Steroids will kill you. But also will guns, lies, sex, drugs, murder, and leading a whole life of crime.
Three dimwitted body-builders (Mark Wahlberg, Dwayne Johnson, Anthony Mackie) make a living teaching other people how to put their body’s into shape. But they’ve had enough of it and want more out of life like money, fame, and drugs. You know, the American Dream. They decide to reach for this goal by kidnapping and extorting money from a very rich and powerful man (Tony Shalhoub). It sort of works, but as time goes on and their ego’s and utter stupidity seem to get in the way of things, they lose their way to figuring out just how the hell to keep their heads up and out of jail.
Oh yeah, and it’s all based on a true story. Don’t believe me, then seriously; go check this out and come back. See what I mean? Real shit.
The fact that this is all apparently happened, was directed by Michael Bay, and considered to be a passion project of his, really has me scratching my head still, even to this very sceond where I’m typing. However, being the “esteemed” critic that I am, I knew I had to be open to seeing something that Bay actually had been wanting to do for awhile and I think I stand with everybody else when I say that it’s time we saw something new from this guy. At least, I think so anyway. I hope I’m not alone.
I knew something was “up” with this movie once it began. It wasn’t that the movie wasn’t interesting or that I wasn’t wondering what this was all going to be about, it was that something didn’t feel right. The movie begins with Marky Mark doing sit-ups on a ceiling then sees a bunch of cop cars, yells out “fuck”, and begins to run away, all to a narration that’s supposed to be funny, but isn’t. That’s how the whole movie actually plays out, in fact. Most moments are supposed to be done for laughs in the way that we point and chuckle at these bumbling fools trying to pull off robbery, but it doesn’t work. Instead, it seems like the movie is trying too hard to be funny, and failing at it so miserably so. It gets better, but very slightly.
The problem with this movie isn’t that it isn’t really funny, because once the first hour comes and goes, it begins to find it’s funny-footing, but it’s just “off” in ways that’s hard to explain. This a true story, about people that did bad stuff, tried to get away with it, and came close to doing so as well, so why the hell should all of this shit be played-up for laughs? I get that Bay wanted to have a bit of a tongue-in-cheek approach with this story and get all goofy on us, but he’s not the type of director that can make the transitions from drama to comedy seamless. You notice when the movie is trying too hard to be funny and too hard to be serious, and it just ends up coming out like a weird mixture of eggs and chocolate. Never tried that combo before, but something tells me it doesn’t mix well.
That’s not to say that this movie isn’t entertaining to watch, because it is, it just doesn’t feel like anybody can make up their right minds as to what type of film they want to make. The screenwriters wanted a dramedy; Bay wanted a buddy comedy, with a bunch of grit; the actors wanted a loosey-goosey comedy; and Marky Mark just wants to show the ladies that he’s still got the looks. Everybody is playing at their own pace, with their own rules, and their own ways of getting shit done. It honestly isn’t as bad as I may make that sound; it really isn’t. It’s actually interesting to see, considering you never know where it’s going to go next, in terms of story and tone. And even though not all of it fits right in the way you’d expect, it’s still fun for that aspect alone.
Other than problems with tone and pace, Bay still seems to be having fun here and I was glad. When this movie wants to be wild and crazy; it’s a blast of fun. You never know where it’s going to go, where it’s going to end up, and what these crazy mofos are going to try next. Well, that is unless you don’t already know the story beforehand. If you do, then you’re sort of left out a bit of all of the fun, but not fully. If you like watching a movie, not having a darndest clue what the people involved are going to show you next; then this may be the trip for you. It has the humor; it has the action; it has the performances; and it has the fun-feel to it, but you still can never seem to get past the fact that almost everybody involved with this movie was on some sort of coke or something. More strange, than it is crazy, but still interesting to watch. I’m not sure if I’m selling this movie well at all, but don’t be worried because it is a good movie; just a very odd one at that.
