Dan the Man's Movie Reviews

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Tag Archives: Brad Pitt

War Machine (2017)

3 Comments Posted by Dan O. on May 30, 2017

War is bad, m’kay?

Four-star General Glen McMahon (Brad Pitt) is one of the most respected men in the Army and it’s why all of the men that he surrounds himself with, not only just stand by every word he says, but also seem to have his back no matter what. Which is why when he’s sent to Afghanistan to bring the war to an end, they can’t help but do whatever it is that he asks of them. But it’s a rough situation McMahon and his men find themselves in; for one, they have to do the impossible tasks of stopping insurgencies for constantly forming and killing people. Second of all, they have to ensure that the politicians the U.S. wants in Afghanistan’s office, actually do get elected, so that they can promote “peace and tranquility”, despite the fact that the U.S. actually invaded Afghanistan in the first place. All that said, McMahon is a class-act and more than up to the task, but after a short while, even he finds himself on the receiving-end of all sorts of screw-ups that don’t seem to be coming from his directly, but somehow, he’s getting the blame for. When is he going to crack?

Grandpa?

War Machine is an odd movie in that it’s no doubt a satire on the war in Afghanistan, and how the U.S. clearly had no idea how to end its conflict without looking dirty, mean and downright brutal, but it’s also a movie that tries to go a bit deeper and ask us how we get there in the first place. In that sense, the movie doesn’t quite work; War Machine is a movie that’s far too enamored with its silly, sometimes off-the-wall characters and the situations they find themselves in, to really get all that involved with what really causes war and conflict between two nations to begin with. Sure, are those ideas played with here? Yes, they are, but they almost seem like they don’t go far enough to really stick the knife in and twist it, like all good satires do.

You know, like Three Kings, for starters.

But hey, War Machine isn’t Three Kings, which isn’t a good thing, or a bad one – it’s just a thing. They’re both satires that make fun of the war, as well as the people who find themselves wrapped-up in them, but the former clearly has a certain angle it’s wanting to take, getting down into the PR-side of it all. In fact, War Machine does work best when it’s trying to develop just how a country can look when they’re not just trying to end a war they sort of started, but just how they can do it all without looking like the evil and maniacal beings that they probably are. It’s an interesting conflict that already sits next to other interesting conflicts to be seen here, but it also makes me feel like War Machine could have been longer.

Then again, at two hours, the movie doesn’t feel long, nor does it ever really drag. It moves, even if it can’t always figure out a perfect tone to stick with, but that’s normal with most satires. Having fun and making jokes are easy to do, but when it comes to turning that other cheek and getting all serious, then yeah, it’s a little bit more difficult. That said, writer/director David Michôd does a solid job here transitioning between the many threads of plot and tone, even if by the end, it still sort of feels like it may have benefited from some more developing on certain ends.

Two worlds collide.

For example, while it was nice we got see some heart and humanity behind Pitt’s McMahon, where was everybody else’s in this insanely-stacked cast? After all, the movie does sort of pride itself on the fact that McMahon’s surrounded by this rag-tag group of goobers, who may also be efficient at their jobs, or may just be good enough that McMahon lets them slide on doing rather dumb stuff. In fact, a much more developed and concise movie probably would have kept the focus fully on this group alone and sort of had all of the other stuff go by the waist side. Because, yeah, when you have Anthony Michael Hall, John Magaro, RJ Cyler, Tilda Swinton, Ben Kingsley, Scoot McNairy, Will Poulter, Griffin Dunne, Alan Ruck, Emory Cohen, Keith Stanfield, and hell, even Topher Grace here, feeling as if they’re maybe, I don’t know, a bit dumped around, it’s a shame.

But hey, at least Pitt’s good, right? As always? Right?

Well, actually yes. See, while all of the reviews have been criticizing his role as just another goofy and rugged take on Aldo Raine, but this time, older and with grayer hair, it actually worked for me. In a way, it was nice to see Pitt take on a role that was clearly meant for an older fella (which he is), in which he gets to be both charming, as well as a little stern. Some of his mannerisms are a bit over-the-top and maybe put-upon, but it’s hard to get annoyed by them after awhile, especially once we see this character away from the spotlight and just chatting it up with those around him, especially in the lovely, yet, rather sad scenes he has with his wife, as played by Meg Tilly. Pitt may be playing a character here for sure, but he tries to go deeper and the movie helps him in that regard.

Is it his finest hour? Nope, but hey, it’s still a joy to watch.

Consensus: Tonally uneven and a bit underdeveloped, War Machine could have benefited from some more time, perhaps, but thanks to a smart message and solid cast, it goes by easy.

6.5 / 10

Still muggin’ it, eh Brad?

Photos Courtesy of: Indiewire

Allied (2016)

4 Comments Posted by Dan O. on November 23, 2016

WWII looked like it was a pretty wild time.

It’s WWII and intelligence officer Max Vatan (Brad Pitt) literally gets dropped in North Africa where he is stationed for his next mission. Working alongside French Resistance fighter Marianne Beausejour (Marion Cotillard), Max tries to finish this deadly mission behind enemy lines still alive, which also means that he’ll have to fend-off any sort of sexual feelings for his fellow spy. However, that doesn’t quite happen; somehow, the two end up getting together, sharing relations and now, a whole lot more serious than either of them ever expected in the first place. Now, reunited in London, their relationship is put to the ultimate test when it comes out that Max may not know everything there is to know about Marianne and is pressured to choose love, or his country.

Believe it or not, Allied is directed by Robert Zemeckis and written by Stephen Knight. I say, “believe it or not”, because it’s simply an odd combination; Knight is known for his dark, sometimes heavy tales of violence and betrayal, where Zemeckis, well, isn’t. Hell, if anything, he’s been more well-known as of late for letting CGI and today’s technology get the best of him a tad too much. Sure, for a director who has been working for as long as he has, to dabble so much with CGI, special effects, and motion-capture, is admirable, but it doesn’t always mean that his movies, in and of themselves, are all that terrific.

Who said gals can’t shoot?

Which is why Allied still isn’t terrific, but also may be the right step in the direction for Zemeckis to come back down to Earth and to make solid, well-told and simple human tales, without so much computer-magic being used.

What works best about Allied is that Zemeckis approaches the material in a very slow, but melodic and dialed-down manner that helps allow for the story to develop over time, without just jumping to conclusions, or twists, or turns automatically. It’s actually a very simple and straightforward plot, and because of that, the movie doesn’t necessarily aim for the stars and try to be anything it’s not; it’s an old school, old-fashioned and above all else, relatively easygoing spy flick taking place in London during WWII. Knight deserves credit, too, for not making his story seem more important or overblown than it actually is – it’s literally a tale of two spies, falling in love, doing spy-stuff and possibly coming apart at the seams. What else is there to know?

That’s why Allied, above all else, is a refresher, especially in today’s Oscar-bait world we are currently going to be living in for the next month or so. It may flirt with the idea of being a really heavy, powerfully emotional tale about love, sex, betrayal, war, violence and death, but really, is just another spy movie in which someone has to be killed, or not. Zemeckis does clearly want for the story to be a romantic-tale, but none of that quite registers; Pitt and Cotillard have good chemistry, but the movie needed to focus more on them actually falling head-over-heels for one another, then just showing them having hot, sometimes sweaty sex and automatically assuming that that means they’re “in love”. It doesn’t quite work that way in real life, nor does it work here, which is why Zemeckis and Knight’s small, but noticeable attempts to try and make it at that, don’t really register.

Okay, maybe there’s some CGI here.

If anything, we really just want to see spies be spies, in WWII, of all times and places.

And that aspect of the movie definitely works. Allied has a slightly different take on WWII in that it wasn’t just a terrible time to live in, what with the constant death and heartbreak occurring almost everywhere you looked, but also a time in which people just had to live through. Because of this, we get a small, but interesting look at the lives that these characters create for themselves during this time, where it isn’t just sadness, tears and constant depression, but some small, fleeting moments of happiness. We see people have sex, drink, have picnics, go to bars, do cocaine, and yes, have even more sex. Why does any of this matter? I’m not quite sure, honestly, but it shows that maybe that there was more to the times of WWII than most of us care to know or focus on.

Still though, at Allied‘s heart, it’s a tale of two spies, falling in and out of love, over a certain amount of time. And because the movie can be so intimate and focused, the performances can also seem so raw and gritty, which helps because Pitt and Cotillard are two of our finest actors working today and give it their all. Pitt gets the most spotlight and focus out of the two, with his character having to grappled with a lot of upsetting, conflicting emotions over a period of time and making us feel more for this person. We don’t really get to know much more about him other than that he’s a spy, is from Canada, and can speak French, but that’s sort of fine – the fact that he has no life, other than his spy one, actually makes his tale a whole lot sadder.

Same goes for Cotillard’s Marianne, who is a lot more mysterious and interesting to watch, only because the point of the movie is that we don’t know each and everything there is to know about her. Cotillard has a lot of fun here as the sexy and seductive spy that may be up to no good, but may also just be playing a role to get the mission done – we never know each and everything there is to know about her, and because of this, it’s hard to not want to see more of her. Had the movie been a lot less focused on its plot and a whole lot more attentive to its character, we probably would have gotten more of Cotillard, doing what she does best, but I guess this is what we get.

It’s not bad, just could have been a whole lot better, obviously.

Consensus: With enough focus placed on its two great leads, Allied gets by on being a compelling spy tale that could have been far better, but keeps its aim so low that it’s fine enough as is.

7 / 10

Can’t see why Angie was so threatened.

Photos Courtesy of: Indiewire

2010s, 7-7.5/10, Movies 2016, Allied, Brad Pitt, Camille Cottin, Jared Harris, Lizzy Caplan, Marion Cotillard, Matthew Goode, Movie, Movie Review, Movie Reviews, Movies, Robert Zemeckis, Simon McBurney, Stephen Knight

Burn After Reading (2008)

4 Comments Posted by Dan O. on February 3, 2016

Never trust those who are “too fit”.

When CIA Osborne Cox (John Malkovich) gets demoted from his job, he decides that it’s time to start the proceedings on his memoir. Somehow, though, the disk containing all of this information falls into the hands of two gym employees, Linda Litzke (Frances McDormand) and Chad Feldheimer (Brad Pitt), both of whom clearly have no idea what they’re going to do with this disk. But they both have the right idea to blackmail Cox for some money, even if they don’t know how to go about it, nor what the actual proceedings are. Meanwhile, Linda herself is in search of a better life that isn’t just working in the gym. Currently, she’s trying to fund her cosmetic surgeries, as well as someone to love in her life. Through various dating websites, she meets the charming and likable Harry Pfarrer (George Clooney), and the two hit it off immediately. Strange thing is that Harry, despite being married, also happens to be shackin’ up with Osborne’s wife (Tilda Swinton), which leads the whole situation to end up in some real weird, sticky situations, sometimes with them leading to violence and all sorts of bloodshed.

“Malkovich? Malkovich?”

At this stage in their career, the Coen brothers can practically do anything that they want and nobody is going to tell them otherwise. They have enough Oscars under their belt, have made their studios enough money, and have earned enough respect in the biz to say that they want to make about anything, and everybody will fall for it, hook, line and sinker. As is the case with most writers and directors, they’ve had some mediocre films, as well as some amazing films, but mostly, they’ve made films worth checking out and taking time out of one’s day to watch, because a Coen brother’s movie is, quite frankly, better than a lot of other stuff out there.

And Burn After Reading is the exact reason why they are so beloved.

Though, at the same time, the movie doesn’t show the Coen brothers really working with anything new, or ground-breaking; instead, they’re taking on the whole spy genre, making a farce out of it, and rather than having real, actual spies involved, the movie’s just about a bunch of regular, everyday people who are, yes, goofy and sometimes idiotic. However, they are all searching for the same thing: Money and power. To the Coens, this is perhaps the most interesting aspect about the human-condition, in which seemingly normal people, can be driven so ridiculously mad by the prospect of wealth, that they’d do almost anything to achieve it and rule their own little world.

At the same time, though, rather than being all sad and serious about it, the Coens add a lighter touch onto that whole idea, giving us characters that aren’t just colorful and likable, but also interesting. Sure, some of these characters may come off as very schticky and thin, but the Coens also show how that they’re personalities make who they are and determine every decision that they make throughout the movie. Some characters are, obviously, smarter than others, but nobody here is actually a good person, and there’s something inherently fun and entertaining in watching all of these characters get caught in a crazy web of lies, murder and deception, just for the hell of it.

It also helps that the cast is pretty great, too.

As usual, the Coens work with some of their own regulars who, by now, have mastered the art of the “Coen speak”. George Clooney is exciting, but also very weird as Harry, who always seems to have an issue with the food he eats, as well as an odd obsession with wood-panels; Frances McDormand’s Linda is a total polar opposite of what we’re used to seeing her play, giving us a naive, sometimes sad character who always tries to stay upbeat, no matter what the situation may call for; and Richard Jenkins, as Linda’s boss who can’t seem to stop falling over her, makes you want to give him a hug just about every scene he’s involved with.

We get it, Brad: You’re really in-shape!

But the newcomers to the Coen’s also handle their material well and show why they deserve to be in their movies a whole lot more. John Malkovich does a lot of cursing and yelling as Osborne, and it’s so much fun to watch and listen that I didn’t care if his character didn’t get as developed as I would have liked; Tilda Swinton’s character is a bit bitchy and mean, but also seems like she’s got more going onto her that would have been interesting to see developed more, but for what it is, this is all we get and it’s fine; and Brad Pitt, well, let’s just say he sort of steals the show. Not only does Brad Pitt seems like he’s so eager and excited to be apart of a Coen brother’s movie, but he also seems like he really wants to see what’s more to this character that he’s playing – something that isn’t quite seen in the rest of the movie.

Pitt’s Chad, for the most part, doesn’t really care about gaining any sort of money or respect, he’s just around for the fun of it all. That’s clear from the very beginning, once we realize that there’s a certain zaniness and energy to him that’s hard to ignore. This is mostly all thanks to Pitt who, using his grace and charm, shows that while a meat-head like Chad can be lovable, he can also be one you sort of feel bad for, once the situation he’s involved with gets to be a bit too crazy and over-the-top for his own good. There’s something about Chad that I wanted to see more of, but really, what I got was fine enough.

And that’s basically all that there is to say about Burn After Reading: It’s fine, and although you wish you saw more, that’s all you really need.

But hey, don’t just listen to me, let J.K. Simmons tell you all about it.

Consensus: Though it’s not exactly breaking down any barriers, Burn After Reading still finds the Coen brothers in a fun, hilariously wicked spirit that maintains their sense of odd energy the whole way through.

8 / 10

How can these two not have a ball together?

Photos Courtesy of: Indiewire, IFC

2000s, 8-8.5/10, Movies 2008, Armand Schultz, Bart Wilder, Bill Massof, Bob Bowersox, Brad Pitt, Brian McKeon, Brian O'Neill, Burn After Reading, Carmen M. Herlihy, Charles Gemmill, Cliff Goulet, Crystal Bock, David Rasche, Dermot Mulroney, Devin Rumer, Douglas Nelson, Elizabeth Marvel, Eric Richardson, Ethan Coen, Fernando Lara, Frances McDormand, Gary Henderson, George Clooney, Hamilton Clancy, J.K. Simmons, J.R. Horne, Jacqueline Wright, James Thomas Bligh, Jay Parks, Jeffrey DeMunn, Joe Jagatic, Joel Coen, John Malkovich, Judy Frank, Justin Doescher, Karla Mosley, Ken McNeill, Kevin Sussman, Kevin Tan, Kimberly Dorsey, Liam Ferguson, Lil Rhee, Logan Kulick, Lori Hammel, Matt Cannon, Matt Walton, Matthew James Gulbranson, Melissa Merry, Michael Countryman, Michael Fawcett, Mitch Giannunzio, Movie, Movie Review, Movie Reviews, Movies, Olek Krupa, Oliver Buckingham, Patrick Boll, Patrick Michael Strange, Pun Bandhu, Raul Aranas, Richard Jenkins, Richard Karn, Richard Poe, RJ Konner, Robert Prescott, Robert R. Barry, Roger Rathburn, Ron Kidd, Sándor Técsy, Stephen Ananicz, T. Alloy Langenfeld, Ted Bouton, The Coen Brothers, Tilda Swinton, Tim Miller, William D. Grey, William Fowle, Yury Tsykun

The Big Short (2015)

4 Comments Posted by Dan O. on January 1, 2016

Now I literally have no clue what to do with my money.

The financial crisis of 2007 and 2008 will always and forever be considered one of the most heart-breaking, tragic moments in recent memory. But even though it may have came as a shock to most normal, everyday working people whose lives were affected the most, a few within the financial world saw it coming from a mile away and tried to do whatever it is that they could do to fix it all and stop it from happening in the first place. There’s Michael Burry (Christian Bale), a hedge fund manager who is definitely an odd person, but knows of the issue right away. Then, there’s Mark Baum (Steve Carell), another hedge fund manager who, along with his trusted band of confidantes, are trying to figure out what the problem is. And last, but certainly not least, Charlie Ledley (John Magaro) and Jamie Mai (Finn Wittrock), two friends and business partners who are risking all that they’ve got by going out there and making these issues open to generally anyone who will listen. But as they, as well as everyone else here finds out, it doesn’t matter how right you are about what’s set to happen, rich people won’t listen because they don’t want to think of losing their money, for whatever reasons.

