.
In this drama based on real-life events, director Clint Eastwood tells the story of what happened after the end of apartheid when newly elected president Nelson Mandela used the 1995 World Cup rugby matches to unite his people in South Africa. Based on John Carlin’s book, the film stars Morgan Freeman as Mandela and Matt Damon as Francois Pienaar, the captain of the scrappy South African team that makes a run for the championship.
For me this movie was highly badly advertised. I was expecting by the trailers a film about Mandela, and his struggle to overcome adversity, and somehow adding Matt Damon to the mix. Instead, what i got was just a normal sports drama.
The film is highly inspirational, with some scenes being more powerful than the other, and mostly all of them having to do with overcoming the adversity that struck South Africa so much during these rough and tumble times. I liked how they showed a lot of Mandela, with just pure bluntness of why and how he chose these decisions. There were plenty of scenes by the end of the film that really will make you tear up a bit of just how well it does look.
The only huge problem with this movie is that you have seen it before. Not exactly the way it is, but more of the way it is structured. The sports cliches come right in front of your face very quick into the movie, and by the end I already knew what was going to happen so when it did I wasn’t all that surprised.
I think Eastwood’s direction is very inspired and does some good things here as director, but doesn’t show his best work here. The pace is incredibly slow, and at times you will really lose your attention to this film cause you have just dozed off into la la land. Alos, the rugby scenes could have been a lot more exciting, and could have been done a lot more times than what they were given. I think with any sports movie half of the movies time should be spent on the sport its documenting but this doesn’t do that instead focuses on the politics behind it all.
Freeman does a great job here as Mandela much to my surprise. He brings this presence to the film that is really unmatchable every time he is on the screen, and handles the accent so well to where you don’t think of him as Morgan Freeman. Matt Damon also is very good in this film, but I still couldn’t wrap my head around him being somebody else. I mean hey that’s just me, I just still thought of him as Matt Damon and nothing else really changed my mind.
Consensus: Slow Paced and highly predictable, Invictus offers delightful performances from Damon and Freeman with inspiration, but isn’t Eastwood’s best work.
Clint Eastwood doing what he does best.
Retired gunslinger William Munny (Clint Eastwood) reluctantly takes one last job — and even more reluctantly accepts a boastful youth (Jaimz Woolvett) as a partner. Together, they learn how easily complicated truths are distorted into simplistic myths about the Old West. Richard Harris, Morgan Freeman, and Gene Hackman also star.
If you were to stumble upon any known spaghetti-western film of the 60′s and 70′s you were probably going to see the face of Clint Eastwood, who’s violent and quotable protagonists have made him a huge pop cultural icon. So if you liked any of those films you may like this one.
The one thing about Unforgiven that you have to notice is that it’s very different from many other of the huge Westerns. This film instead being all about the action and violence that come within the story, it’s more about the story at hand. It shows these characters as actually more than just one-dimensional characters, and shows their feelings and how real they seem to be.
A lot of the stereotypes that are in many Westerns are basically thrown right out the window in this film. There are a lot of meaningful discussions on life, love, death, and most of all murder, and how they affect each and every one of these characters.
Though I really liked this film it did have it’s problems. Though I liked the performances from these actors I felt like some of these side characters weren’t really needed and just felt like they were put in to put in big names for a main card. Another thing that really does beat this film is that it really doesn’t add any suspense to the last 20 minutes of the film. The film really doesn’t all lead up to it’s final minutes which would’ve created those last couple of minutes to be really good.
Clint Eastwood, who also directs, does a great job in this film, and shows one of his better performances. He shows us this two-dimensional character that does seem real, and has feelings unlike may of his others. Though I felt like he was too silent, he still does a great job with adding emotion to a character that sometimes seems like he has none. Gene Hackman, also brings in an Oscar-winning performance, as he plays the hated sheriff of the town and creates a character that we just hate and want dead right away.
Consensus: With a couple of misfires, Unforgiven still makes a wonderful Western film, that has more story, and better acting than your normal Western. This is certainly my favorite Western of all-time, and shows that Clint Eastwood surely can make masterpieces.
Not seven, but Slevin.
Set in New York City, the plot focuses on the paths of Slevin Kelevra (Hartnett), Lindsey (Liu), two feuding crime lords known as The Boss (Freeman) and The Rabbi (Kingsley), and a mysterious hitman known as Mr. Goodkat (Willis).
One thing right from the get go of the film is that yu will notice it is a lot like Pulp Fiction. The way of story-telling, screenplay, even sometimes the way it looks, seems too much Tarantino’s masterpiece. However, it is definably not as good.
Basically the whole movie is a con, and it tries to make you, the viewer, understand the con that is going on. I felt a little too jerked around and felt that why should I care so much for the story if I don’t even know where half of the time it’s even going.
The film tries to work its way through acting as a thriller, but it didn’t quite seem that way. I felt like it was a blend of mystery and gangster genre, with a side bit of comedy. But I just didn’t feel like my needs were met as they were suddenly changed right in the middle of the film.
Slevin, has a screenplay that is pretty decent and actually turns out to be kind of witty. I enjoyed how the comedy wasn’t too bad, and it started out great at first but then soon started to drag, but was still fresh. Much of the dialogue is hard to understand since many of these characters seem like all they have are inside jokes and will actually take you a long time to comprehend who and what the joke was.
This film starts to really drag on and end it’s entertainment to me. I didn’t quite know who the good guys were and really didn’t know who to fall behind or anything of that, so I was kind of left scratching my head of who was good and who was bad.
Slevin features an ensemble cast that does actually do their best. Freeman and Kingsley do the best jobs and although their characters seem to be as stereotypes, they still try to work at it and actually put out some pretty good performances. Lucy Liu I felt was really annoying and sometimes changed her personality to really quirky and energetic then suddenly to serious and scared.
The ending to this film really does work out and saves this movie from a demise that could’ve been crucial. At the end all the little parts are explained and about everything comes full circle and it’s really cool to see all that plan out.
Consensus: Lucky Number Slevin tries to be a lot like Pulp Fiction, with it’s story-telling and witty screenplay but starts to fizzle out early but saves itself by the end.