But if you really want to see something insane: then, just watch these performances. Seriously, every cast member seems like they are either high off of their asses, or having the time of their lives. Sometimes, even both at the same time. Marky Mark is as fun and electric as he has ever been as Daniel Lugo, “the mastermind” (use that term very loosely) behind the whole wheeling and dealing operation. Wahlberg’s manic energy really plays well with this character because it allows him to be a nut-job, just about the whole time. He’s a guy that likes to poke fun at himself, even when he is doing curls for the girls with 50 lb.’s in each hand. It’s hard for a guy to be sexy, charming, and self-knowingly goofy at the same time, but Wahlberg pulls it off perfectly, as usual.
Then, there’s Dwayne Johnson as his fellow-partner, Paul Doyle. If anybody seems to be having any bit of fun in this movie: it’s The Rock (whoops!). Rocky has always been one of these guys that’s been wanting to break free for the longest time and it’s just so great to see him do it now, do it loud, and best of all: do it proud. Doyle’s character is a funny one because he’s constantly on either side of the fence. He’s a holy man that’s been sober for awhile and believes in the higher-power, yet, is all caught up in these deadly-shenanigans that he can’t make up his mind as to whether or not he wants to partake in it or not. But at other times, the character totally loses his idea of sensibility and is just balls to the walls from there on. That’s where Johnson really exceeds well, and kept me laughing my ass off, even when the movie didn’t seem to be working with any funny material whatsoever. Just watching him act like an ass and make fun of himself as well, was funny enough to give me joy and laughter. Sort of like Christmas Day, but instead of presents; it’s just some roided-out freak who likes to make goofy faces. Goofy faces that worked, so I guess I can’t talk too much shite.
Even though he isn’t advertised all that much as partaking in the crimes, Anthony Mackie is also here for the wild ride and is good for what he has to do to keep up with these two. Not only can he flex-up when need be, but he can also joke around about his look and style as well, which is always needed. However, it’s abundantly clear that he does not have as much material to work with, like Dwayne and Marky Mark do. That still doesn’t mean that he isn’t funny or entertaining to watch; because he is. It’s just that the guy’s jokes are more obvious and more about him being black than anything else. Hopefully, Captain America 2 will start getting him some finer-roles like he deserves.
Other actors that show up in this seem to be having fun, even if they are as nutso as you can get. Tony Shalhoub plays the mean and cruel rich guy that these body-builders decide to target and is good because he always stays funny, without ever drawing out the sympathy card. We don’t like his character and we don’t really care for him, which was sort of the point. That’s why it’s so fun to see Shalhoub just take a role like this, and revel in the unsympathetic-nature of it. Ed Harris also shows up as the detective that helps him out and is good, but it’s Ed Harris. What else is there left to say? But trust me, there’s plenty more where that came from and they are all just as wacky as the leads. And I also have to give credit to Michael Bay for giving Rebel Wilson a chance to be funny again, even if she lost all of my respect after last Sunday. Lord, I still feel the pain from that.
Consensus: Most of Pain & Gain is meant to be seen, just for the sake of bragging-rights and pure experience. But with that said, it is still fun for what you see with it’s random bits of comedy, drama, crime, and action, all rolled into one piece of wild popcorn fare. Also, it’s a Michael Bay film with no robots. So just be happy dammit!
7 / 10 = Rental!!
Not all celebrities are prudes. Only the ones with Oscars are.
The central story is about how a deranged writer (Dennis Quaid) forces a studio executive (Greg Kinnear) to make his movie. But before any moves actually take place on it, we get to see what the actual-product is as the writer reads it out to us and the executive. Basically, it’s just one dude’s shitty idea, all for us to see and cringe at. Yay!
Sketch-comedies never seem to work, that is, unless you just so happen to be drunk, horny, wild, and ready for a good-time. However, I don’t think it will matter if you’re any of those things: you may never, ever enjoy this movie. Okay, maybe if you’re 12-years-old, and love to hear the word “balls” in almost every sentence then yes, you might just have a freakin’ ball with this thing. But if you are above that age-limit in anyway, shape, or form, this is going to be one cringe-inducing trip for you. Whether you like it or not. I’m going to guess your most likely to side with the latter.
