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Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Tag Archives: Aleksander Krupa

The Italian Job (2003)

If you’re going to pull-off a cool heist, your whole gang’s gotta be cool, too. It’s a known fact.

After a super, duper tricky heist in Venice, Steve (Edward Norton) turns on his partners in crime, and ends up killing skilled and legendary safecracker John Bridger (Donald Sutherland). Why? Well, Steve got greed and just wanted to keep all the gold for himself, and not try to cut in anyone else. The rest of the team that Steve ripped-off included leader Charlie Croker (Mark Wahlberg), driver Handsome Rob (Jason Statham), explosives man Left Ear (Mos Def), and tech geek Lyle (Seth Green), or, as he likes to be called “Napster”, now all vow revenge. But in order to totally get back at Steve and ensure that their heist goes down without a hitch, they enlist the help of Bridger’s daughter, Stella (Charlize Theron), so that they can get an inside-view into Steve, his life, and just where exactly he’s hiding all of that damn gold. But it’s known that Steve’s a tricky dude to mess with, and it’s why the gang’s really going to have to get their act together, in order for them to not just pull this all off and get the gold, but ensure that everyone’s alive by the end of it.

“Ayo Marky Mark, check this out. I’ll say hello to my motha for me, too.”

The Italian Job is a typical remake that’s modern, which means that it’s “hip”, “cool”, and totally unnecessary. But still, it’s also a bit of fun and when it comes to remakes of old-school classics, having a bit of fun means a lot, because most of the time, they’re just soulless, annoying and nauseating cash-ins. The Italian Job is different in that it doesn’t seem a whole lot of it was made solely for the money, but that it’s still got the same kind of look, tone and feel of all the other “gang-heists” movies.

Basically, think of it a more adult, somewhat smarter version of the Fast and Furious movies.

Which isn’t to say that the Italian Job is all that dumb of a movie, it’s just silly. But in that silliness, there’s a great deal of enjoyment to be had, mostly because F. Gary Gray knows that the best way to keep this material interesting, even when it’s silly, is to always be moving, never stopping and never focusing too hard on one aspect of element too much. We have a heist, we have a cast of characters, we have a baddie, we have a conflict, we have a plan, and that’s really all we need; Gray doesn’t get too bogged down in too many senseless subplots to where it feels like extra padding for a movie that does come a tad close to two hours.

But it’s a solid two hours that keeps up its energy throughout, so much so that you also realize that some of the key issues with the movie, like character-development, are left by the waist-side. Now, there’s a part of me that’s fine with the fact that each character sort of has their one characteristic/personality-trait and there’s not much else to them, but for some reason, it’s hard not to expect something a little more, especially from this well put-together cast. For instance, Statham’s Handsome Rob is pure Statham – silent, but scary, and that’s about all there is to him. Same goes for Seth Green’s “Napster”, who is just the goofy tech-y and yep, that’s it. Mos Def is also sort of like the comedic-support with Left Ear, but he’s got such stiff-competition from Green in that department, that often times, it feels like a lot of his stuff was cut.

And then, there’s the core trio of Wahlberg, Theron, and Norton who all, in any other movie, probably would have put on acting-class beyond our beliefs. But sadly, they’re stuck in a silly actioner that doesn’t quite care about how good of actors they are. As long as they are hot enough and can read lines, than it’s all that matters, right?

Honestly, public-transportation has been worse.

Well, yeah, I guess.

In 2003, it’s hard to believe that Wahlberg was still finding his inner-leading man, which is why his performance as Charlie Croker, while not bad, isn’t necessarily the strongest, either. Same goes for Theron’s Stella, who is basically there to be the hot romantic love-interest for Charlie to eventually learn feelings from. Theron was also in a weird spot in Hollywood where they knew she could act, but she was too busy getting these roles where she was just window-dressing because of her absolutely gorgeous-looks. Not that I’m complaining, but it’s obvious she was made for much, much more.

And of course, the same is clearly said for Norton who, even as the villain here, doesn’t get a whole lot to do. Still, Norton tries in what is, essentially, a paycheck gig that allow for him to take more risks with the smaller indie-flicks that he had always became so known and adored for. Even in the moments where we’re supposed to feel like this guy is a total and complete asshole, Norton’s not fully there and it’s weird, because it’s like we almost don’t care and just remember how effective he was in another good heist film, the Score.

But still, all of this talk about performances and characters, guess what? It doesn’t matter. The Italian Job gets the job done it set out to do, right. It doesn’t slow itself down and it sure as hell doesn’t try to appear as anything more than it already is – it’s just a fun, sometimes way too silly flick, with hot, talented people, being hot and cool.