Yeah. Just give up already.

One of the biggest obstacles standing in the way of the Big Short is that it’s dealing with some very challenging and dry topics. While I’m sure that everybody knows about the financial crisis of 2008 and has a general idea of what went down and why, nobody really knows for sure and that’s exactly what the Big Short sets out to do, which is already enough reason to run for cover, hold up one’s arms, wave that white flag, and give up all hope on ever being informed about anything ever again. After all, you, just like many other average citizens in this world, probably don’t have a single clue what yield curve, or synthetic CDO actually is – instead, you just know what you’re having for dinner, who the President of the United States is, and well, maybe, how many days are in a year. The housing market, banks, mortgages, and all of that other serious, financial stuff isn’t needed in everyday life, so why bother with hearing it at all?

Well, that’s why there’s something brilliant about the Big Short in that it understands all of these issues it may face with appealing to a bigger audience out there and does something totally out of the ordinary: It explains it all.

And by “explains it all”, I mean exactly that; rather than having the movie try its hardest to find a way to finagle in meanings of certain definitions through needless exposition, characters in the film will literally turn towards the camera, or use their narration, and tell you what something means, or have someone else who is perhaps more appealing to do the same. Yet, none of these people ever matter to the actual movie itself and more or less, just seem like glorified cameos, which is fine because, well, they absolutely are! That’s why, when seemingly out of nowhere, we get a scene of Margot Robbie in a bubble bath, telling us about subprime mortgage lenders, it’s definitely, but necessary and much-needed, so instead of throwing it away, you just learn to accept it, learn a few things in the process, and move right on along.

By the way, random celebrities showing up in the movie to explain something happens about three times in the movie, but it works each and every time because, well, it perfectly explains what we need to know about what happens to the housing market and why the U.S. economy was hit so hard. Co-writer and director Adam McKay is very smart allowing for the bulk of the film to just be about what’s going to happen and give us a general idea of why, and then allow for us to watch once all of the cards fall into place and how all of the people who notice it first, act and try to fix it all before it’s too late. Clearly, we know the ending, so the film’s spin on “based on a true story”, is actually quite funny, but that doesn’t take away from any of the tragedy, either.

Still, at the same time, McKay being a director with a heavy background in comedy (Anchorman, Step Brothers), understands that the best way to cope with a tragedy of any kind, is still add an element of funny, sometimes hard-hitting comedy, that makes the pill go down smoother. But whereas with McKay’s other films where it seemed like a lot of the comedy was just about how far certain actors could go to ad-lib without breaking a sweat, here, each and every actor spouts colorful and fiery line of dialogue as if Aaron Sorkin had written the script after he did a few lines. So this isn’t all to say that the Big Short’s funny, but it’s also quite hilarious and smart in that it’s created this all-too-real universe where people talk fast, walk fast, are fast with their comebacks and generally prefer to be harsh to one another because well, they have a lot of money and they can.

But once these people start to realize that all of their money, as well as a lot of other people’s, is going down the drain, they realize that there’s no more playing around and it’s time to knuckle up or shut up. Sad thing is, we know how the story ends and McKay does, too.

That’s why, he never allows for us to forget about it.

Some men, just want to watch the housing market burn.

If anything, the Big Short shows who is to blame for the financial crisis, but at the same time, still doesn’t give any closure onto why those responsible let it go on for so long, nor does it resolve the issue of whether they knew about it forever and didn’t care, or if they were just too stupid to realize? Either way, the movie definitely points its long and hard finger directly at the shooter and it helps give a sense of satisfaction even if, you know, those same said baddies are the ones who ended-up getting away with it all. Still though, when watching all of this unravel, you almost forget about that fact and just allow for the story, as well as the characters, to tell itself.

That’s why it helps that the Big Short has such a talented ensemble who, even when it seems like they’re just speaking like my Economics professor, still add enough fun and flair to the proceedings, that they make it a little more compelling. Christian Bale’s Dr. Michael Burry is perhaps the only character who hardly ever moves from one location, but because Burry’s persona is based on weird tics and traits, Bale runs wild with the role and seems to be enjoying himself. Though he’s still enraged by what he’s seeing, there’s still a sense that Bale wants to be light enough to where it helps us get through this pain and sadness.

Same goes for Steve Carell as Mark Baum, someone who seems to live a lovely life inside this financial world, but at the same time, doesn’t want to sit so idly by, that he forgets about it all, either. Carell’s really enjoying this role here and it should be noted that, even despite all of the names and characters popping-up, he’s the clear star of the show and with good reason; not only is his character given the most backstory out of everybody else here, he’s also the most humane one out of the bunch. Though the whole dead-brother angle goes on a bit too long and is an obvious arc capable of being seen from a mile away, Carell still shoulders through it to where it’s okay – we just want to see him be more pissed-off and curse because Carell’s pretty good at that.

And well, for the matter, so is Ryan Gosling.

Gosling’s character, despite not being the meatiest of the bunch, is still probably the most memorable because he’s exactly what every young, rich and vain hotshot in the financial world probably is like. Gosling not only looks the part because he’s Ryan Gosling, but he’s also got the smooth charm and tongue to make him work all the more; while we’re never too sure if he’s a good or bad guy in this equation, we know that he definitely knows a whole lot about money and is capable of being trusted. That said, every scene he’s in, he steals and just about every line he delivers, is hilarious; even the scene where he describes the housing market with a Jenga set, while smart and interesting, is still funny because Gosling’s character is so in love with himself, you just know that he thinks it’s the most simple thing to ever explain. Even though we all know, for sure, it isn’t.

Brad Pitt shows up, too, as Ben Ricket, but doesn’t have a whole lot to do, except just serve Finn Wittrock and John Magaro’s characters bits of info that they need to make this story move more. Wittrock and Magaro are both great here and definitely give us a nice, small-time view of what this financial world looks like from the ground-up; because even though they don’t know it’s all going to crash just yet, we still wait and wonder to how they’re going to react and just how exactly it’s all going to affect them.

Because we know what happens to everybody else on the face of the planet, but what about these two schmucks?

Eh, who cares? The economy’s in the crapper and that’s all worth caring about.

Consensus: For all its difficult financial babble, the Big Short is, surprisingly, easy-to-comprehend in ways, well-acted by its huge ensemble, funny, and most of all, insightful into how this world works and why it all matters to what happened over seven years ago.

8 / 10

Got it?

Photos Courtesy of: Indiewire

2010s, 8-8.5/10, Movies 2015, Aaron V. Williamson, Adam McKay, Aiden Flowers, Al Sapienza, Amaurys Rodriguez, Andrea Vittoria Alvarado, Anna Nguyen, Anna Wendt, Anne Speed, Anthony Burkhalter, Billy Slaughter, Blaine Kern III, Bob Walker, Brad Pitt, Brandon Fontenot, Brandon Stacy, Byron Mann, Candace McAdams, Carrie Lazar, Casey Groves, Charlene Barr, Christian Bale, Christopher Terrell Brown, Courtney Leigh Goodwin, Daryl Thibodaux, Dave Davis, David Wyman, Deborah Alcorn, Dennis Alcorn, Dominique Hayes, Elliott Grey, Elton LeBlanc, Emily Bossak, Erika Vaughn, Gene Kevin Hames Jr., Hamish Linklater, Hannah Powell-Yost, Heighlen Boyd, Holly Ann Perry, Ilan Srulovicz, Jae Suh Park, James Donald, James Howard Askin, James Yeargain, James Zeiss, Jamie Gliddon, Jasmine Cheramie, Jay Potter, Jenny Lacey, Jeremy Strong, John Magaro, John Neisler, John Teal Jr., Judd Lormand, Juliet Reeves London, Justin Lebrun, Kaylee Henderson, Landa Morland, Lindsay Clift, Lindsay Musil, Lyle Brocato, Lyndsay Kimball, Max Greenfield, Melissa Leo, Michael Aaron Santos, Micheal K. Douglas, Michelle Torres, Movie, Movie Review, Movie Reviews, Movies, Nazeema Bartek, Nick Hwang, Nicole Barré, Oscar Gale, Patrick Kearns, Paul Check, Paul X. Campanella, Paula Shreve, Peter Epstein, Rafe Spall, Rajeev Jacob, Rhonda McNeely, Richard R. Corapi, Robin Sarraille, Ronald Joe Vasquez, Ruby Lou Smith, Rudy Eisenzopf, Rusty Bourg, Ryan Broussard, Ryan Gosling, Shauna Rappold, Shona Gastian, Sidney Beitz, Silas Cooper, Stanley Wong, Stefan Terrell, Steve Carell, Sue-Lynn Ansari, Tahseen Ghauri, The Big Short, Tim Wilson, Timothy Cornelius, Tony Beard, Tony Bentley, Vanessa Cloke

By the Sea (2015)

4 Comments Posted by Dan O. on December 4, 2015

Attractive people can fight, too!

In the mid-70’s, Roland (Brad Pitt) and Vanessa (Angelina Jolie) are a married couple who are in desperate need of some loving and alone time. That’s why they set out to vacation in France, where hopefully Vanessa will not only be healed of whatever pain she’s feeling, whereas Roland where also get a chance to write his next book and make more of a name for himself. However, because they’re so broken and screwed-up, for reasons unknown, the trip has become nothing more than just another opportunity for them to bet on each other’s nerves. Though Roland seems to be trying to reconcile more than Vanessa, neither are able to fully come together in a way that reminds them both why they love each other so much in the first place, let alone, why they should stay married. Then, surprisingly, a young couple gets the room right next door to them which, coincidentally, has a hole through the wall that can be seen through Roland and Vanessa’s room. Through this young couple, both Roland and Vanessa will connect with each other in ways they haven’t do so in quite some time, but by the same token, will also still bring out old skeletons.

He’s good-looking.

It’s hard not to watch By the Sea as a total vanity-piece from Angelina Jolie Pitt (and yes, that is now her name). Not only is the film written and directed by her, but it also stars her working opposite from her famous husband, in which they play a married couple who are, at times, loving, but at the same time, also fighting and pissing one another off a whole lot, too. So, in a way, you could definitely look at this film as some sort of statement that Jolie wants to not just make about marriage in general, but her own, pretty infamous marriage.

Does it work as such? Not really. But hey, at least she’s getting somewhere.

I think.

Perhaps what works best about By the Sea is how pretty it looks. Despite Jolie actually having set the film in the 70’s, it’s still clear to see that Jolie herself is taking a lot of inspiration from the look and feel of the same kinds of Paris expressionist films of the day. And because of that, there’s plenty of shots here that are not only glossy, but quite eye-catching; while the characters themselves may be a bit boring and tepid, the landscapes they’re walking around, aren’t and it’s hard to look away whenever the movie takes place outside, in some lush room, or focusing in on the fancy clothes that just about every character here seems to be wearing. Basically, it’s a very pretty movie.

But that said, beauty is perhaps the only thing that By the Sea has working for it. With Unbroken last year, Jolie showed that she was a fine director, however, not a very deep or meaningful one; while she knows how to frame a shot here and there, what’s going on within or underneath said shot, she doesn’t seem to quite have a grip on just yet. Here, it seems like that same problem still persists, although she’s definitely helped out by the fact that her, as well as Pitt, both seem like they’re more than willing to dig hard into these characters, even if, on the surface, there’s not much to them.

But even once you go further into these characters, there’s still not much else to them.

The general idea of Roland and Vanessa is that, you guessed it, some sort of travesty hit their lives and they haven’t been the same since. While it’s easy to predict what it is from the very start, Jolie likes to give off the idea that she’s throwing us all off by giving us small, brief hints every now and then – issue is, it’s obvious. I won’t say what it is, but yeah, just take a wild guess and you’ll probably hit the nail on the head.

However, while other films concerning the same kinds of characters would like to develop them beyond just what happened to them, Jolie only seems interested in that and not going anywhere else. Sure, it’s interesting to watch when Pitt and Jolie, who are generally considered to be a loving, passionate and happy couple, fight and bicker with one another; sometimes, you don’t know how far it’s going to go, or where it’s going to end-up. Their own performances are fine, but when they’re together, it’s nice to not only see them share some chemistry when they’re happy together, but also when they are at each other’s necks.

She’s good-looking.

You know, like real couples.

Still though, Jolie’s direction is so languid that it feels like every scene depicting these two arguing, or screwing, or kissing, or consoling one another, isn’t just a repeat, but is lacking any sort of emotion that’s supposed to make a film like this, with these kinds of actors, crackle and pop right off the screen. It also doesn’t help that By the Sea is close to being two hours which, in all honesty, it does not need to be; something tells me that there was probably an ideal hour-and-a-half-version set to be made, but because the studio will never say “no” to her, Jolie got her way anyway and was able to make the movie as long as she oh so pleased. Which isn’t to say that I’m able to push Jolie’s personal persona, away from her film one, but like I stated before, it’s very difficult to not look at this film and think, “Well guys, this is what Angelina thinks about marriage, or lust, or whatever.”

And honestly, I don’t want it to seem like By the Sea is an awful movie. What works best about it is that Pitt and Jolie are such talented actors, that they make just about every scene work. Jolie’s script is clunky and filled with quite a few eye-rolling moments, but the two genuinely seem interested and compelled to work with one another, which definitely plays-out onto the screen. It may have not played out onto the rest of the film, but hey, at least they’re hot, sexy, in love, and not caring who knows it!

You go, kids!

Consensus: In By the Sea, Angelina Jolie and Brad Pitt fight, argue, kiss, screw, smoke, drink, wear fancy clothes, eat nice dinners, speak French, creep on their neighbors, and get naked, but for some reason, none of it ever cracks as much as it should, despite Jolie’s best intentions to try and do so.

5 / 10

Together, believe it or not, they’re both good-looking. That’s it.

Photo’s Credit to: IMDB, AceShowbiz

2010s, 5-5.5/10, Movies 2015, Angelina Jolie, Anna Cachia, Brad Pitt, By the Sea, Frédéric Dessains, George Camilleri, Mélanie Laurent, Melvil Poupaud, Movie, Movie Review, Movie Reviews, Movies, Niels Arestrup, Richard Bohringer, Sarah Naudi

Sleepers (1996)

6 Comments Posted by Dan O. on October 22, 2015

Never mess with a hot-dog stand, kiddies.

Lorenzo “Shakes” Carcaterra (Jason Patric), Thomas “Tommy” Marcano (Billy Crudup), Michael Sullivan (Brad Pitt), and John Reilly (Ron Eldard), are all childhood friends from Hell’s Kitchen who, after many years, haven’t really kept in close contact. Most of this has to do with the fact that, when they were younger, they were all sent to a juvenile delinquent center, where they were both physically, as well as sexually abused by the wardens there. Many years later, one of those wardens (Kevin Bacon), gets shot and killed in a bar late one night and guess who the shooters allegedly are? Yup, John and Tommy. Seeing as how they’re buddies are in the right to have shot and killed the warden, Shakes and Michael concoct a plan: Get Michael to defend the dead warden and have their old local mafia gangster, pay-off a lawyer (Dustin Hoffman) who will do the job that needs to be done, where both John and Tommy shine in a positive light and aren’t convicted. However, moral dilemmas eventually sink in and make everybody rethink their decisions – not just in this one particular moment, however, but through their whole life in general.

Trust Dustin, guys. He knows what he’s doing.

There was a constant feeling I had while watching Sleepers that made me think it was just so “movie-ish”. Like clearly, a case like this couldn’t ever be true – and if it was, it sure as heck didn’t deserve the oddly-sentimental tone that Barry Levinson gives it. Despite there being a chock full of talent both behind, as well as in front of the camera, Sleepers just never resonates, mostly due to the fact that it all feels too sensational and over-wrought – something I would expect material of this nature to be.

However, that isn’t to say that Sleepers is a bad movie, because it isn’t. For at least an hour or so, Sleepers is actually a smart, disturbing, and interesting coming-of-ager that doesn’t necessarily try to reinvent the wheel of the kinds of movies that have come before it, but at least put you in the same position of these characters, so that when they do all eventually get back together some odd years later, we’re already invested in them enough as is. When the kids are transported to the juvenile delinquent center, it’s made obvious that the movie’s going to get a whole lot more heavy and mean, and it still worked.

Though maybe the big reveal of having these kids sexually abused was a bit campy, it still worked because it added a certain sizzle to a story that, quite frankly, needed one. Whenever you put young kids and pedophiles in the same story, most often, the stories tend to get quite interesting and thankfully, that’s happening with Sleepers. While I sound terrible for typing what I just did there, it’s the absolute truth; in hindsight, Sleepers is two meh movies crammed into one, with one being a lot more gripping to watch, then the other. That’s not to say that the courtroom stuff of the later-half doesn’t bring about some form of excitement, but because it all feels so phony, it never quite works.

Now pedophiles being in-charge at juvenile delinquent centers? That’s something I can definitely believe in!

Still though, the later-half of the movie brings Sleepers down a whole bunch. For one, it’s hard to ever believe, not in a million years, or even in places like Syria, that there would be a case as blatantly perjured and/or one-sided as this. Sure, the movie tries to make it understandable that a public-defender could get away with doing something like this, so long as he kept-up appearances, but I don’t believe I heard Brad Pitt’s character stand-up and yell “Objection!” once. For the most part, he’s just sitting there, looking determined, tense and most of all, pretty. That’s what we expect from Brad Pitt, of course, but it doesn’t help make the case seem at all legit, even though the movie seems to be depending on that.