Any movie can tell a ball, poop, or fart joke like it’s nobody’s business, but it’s all how you do it and literally; this film just cannot do it in the right way where you laugh, chuckle, or even get that they just made the joke. Almost every single skit in this movie has at least one use of the word “ball” or “shit” and it gets annoying, probably around the time the first skit kicks-in and you realize that you’re going to be tormented to the core of your stomach, with non-stop raunch jokes that do nothing. Apparently, everybody who ever worked on this movie, all thought that the idea of somebody having a certain bodily-fluid sprayed all-over-their-face was downright, hilarious and it’s a huge-shocker that it never dawned on any of these people that maybe, just maybe, the type of material that they are working with, just isn’t funny enough to suit a 6-to-7-minute sketch, let alone a whole movie full of ‘em.
And also, the idea of having a movie so chock-full of sketches where big-named stars just demean themselves to the lowest, common denominator, almost seems so old-school, it’s not even worth it paying the money to go out and seeing. I mean, you can probably go onto Funny or Die, College Humor, Cracked, or even YouTube for that matter, find big-celebrities, doing some crazy shite for laughs, and actually having there be; ACTUAL LAUGHS. Here, in this movie where it’s just one, long presentation of a bunch, you get probably one-or-two laughs and that is literally all because the jokes that they use in the film that are actually funny, were already used 100-times before in all of the trailers/commercials we have either seen or heard, 100 times before. Going out to see this movie is already a crime, but actually going out to pay for it, is like a freakin’ cardinal sin. Especially when you know that more-quality humor is laying right there for you, at your fingertips.
Even if the delivery is god-awful, at least some of the placement is okay. For instance, some skits actually seem to have some promise like the one where Robin (Justin Long) actually stands up for himself and gets involved with a Superhero speed-dating event, where other, actual superheroes show-up to mingle and hopefully, get laid. This idea seems like it’s planned to be a butt-load of fun, especially if that idea came from Joss Whedon, but sadly, it comes from the makers of this shit-pile and before you could say the word, “kryptonite”, the sketch has already lost itself in saying the word “bush” or “shit”, one way too many times. I mean, when you got Wonder Woman and Batman talking to each other about how they fucked and it never amounted to anything but Batman running-away and never calling again, you would expect non-stop hilarity, right? But nope, instead it’s all about having Robin still be played-out as the softer, gayer-one of the two and if you didn’t think that joke was over-played by now, trust me, just wait for the rest of the movie.
However, without the promise of an interesting-idea, most skits just fall from grace, right from the very start. The skit where Johnny Knoxville and Seann William Scott both find and capture a leprechaun (played by Gerard Butler, in CGI-form), in hopes to get some gold, starts off pretty bad. Apparently the director, Brett Ratner (in case you haven’t been surprised yet), thought that the idea of having a leprechaun spew-out a bunch of dirty words was funny enough to last a whole sketch, especially one where it seemed like it’s main actors would actually sparkle in. Sadly, they just don’t do anything for the sketch, or the movie itself and the way it all ends is so dark and savage-like, that it really left me with a bad-taste in my mouth, which is very shocking since the rest of the film just couldn’t. I want to spoil the ending of that sketch for you so you understand what I’m blabbering all about, but sadly, I am a critic and I have morals, people. But still, don’t see this movie because I won’t spoil it for you.