And in that sense, yeah, it’s fine.

I just like to complain.

Consensus: Though it’s disappointing to see such a waste of a good ensemble, the Italian Job still delivers the right amount of fun, thrills and humor to have anyone happy.

7 / 10

As usual, the bro’s don’t know what to do when a tall, beautiful and smart woman comes around. Except Marky. He knows everything.

Photos Courtesy of: Cineplex.com

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Whatever Works (2009)

Living with Larry David can’t be all that bad.

Boris Yellnikoff (Larry David) is pretty tired with the world around him. When he’s not picking a fight with the kids he teaches chess to, he’s crying on and on about everything he can find himself to complain about like politics, sex, books, entertainment, and yes, women. He even goes so far as to talk to “them” – mysterious people out there in the world that he thinks are always watching him, no matter what he does or says. That’s why, one night, he decides to end it all and throw himself out of a window. Problem is, he doesn’t succeed and is forced to live with his sad and miserable life. It all changes one day though, when a random drifter named Melody (Evan Rachel Wood), comes to his door-step all of the way from the Deep South. While Boris is initially against Melody, the two end up hanging together, more and more, teaching each other things about life that neither originally knew about. Which is fine and all, until they start to fall for one another – something that everyone around them seem to have problems with.

Even Ed is begging for that next season of Curb.

Even Ed is begging for that next season of Curb.

Why haven’t Larry David and Woody Allen worked together before? Honestly? I mean, with the exception of his small bit in Allen’s segment in New York Stories, it’s crazy to think that two people on this Earth as similar as David And Allen haven’t gotten together to cook-up something lovely and magical before. Sure, you could blame that on the fact that David liked to stay behind-the-scenes for a large portion of his career, but either way, it’s worth bringing up because, even though Whatever Works isn’t Woody’s worst, it also isn’t his best, either.

Which is a shame because, once again, David and Allen could make magic happen.

However, time has passed and over the years, Woody Allen has definitely lost his touch. That’s why another story featuring a much-older man and much-younger woman falling for one another, for no reason because they stand one another and talk about the more infuriating things in life, already sounds boring. After all, it’s the story that Allen’s been working with since the beginning of his career and honestly, just taking him out and putting David in can only help matters so much.

And yes, David is playing himself, but he’s also the stand-in for Allen himself, which is a tad bit confusing, because the two aren’t all that different. In fact, it’s honestly a wonder to me how much of this was scripted, or how much of it was David deciding to take an eraser to some stuff he didn’t like and just roll with what he had? I really don’t know, but regardless, David is fine in this role; he can sometimes lash out and say the same things, over and over again, but that’s sort of the point of this character. He’s supposed to be a grump and always have an issue with the world around him.

In other words, he’s Larry David. Signed. Sealed. And delivered.

Others around David are quite fine, too. Evan Rachel Wood’s character may start out as a caricature, but eventually starts to show more shadings that make her likable; Patricia Clarkson shows up about halfway through and makes the movie a whole lot better; Henry Cavill in a young role of his, is as charming as they come and as you’d expect for Superman to be; and Ed Begley, Jr. showing up for not too long, is actually the funniest of the whole cast.

Where's his glasses?

Where’s his glasses?

But still, a fine cast doesn’t always make a great movie, and that’s where Whatever Works sometimes falls. It isn’t that the movie itself is bad – Allen’s annoying writing is toned-down enough to where it doesn’t get in the way of the story, or the characters – but it also doesn’t change much up about what we’ve seen from Allen in the past. His characters talk about existentialism, they fight, they screw, they drink, they host dinner parties, they listen to jazz, they go on walks to the park, and yeah, that’s pretty much it. Occasionally, Allen himself will throw a small twist in there for good measure to make us think that he realizes a lot of his movies are the same, but really, does any of it matter?

Woody is getting up there in age and a lot of his movies are starting to seem a little like the same thing, over and over again? Does that make them “bad”? Not necessarily; they’re enjoyable and pleasant because he has a knack for catching the right tone with his movies and always getting the best and brightest talents for his flicks, but that doesn’t always make a “great” movie.

Even if your movie does have Larry David complaining to the camera.

Now, how could that be “bad”?

Consensus: While not his worst, nor his best, Whatever Works gets by because of its charming cast, but really, is a solid example of Woody possibly running out of ideas.

6 / 10

She's going to learn to hate life and everyone in it after that conversation.

She’s going to learn to hate life and everyone in it after that conversation.

Photos Courtesy of: A Woody a Week