“I do solemnly swear to yell at Focker anymore.”

Then, there’s Levinson’s direction that, honestly, is pretty odd. Though Levinson makes it clear that the boys killed a person that raped them when they were kids, the fact remains that they still killed plenty of other, probably innocent people. So, to just stand by them and say, “Well, that guy had it comin’ to him”, seems a bit weird; the guy whose death is being contested over was a bad person, but what about all of the others? What if these two guys are just, regardless of what happened to them when they were younger, bad apples that need to cause some sort of ruckus by killing others? Does that make them worthy of being stood-up for?

The movie never seems to make that decision and it’s a bit of a problem.

But, like I said, the cast on-deck is fine. It’s just unfortunate that most of them don’t have a great deal of heavy material to work with. Jason Patric and Brad Pitt both seem like they’re trying hard to make everybody take them seriously, but sadly, it just ends up with them being a bit dull. Ron Eldard and Billy Crudup, on the other hand, also don’t have much to do except just look mean, mad and ready to pull out a pistol at any second.

The more seasoned-pros of the cast do what they can, too, but as I said, they get lost a bit. Kevin Bacon is in full-on sicko mode that’s fun to see him playing around with, even though his character is quite the despicable human specimen; Dustin Hoffman gets some chances to shine as the inept lawyer of the case, which works because of how laid-back his persona is; and Robert De Niro, with the few scenes he gets, seems to inject some heart into this story that’s definitely needed. He doesn’t help push the movie over that cliff it so desperately seemed to be searching for, but he does the ticket just enough.

And that’s all any of us want from Bobby D, right?

Consensus: Sleepers is, essentially, two movies into a two-and-a-half-hour long one that is occasionally interesting, but ultimately, ends up seeming to silly to be believed in or compelled by.

6 / 10

Enjoy it while it lasts! Each one of your careers are going to go in some very different directions.

Photos Courtesy of: Movpins

1990s, 6-6.5/10, Movies 1996, Aida Turturro, Angela Rago, Anthony Sinopoli, Barry Levinson, Barry Squitieri, Ben Hammer, Billy Crudup, Billy Malone, Brad Pitt, Brad Renfro, Bruno Kirby, Carmine Parisi, Casandra Brooks, Chuck Low, Conrad Meertins Jr., Danny Mastrogiorgio, Dash Mihok, Don Hewitt, Drew Eliot, Dustin Hoffman, Eugene Byrd, Frank Inzerillo, Frank Medrano, Gayle Scott, Geoffrey Wigdor, George Georgiadis, George Vincent, Gerry Becker, Gina Menza, Henry Stram, James Pickens Jr., James Rosin, Jason Patric, Jeffrey Donovan, Jenique Torres, Joe Perrino, Joe Urla, John Di Benedetto, John Slattery, Jonathan Tucker, Joseph Attanasio, Juan Maria Jr., Justin Halliwell, Kevin Bacon, Kevin Richard Sullivan, Larry Romano, Lennie Loftin, Marco Greco, Maria Deasy, Mary B. McCann, Mary Testa, Matthew Hoffman, Michael Harkins, Michael J. Burg, Michael P. Moran, Mick O'Rourke, Minnie Driver, Monica Polito, Movie, Movie Review, Movie Reviews, Movies, Pasquale Cajano, Pat McNamara, Patrick Tull, Paul Herman, Peter Appel, Peter Gerety, Peter Mahoney, Peter McRobbie, Peter Rini, Ralph Tabakin, Reuben Larry Elliot, Robert De Niro, Robert W. Castle, Rocco Musacchia, Ron Eldard, Rose Caiola, Ruth Maleczech, Salvatore Paul Piro, Saverio Guerra, Sean Patrick Reilly, Sleepers, Terry Kinney, Todo Segalla, Tom Signorelli, Vittorio Gassman, Wendell Pierce, William K. Butler, Zachary Ansley

Snatch (2001)

6 Comments Posted by Dan O. on August 10, 2015

Does anybody even know what a “pikey” is in the first place?

Set in the London criminal underworld, two stories are unfolding that, more often than not, just so happen to connect or intervene with one another. One plot deals with the search for a stolen diamond, whereas the other with a small-time boxing promoter named Turkish (Jason Statham) who finds himself under the thumb of a ruthless gangster known as Brick Top (Alan Ford). Of course, there is more than just meets the eye with this premise as many happenings and characters find themselves in-and-out of the story.

If you’ve seen one movie of Guy Ritchie’s, you’ve mostly seen them all. In ways, that’s a good thing, but often times, it can feel as if it’s a tad bit repetitive and over-done. But that’s not me talking, as I’ve come to appreciate the kind of style the dude’s worked with over the years and how it’s single-handedly help save some of his movies from being bore-fests.

Except for Swept Away. There was no way of saving that movie.

Who needs Apollo Creed, when you’ve got two drunk Irish morons.

What Ritchie does so well, is style; it’s the same type of hip, kinetic, and goofy style that we saw in his earlier flicks but who cares? If it works, it works. Ritchie keeps the plot moving in an entertaining fashion, but at the same time, still keeps these plot-lines interesting. This makes it all the more with it when they all seem to converge with one another and make Ritchie’s writing a whole heck of a lot smarter.

Most of that smartness comes from the whole idea of this flick is just to be a big goofy take on the crime-noir genre by substituting all of those hard, mean characters, with lovable, colorful ones that we all actually care about. However, don’t have you think that Ritchie softens up because of this. Instead he lets all of the violence happen as if it normally would in any other film of this genre and it’s just a whole bunch of fun to watch, even if you do know what’s going to happen next.

Also, subtitles may definitely help at certain times, too.

I don’t know what it is about Ritchie piss so many people off because this guy really seems like he’s having a ball when it comes to him making movies. Does he have an energetic style that can sometimes be straight in your face? Yeah, but does that neccessarily make him a bad director? I guess it all depends on how you feel about watching movies. Either you want a slow human-drama about life and love in the world we live in, or you want a fast-paced, suspenseful, and wild gangster flick that takes no prisoners and makes no apologies for calling each other that dreaded “c-word”.

Yup. Totally not crazy.

My problem with this film just lies within the fact that I think Ritchie does not stray far away from what he did with his debut and that’s sort of annoying, considering it seems a bit cheap once you think about it. Take for instance, Vinnie Jones’ character. Jones, as we all know and love, is basically type-cast as this wild, insane, and freakishly scary a-hole that would be able to rip your heart out with his teeth. Those are the types of roles the guy gets nowadays and without Ritchie, he wouldn’t have ever been known far-beyond his Rugby days. Therefore, it seems like Ritchie felt the need to not only place a same type of character as that in this movie, but also give Jones the same exact role that sort of comes off as lazy and a bit unoriginal in terms of casting. There’s a couple of other actors and characters here that seem like carbon-copies of the ones from Lock, but Jones was the one who really stood-out for me as the laziest of all, even though he kicked plenty of arse, as usual.

But even besides that, Jones is still good here. And the same goes with everybody else who shows up, utilizing their talents as actors for what would be ultimate challenging of handling Ritchie’s sense of dialogue. Though they may seem like odd choices at first, the likes of Benicio Del Toro, Dennis Farina, and Rade Serbedzija, all do perfectly fine here and show that they’re charming enough to carry along the movie, even if Ritchie’s dialogue may sometimes get in the way of his actors.

However, their not prepared for the most inspired casting decision of this whole flick.

Brad Pitt as the illiterate “pikey” Micky O’Neill, may have seemed crazy, but eventually, you wonder why anybody would have ever thought that. Pitt’s whole act in this flick is to not make any sense no matter what he mumbles, but still be able to get what he’s saying across by the look on his face and the body language he displays. Maybe that’s a bit too much of a detailed study for a character that is first shown taking a dump right in front of his home, but Pitt nails it and makes every piece of dialogue he mutters out hilarious. So hilarious in fact, that the Netflix subtitles couldn’t even decipher what the hell he was saying but that was the point! It was funny, it made me laugh, and made me see what types of roles Pitt can do, and still take total control over even if he isn’t the main star of the show. Everybody else here, kicks some fine-piece of arse that’s worth mentioning but to be honest, just go out and see the ensemble for yourself. They are all so perfect together and you wonder how Ritchie was able to get them all to be in the same freakin’ movie in the first place.

Consensus: Though we’ve seen this style done before, Snatch still utilizes a lot of Ritchie’s strengths as both a writer, as well as a director.

8.5 / 10

Morgan?

Photos Courtesy of: Movie Room Reviews

2000s, 8-8.5/10, Movies 2001, Adam Fogerty, Ade, Alan Ford, and Two Smoking Barrels, Andrew Shield, Andy Beckwith, Andy Skinner, Andy Till, Austin Drage, Benicio Del Toro, Brad Pitt, Brad Wall, Charles Cork, Christopher Fosh, Chuck Julian, Dave Legeno, Dean Batchelor, Dean Smith, Dennis Farina, Elwin 'Chopper' David, Eric Meyers, Ewen Bremner, Goldie, Guy Ritchie, James Cunningham, James Warren, Jason Buckham, Jason Flemyng, Jason Ninh Cao, Jason Statham, Jimmy Roussounis, Joe Williams, John Farnell, John Taheny, Julianne Nicholson, Kriss Sprules, Lennie James, Liam Donaghy, Liam McMahon, Lock, Michael Hughes, Mick Theo, Mickey Cantwell, Mickey Dee, Mike Reid, Movie, Movie Review, Movie Reviews, Movies, Nicola Collins, Paul O'Boyle, Peter Rnic, Peter Szakacs, Rade Serbedzija, Robbie Gee, Ronald Isaac, Roy Snell, Sam Douglas, Scott Welch, Shaun Pearson, Sid Hoare, Sidney Sedin, Snatch, Sol Campbell, Sorcha Cusack, Stephen Graham, Stock, Teena Collins, Tim Faraday, Tom Delmar, Tony Tang, Trevor Steedman, Velibor Topic, Vinnie Jones, William Beck, Yuri Stepanov

Cold Souls (2009)

1 Comment Posted by Dan O. on June 18, 2015

Just take my soul already!

Paul Giamatti stars as a fictionalized version of himself, who is an anxious, overwhelmed actor who decides to enlist the service of a company to deep freeze his soul. Complications ensue when he wants his soul back, but mysteriously, his soul gets lost in a soul trafficking scheme which has taken his soul to St. Petersburg, making Paul have to venture all the way out there to see just what the hell is even going on in the first place.

What you see in the title, is exactly what you get in the movie’s tone. Seriously, don’t come expecting some minor laughs here and there, because the film really just doesn’t seem all that concerned with that aspect at all. It’s more about being dark, moody, bleak, and overall, pretty frigid in its portrayal of where our society may be turning towards. Actually, it’s a pretty far-fetched idea, but I could definitely imagine, just waking up one day, and wanting to be and have Brad Pitt’s soul.

Damn, now that I think about it, I hope this future does come to existence!

Here’s a shot of Paul Giamatti being sad.

This is the debut flick of Sophie Barthes who not only directs, but writes this flick as well and the information I was looking up for this said that apparently she had this idea in her dream. Now, I could only wish that any of my dreams had anything as ambitious lingering around in them, as apparently the ideas she has swimming in her brain when it’s sleepy-time, but considering that she’s working off of an idea that was probably no less than two minutes, I have to give the gal some credit because it’s pretty intriguing what she comes up with here. Even if the results don’t fully match the ambitions, you have to at least give her credit where credit’s due, because it’s sure as hell not easy to make a movie in today’s day and age – let alone one with as kooky of an idea as Cold Souls.

Barthes doesn’t paint a portrait of a future that’s groomed for doom, where people are in desperate need to be others, have different lives, and basically just erase or escape any type of life they have and don’t like. It’s sort of like the same ideas that went through mind-benders like Eternal Sunshine of the Spotless Mind and Being John Malkovich, and although this one doesn’t really stack up anywhere near those masterpieces, Barthes at least tries to capture that Charlie Kaufman-esque nature of her material without really going overboard. There’s a lot of weird, sci-fi stuff going on here that’s definitely thoughtful, but it’s also grounded in a reality to where you feel like something could happen like this, had somebody gotten a more well thought-out plan. Barthes definitely deserves style-points on this one in terms of his screenplay, but damn, did we really need to be so sad the whole time?

The answer is no, but most people will probably disagree with me.

Even though the premise definitely promises a bunch of weird, wacky fun in the same light as a Kaufman flick, that promise never gets fulfilled. Instead, Barthes seems like she’s content with just focusing on the sad aspect of this story with long, gloomy shots of a snowy Russia, and an even more horrid-looking New York City that looks as if it hasn’t seen the sun in a decade. All of the colors in this movie feel like a mixture of soft blues and muddle grays, and as much as that may make this flick seem more depressing and sad, do we really want to feel like we, as well as the characters were watching, should just go kill themselves and get it all over with? I don’t think so, because even while you may have an interesting premise to work with, to just constantly hammer us over the head with your inherent seriousness about it can get pretty old.

And another, even despite the fact he’s in the same bed as Emily Watson.

But even despite the actual lack of fun in this movie, probably the most disappointing aspect of this whole flick is that it brings up all of these questions, ideas, and messages about life and exactly where we are headed as a society, but loses them about half-way through once the last act kicks into high-gear; and then, it ends, just leaving everything up in the air. Listen, I’m totally game for any type of film that wants to bring up a lot of food-for-thought, have me doing thinking about what’s it trying to say, and eventually allowing me to go out with some people afterwards and talk it up, but this movie doesn’t even seem like it wants to give me that privilege. Even when that last act comes around and the movie oddly changes from this existential drama, into this mystery/romance/off-kilter comedy that now all of a sudden wants to please us, rather than having us contemplate jumping off the San Francisco bridge. It was a change in tone that not only felt phony, but showed that Barthes maybe backed-out on an ending, that could have answered a whole lot, and even left some more up for thought and discussion.

But nope, she didn’t even give us that.

What’s even more surprising than this change in tone, was how Paul Giamatti seemed to be a bit boring to watch as well. Granted, the guy isn’t given all that much to work with, other than a slew of shots of him just staring off into the space, looking all mopey and sad all of the time, but when the guy does need to liven things up, he does with that charm and wit we all know and love the guy for. His character (which is pretty much him, just not nearly as famous), is a downer and that’s why it’s pretty fun to see what happens to him when he switches souls, gets a little bit more energetic, and a bit more inspiration with how he lives his life and it’s one of the very rare moments in this flick where not only he comes alive, but the movie as well. Sadly, Barthes knocks his character back down to reality, and he becomes the same old, sad sap we started out with in the first place and it’s a bummer, because Giamatti’s always good and entertaining to watch. You just got to give him the right material that allows him to have some fun every once and awhile.

Consensus: Cold Souls deals with a very interesting idea about the current landscape of our society, but is too dour to really bring anybody into the world it’s trying to portray, nor does it really follow through on any of the rules it sets up to begin with.

5.5 / 10

And, yet again, another. But with snow!

Photo’s Credit to: IMDB, AceShowbiz

2000s, 5-5.5/10, Movies 2009, Abe Mendel, Adrian Lallemand, Alex Adamov, Alexandra Donhoeffner, Anna Dyukova, Anna Orisik, Armand Schultz, Being John Malkovich, Bobby Lundon, Boris Kievsky, Boris Leskin, Brad Pitt, Brienin Bryant, Charles Techman, Charlie Kaufman, Charlotte Mickie, Cold Souls, David Maynes, David Spearman, David Strathairn, Dina Korzun, Dominique De Bourgknecht, Edward Thomas, Elli, Emily Watson, Erin Cronican, Eternal Sunshine of The Spotless Mind, Fabrizia Dal Farra, Flo Ankah, Gabriel Furman, Gregory Korostishevsky, Henry Stram, Herb Foster, Jeannette Gould, John Farrer, Joseph Basile, Joseph Scott, Katheryn Winnick, Kevin Cannon, Kim Denkhaus, Larisa Bell, Laura Heisler, Lauren Ambrose, Lisa Emery, Marie-Pierre Beausejour, Max McGuire, Michael Aronov, Michael Stuhlbarg, Michael Tucker, Mimi Lieber, Movie, Movie Review, Movie Reviews, Movies, Natalia Zvereva, Oksana Lada, Paul Giamatti, Polina Gorman, Rebecca Brooksher, Rebecca Snodgrass, Sasha Luzanov, Sergey Kolesnikov, Seth Austin, Sophie Barthes, Stanley Krajewski, Stella Stark, Svetlana Kireeva, Tatyana Egorova, Ted Koch, Tom Stearns, Tyler Cook, Wendy Rich Stetson, Yevgeniy Dekhtyar, Yuliya Yakovleva

Fight Club (1999)

19 Comments Posted by Dan O. on October 2, 2014

Next time you want to buy those hip, new jeans from JC Penney, punch yourself.