The idea of having all of these different stars being packed into one movie where all they do is completely raunchy and dirty shit (sometimes literally), may make them seem cool and on-the-edge, but in reality: it’s just a poor-decision. I guess it’s really strange to see heavyweights like Kate Winslet and Hugh Jackman in a skit about a dude with balls on his neck, or a skit with Liev Schreiber and Naomi Watts playing parents of a home-schooled kid that give him the full, high-school experience with sex, drugs, abuse and all, but it’s even stranger to see peeps like them actually stoop themselves so low as to actually make this material work. I don’t know if they knew this right from the initial script-read, but this is terrible-material they are working with here so instead of giving it their all and actually going to town with whatever energy or sense of purpose they can muster-up to make this work, they seem almost as if they forcing it out, almost like a kidney stone (and yes, it is THAT painful to watch). Nobody here really out-shines the other and probably the only person that really made me laugh and surprised the hell out of me from this whole cast was Will Sasso, who shows-up, does his thing, reminds us that he is still alive, and actually made me laugh. I was terribly and utterly surprised, but he was the real spectacle to see for me. Everybody else can suck my nut because I hated this shit, and I hated watching them try to act in it!
Consensus: Do not, I repeat, DO NOT let the star-studded cast fool you, Movie 43 is one hell of a bombshell that begins on a lame-note and ends on an even-worse one that makes you feel like you’ve just been hit over-the-head with somebody’s foreign parts, and not in the fun, or pleasureful way, either. It’s the type of way that disturbs you and scars you for life. That is, until you see an equally as bad movie and that’s, going to be very hard to come by for some time I think.
1 / 10 = Crapola!!
When Samuel L. tells you not to go into the room, DO NOT go into that room!
After a string of best-sellers discrediting paranormal events in the most infamous haunted houses and graveyards around the world, he scoffs at the concept of an afterlife. Mike Enslin (John Cusack)’s phantom-free run of long and lonely nights is about to change forever when he checks into suite 1408 of the notorious Dolphin Hotel for his latest project. Defying the warnings of the hotel manager (Samuel L Jackson), the author is the first person in years to stay in the reputedly haunted room.
If there is ever a person who should be allowed to Stephen King adaptations, it’s Frank Darabont. Sadly, the guy was nowhere to be found with this one and because of that, look what we got! Damn you Darabont!
Before I get into the negatives of this film, let me just start off by saying that director Mikael Håfström does a lot here and I think he at least deserves some praise for taking what is essentially a story that could be told in 30 minutes, and stretching it way, way out to an hour and 30 minutes. There’s not a lot here that happens, other than Cusack facing off against this room and the evil spirits that lie within, but Håfström keeps it somewhat interesting by starting us off slowly with tiny amounts of tension, that only continues to build and build, until shit gets way too out-of-hand. Håfström seems like he wanted to make this material and have fun with it, which he is somewhat successful in doing, it’s just a shame that there wasn’t much else here to hold onto.
Let me start off by saying that this is a horror movie, without any type of horror whatsoever. Actually, that’s not right to say because there probably is some stuff here that would scare the bajeebers out of certain people, but for me, I didn’t once get frightened by anything I saw on-screen and I think a lot of that has to do with the fact that Håfström starts to get a bit too carried away with his budget. The film started off perfectly with little spooky things happening here and there, but then once things start to get crazier and crazier and actually pick up, then Håfström just lets all of this annoying and fake-looking CGI take over the film just to show how much havoc this room is causing. Not only doesn’t it look scary, but it’s also a bit goofy in a way that made me chuckle unintentionally and it kept on coming at me, too. After about the 4th wipe-out Cusack has with a random wave of water coming into the bathroom, I was starting to get annoyed, but oh wait, there’s drama that’s needed here as well! Great….
In case you couldn’t tell by that last sentence, there was barely any drama here whatsoever that glued me in once things started to get goofy. There was a very tragic death that has occurred in the lead character’s life that is very, very sad, I’ll give him that, but it’s pretty obvious where they were going to go with it and how they were going to incorporate it into the story, which seemed so damn cheap. And just about everything else that concerns anything dramatic with this dude’s life is what really took me out of the film because as much fun as this whole haunted-house aspect of the film seemed to be, it never really went anywhere with itself other than being just that, just like the dramatic aspect of this movie as well. Yeah, neither part of this movie barely went anywhere, that’s why you should always depend on the stars to give you their top-caliber performances and save the day.
Thank heavens that John Cusack was in this movie because the man freakin’ saved the day here with his performance as “the non-believer in ghosts” writer, Mike Enslin. Cusack is always an actor that turns out great work, year after year, and barely ever gets recognized for it and I think this is one of the rare films where we see him for all that he is when it comes to what kind of work he can pull off. Since this all takes place in the room (I think), it’s all John Cusack for the longest time and he’s left to basically one-man show this bitch up and does a great job by making it all seem believable, especially by the end when he starts to lose a little bit of his mind. Cusack definitely makes this film and the material he’s working with, a hell of a lot more watchable just because of his presence and it’s a great show-case of an actor that in my opinion, doesn’t get as many roles as I think he should.
Oh yeah, and let’s not forget to mention Samuel L. Jackson in his teensie-tiny, itty-bitty role as the hotel manager, Mr. Olin. As always, Samuel L. is great with this material and makes his bit-role almost as memorable as Cusack’s and both of them have a very nice scene where they both play off of each other very well and you see the real fun of this film actually come out. Sadly, it was somewhat short-lived once Cusack opened that room’s door. Why John!?!? Why?!??
Consensus: Cusack makes 1408 a hell of a lot better than it has any right to be, but it’s almost not enough due to barely any scares, too much lame CGI, lame drama, and an ever lamer ending that makes you wonder how many times these writers re-wrote this ending over-and-over again just to hit the right spot, but ended up doing the opposite.
These guys were facing off against aliens, before that was even cool.
Working for a highly-funded yet unofficial government agency, K (Tommy Lee Jones) and J (Will Smith) are the Men In Black, providers of immigration services and regulators of all things alien on Earth. While investigating a series of unregistered close encounters, the MIB agents uncover the deadly plot of an intergalactic terrorist who is on a mission to assassinate two ambassadors from opposing galaxies currently in residence in New York city.
So with Men in Black III coming out soon, I thought it would be a nice idea to go back and check out the first one that not only did I love as a kid, but so did every other kid around me. Sad to see how things change as you grow older, and then become a d-bag movie critic.
Director Barry Sonnenfeld did a pretty good job with this material, which is based on a comic book series that’s full of darkness and violence, by making it somewhat light and fluffy with humor and slime instead. There was plenty of jokes to go around in this flick and I liked that because it showed that the film didn’t really take itself too seriously, which was never more serious than it needed to be at all in the first place. I mean you have two guys dressed in ALL black, going around looking for aliens: how much goofier can you get? Liked the tone of this film because it could have easily fallen apart by taking a serious look at the world of alien hunting. It’s actually more cool than it is goofy, but I think it’s all in a day’s work and that’s all that really mattered to me.
What really took me away was the fact that Rick Baker‘s art direction was something only he could do. Baker is a dude that’s known for doing all of the make-up and costume features on plenty of films ranging from Tim Burton’s Planet of the Apes, The Nutty Professor, and the one he just recently won an Oscar for, The Wolfman. If you have watched any of those three, you will notice that this guy isn’t messing around when it comes to making some crazy make-up look real and this is probably one of his best examples. Whether it’s the giant bug Edgar, or the little worm aliens with the Mexican accents, or even Jack Jeebs, Baker’s detail to make-up and costumes look funny, scary, and surprisingly, very believable. This was one of the main selling points of the flick when it first came out and it’s understandable as to why because they still hold up in today’s day and age of constant IMAX 3D flicks filled with CGI out the wahzoo, coming out almost every weekend.
What I was a little bummed out by this film was that a lot of this just feels very generic, which is mainly due to the plot. The plot is so 1-2-3 that you can usually tell everything that’s going to happen within the first 5 minutes and even though it’s not as bad here as it is with plenty of other flicks of this nature, I still couldn’t get past that I wasn’t really going to see any surprises. Still, I think it’s Sonnenfield’s direction that kept my mind off of this problem for a short time anyway. Speaking of short time, the film is only 98 minutes long and it actually went by pretty quick, even though I do think they could have done a little bit more developing when it came to the characters and just what exactly their main objective was. I get that they were going after the one big, bad alien dude but I don’t know how he was going to tear down the galaxy. Hmmm, maybe it’s just a mystery I’ll never know about.