In a country as wide as America, it’s hard not to get swept up in all of it. An normal guy who sometimes go by the names of either “Cornelius”, or “Jack” (Edward Norton) knows this, but he can’t help but still fall for the tricks that mainstream society has set up for him to get caught in. Because of this, he becomes an insomniac that binges all day and night on crappy sitcoms, expensive furniture and belongings, and occasionally goes to a job where he has to file reports on faulty cars’ systems. However, he eventually finds a cure for his insomnia in random support groups that occur all around him. Though he can’t really connect with any of the other members in these support-groups, he still finds some solace in the fact that he can go to these private places and just let all of his emotions out. That all changes, though, when a fellow “phony” named Marla Singer (Helena Bonham Carter) starts showing up to the same meetings and ruining our protagonists’ peaceful vibes. This is when the insomnia continues, but this time, he finds another form of escape – however, this time, it’s not with a group, but instead, with a person.

The person’s name, Tyler Durden (Brad Pitt); the person’s occupation, making and selling soap; and lastly, the person’s beliefs, well, that we should all just start letting our oppressed anger out and start taking it out on our follow man.

This is a hard movie to talk about, but not for the reasons that some of you may think. See, with a film as culturally significant and iconic as Fight Club, it’s hard to write a review/post, fifteen years later after the movie has been released and consumed, and bring up certain points that haven’t already been stated.

Well, technically, I could. Like for instance, I could talk about how incredibly sleek, grimy, and gritty David Fincher makes this movie look; or how the twist is a total shocker to any first-time viewer, yet, totally works when you see it countless other times; or even how mostly all of what Chuck Palahniuk was trying to get across about the state of our nation’s culture, our society, and the way in how our citizens were constantly being shaped into becoming what the rest of the world wanted them to be. Of course I could talk about all of this and while I’ll definitely dive into some of that here, simply restating these points would be lazy.

The perfect romance…….

However, I’m going to probably do them anyway. Sorry, people. I’ll try and stay away as far and as long as I can, but such is the dilemma with Fight Club: There’s clearly a lot to discuss and argue about, but so much has already been said. Then again, on the flip side, the beauty behind Fight Club is that so many people can think about it differently. Because even though Fincher himself has sort of thrown little hints here and there about what the real meaning surrounding Fight Club is, he’s sort of left it all up to us, the viewer, and it’s not only a smart move on his part, but for us to actually follow through with it, as well.

I honestly can’t tell you how many times I’ve had a simple, relatively peaceful conversation about this movie and its meaning, that’s all of a sudden turned to something resembling a brawl. I’m totally exaggerating (maybe), but this is probably what Fincher and Palahniuk intended in the first place: They wanted their material to be dissected, interpreted, and talked about for days on end. Does it deserve to be? Absolutely, but there is something to be said for a movie that continues to still keep on popping up in pop-culture, and just real life in general.

Does that mean this movie is overrated? Not at all. But is it perfect? No, it is not. Fincher has definitely made some better movies in his storied-career and while this movie definitely comes close to being one of them, it just isn’t. However, that’s not really a complaint, as much as it’s just a statement from yours truly; Fight Club, for what it is, is a movie that deserves to be seen. If not a few times, just once then, because while it’s a movie that asks you to think outside of imaginary box you don’t know you have around your life, it’s also the rare studio-movie that poses some morally and ethnically questionable ideas about how a society is ran, and how those members in society feel when they aren’t allowed to express themselves for so very long.

For instance, take our unnamed protagonist, he’s your typical everyman – boring, easily influenced by conformity, and never true to himself or the beliefs he has lying underneath that clean shirt and tie. However, once he realizes that there’s more to the way the world can be ran, his especially, he can’t help but join in this free frenzy of anger, violence, and hate that stems from the inner-most core of man: The right to express themselves freely. And even though you could argue that he only does this because he’s so taken away with Tyler Durden and the way he carries himself through everyday, bizarre-o life, you could also look at the fact that this rage has been brewing inside of him for quite some time. It’s just until now that he finally gets a chance to let it all out, with a numerous amount of fellow men who feel the same as he does.

And since I already mentioned his name, I guess it’s right to mention the character of Tyler Durden himself: A wacky, wild and sometimes, border-line insane caricature of what every guy, no matter how hard they try to deny it, want to be. And honestly, what better actor to play this ideal-perception of a man, according to fellow men, than Brad Pitt himself. Not only is this pure casting-magic at its finest, but it’s also one of the sheer signs of genius that Pitt was beginning to show us; not just as an actor, but as a star who had the right to choose whatever project he wanted, without having to worry about how the rest of the world viewed him. Because yes, even though Pitt still gets to look hunky and jacked-out as humanly possible here, he’s still something of a grotesque character that you’re never too sure of. You know that he’s someone you can’t pin-point down if you saw him in a crowded room and met him for the first time, but then again, he’s the first guy you’d notice in that same crowded room.

….or is this?

This is to say that Pitt is wonderful in this role and absolutely crackles and pops with every second he gets to play as Tyler Durden. But that isn’t to say that Edward Norton doesn’t get to do anything effective here either as our main protagonist, because he totally does. It’s just less of a showier-role, which is totally saying something because Norton gets a chance to do everything we love seeing him do in just about any movie he decides to do: Get your attention right away, sometimes be funny, and make you wonder just what his character is going to do next.

The same could be said about the movie as well, because while Fight Club can’t necessarily be classified as something of a “thriller”, it’s still the kind of movie that will have you on edge. Not just with where it’s story goes, or the plot-mechanics of how, but why. Fincher does, much like what the novel also was capable of doing, bring up viewpoints on various forms of everyday society: Music, movies, television, fashion, commercials, etc. And while you could definitely say this a movie with an agenda, good luck trying to figure out what that agenda is.

Personally, I think it’s all about how we as a society are inherently already built to conform and give into mass-media. Or better yet, that fitting in and following along with the rest of the current is the right, relatively safe thing to do. Though I know this movie is speaking this mostly through/from the male viewpoint, I think this is a point that could be made for all members of society; stop doing what everybody else is doing, or what others say you should do. Stand up, scream, shout and do whatever you can to make yourself happy and express yourself. Although that doesn’t necessarily mean you should go around, starting clubs where people beat the shit out Jared Leto, that doesn’t mean you should sit back, watch from the back-row, and sheep around with the rest of the flock.

Or, you know, at least that’s what I think it’s about.

Consensus: Audacious, bold, original, thought-provoking, and somewhat of a crowd-pleaser, Fight Club is the perfect blend of art and commerce, while also serving as a metaphor for the world in which we live in, and the chaos that’s always linger from within it.

9.5 / 10 = Full Price!!

Aww, who am I kidding!?!? Just show me shirtless dudes, beating the shit out of one another! Fuck yeah! Rebellion rules!

Aww, who am I kidding!?!? Just show me shirtless dudes, beating the shit out of one another! Fuck yeah! Masculinity rules!

Photo’s Credit to: Goggle Images, Collider

1990s, 9-9.5/10, Movies 1999, Alekxia Valdez, Anderson Bourell, Andi Carnick, Baron Jay, Bennie Moore, Bob Stephenson, Brad Pitt, Brian Tochi, Carl Ciarfalio, Chad Randau, Charlie Dell, Christie Cronenweth, Christina Cabot, Christopher John Fields, Chuck Palahniuk, David Andrews, David Fincher, David Jean Thomas, David Lee Smith, Dierdre Downing-Jackson, Eddie Hargitay, Edward Kowalczyk, Edward Norton, Eion Bailey, Eugenie Bondurant, Evan Mirand, Ezra Buzzington, Fight Club, Gökhan Öncel, George Maguire, Gregory Silva, Helena Bonham Carter, Holt McCallany, Hugh Peddy, J.T. Pontino, Jared Leto, Jawara, Jim Jenkins, Joel Bissonnette, Joon Kim, Kevin Scott Mack, Lauren Sanchez, Leonard Termo, Lou Beatty Jr., Louis Ortiz, Marcio Rosario, Mark Fite, Markus Redmond, Matt Cinquanta, Matt Winston, Meat Loaf, Michael Arturo, Michael Girardin, Michael Shamus Wiles, Michael Zagst, Movie, Movie Review, Movie Reviews, Movies, Owen Masterson, Pat McNamara, Paul Carafotes, Paul Dillon, Peter Iacangelo, Phil Hawn, Rachel Singer, Richmond Arquette, Rob Lanza, Robby Robinson, Scotch Ellis Loring, Stuart Blumberg, Sydney 'Big Dawg' Colston, Thom Gossom Jr., Tim De Zarn, Todd Peirce, Tom Falzone, Tommy Dallace, Trey Ore, Tyrone R. Livingston, Valerie Bickford, Van Quattro, Zach Grenier

Mr. & Mrs. Smith (2005)

23 Comments Posted by Dan O. on June 3, 2014

Sorry, Jen. But together, these two are really hot.

After having a chance meeting in a foreign country some odd years ago (five or six, neither ever knows), John (Brad Pitt) and Jane (Angelina Jolie) Smith live a comfortable life where either one talks to one another, yet, still live under the same roof and go to couples-counseling in hopes that things will get better between them two. However, when both find out that they are not only living separate, secret lives as super-duper spies, but that they are also part of feuding spy-agencies, then things got a whole lot more tense between the two; not to mention deadly. Oddly enough though, this newfound information ignites a spark between them both and for the first time in a long time, John and Jane both find themselves happily in love with one another, banging and eating all over the floor. Problem is, it may just be too late as the spy-agencies soon find out that these two are actually married in real-life and decide that it’s best to take them both out because it’s, “bad for business”. Whatever that means, right?

Herein lies the film that started it all; the famous, highly-attractive Hollywood couple that will be synonymous with Generation-Y’ers till the end of time; and definitely the duo that J-Aniston still wants to get back at all of these years later. Ladies and gentleman, here is the beginning of what we know to be known as Brangelina. Heck, it’s even got its own WikiPedia page! If that doesn’t just scream “culturally significant”, I can’t tell you what will!

Oh stop!

With most movies that have more talk about what’s going on behind the scenes usually means that the final-product itself isn’t anything worth chatting about it either. It just serves as a platform for a conversation to get started on about; although today, one could just mention either Brad Pitt or Angelina Jolie respectively and end up finding themselves still talking about their togetherness, and less about the actual movie that brought them all together.

And as you can tell, I’m doing the same exact thing I’m going on about, because it’s sort of the truth: The movie that brought these two superstars together, really isn’t all that memorable.

“But surely something must have been well-done enough to where it would actually attract such picky A-listers as Brad Pitt and Angelina Jolie, Dan? So what is the problem?”, you might respond with, and honestly, my answer might be a general, “I don’t know”. Maybe these two were attracted to the idea of starring in a movie together, or better yet, maybe they just saw plenty of big bucks in the idea as is. It doesn’t really matter because either way, the movie is still very “meh”.

Most of that has to do with the premise itself which, on paper, seems very promising, fun and witty, and for the most part, is. However, the movie knows this a little too much and can’t help but remind us each and every chance it gets that, “Our premise is so goofy and our co-stars are so in love with one another, that we can’t help but be pleased!” These are the types of movies that linger on being “smug”, and there are more than a few occasions in which Mr. and Mrs. Smith finds itself creeping over to that side.

What keeps it away from doing so on most occasions? Well, it’s the main selling-point this movie had to roll with in the first place: It’s lovely co-stars.

And yes, it’s also said that usually actors who hook-up in real life, have terrible chemistry in the movies they’re starring in together, but here, with Jolie and Pitt, that isn’t necessarily the case. They’re good together and you can really tell that the two have a little twinkle in there eye whenever the other is in the same scene with them, however, they don’t get to show it off too many times. Because the premise is sort of a joke in and of itself about this married-couple hiding their real selves from the other and not really doing much of anything together as a unit, Pitt and Jolie aren’t really given too many opportunities to do a whole lot of on-screen flirting. More or less, they’re spending scenes together in awkward silence, which yes, is the point, but after awhile, does seem like a waste of some incredibly talented-individuals, who just so also happened to be shaken’ the high hoots behind closed doors at the time.

Yet, the moment in which these two come alive, is when they both find out that their secret spies, which yes again, is the point; they’re bored with their simple, carefree home lives and just want to live a little. In a way, Pitt and Jolie, at the time of filming this movie, were probably the same kind of people – Pitt wanted an escape from his faltering-marriage with America’s Sweetheart, whereas Jolie herself was looking to settle-down a bit and get serious with somebody who didn’t wear her blood across their neck, and/or wasn’t her brother. Maybe I’m looking way too deep into this than I should (actually no, I totally am), however, I can’t help myself. Not just because I’m obsessed with these two and their career’s in general, but because there’s not much else to talk about with this movie.

No, seriously! Cut it out!

Personally, they’re the only reason to see this. Any reason why you’d laugh during this would be because both Pitt and Jolie are charming enough to make even the dumbest line/moment work. Everything else is sort of a mess. Like, for instance, the whole action-sequences themselves aren’t filmed right; Doug Liman is a fine director that clearly knew what he was doing with the Bourne Identity, but doesn’t seem to realize that action scenes work best when we care about everything that’s going on and is at least given to us in a fun, exciting way. Here, bullets fly; grenades explode; punches are thrown; and upper-class, suburban homes burst into flames. And yet, I didn’t give a single hoot about any of it.

Except for Jolie and Pitt themselves, who are clearly doing fine without hearing anything I have to say.

Love ya Brangie. Sort of made that up, sort of didn’t. Whatever.

Consensus: Most of the talk surrounding Mr. & Mrs. Smith has to do with what happened in real life between Brad Pitt and Angelina Jolie, and basically, are the only real reason this movie deserves to be seen – a time-capsule for what everybody was talking about in the mid-21st Century.

5 / 10 = Rental!!

No! Damn you adorable freaks!

Photo’s Credit to: IMDB, Collider

2000s, 5-5.5/10, Movies 2005, Abigail Rose Solomon, Adam Brody, Ali Marsh, Amy Hathaway, Angela Bassett, Angelina Jolie, Anne Vardanian, Ara Vardanian, Benton Jennings, Bill Viney, Brad Pitt, Bryan Anthony, Burke Armstrong, Carol Mack, Chris Daniels, Chris Weitz, Christian Jensen, David Escobedo, Derek Medina, Deren LeRoy, Doug Liman, Douglas Caldwell, Earl H. Bullock, Edward Padilla, Elijah Alexander, Eugene C. Palmer, Felix A. Ruiz, Gloria Rodriguez, Greg Ellis, Hannah Von Kanel, Hans F. Alexander, Hawk Younkins, Heather Petrone, Jacqui Landrum, James Groh, Janelle Taylor, Jeff Yagher, Jennifer Amorelli, Jennifer DeMille, Jennifer Morrison, Jerry T. Adams, Jessica Hedden, Jimmy Shubert, Joel Munoz, John W. Woodruff, Jordan Osher, Julius Callahan, Kaela Freeman, Katherine Herzer, Keith David, Kerry Washington, Kevin Makely, Kim H. Winther, Kim Schioldan, Laine Collins, Lauryn Alvarez, Leonard Robinson, Linda Kathleen Taylor, Liz Ramos, Luis Juarez, Luis Racer, Luis Vasquez, Maree Cheatham, Mark Barba, Mark Ivanir, Mark Newsom, Megan Gallagher, Melanie Tolbert, Melissa Hurley, Merrilee Dale, Michael Morris, Michael Winther, Michael-John Wolfe, Michelle Monaghan, Miguel Angel Caballero, Mike McCaul, Movie, Movie Review, Movie Reviews, Movies, Mr. & Mrs. Smith, Nigel Hudson, Noah Dahl, Patricia Donaldson, Patrika Darbo, Perrey Reeves, Peter Lavin, R.J. Durell, Rachael Huntley, Raphael Verela, Ravil Isyanov, Richie Ornelas, Ron Bottitta, Sabi Dorr, Sam Sabbah, Sara Painter, Sean Mahon, Seth T. Walker, Shilo Frontierro, Simon Kinberg, Stephanie Ittleson, Stephanie March, Theresa Barrera, Ty Sharp, Tyce Diorio, Victor A. Chapa, Vince Vaughn, Will Moore, William Fichtner

Confessions of a Dangerous Mind (2002)

19 Comments Posted by Dan O. on February 3, 2014

One could only imagine the type of dirty dealings Alex Trebek does on the side when he isn’t correcting dorks.

Many out of you out there probably know who Chuck Barris (Sam Rockwell) actually is just by his pop-culture relevance. He hosted the Gong Show, created the Dating Game, was infamous for his crazy personality on-and-off the screen and, from plenty of sources, apparently had a long-standing battle with drug-addiction that not only took over his professional, but most of his personal life as well. Oh and he was also a spy for the CIA too, apparently. Yeah, didn’t think about that one now did ya?

Whenever Gong Show reruns would show up when I was around, I’d always be wondering what the hell was up with the host. The guy always seemed like he was one step behind on everything else that was going on around him, which would have only made more sense if it was just that he did blow two seconds before the cameras began rolling. Much to my surprise though, the guy was actually part of the CIA, wrote an autobiography about it and even had a movie directed about his wild and crazy life. This is where I started to have second thoughts about this guy; but nope. My opinion still remains: Chuck Barris is a frickin’ nut.

Like the old joke goes: "Julia Roberts walks into the bar, and automatically, every dude's bought her a martini."

Like the old joke goes: “Julia Roberts walks into the bar, and automatically, every dude bought her a martini.” Or something of that nature.

Much more of a surprise to me was to find out that not only was there a biopic made about his wild life and times, but that it was also directed by one George Clooney. Apparently, Clooney found something quite interesting about this guy’s life that he wanted to make a movie about it all, adapting from the Barris’ own autobiography; and therein lies the problem.