Where I think this film really worked well with was the two performances from Tommy Lee Jones as Agent K and Will Smith as Agent J. This is one of those polar-opposite, buddy-buddy combinations we see all of the time in these types of flicks but it’s so much fun to watch here because of the type of performers Jones and Smith both are. Jones’ sense of comedy (or lack thereof) is very dry and sometimes non-existent, while Smith is constantly up in everybody’s grill, making slang jokes at everybody he meets and is constantly just shoving his attitude in other peoples’ faces. They both make a good team together because they work well and you can tell that they both do have chemistry, even though the film doesn’t really focus on it all that much. But hey, at least they’re having fun.
Vincent D’Onofrio‘s performance as Edgar was pretty impressive when it came to his physical stature, like how he moved his body and neck in some crazy places, but he really just left me feeling uncomfortable every time he was on-screen. I don’t really think that was any problem with D’Onofrio at all, as it was more of the writing that made him look and feel like an uncomfortable, dirty slob that looks like he hasn’t bathed in years. It was also pretty bad to see Linda Fiorentino absolutely do nothing with the character she was given as Dr. Laurel Weaver. Yeah, I know that the female character in any action movie isn’t really supposed to be a big role by any means, but you could at least try and make it the least memorable instead of just making it seem like you obviously don’t want to be there with you dry deliver and “phoning it in” looks from start to finish. Never really been impressed by this chick and it’s really no surprise that she hasn’t done much in the past decade.
Consensus: Men in Black is what you would expect: funny, light, filled with cool-looking special effects and monsters from Rick Baker, and entertaining but is also very light on plot, which doesn’t really bring up many surprises as it goes along. However, it’s a flick that will always be in my childhood.
Barbers are definitely some cruel people.
Ed Crane (Billy Bob Thornton) goes about the business of cutting hair with a stoic resignation. He’s stuck in a rut and has no clue how to get out. When Crane discovers that his bookkeeper wife, Doris (Frances McDormand) is having an affair with Big Dave (James Gandolfini), her boss at Nirdlinger’s department store, the gears of change start turning.
Take it from the Coen Bros. to take us back to a time that seems so simple, so clean, and so nice, and make it seem like everything other than that.
This is one of those flicks that show the Coens basically giving a little tribute out to the good old days of black and white cinema noir, and it actually feels like one that would have been made back in those days too. The cinematography is beautiful and I think it was used for a great mood because I couldn’t have expected this being filmed in anything else other than black and white. The score is also great not because it sounds cool but because it’s actually made up of a bunch of actual pieces of orchestra music that adds a lot to the dark mood as well. Technically, the Coens do a fine job here and made me feel like I needed to blow some smoke while watching it just to get in the mood.
The story itself is a pretty slow one at first, but after awhile it actually builds up to a story that you sort of get involved with. Everything here is pretty straight-forward but I couldn’t help myself wondering just what was going to happen next and what road this film was actually going to try and go down. I can’t say that this is a suspenseful thrill ride by any means, but it’s still a flick that has a story that keeps on moving on and on as it goes. It will also probably make you feel a lot better than your life because things go from bad to worse for this dude Frank, and it pretty much made me thankful for everything I have in my life. Never thought the Coens would be able to make me think that but hey, they can work wonders when they want to.
The problem with this film isn’t that it’s not good, because it’s a very good flick, it’s just that it’s very hard to actually care what happens. Yes, I did like this story and where it went with its direction but when it came to actually having some sympathy for these characters, there just wasn’t anything touching me at all. Ed, our central character, is a pretty numbed-out dude that doesn’t talk much and doesn’t really have many emotions in this flick and it’s hard to connect with somebody like that considering it seems like he doesn’t really care all that much either about what’s going on with his life and where it’s taking him. His wife, Doris, also seems like she doesn’t have much going for her life other than running around on her husband which makes it even harder for us to care and even Big Dave has dreams but even those are pretty boring and mediocre. Basically, it’s a film that you can try your hardest to like and connect to one of these characters, but in the end, it’s just going to come off as empty.