See, since most of this is coming from the point-of-view of Barris and not really anybody else around him, we never know what’s real, what’s real fiction, what’s a bunch of crap that he just made-up in his head and what was done by Clooney, all for the sake of entertainment-purposes. Thankfully, most of it all seems legit in Barris’ own, twisted way and because of that, the movie comes-off as more of a biopic, rather than just a sensationalized, Hollywood story about a top-dollar guy in the showbiz. It’s a little bit weird; it’s a little bit twisty; it’s a little bit sad; it’s a little bit compelling; and it’s a little bit interesting. Which, when put altogether, made it worth watching for awhile.

But still, I was actually very surprised by the fact that even though this seems to be one of those wacky, larger-than-life stories you’d only get in the movies, but is also happens to be true, it still happened to be like every other conventional story where a guy has hope in this world, shows signs of promise, does well for awhile, then, sooner than later, begins to self-destruct by one bad decisions, after another. Can’t say I hold it against this film or Clooney too much, considering all that he’s doing is actually giving us the story that he read and whole-heartedly believes in, but material like this should be popping off of the screen. Not seeming like something we’ve seen done a hundred times before, but this time, just so happens to focus on a pop-culture icon thrown into the ring of the CIA. Strange and oddly compelling as it sounds, sadly, it does not play-out that way.

On top of that, too, the story itself doesn’t really get started-off until the first hour. As a director, Clooney seems like he has a nice mixture of Scorsese and Sodebergh going on here, and it made this movie move quick and light, while also still focusing on a character and a story that would begin to get more and more interesting, just as it unraveled. Where Clooney excels the most with this material is in all of the showbiz/behind-the-scenes stuff because it gave me a great glimpse of how hard it was for Barris to actually get any of his shows off the ground, and how hard it may be for anyone out there who ever had a single, creative idea in their mind and wanted to see what they could do with it.

However, where Clooney mis-steps is in that kept on going back-and-forth between three elements of this story that didn’t seem to mesh so well. One was a romantic sub-plot he has with a couple of ladies that he finds cool and charming; the other is about his life as a TV game-show host; and the last one is about his CIA shenanigans. All do quite well in their own, respective fields, but spliced together, it feels uneven as if you couldn’t quite tell where George wanted to go with this material. Did he want it to be a biopic? A comedy about showbiz during the 70’s? A character-study about where this guy came from and his mind? Or, just a simple tale about the CIA, and all of the intrigue that goes along with it? Not saying you can’t focus on all of these elements and pack them into one, completely whole story, but there’s a better way to go about doing so, and yet, still making it compelling in every which way.

Then again though, it should be noted that this was George’s directorial-debut and while he may have not done the most perfect job in all of the world, it’s still impressive enough to see why he’d go on to make many other movies in the near-future. Not all of them were great, but they are still as interesting as this and it goes to show you what one guy can do if he doesn’t just have the looks and the talents, but the aspirations and ambitions as well. For that, I give George credit, even if it may seem like I’m ragging on him quite a bit.

I’m really not though, George. I’m not nearly half of the man you are. If only.

But what this movie gave us the most, was a solid look at Sam Rockwell and just exactly who the hell he was. As Chuck Barris, Rockwell nails everything perfectly – his goofy-demeanor, off-kilter sense of humor, and overall weirdness he carried on throughout his day-to-day activities. He’s a nut-ball for sure, but he’s not necessarily a likable one. Actually, better yet, he’s a bit of a dick, an unapologetic one at that, which makes it a bit hard to care about this guy at first. However, Rockwell is so believable and charming as Barris, that you almost forget about all of the morally questionable choices he’s made throughout the bulk of this movie. At one point, you actually feel bad for him considering he is so out-of-his-league and just not at all ready for what the world of the CIA has to throw at him. Though we never do quite know exactly what did, or what didn’t happen in Barris’ life, we still feel for the guy and see him as a human, and not just another Hollywood hot-shot, who got too big for his britches and ended-up getting in all sorts of trouble. Rockwell was great here though, and totally does carry this movie on his own two shoulders.

Fine wine and Scrabble with Drew. Think we found a new talk-show right then and there!

Fine wine and Scrabble with Drew. Think we found a new talk-show right here!

Makes me even happier to see that he’s still putting in great work today.

Though, I do have to say that Rockwell does have a bit of help from his co-stars, one of which is Clooney himself as the main, CIA-operative that gets Barris involved with all of these sheisty dealings in the first place. Clooney’s good and definitely up to his old-school charming ways, but after awhile, just felt like a plot-contrivance that would conveniently show up to deliver bad news for Barris, just when things seemed to be going jolly-good for the guy. It was also awesome to see Rutger Hauer as one of Barris’ fellow-agents out in the field that definitely provides some near and dear insight, but soon becomes to be a bit of a mysterious guy himself, and not in the good way mind you. Still though, it’s great to see Hauer getting some meaty-material, as the dude definitely deserves more of it.

This isn’t just a man’s show though, because there are some ladies here that get a chance to show up, strut their stuff and shake the boys’ party up a bit. Julia Roberts started-off pretty good as another CIA Agent that Barris meets out there in the field, but soon becomes every other role that we’ve seen her play, time and time again. Sad to see, but I guess I’ve expected it by now, right? Then there is Drew Barrymore as Penny, Barris’ long-lasting girlfriend of sorts and is fine, even though her character is a bit weak here. It isn’t Barrymore’s acting that’s the problem, but it seems like her character was written in a way in which she always tells Barris that he needs to knuckle down, even though he never does so; seems to always stand by his side, even if he just continues to bang other chicks right from underneath her nose; and basically, just never get himself clean and off-the-grind. Actually, one time, it happens right in front of her face, and yet, she doesn’t say anything until five minutes later! Made no sense! All she had to do was a grow a back-bone and leave that bastard! Especially when I’m out there on the market! Like, holla!

Consensus: There seemed to be plenty of promise in the source material of Chuck Barris’ life, but sadly, despite all of the best intentions of Clooney, Charlie Kaufman and the good ensemble, Confessions of a Dangerous Mind just never seems like anything more than just your standard, traditional biopic with lots of CIA-stuff and showbiz-satire thrown into the mix. Other than that, not much else.

6 / 10 = Rental!!

There’s always got to be that one, last guy who never gets the hint that “the party’s over”.

Photo’s Credit to: IMDB, Joblo, ComingSoon.net

2000s, 6-6.5/10, Movies 2002, Alex Trebek, Alfred Molina, Brad Pitt, Carlos Carrasco, Charlie Kaufman, Chuck Barris, Confessions of a Dangerous Mind, David Julian Hirsh, Drew Barrymore, George Clooney, Jerry Weintraub, Julia Roberts, Krista Allen, Maggie Gyllenhaal, Martin Scorcese, Martin Scorsese, Matt Damon, Michael Cera, Michael Ensign, Movie, Movie Review, Movie Reviews, Movies, Robert John Burke, Rutger Hauer, Sam Rockwell, Steven Soderbergh, The Dating Game, The Gong Show

Being John Malkovich (1999)

18 Comments Posted by Dan O. on December 16, 2013

If it’s 15 minutes, then sure, give me Malkovich. However, if it’s FOR LIFE, then give me Brad Pitt!

Craig Schwartz (John Cusack) is a sad, bored and out-of-work puppeteer that eventually gets tired and fed-up with all of his wife’s nagging (Cameron Diaz) and decides to get a job as a file clerk at some place where he works on the seventh-and-a-half floor of the building. There, Craig focuses his attention on his work, but also mostly on a smart, sexy and very intimidating co-worker named Maxine (Catherine Keener) who he continues to try and win over, but always to no avail. One day though, at the job, Craig finds a whole new meaning to his life when he discovers a portal behind a huge file-desk that leads to John Malkovich’s brain, where he can only stay for fifteen minutes, until he is dropped onto the side of the New Jersey Turnpike. Strange, right? Well, it gets even stranger once Maxine and his Craig’s wife find out about this portal, where, through some way, somehow, they end up falling in love with the other, almost to the point of where it gets Craig very jealous and able to use anything in his power to break them apart and be the apple of Maxine’s eye.

And poor John Malkovich, the man just gets thrown right into the middle of it all.

So adorable together because they both seem like they haven’t bathed in two weeks.

So let’s face it, nobody in their right minds would ever believe that something like this could ever happen in the real world, let alone any world for that matter. Science would get so wrapped up into its own twists and turns that eventually, the world would just blow up as a result. Okay, maybe it’s not that severe or crazy, but you get the point: No way in hell could something like being inside of John Malkovich’s mind for 15 minutes ever happen, but that’s the whole point behind this movie. Once you can get past that measly fact, you’ll realize that there’s so much more to Charie Kaufman’s script than just plain and simple weirdness, and actually realize that this is all about the human-condition in which all of us humans from all over the world, no matter what time-period, all long to be somebody else.

Even if that person is indeed, John Malkovich.

Really random choice of a celebrity to have your movie revolve around and include more often than not, but that’s probably what makes this movie so unique; it doesn’t go for the typical ways of telling its story like you’d expect. Sure, once everything starts out and we get a glimpse at what a sad-sack loser this Craig guy is, who can’t seem to nab this hot chick at work, can’t seem to make any money, can’t please his wife, can’t get her pregnant and just can’t seem to do anything even remotely close to “right”, it seems to be like a down-beat character-study of a genuine loser. Then, once that portal is found out, the movie switches in a way that you’d probably never expect it to on a first-viewing, but still adore once you get to the second, or the third, or the fourth time around.

But like that sudden plot-twist right slap-dab in the middle, the movie whole movie itself is chock full of surprises that keep on giving and showing up in ways that never seem to lose you. Everything that plays out inside of Kaufman’s mind may not be the most realistic ideas imaginable, but they sure are fun, clever and original, so who cares about realism and science and all that crap! Just let a crazy idea, run on even crazier and see where it goes! That’s the motto I’d like to think Kaufman had in his mind while he was writing it, but also inside of Spike Jonze’s as well when he was adapting this, which must have been no easy-feet to begin with.

However, knowing Jonze from his background in some rad-ass music videos, the guy definitely knows his way around a camera and how to make anything work, regardless of how cooky it is. I mean now we know this as nothing more than a mere fact, but back in the days of ’99, he was nothing more than an actor-turned-director, who had plenty of ideas and aspirations with what he wanted to do, just nothing to really break off into the world with. But he found it here with Kaufman’s script and we’re all better human-beings for it because while he’s able to play around with genre-conventions and what we usually can expect from stories like this to play out, Jonze cuts to the core of what, or whom, runs this story and make it matter. I’m talking about the characters here, and how each and every one of them aren’t just a bunch things set in-place for the plot to run laps around, but actual human-beings with emotions, feelings, ideas and wonders about other lives out there that can’t help but get all excited and curious about this whole new “Be Malkovich for 15 Minutes”-thing.

But think about it, wouldn’t you be, too?

Anyway, what I’m trying to get at here is that Jonze knows exactly who these people are and why they are the way they are. Some people want to feel like somebody else for the sole sake that they can get away from their small, meaningless lives that are usually full of non-eventful happenings. And whether or not that’s actually true to begin with, doesn’t matter, it’s the fact that anybody wishes they could be anybody, somebody new and different for at least a day. Of course famous people are always on the top of that list, but usually, it’s just that any person in the world longs for a new life full of surprises, love, adventure and all sorts of new experiences that that person may have not been able to have in their old life. Yeah, this all sounds like I’ve been puff, puff, puffing away on the magic dragon, but we’ve all wanted that at one point in our lives. Heck, I want it right now! Oh, R-Gos! You hunk of man, you!

Oh, the third-and-a-half floor? Yeah, that's another name for "Interns".

Every building has a seventh-and-a-hath-floor. It just ends up being where most of the interns get thrown away to before termination.

And that’s exactly the type of people who these characters are in this movie: They long for something more, something that isn’t concerned with their own lives and somebody else’s. John Cusack’s Craig is exactly like that, and while you do feel bad for the guy at first, you do begin to feel like maybe he’s using this new-found freedom for the worst, rather than the betterment and you do begin to not like him. But that’s more of a compliment than a take-away, because with this type of flick, you need to know exactly whose going to use the power to their ability and for the right reasons, or the exact opposite, and take advantage. While Cameron Diaz’s nearly unrecognizable character may go through those same types of shifts at times as well, she too still comes out like a human-being, with a very soft, inner-core that just wants to be loved, be somebody else, but also, still be able to hold grip on reality if she must. Together, the two feel like a realistic, honest and rather innocent couple, that makes it all the more sad when they eventually get broken apart by this fascination with both Malkovich, and this other gal named Maxine, played by the always wonderful and terrific, Catherine Keener.

Keener is always good at playing these slightly snobbish, but also painfully honest characters and she hits it hard on the head right here. Maxine does not pull-back once she sees something she doesn’t like, disagree with or feel comfortable with, and I like how she had no filter whatsoever, yet, making her the perfect object of both of Craig and his wife’s’ affection. She’s so different and mean, that she just has to be the girl that they want to spend the rest of their lives with and be excited about seeing everyday. However though, while it would have been easy for Keener to play it up as this one-sided, cruel and nasty bitch, there is an emotional side to her that begins to show and we realize that maybe her character is the one we’re supposed to be caring about all of this time?

Then again, maybe not as it’s definitely none other John Malkovich himself who deserves all of the love, credit and sympathy for many reasons, but the main which being that he actually decided to do something as weird as this and thankfully for him, it all paid off in spades. Not only is Malkovich the strangest, most random guy to have a movie like this have be its center, but he seems so willing to do anything here. He’s always been a solid actor who, time and time again, has proven that he can surprise us by showing depth and emotion, even in the most sickest and evilest of characters, but he really took me by surprise here when he started to s play-up all of these different sides to his “character”, yet, never feel like he’s just yucking it up for the camera. When Craig jumps into his body, you see a man that is ultimately infused with an endless supply of energy and happiness, and it makes you feel happy for Craig, but also for Malkovich himself as he’s clearly having the time of his life, playing what seems to be his greatest role ever: John Malkovich. Casting doesn’t get anymore genius than that.

Consensus: Strange? You bet your ass it is, but that shouldn’t have you take yourself away from seeing Being John Malkovich, one of the most originally mind-bending movies ever made, with a inner-core to its characters and message that makes it feel more than just a gimmick, but an actual life-lesson as well. Minus all of the sappy and manipulative chord-strings.

9.5 / 10 = Full Price!!

MALKOVICH MALKOVICH!!

Photo’s Credit to: IMDB, Collider, Joblo,

1990s, 9-9.5/10, Movies 1999, Andy Dick, Audrey Gelfund, Being John Malkovich, Bill M. Ryusaki, Bill Wittman, Brad Pitt, Byrne Piven, Cameron Diaz, Carlos Jacott, Catherine Keener, Charlene Grimsley, Charlie Sheen, Chelsa Sjostrom, Christine Coleman, Christine Krejer, Daniel Hansen, David Fincher, David Wyler, Denise Dabrowski, Dustin Hoffman, Eddie J. Low, Eddie L. Fauria, Elizabeth Rivera, Eric Weinstein, Erica Long, Flori Wyler, Gary Sinise, Gerald Emerick, Greg O'Neill, Gregory Sporleder, Isaac Hanson, Jacqueline Benoît, James Murray, Jayne Hess, Jeanne Diehl, Jennifer Canzoneri, Jessica Neuberger, Jester Hairston, John Cusack, John Malkovich, Judith Wetzell, K. K. Dodds, Kacee DeMasi, Kelly Teacher, Kevin Carroll, Kevin Lee, Kristie Cordle, Kristin D'Andrea, Lance Bangs, Madison Lanc, Mariah O'Brien, Marlowe Bassett, Mary Kay Place, Michelle Madden, Movie, Movie Review, Movie Reviews, Movies, Ned Bellamy, Neil Ross, Octavia Spencer, Orson Bean, Pamela Hayden, Patricia Tippo, Ralph W. Spaulding, Reggie Hayes, Richard Fancy, Roy C. Johnson, Sara Rifkin, Sean Penn, Spike Jonze, Sylvester Jenkins, Taylor Hanson, Trevor Lawrence Young, Victor Isaac, William Buck, William Earl Brown, Willie Garson, Winona Ryder, Yetta Ginsburg, Yvonne Montelius, Zac Hanson

12 Years a Slave (2013)

48 Comments Posted by Dan O. on November 15, 2013

I thought all slaves walk around to the sounds of James Brown and Rick Ross.

This the true story of one Solomon Northup (Chiwetel Ejiofor), a free black man who, in 1853, was expecting to be in business with two circus men (Taran Killam and Scoot McNairy) looking to make a quick buck with the very talented violinist, but instead, found himself to be drugged, kidnapped and sold into slavery, all within a 24-hour time-frame. As soon as he’s shipped off to the South, he meets and interacts with fellow other slaves, as well as other slave owners that range from sympathetic (Benedict Cumberthatch), to downright despicable (Michael Fassbender). But through this all, Solomon realizes that he can’t continue to plead that he’s a free man who can read, write and work as well as any other white folk can, and just has to accept the reality that this is his life from now on and he must face it head-on. A sad reality, but a reality for many African-Americans (and whites as well) out in the South during this time.

Hard to believe that even after all of these years of coming very close to hitting the nail on the head of the slice of history that was slavery, it took a Brit director in the form of Steve McQueen to give us the most definitive, honest, painful and realistic look at it, and then some. We all know that there’s been some hype and some buzz surrounding this movie for quite some time, and while it may have taken me longer than expected to actually get out there to my local indie theater and give it a go, I’m glad I did because this is one of those flicks that many people will be paying attention to for awhile. Not just at the end of this year when Oscar talk is running rampant, but for many, many years to come, as it presents us with a view of slavery that has never been as grueling or as painful as this is.

“You’re pretty much my best buddy. Just don’t tell anyone. EVER!!”

And yet, all of that importance still doesn’t make it the best movie of the year, heck, maybe not even Top 10.

I know, I know, I know. The pitchforks are already seized and the torches have been lit, but please, I urge you to bear with me and see if we can maybe come to an understanding. And if not, I don’t care. I’m a movie critic, dammit! I got opinions, regardless of popular-belief!

The aspect in which I must give this movie credit for, is mainly in the way that it does not back-down a bit from what it wants to show us. Most of that credit does deserve to go to McQueen, as he has proved that, time and time again, he is one of the masters at giving us a downright nasty piece of subject-matter, throwing it out there on screen and allowing us to just watch as it all plays out in front of our eyes, while also having us come to our own conclusions about what he’s showing as well. I respect this decision, not just here, but with his other two flicks (Hunger and Shame) as it shown him as the type of director we all have to look out for as he might be changing the ways movies are made and looked at in today’s world. I know that’s one huge leap I’m taking, but it’s one that I feel confident supporting as the guy really seems like he hit his stride here. And then some…

See, the real reason why this movie works as well as it does is because it gives us the story of slavery that we all think we know by heart by now, and yet, shows us that we still don’t know all that much about it, nor do we actually even realize the REAL harshness behind it. We see Solomon go through all sorts of travesties in his time as a slave: People suddenly get killed, raped, sold, left-for-dead, or are simply never heard from again. But the saddest reality of all that this movie brings up more than a few times is the fact that, for these slaves, it didn’t matter if they lived, died, or how many times they were constantly being sold-off and moved around; because nobody knew about them, nor even cared. Most of these people were already born into slavery as it was, so they already knew that they had no lives outside of picking cotton to live, but even for the ones who were free and then eventually sold into slavery, they still had no certain level of existence in their loved ones’ minds.

These types of slaves couldn’t write to their loved ones, let them know where they were and how they could free them, because usually, it was too much of a risk to take in the first place. Not just by being caught actually trying to transport a letter from Point-A-to-Point-B, but letting your owner know that you are in fact a free man or women,who can read, write and do all sorts of other things that a typical slave doesn’t have the ability to do. That realization could have you either killed, sheltered away from the rest of the public till the end of your days, or threatened to keep your mouth shut and realize that it doesn’t matter what you can or cannot do; you are a slave, and you must work, work, work, and work. And when you can’t work no more, you’re dead.

End. Of. Story.

But see, that’s the strangest idea about this movie, as well as our society itself: We already know this harsh reality, and yet, we still can’t seem to get our heads around the fact that this was America at one point in time. All of these brutal feelings, thoughts, ideas and standards we set for the rest of our society were felt during that time-period, but are still ever so present in today’s day and age, that a movie like this must be seen to inform others about what happened back in those days, and how we’re still getting over it all. Because honestly, let’s face it, nobody will ever be able to live slavery down: Whites, blacks, Jews, Chinese, etc. None of them will be able to live it down, and that’s a mind-set that will probably be forever tattooed in our minds. The fact that slavery, although being abolished for more than 140 years now, will still never, ever go away. Will we ever move on as a society, or we will just continue to remind ourselves of what our nation used to be like?

Questions, questions, questions.

As you can tell, this movie definitely gave me plenty to think about, mainly important stuff, but while all of those ideas ran around in my mind, I still couldn’t wrap my head around the fact that despite it being an unflinching, powerful and important look at slavery, there was something holding me back from thinking it was the end-all, be-all masterpiece of the year. While the true story of Solomon Northup is one that should never go unnoticed, the framing of the story itself just felt too normal to me, as if everything we were seeing, all happened in a sequence, without much rhythm or rhyme. I get that this is most likely how Northup experienced most of these events, but for a movie, it just makes it seem less like a story being told to us, and more like a series of things that are happening. For instance, we get to see Solomon get sold-off to a couple slavers throughout his life-span which, rather than making you feel awfully terrible about the type of predicament he’s in, comes off more episodic, as if it’s a new chapter in the life of Solomon Northup, or how it probably read on paper.

He’s also a producer on this. Wonder if he’s got a big, rather important role?

The problem I had with this movie wasn’t that it was told to me in a way that easily understandable and comprehensive so that I understood all that McQueen was doing, at any given moment, it was just that there never really felt like much of an emotional-connection here that would have had me running along with Solomon and everybody else around him for as long as they wanted me to. Granted, I did tear-up a couple of times to the point of where I needed a clean wipe-down, but that was mainly because I was reaching for something to cry about. The movie that McQueen was giving me, wasn’t the nearest thing to “sentimental”, and while I give him credit for not soaping this story up to where it could have been laughable, a hint, or hell, even a smudge of sappiness would have really put me over the edge to where I felt like this movie was the emotional-experience of a lifetime. Instead, I just felt like it was a series of bad things, happening to good people, from bad people, and that was about it.

Oh, and slavery was bad, too. Mustn’t forget about that fact.

That’s why, even though many will disagree with me, this flick feels like it delivers on what it sets out to do, and yet, could have gone deeper and even further into it’s subject story, by creating emotions and feelings. But McQueen doesn’t roll that way, and although I respect his decision to keep it so, I still feel like it would have done him a great deal of good if he had decided to throw something in there for good effect. Maybe a couple more crying-sessions? Or character-development? Maybe? I’m just a dude with a blog, what do I know?!?!

What I do know though, is a great performance when I see one, and there is an exceptional one given by the always-excellent Chiwetel Ejiofor as none other than Mr. Solomon Northup himself. Ejiofor is one of these actors in which, it doesn’t matter how many great pieces of work he does in a year or throughout a whole career, he still will never be a household name. Which is a damn shame because the dude is so freakin’ talented, and has been showing this talent for years-on-end. I think now may be that time where it all changes, and he finally gets the credit he deserves. Now, I am not saying that he’ll win the Oscar this year, however, he will definitely be nominated and a sure-pick because of just what he goes through here.

Every emotion that that Northup feels, every thought that crosses his mind and every pain-staking reality that he is coming to terms with, Ejiofor channels in the most perfect ways. He’s very subtle with his emotions, but when he has to do let loose every once and awhile, you really feel the man’s strife for freedom and getting back to those that he loves the most: His family. You already feel bad for Northup in the beginning, considering that he’s practically tricked into slavery in the harshest way imaginable, but once things get going and he has to make decisions that will alter the rest of his future on Earth, then you realize that this is a human-being, no matter how many slavers around him try to prove to him otherwise. Some decisions he makes for the betterment of those around him, but sometimes, he makes decisions for the betterment of himself and to save his own ass. While any other movie based on this same story would have probably shown him as being a bit of a selfish guy, McQueen shows him with a moral compass in hand, making us realize that he’s just trying to survive, by any means necessary. He knows what’s right and what’s wrong, and the lines rarely ever get blurred. It’s only when others get in the way, is when they do, and Ejiofor shows this inner-conflict wonderfully, giving himself one of his best performances ever.

And trust me, that’s saying a lot. Don’t believe me? Just check out anything the cat’s ever done in his huge body-of-work. Trust me, you’ll be shocked to see what he was in. Minus this one. Yeah, on the second thought, don’t even bother with that one.

“Wanna go kill something? ANYTHING!?!??”

But while this is easily Ejifor’s show, he doesn’t necessarily steal it away from everybody else in this heavily-stacked cast. Which was a nice act on his part, considering that everybody you see in this movie, speaking-role or not, is a face that you’re at least familiar with. Actually, let me just get right off of a face that you’re not familiar with, as she is easily the most compelling character you’re going to get in this whole movie that isn’t Northup himself: Lupita Nyong’o as Patsey. If you don’t know that name, don’t worry, you’re not alone. Neither does anybody else, but after this movie, I think you’ll be hard-pressed to forget it as she is amazing in every scene she has as the slave that Northup sticks with the most, and easily runs into the most problems with. Early on, it’s shown that Patsey starts a relationship with a slaver, that is less about rape, than it’s more about her trying to pleasure him and stay alive for as long as she can. While this act may be deemed “dehumanizing” in most eyes, it seems like the only act that she has left to live by, therefore, is giving it all she’s got with every hump she takes. Nyong’o’s eyes are expressive and convey an emotion everytime she shows up on screen, so definitely expect a nomination for her come Oscar-time.

Another person that you may also expect to be hearing whose name pop-up a lot is Michael Fassbender, playing that said philandering-slaver, Edwin Epps. Fassbender’s character is one demented soul; the type of guy you wouldn’t want to be around when he took one too many shots, nor would you want to be owned by him neither. Basically, Fassbender goes crazy in all of the right ways that gives you the idea that this guy is a twisted person you do not want to get on the wrong side with, nor do you actually want to be around. You just want to do the work he’s demanded you to do, no “ifs”, “ands”, or biggity “buts” about it. However, there is some semblance of a soul deep inside of this man’s crazy well-being, and Fassbender allows that play out very rarely, but still in a believable way to where he isn’t so over-the-top, he’s downright laughable. Same can be said for Sarah Paulson, who plays his wife, Mary, in a very chilling, yet understated performance that tells us a lot about this character, without telling us much at all. She’s just that damn good of an actress, one that I wish got more notice.

Others in this movie that are pretty damn hard to watch, mostly by of how despicable and unlikable they are, are performers such as Paul Dano as a worker that feuds with Northup many times, Paul Giamatti as an owner whose trying to make a quick buck as a business salesman who specializes in human-lives, Garret Dillahunt as a rare-case of being known as a white slave, among many of the black faces, but still can’t be trusted, Alfre Woodard as mistress that takes pride in the fact that she bangs her owner and gets treated like a white woman and especially Benedict Cumberthatch who plays one of the first slave owners Northup deals with, and is more sympathetic than the others out there, because even though he realizes is bad, he still does nothing about it. Instead, he just continues on with his business, selling away more and more humans lives, like many others were doing at that same point in time; the same point in time we will never soon forget.

Consensus: Most definitely going to be the one film you must see before the year ends, 12 Years a Slave is a harrowing, uncomfortable, somber and disturbing look inside the life of one man who had a journey much like many others during this time-frame, and yet, still never gave up hope and did all he could do to survive at any costs.

8.5 / 10 = Matinee!!

Yep, even he’s ready for what’s to come by the end of the year.

Photo’s Credit to: IMDB, Collider, Joblo, ComingSoon.net

2010s, 8-8.5/10, Movies 12 Years a Slave, 2013, Adepero Oduye, Alfre Woodard, Benedict Cumberbatch, Bill Camp, Brad Pitt, Bryan Batt, Cameron Zeigler, Chiwetel Ejiofor, Chris Chalk, Christopher Berry, Craig Tate, Deneen Tyler, Dwight Henry, Garret Dillahunt, Hunger, Jason Ament, Jay Huguley, Kelsey Scott, Liza J. Bennett, Lupita Nyong'o, Michael Fassbender, Michael K. Williams, Movie, Movie Review, Movie Reviews, Movies, Mustafa Harris, Paul Dano, Paul Giamatti, Quvenzhané Wallis, Rob Steinberg, Ruth Negga, Sarah Paulson, Scoot McNairy, Shame, Steve McQueen, Storm Reid, Taran Killam, Twelve Years a Slave

Act of Valor (2012)

22 Comments Posted by Dan O. on November 11, 2013

Keep on fighting the good fight, boys. But let’s leave that on the battlefield, and off of our silver screens.

This one’s going to be a little difficult to summarize, so just bear with me for as long as you can. A group of Navy SEALS are sent on a mission where they must rescue an undercover CIA agent who has been held captive. Once these SEALS finally rescue her, all safe, sealed and delivered, they realize that this little kidnapping scheme is part of something far more bigger than just your traditional threat to the United States army. Somehow, through someway, the Mexican drug cartel and terrorists come together on this plan to invade the U.S., with more than a few suicide bombers ready to press the button at any point in time. However, it’s up to this same group of SEALS to do whatever it is that they can to defeat the enemy, save our country and still a life to live where they can go back to their families, have dinner, make love to their spouses and in some cases, finally get to see their newborn baby. All in a hard day’s work of a Navy SEAL Marine. Hoo-rah!

I’m going to let you know right now, just as we start things off: If you go into this movie expecting something of an honest, realistic, slice-of-life look inside the lives of Navy SEALS, then you’re not going to get here. Everything you see or hear in this movie, is straight-up, pure propaganda that’s obviously been tinkered with many of times, just so soldier-hopefuls out there will get packed, grab their bags and get the hell out of the house, where they can go to their nearest recruiter and sign right up. If you take it in as anything else other than a propaganda-piece, then you, my friend, are indeed screwed, because trust me, that’s all you’re going to get.

Off into the sunset, and hopefully away from a movie career.

But that brings up the interesting question: If this is a propaganda movie made for those who want to contribute the war, and/or support our troops, is it wrong to NOT like this movie? I remember this discussion was going through the minds of many peeps when this movie first came out early last year, and while I didn’t even bother to check it out for myself, I still realized that maybe some day down the pipeline I’ll give this try. Fast-forward to Veterans Day 2013, and gosh, was my timing every so impeccable!

If you’re going to watch any movie today to get in you the fine spirit of paying your condolences to those who fought for us, then this is definitely the movie to see, if you haven’t already seen it. While there have been far more preachy and obvious movies made for the sake of propaganda, this one definitely takes the cake as it literally seems like there are no problems with any of the SEALS involved whatsoever. Every soldier that we get the slightest glimpse at is either on-point with every decision they make, smart, nice, easily pleased and always able to figure something right on the spot. They rarely ever get frazzled, pissed off, upset, jealous, selfish, scared, worried or even a little bit gung-ho with their weapons. Nope, they’re just the most perfect human-beings in the history of the world and some out there may call me a dick for making fun of that fact, but I’m just making an obvious note: People, this is no Restrepo. Trust me on that.

And since this is no Restrepo, that means we are subject to some pretty weak character-development and acting, which could have all been easily solved had directors Mike McCoy and Scott Waugh not decided to be so gimmicky and cast former active duty Navy SEALS. See, I get that these guys obviously wanted to show some real, hard-earned respect to these boys, so they thought by casting them in these lead roles, giving them a handful of lines, fake guns packed with stud bullets and some, to little back-story, that they’d be doing them a real slim; which is exactly what they’re doing. Nothing really wrong with that as it probably made them feel even more special than ever before, however, what may make those guys feel all mighty, high and proud of themselves, may make some of us who are stuck watching these guys be forced to commit such actions as emoting, or getting down their comedic-timing, or even just reading their lines, feel awkward and terribly uncomfortable.

This is another point that may earn more haters than lovers, and if that’s the case, then so be it. I’m a movie critic, not a fellow solider writing about my thoughts and feelings about these soldiers in the roles, and the movies they’re in. I’m simply just talking about the movie as a whole, and in that regard, the movie is god awful. It’s hard to listen to half of these guys say something, without laughing uncontrollably out-loud and wonder why McCoy and Waugh couldn’t just get real actors to do these roles, and just have the SEALS stunt-double for them, in order to still give us the real look and feel as if we are really seeing these soldiers go to work and talk like they normally would. But instead, we just get a bunch of guys who can’t act for crap, but can sure as hell throw out war jargon like nobody’s business. That’s what I’ll definitely give them credit for, but then again, something tells me a person like say, I don’t know, Brad Pitt or George Clooney would have been able to do that ten times more effectively.

Think long and hard, bud.

Once again, movie critic, not a soldier.

Since I do keep reminding you that I am a movie critic, I think this is finally my time to stop bagging on this movie and get to the good stuff, which isn’t much, but still something that’s worth recommending for the hardest, of hardest action-junkies. Basically, minor bits and pieces of character-development and scenes of dialogue probably take up about 10% of this whole movie; whereas the rest of the 90% is straight-up, non-stop, action. And by “action”, I mean the full shebang: Guns, nukes, explosions, bullets, snipers, bombs, explosions, dudes getting shot in the head, POV shots, explosions, knives, blood, tanks, jeeps, explosions, and plenty more where that came from. For people who get their rocks off of seeing a terrorist get their head shot off by some camouflaged sniper, then this is definitely the movie for you as there’s plenty more where that came from, and hell, who am I to judge, because I don’t mind seeing that every once in awhile either. I didn’t really care for it much here since I felt like I got that same scene about hundred more times, but still, there is some fun to be had with this movie and its various amounts of violence, especially if you’re on our side. If you’re not, then you won’t like this movie, and in essence, you’re a traitor. That’s what I’ll most likely be told.

Consensus: The movie’s intentions are good, and the heart is in the right place, but Act of Valor still can’t help but feel like nothing more than pure propaganda for army-hopefuls to check out and suddenly be inspired to take action right away, whether that be through joining up, or simply donating. Either way, this movie wants your commitment, and it may or may not get it, all depending on the type of person you are.