As for people that are looking for a fun time with a Coen Bros. flick because they saw ones such as ‘True Grit’ and ‘No Country For Old Men’, well then you have to look a little further than this one. The film is very slow and even though I do feel like they needed the time to actually develop these characters as well as the story, there were other times where I felt like certain scenes just ran on a little too long with nothing else but just silence. Also, the 116 minute time-limit may also add insult to injury for that as well but then again, this isn’t the Coens having a fun time.
Billy Bob Thornton is his usual self in this flick as Ed Crane (great name), which is what adds a lot to this character and film as well. Billy Bob isn’t exciting, he barely shows any emotions, he smokes in about every single frame of this flick, and he’s a character that just seems like he doesn’t care at all about anything but it’s also what makes this character work. It may have been hard to feel anything for him but I was still able to like Billy Bob playing Crane because even though we may always seem him play the same character in every flick no matter what, it still never really gets old and still seems fresh especially when he’s playing a barber.
Frances McDormand is also good as his wife, Doris, and she adds a lot of sass and coolness to a character that is pretty unlikable, only because she is committing some infidelities; James Gandolfini is pretty much here as Big Dave and not doing much else other than just being there; and Tony Shalhoub practically comes out of nowhere and steals this flick by the end of it and made me laugh a hell of a lot more than I actually expected in a dark and sad film like this.
Consensus: The Man Who Wasn’t There shows the Coens in a good-form with fine performances from the cast, nice touches for its score and camera-work, and a nice story that builds up more and more, but also has characters that you may find it harder to connect with which makes it even harder for you to care what really goes down in the first place.
One of those sci-fi thrillers that actually mean something in today’s world.
With one eye on his lifelong dream of working in outer space, a genetically flawed but determined “In-Valid” (Ethan Hawke) hires a DNA broker (Tony Shalhoub) to help him obtain more desirable genetic material from a paralyzed man (Jude Law). In the process, he meets and falls in love with a beautiful “Valid” (Uma Thurman) with a heart defect.
One of the things about this film that may throw a lot of people at first sight, is that it does have an odd premise, and weird future of the world. But I can tell you one thing, do not let that spoil you, its something completely different.
I’m always against these odd sci-fi films cause quite frankly I feel like their all the same formula. But Gattaca here is an exception cause it poses the same question about idenities but in a slightly less harmful way. We get the story front up about this person and what he wants to do, and we see his whole story through his eyes and we get the sense of this person’s tragic life.
I liked the film most importantly for its message that it shows very well. It shows what our world is fast becoming and the lack of privacy we will have roughly 20 years from now. I like this movie however, because of the point it gets across so well: Where there’s a will, there’s a way. It shows us that even with all the up-and-coming technology, intelligence and security improvements, one who is strong enough willed can still “beat the system”. I think the tag line for this movie says it all “There’s no gene for the human spirit”.
I think the film would have worked better as just a character study drama than the little thriller pieces it added on. Randomly by the end we had these slight bolts of tension that I don’t think quite worked, mostly cause the whole film was just based on watching these characters. Also, the film does get a bit slow in points, mostly just about them talking all this futuristic junk, but this did kind of break down my attention span.
The most engaging part of this movie here is the strong characters, along with the performances that inhabit them. Ethan Hawke does good job as playing our main protagonist, who in every way beats the system and tries to achieve his ultimate goal, and that comes out very well in this performance. The real shining star in the film is a younger Jude Law, who adds a lot of pizazz to his flat character, and makes him a lot more interesting that you want to see more of him. The only thing I wondered about him was if science was so intelligent why couldn’t he walk and still in a wheelchair? Just a question.
Consensus: With obvious little plot holes, Gattaca does a superb job at creating engaging and interesting characters that make this sci-fi trip a lot more believable, with a future that we may not be able to overcome, mostly due to the direction we are heading.