5 / 10 = Rental!!

On a lighter, less cynical note, remember those who fought and died for us. I know I will. I just won't be watching this movie while doing so.

On a more serious, less cynical note, remember those who fought and died for us. I know I will. I just won’t be watching this movie while doing so.

Photo’s Credit to: IMDB, Collider, Joblo, ComingSoon.net

2010s, 5-5.5/10, Movies 2012, Act of Valor, Ailsa Marshall, Ajay, Alex Veadov, Alexander Asefa, Alfredo Sanchez, Angela Mora, Antoni Corone, Artie Malesci, Aspen Widowson, Aurelius DiBarsanti, Billy, Brad Pitt, Callaghan, Carla Jimenez, Charles Chiyangwa, Charles Mathers, Christian Mante, Colin Fleming, Conrad Garcia, Craig H. Davidson, Daniel Southworth, Dave, Dimiter Marinov, Dorian Kingi, Drea Castro, Duncan Smith, Dyonte Griffin, Ed Abel Pineda, Emilio Rivera, Ernie Reyes, Francisco Lopez, George Clooney, Gilbert Mares, Gilbert Rosales, Gonzalo Menendez, Henry Pinpin, Jason Cottle, Jeffrey Barnachea, Jesús Fernández, Jesse Cotton, Jeymi Ramos, Jimmy Chhiu, Jr., Juan Diaz, Katelyn, Kenny Calderon, Keo Woolford, Lydia Lane, Marc Margulies, Marco Morales, Maria Juani, Mario Perez, Marissa Labog, Mike McCoy, Mikey, Movie, Movie Review, Movie Reviews, Movies, Nestor Serrano, Nick Gomez, Nicko Sabado, Odain Watson, Oscar Pesqueira, Pedro Sergio Escobedo, Philip Un, Raul Canizales II, Ray, Ray Shirley, Reginald Long, Restrepo, Richie Gaona, Rorke Denver, Roselyn Sanchez, Sam Cespedes, Sam Pascua, Sarifa Salanga, Scott Waugh, Sebastian Rey, Shawn Robinson, Sonny, Sonny Sison, Sopheakna Ngourn, Thomas Rosales, Van D., Victor Palacios, Weimy, Zakaria Sall

The Counselor (2013)

46 Comments Posted by Dan O. on October 27, 2013

Seems like everybody has to be a drug dealer nowadays. I place blame solely on Mr. White, that damn chemist.

A counselor (Michael Fassbender) has the life we would all like to live: Nice job, nice house, nice wife he so frequently pleasures (Penelope Cruz) and all sorts of other glamorous things around him. However, the life we would all like to have, apparently isn’t enough for him, which gets him involved with the drug-trafficking business in hopes of making some extra cash-flow here and there on the side. This is when the counselor gets involved with shady characters like Reiner (Javier Bardem), Westray (Brad Pitt) and perhaps the most suspicious of all, Malkina (Cameron Diaz), who seems like she has more up to her sleeve then just banging the hell out of her boyfriend and automobiles. Maybe she has something to do with this drug-dealing business which, as a result, draws further consequences for the counselor and all of his fellow associates involved with this deal that suddenly goes sour.

There’s been a lot said about the Counselor, and most of it is deserved. It is an odd piece of filmmaking, filled with more uneven pieces than actual comprehensive ones, but somehow, it works. See, the film’s marketing really created a shit-storm for this because it seemed like all it promised was non-stop sex, drugs, bullets, murder and DEA agents. However, that couldn’t have been further from the truth as this is more or less, another crime-thriller in the vein of last year’s Killing Them Softly: It’s all about pacing, baby. Pacing, pacing, pacing. And if you’re willing to stick by it, even when it does get incredibly strange, then you’ll find yourself happy and confused.

Don’t worry, those feelings are good because it’s abundantly clear that Ridley Scott and Cormac McCarthy both want you to feel this way.

He really needs something more?

Making a mention of Cormac McCarthy is probably the most important aspect in reviewing this movie because while some out there may not be familiar with him before seeing this movie, it’s almost imperative of you to know that his style of writing is not one that mixes so well with movies. Yes, he does have a stylish tongue that he likes to use on all of his characters and he definitely doesn’t have the happiest outlook on the world surrounding him, but because I already knew this, the movie was an easier pill to swallow than it most likely was for some, even in its weirdest moments.

The weird moments that i continue to allude to come at you aplenty here, but the most infamous one that seems to be getting the most attention, is the scene where Cameron Diaz’s character bangs a car. Honestly, this scene is so random, so strange and so out-of-place, that I honestly wondered who the hell saw this in the final-cut and thought it was okay to leave in. I get that it was supposed to be telling us that this character was not your normal female heroine, as in that she definitely likes to get what she wants right away, but it was just too distracting to get by, no matter how understandable the character’s motivations were. The only thing making it easier to get through this scene is Javier Bardem’s crazy faces and narration, which can be even more painful to see and hear, all because you’ll wonder what movie it is that you’re watching after awhile.

Thankfully, right after this scene, the movie gets somewhat back on track and shows us how these characters respond when shit begins to hit the fan. Everything leading up to this half, don’t get me wrong, was good because it focused a lot on dialogue and the setting-up of what would be a very tense final-half; but once this half kicks in, you do realize that the cast has finally taken notice of the type of material they’re given to work with, which is also, oddly enough, when Scott decides to throw some of his artistic-direction in as well. And as odd as it may be to say, this is probably the least “Ridley Scott-ish” movie he’s ever done. Not only is he restrained, but any moments that give him a free-reign to just get nuts with the look of the film, he somehow backs out on. Can’t say I was disappointed with seeing this, considering that the material didn’t seem like it demanded much of an overbearing style to get in the way of it, but I did also wish I saw some more of Ridley Scott in here. Just a shaky-cam bit or two. At least.

But I can’t get on Scott’s case too much because he does do the nice deed of letting the cast and script come together in a way that this flick so desperately needed in order to survive and stay interesting. And what a great coming-together of actors and material, save for one that I’ll get onto in a bit. Leading the cast is Michael Fassbender who, if you don’t know by now, is not just the most handsome mofo in the whole world, but also one talented dude as well that seems to be popping up more and more now for American audiences to get used to. While this won’t make him a household name by any stretch of the imagination, his role as the counselor shows us that he’s able to handle a film like this all to himself, where he practically goes from one character to the next, talking, showing emotion, giving each one of them a different piece of his personality and just creating a person that we can either loathe, or love. But sometimes with this character, it’s at the same time because he isn’t the most moral guy in the world, but then again, he isn’t the most evil one either; he’s just a guy trying to make some few extra bills here and there, in order to make a life for his wife more glamorous than it already is. He’s greedy for sure, but he isn’t a terrible person for that; he’s just a person. Plain and simple.

Fassbender’s best parts in this movie come mainly from the scenes he each has with both Javier Bardem and Brad Pitt, which makes it all the more tragic that all three never show up on-screen together at one point. Disappointing, but at least we still get to see them all act their asses off and have fun while doing so. Bardem has that crazy hair going on, but gives his character plenty of personality to where you really like the dude, but due to the company he surrounds himself with, you still never quite know if he can fully be trusted. And as for Pitt, well, needless to say, the guy steals the show everytime he shows up, which is sadly only about 15-minutes out of the whole 2-hour run-time. Pitt not only fills his character with plenty of wistful charm and coolness, but also gives him a slight humane-aspect as well, that somehow has him come off as the most reasonable human-being in the whole movie. The character only seems like he could be written for the screen, and yet, he still comes off like a relateable guy that knows what type of business he’s dealing with, and won’t think twice about who he throws under the bus, once that time eventually comes around.

“Yee-haw, baby. Yee-haw.”

The boys in the cast have plenty to play with, which is good, but also disappointing as well, considering that the girls don’t fare quite as well. Penelope Cruz is underused, but sweet, soft and a bit sassy with her performance as the counselor’s girl who doesn’t always nag him about what he’s doing for most of the hours of the day, and is just happy to know that he’s alive, safe and still loves her. Total girl of his dreams, as well as all of ours, indeed.

However, I would have traded a whole flick dedicated wholly to Cruz’s character, if that meant we didn’t get a single scene of Cameron Diaz’s Malkina, all because she is absolutely, positively terrible in this movie and it gets very, very hard to watch after awhile. I remember when this flick first got announced and its cast was shown to us, I remember thinking that Cameron Diaz had herself an Oscar-nominee in the bag because the character of Malkina wasn’t the type we usually associate her with. There’s no inkling whatsoever of a heart, a soul or even the typical charm we usually see come from her performances; she’s actually the total opposite, which is probably the biggest problem with Diaz’s performance in the first place. Not only can she not play-against type to save her life, but she’s so outmatched by everybody else here that it makes you wonder who the hell she beat out for this role to get it. The accent she supposedly has, goes in, and it goes out; everytime she talks about something, she’s supposed to come off as “one bad-ass bitch”, but instead, seems like she’s trying WAY too hard; and if you don’t include her previously-mentioned scene where she humps a car, there’s no arch whatsoever to be found in this character, but it doesn’t hurt as much because you don’t care. I’ll give Diaz some credit for stepping out of her comfort-zone and doing a total 180, but it comes off more like a miscast opportunity, then a respectable one in terms of her career and where it’s going. Can’t say that same thing for the others here, only her.

Consensus: Definitely not the type of film its marketing has been promising, which is why, for better or worse, the Counselor is worth a watch to see what happens when you give a good cast, some worthy material, and just let them do their thing, as odd as that “thing” in question may be at times.

7 / 10 = Rental!!

The car is so willing…..

Photo’s Credit to: IMDB, Collider, Joblo, ComingSoon.net

2010s, 7-7.5/10, Movies 2013, Benedict Wong, Brad Pitt, Bruno Ganz, Cameron Diaz, Cormac McCarthy, Dean Norris, Edgar Ramirez, Emma Rigby, Fernando Cayo, Goran Visnjic, Javier Bardem, John Leguizamo, Killing Them Softly, Michael Fassbender, Movie, Movie Review, Movie Reviews, Movies, Natalie Dormer, Penelope Cruz, Richard Cabral, Ridley Scott, Rosie Perez, Ruben Blades, Sam Spruell, The Counselor, Tony Kebbell

The Mexican (2001)

9 Comments Posted by Dan O. on July 1, 2013

Should have just stayed in the States. Hell, they should have just stayed the hell together.

Jerry and Samantha (Brad Pitt and Julia Roberts) are a couple that obviously loves each other, but yet, still go to marriage counseling even though they don’t seem to need it and aren’t even married. Whatever though, that’s just how these two roll and like it, but what Samantha doesn’t like about Jerry’s rolling is that he’s not only a con, but has yet to leave the work of it because he’s trying to protect his ass, as well as hers. However, after originally screwing-up his “last job”, Jerry is given one more opportunity to make good and end it all when he has to travel to Mexico for an antique gun that seems to have more than enough history than Jerry, or his mob boss (Bob Balaban), expect. Since Jerry has to leave out on the job once again, he leaves Samantha all alone and with a whole bunch of worry in the world, especially when she’s kidnapped by a hitman (James Gandolfini) who specializes in bits and pieces of torture, despite him being a bit of a softy once you get to know him.

Movies like this get a bad-rap, as they should. Before this movie had names attached to it all and whatnot, it was originally going to be an independent production, with lesser-known names in the lead roles, and probably a smaller, tighter-budget than we see used here. However, Pitt and Roberts wanted to hang out with one another and so they thought, “What better way to take advantage of our star-power, then to just pick up a small, meaningless script, and run with it, just so we can have some fun and make money while doing so?” That may sound stingy and bratty coming from these two A-listers, but Christ, it’s something that can work for these two in a heartbeat and actually did. Nope, not just because they had the star-power to attract any type of audience-member in the entire world, but because the script was just simple enough that it didn’t matter whether or not the material they were working with was actually good; all that mattered is that people would see it, especially with these two in the lead roles.

Better cherish this moment. It’s all you’re going to get between these two for quite some time.

So overall, no problems for anyone, except for maybe the actual movie-viewers themselves who have to sit through some meaningless junk like this. They’re the ones who end up suffering the most.

Which is exactly why movies like this have me pissed off to high heavens because I know there are plenty other great films, with great scripts, great acting out there, and were certainly released at and around the same time as this, but yet, would never get the same type of exposure as this one because it didn’t have the popular-names in it like this one had. It’s sad to think about, and maybe it’s not worth all of the crying over spilled-milk, but it’s a fact of life and a fact of Hollywood. However, I can’t bitch too much because the flick isn’t that good and is only good for the sole reason that it actually got Gore Verbinski’s career off-and-running, whereas Pitt’s and Roberts’ just stayed the same as its always been, if not gotten better (especially in Pitt’s case).

But see, what makes this flick such a strange star-vehicle, is that it honestly isn’t the type of mainstream flick you’d see get the type of release this did nor would you see it’s two leading-stars in. It’s a weird flick for the sole reason that with just about every new scene or sequence, the tone switches, and it does so in a not-so subtle-way. It begins as a rom-com, with bits and pieces of dark humor thrown in there for good measure; but once the first con is killed off and the threat of death is alive and well, then things take a turn for the worse and get very dark, very soon. Sometimes it will touch the idea of a mobster comedy, with slices of drama thrown in there for good measure, and then in the very next frame, will even go for a darker moment where somebody gets off’d in a very disturbing, harsh, and unfunny way, despite how hard this flick seems to be trying to pull the laughs out of us.

Verbinski is a talented director to make even the slightest bit of dark humor go a long, long way, but at this time, during this movie, he shows problems in keeping the light and blissful tone up, even when it takes detours into dark areas; the kind of dark areas you see explored in Guy Ritchie or Quentin Tarantino movies, but used in a better way because they have the slightest sense of how to make humor and bloody spurts of violence work and seem cohesive. Verbinski begins to lose all focus after awhile and although it continued to interest me, as if I didn’t know what was going to pop-up next, whether it’d been a twist or a tone, I still feel like it was a missed-opportunity on his and everybody else’s part to really allow this flick to get up, breathe, and stretch it’s legs. It just goes on and on and on, for a whole two-hours that I’m usually fine with if you can excite and entertain me, but this one didn’t seem all too concerned with me or that fact of the matter. It just did it’s thing, as if it was only made to collect money from hopeless movie-goers.

Which, sadly, it did. You poor, poor people, falling for the same old traps of Hollywood, time and time again.

Speaking of which, that idea sort of pisses me off, not because it’s as blatant or as obvious as it is 12 years later, but because the actual reason behind this movie being made and advertised as such a big deal, was useless considering that Brad Pitt and Julia Roberts rarely are together on-screen here. What would have been shocking, but impressive on this movie’s part if the creators worked out negotiations with the stars beforehand, wrote the script, and kept it the way it was, even throughout filming, but knowing that the script was made way ahead of time and altered only slightly, loses it’s sense of originality. Most of the time, this doesn’t bother me because if Michael Mann can do the same thing and get away with nothing but applause and unanimous praise for this decision, then so can Gore Verbinski dammit!

But the problem with this is that the movie has nothing else going for it, other than Pitt and Roberts. Which means that when they aren’t together, doing their thang and keeping us happy to finally see them together on the big-screen, even after all of these long-awaited years; there’s nothing really left worrying or caring about. When they’re together, they’re fun to watch and makes you feel like it would have been a better choice to watch these two play the same characters, in a small-indie where instead of venturing out in search of a gun, they stayed together, worked through their problems, and thought about their future, whether it be one spent together or separated. It would have been way, way more interesting and compelling movie than this one, but that’s all just “fantasy-talk”. The reality is that these two barely show up in this movie together and when they do, it’s the best parts of the movie, despite feeling like a sad-attempt to be on screen together because, well, they have to. It’s the rules of Hollywood, folks.

“Hey, whatever you do, do not put on “Don’t Stop Believin’, got it?”

Separately, which is about 85% of the damn movie, they’re good if nothing new or groundbreaking that they haven’t already pulled-off before. Pitt’s nutty and goofy as the con that’s a bit too over-his-head, yet still knows what to do when the shit gets hot, and Roberts is a sassy and fire-cracker-of-a-lady, but still has those moments of pure sweetness to her that helps balance the character out in some sense of reality. Some, but not too much. Most of those moments come between the scenes of her and Gandolfini’s character, the hitman with a softer-heart than you might suspect from our first introduction to him.

With the recent, sad news of his passing, watching Gandolfini absolutely have a blast in a role like this and steal the movie away from it’s big stars, really brings a tear to my eye because the guy had so much talent, so much energy, and so much worth watching, despite what crap-fests he may or may not have shown up in. The fact is that this man was a great actor, and will continue to be remembered for years and years to come. Hopefully this movie doesn’t come to many people’s minds when they think of his work, but if it does, it won’t be such a sin because he’s easily the best part about it and gives it a reason worth watching.

Consensus: The Mexican will disappoint many average, movie-goers because Pitt and Roberts are barely together here throughout the whole two-hours and some-odd minutes, but what will disappoint others is that the tone never seems to find itself in one place, make it’s presence known, and stay there for the rest of the movie. It just constantly moves up, down and all around as if the creators knew they had to do something to keep fans happy that two of Hollywood’s most-beloved weren’t on the same-screen together for anymore than 5 minutes each.

5 / 10 = Rental!!

A two-hour movie, all for this piece of shit?!?!?

2000s, 5-5.5/10, Movies 2001, Alan Ciangherotti, Alfredo Escobar, Angelina Peláez, Ariane Pellicer, Arthur Taxier, Bob Balaban, Bob Pepper, Bonnie Joy Ashley, Brad Pitt, Carlos Lacámara, Castulo Guerra, Clint Curtis, Dale Raoul, Daniel R. Escobar, Daniel Zacapa, David Krumholtz, Eloïssa Florez, Emiliano Guerra, Ernesto Gómez Cruz, Fausta Torres, Fermín Martínez, Gene Hackman, Gerardo Taracena, Gilberto Barraza, Gloria Malgarini, Gore Verbinski, Gustavo Aguilar, Harv Lawrence, Humberto Fernández Tristan, J.K. Simmons, James Gandolfini, Jeremy Roberts, John Pisci, Jorge Malpica, José Carlos Rodríguez, Jr., Julia Roberts, Lawrence Bender, Loló Navarro, Lucía Pailles, Luis Artagnan, Luis Felipe Tovar, Marco Lopez, Mayra Sérbulo, Melisa Romero, Michael A. Tessiero, Michael Cerveris, Michael Mann, Miguel Ángel Fuentes, Movie, Movie Review, Movie Reviews, Movies, Pedro Armendáriz, Richard Coca, Ronald Simone, Rudy Aikels, Salvador Sánchez, Scott Beringer, Sherman Augustus, Steve Rossi, The Mexican, William Fuller

World War Z (2013)

51 Comments Posted by Dan O. on June 21, 2013

Does every member of the undead have to be hopped-up on coke and speed?

Somehow, with no explanation whatsoever, the undead has suddenly woke up, only to now be blood-thirsty and biting every living human-being with their virus that spreads it on. Not only is it happening in America, but everywhere else all-over-the-globe as well and in the middle of it all is Gerry Lane (Brad Pitt), a former United Nations member who gets called back to the line of duty in hopes to find a cure and beat this thing. Problem is, “the thing” that I’m referring to just so happens to be deadly, have little to no remorse, and as quick as lightning. So yeah, they’re pretty hard to get away from or kill.

Even though I can’t say I’m familiar with the Max Brooks novel, I do know all about the hooplah and controversy surrounding how this movie apparently only shares the same title, and that’s it. But that’s coming from a literary-side, if you look at it from a movie-side, you can already tell that this movie was landed in some hot water from the get-go as the ending had to be re-written, Pitt wasn’t talking to director Marc Forster, despite actually landing him the job in the first place, actual weapons were used instead of props, and a whole slew of other budget/editing problems as well. Basically, this movie was doomed from the start and it didn’t seem like anything it tried to pull, no matter how positive or cool; it still wasn’t going to make people happy or forget “what could have been”. Thankfully, the result isn’t as piss-poor as it may have seemed to be, but I still can’t say I’m typing this up with a smile on my face. More of a face of slick determination to say whatever the hell it is that I want to say.

Come to think of it, that’s my face for every review. Hm.

Even in the face of fear and death, Brad still finds a way to not only look sexy, but heroic as well. Whatta man.

What I do have to give this movie some credit for is at least keeping the tension and suspense moving when it needed to. Forster has never been the type of director to really blow me away with anything that he’s brought to the big-screen, but he did a nice job at moving this story along at a fine pace, especially when he needed to do it in order to slide over the weaker parts of the flick, like story, or character-development, or any sense of meaning. That said, every set-piece that Forster gives us here is worth a watch, especially if you like big, action-packed set-pieces where zombies are flying-high, eating, and attacking human-beings, and the idea of having no idea what type of carnage you are going to see next. With that carnage, Forster is able to freak us out just enough to give us the willies, but if it weren’t PG-13, then we probably would have been more disturbed and messed-up.

However, seeing as this is a flick that wants to appeal to the wider-audience of zombie fans out there (and lord knows there’s plenty of them nowadays), you need to take in the fact that you’re not going to see huge loads of in-your-face blood, violence, and gore. Instead, you’re most likely going to see a couple of slides of blood on Pitt’s hands/t-shirt, violence that’s shown off-screen but heard, and moments where crucial parts of the body are hacked-off, but with barely any actual showing of the limbs or nastiness involved whatsoever.

It’s just so damn tame and feels like the movie was just trying too hard to get away with a PG-13 rating, and not even have the balls to go one step further and make it R. Honestly, in a day and age where Hershel’s getting his leg cut-off on television once a week, you’d think that movies would try to do the same, if not more considering they have more of freedom, but nope. They’re fine with just having a zombie movie without any close-ups on the freaky-looking zombies, or even giving us anything more than just a bunch of implied-bits of violence. That’s it. And trust me, I’m not some gore-thirsty freak that needs to see people getting cut up limb-by-limb, in full detail, but I would like to see more when you have a zombie flick, about people getting eaten alive and/or being beaten, just so they too can eat others alive. Just typing that wigs me out a bit, and that’s a weakness on my part, as well as many other’s, that this flick could have definitely capitalized on, had they not pussy-footed around it.

Also, as tense as this movie may be, the slower-parts do take over and try to give you some point of levity to these characters and the situation they are caught in, but it does not work. That’s not because the script blows or the characters blow, it’s just that the movie is so used to being big, loud, and CGI-packed, that when it comes to giving us the smaller, quieter moments that would make this more compelling and emotional; it drops the ball completely. Nobody here you really care for enough to where you want to see them survive, nor do they really make you feel like you could spend the end-of-the-world with them, and never got bored either. Every character here is just boring, dull, and uninteresting, and whenever the flick seems to want to get away from the killing and the human-flesh eating, there’s nothing else for it to go back to unless it wants to bore us to death. And when it does go back there, it does bore us to death. That much is true.

Yup, still sexy and heroic in the face of fear and death.

But I have to give Brad Pitt some amount of credit here because the dude knows what type of movie he’s in, and gives his heart and soul to making it work, especially with his performance as Gerry Lane. Pitt is in full-on, action-mode where he does a lot of running, hitting, shouting, commanding, and heavy-set staring, and does it all well with just the right amount of charm and likability to harvest our emotions over once the going gets going. Still though, the character doesn’t really have much else to him other than being nothing more than just an everyday dude, that comes up big when the people around him need him to the most. There is some form of gravitas given to this character because he’s played by Pitt, but not much else that you couldn’t seen done by any other actor on the face of the planet, which wouldn’t be a complaint for an actor in a role like this; but this is Tyler Durden we are talking about here! The dude should always have roles made for him, and put to perfection by him. Nothing more needs to be said on that.

Everybody else in this movie that shows up do what they can with the script, but as I said before: the movie doesn’t seem to give a shit about them, what they represent, or what they’re even trying to say, which is a total bummer because a movie like this could have really done something more than just being another dumb, loud, and action-packed summer flick. It could have put some more insight and humanity into the situation we had at hand here, but instead, appeals to the lowest common-denominator, which is all about big and angry things that go “boom”, “bang”, and “whack”. Whoever the members of the denominator are, will most likely be pleased with what they see here, but for the others who want a bit more with their zombies; it’s a huge bummer, if not as terrible as it looked right from the start. And yes, it did look THAT terrible.

Consensus: Considering it is the summer, and loud, big, action-packed movies like World War Z are common to see around and about, it should come as to no surprise to anyone that it is thrilling and fun at times, while also stupid, unengaging, and unoriginal by the same token. Expect nothing more but an alright time, and you’ll go home happy, if not needing more of your gore-fix.

6 / 10 = Rental!!

If that isn’t the world’s largest human/non-human pyramid, then I don’t know what is!

2010s, 6-6.5/10, Movies 2013, Abigail Hargrove, Brad Pitt, David Andrews, David Morse, Eric West, James Badge Dale, Julia Levy-Boeken, Katrina Vasilieva, Marc Forster, Marc Foster, Matthew Fox, Michiel Huisman, Movie, Movie Review, Movie Reviews, Movies, Mustafa Harris, Trevor White, Vicky Araico, World War Z

Ocean’s Eleven (2001)

9 Comments Posted by Dan O. on January 27, 2013

God, I wish I was as cool as these guys. I seriously do.

Dapper Danny Ocean (George Clooney) is a man of action. Less than 24 hours into his parole from a New Jersey penitentiary, the wry, charismatic thief is already rolling out his next plan. Following three rules – don’t hurt anybody, don’t steal from anyone who doesn’t deserve it and play the game like you’ve got nothing to lose – Danny orchestrates the most sophisticated, elaborate casino heist in history. This is where the fun begins in Ocean’s eyes, and you know what? His eyes do not deceive him a single-bit.

Heist flicks are and have always been a favorite of mine, and to feature a cast with the likes of Clooney, Damon, Cheadle, Pitt, Mac, Reiner, and even Affleck (Casey, that is), you know I was even more excited because it seemed like the perfect-opportunity for a bunch of guys to just pal-around, have a good time, and pull-off some neat-o heists. However, just to make sure that this isn’t one, long bro-sesh from start-to-finish, we got Steven Soderbergh at the helm to keep everything under control and honestly, what better man to do that then the guy who has made one of the greatest heist/crime flicks of all-time, Out of Sight? Well, you could probably argue Tarantino or Scorsese, or plenty of others, but if you were to really get down to the nitty-gritty of it, I think you would be pretty damn fine with having Soderbergh behind it all, because I definitely was.

Having a guy like Steven Soderbergh doing your film means one thing and one thing only: it’s going to have a crap-load of style. And that’s not really a bad thing at all, because with a generic and relatively conventional story like this, you need that to add more pizzazz and spice to the whole-product, even though it’s obviously apparent that’s what Soderbergh is relying on the most. However, it didn’t get in the way of material and you can’t help but just love the fact that Soderbergh gives the flick a more-polished look than you are used to seeing with heists, but also realize that it makes the setting it takes place-in, all the more beautiful and smoother in it’s own, coolio way. Soderbergh is the man of being cool, looking cool, and filming cool, and he was definitely the perfect-choice for material like this.

Yes, that is Carl Reiner right next to Bernie Mac. Somewhere, the comedic-gods are smiling.

There’s also a great-deal of fun and entertainment that Soderbergh brings to this flick and it’s not just all about the style, either, it’s more about the actual heist itself, and keeping you constantly wondering, guessing, and figuring-out how it’s all going to play-out in your mind and on-screen. Soderbergh definitely does a little-job of trickery here and there with this heist and the twists and turns it takes, but that just adds more to the overall enjoyment of what we all see and it’s perfect since everything until then, was all just one, big lead-up to what was going to go down. We see bits and pieces of how this heist is going to go down, but not enough, so that when the heist does go through and we see everything that goes-down, we’re not only surprised, but pretty gripped to our seat, as you don’t really know how it’s going to turn-out for this cats in the end. Sooderbergh has as much fun with this as his cast does, but by doing-so, he allows us to just revel in his enjoyment in making the material and it’s no surprise that the guy came-back for 2 more of these flicks. However, more on them later as the reviews keep on coming, so just you wait DTMMR readers/follows out there!

Topping-off this cake of coolness, with a sweet, little cherry on-top is the cast that is filled to the brim with the coolest mofo’s on the planet, and some, you have yet to even know are cool just yet. George Clooney is the brains behind the whole operation as Danny Ocean and is cool, lean, and suave, exactly as we know and love him to be. Clooney sort of takes the background in this flick and allows the rest of his cast to show-off and do their thing, but whenever he gets a chance to show why he’s so cool, he does it with perfection. Damn that George Clooney. Playing the “other” brains behind the operation is Brad Pitt as Rusty Ryan, a dude that knows it all, can walk the walk, and talk the talk. Pitt’s good at playing cool and smart, we all know him for that, and we all love him for that. ‘Nuff said about that. Matt Damon is the new-blood of the gang and does a great-job at playing up that cocky-rookie look to him, while also being able to put-up, when shut-up time is right there, in front of his face. Not the most memorable performance from Damon but the guy sure as hell can act and make any role, seem like the perfect-fit for him.

Playing the opposite-side of these fast-cats is Andy Garcia, aka, the guy who owns the casino that they are robbing, Terry Benedict. Garcia is a tough-guy that you really feel like can’t be out-smarted, no matter who the person/people doing the out-smarting are. Garcia’s got a lot of intimidating-looks in those eyes and you never quite know if he’s going to pull-off the win in the end, or just give it to Ocean’s dudes. Once again, it’s a tense-ride to the finish that you never quite know where it’s going to end-up or how, for that matter. Julia Roberts is fine as Benedict’s gal/Ocean’s ex-gal, but does her usual, “I’m-Julia-Roberts-And-My-Shit-Don’t-Stink” act that some love her for, some hate her for, and some are just tired and bored of her for playing so much. Me, I linger somewhere around the latter and as juicy and spicy as the scenes with Clooney may be, her character is still Julia Roberts, playing Julia Roberts.

Everybody else in this cast is pretty damn fine as you’ll see a crap-load of familiar faces pop-up, do their thing, and be done with it and continue onto the road. Seriously, everybody is good except for Don Cheadle as Basher, who is supposed to be channeling this wry, British-accent that goes in-and-out like a you know what, and is even more distracting to this character, because every time he’s talking, it just sounds like Don Cheadle trying hard to sound British. And yes, Cheadle does have a very distinctive voice that is easy to point-out as to when it’s real, when it’s being fake, and when it’s trying to be British. Oh well, I guess this cat needed to have one bad performance to throw in there for his whole filmography. Bastard.

Arms crossed = cool

As fun and exciting as this flick may be, you really do just end the film, happy as a fly, and continue on with your day as if nothing happened. In a way, that’s not such a terrible thing to have in life, considering it’s a happy-thought, but in other ways, it’s a bit of a disappointment considering the cast and crew that was on-display here. Yes, it’s fun, exciting, and entertaining for the 2 hours it’s alive and well on the big-screen, but other than that, you don’t have much else to really hold you over or make you think of anything afterwards either. I don’t know, maybe I was just expecting a bit too much more than I was given, but I definitely feel like there should have been more for me to seize-onto at the end, no matter how conventional or obvious it was trying to be.

Consensus: Ocean’s Eleven is no game-changer in terms of heist movies, but is still entertaining, fun, exciting, well-acted, and just really, really cool, almost to the point of where you feel cool for watching it but you soon realize, that you’re just a poor college student who drives a 2005 Scion, and has about $20 in your wallet as you speak. Yeah, I’m speaking from my point-of-view, but if only I wasn’t. If only dreams really could come true, after all.

8.5/10=Matinee!!

Can grow a way better porn 'stache than Ben. Suck it bigger brothers out there!

Can grow a way better porn ‘stache than Ben. Suck it, Big Ben!

2000s, 8-8.5/10, Movies 2001, Andy Garcia, Angie Dickinson, Bernie Mac, Brad Pitt, Carl Reiner, Casey Affleck, Don Cheadle, Eddie Jemison, Elliott Gould, Frank Patton, George Clooney, Joe La Due, Jorge R. Hernandez, Joshua Jackson, Julia Roberts, Lennox Lewis, Mark Gantt, Martin Scorcese, Martin Scorsese, Matt Damon, Movie, Movie Review, Movie Reviews, Movies, Ocean's Eleven, Out of Sight, Richard Reed, Scott Caan, Scott L. Schwartz, Shaobo Qin, Topher Grace, Wayne Newton

The Curious Case of Benjamin Button (2008)

19 Comments Posted by Dan O. on January 5, 2013

No matter how grand or wonderful your life is, you still end up shitting your pants. Message of the day, everyone.

Benjamin Button (Brad Pitt) was born on the Day the Great War (WWI) ended. That was supposed to be lucky day to be born on but this was an unlucky case because Button was born old, week and dyeing. Benjamin is now living his life in reverse and dealing with the hard ships that have to occur with such an unfortunate circumstance as this.

Watching this movie almost 5 years after I originally saw it really has me thinking, “Did I really just love this movie because I wasn’t that cinematically-inclined yet? Or, was it just that I loved this movie because it was a good movie?”. Those thoughts go through my head, each and every single time I even bother watching/reviewing a flick that I saw so long ago, way before I even thought about this website. Some of them turn-out to be the great story that I once remembered them as being, and others, well, thanks to my knowledge of what’s right and what’s wrong with a movie, make me realize that I had plenty of years to grab a hold of my movie-knowing mind. Somehow, this movie, is somewhere right in the middle and I have yet to make-up my mind. Oh well, hopefully I will by the end of this loooooooooong review.

The reason why I put such a strain on the word, “long”, was because that is exactly what this flick is and to be honest: it doesn’t have to be. This is adapted from a short story by F. Scott Fitzgerald, and for a bunch of source-material that probably equaled up to about 10-to-15 minutes full of reading-time, you would think that a simple story wouldn’t need to be told in over 3-hours. The story of a man that ages backwards and has all of these experiences in life, meets all of these people, and has a love that lasts generation-after-generation, does seem like it needs to be told in it’s own, epic-way, but this is a bit too much of a push. However, as long as this flick may be, you still can’t forget that this is a beautiful tale of growing old, falling in love, and above all, living life to the fullest. Yeah, it’s corny, but what makes it so strange is that the message is brought-out by David Fincher. Yes, THAT David Fincher.

There’s Brad, channeling his inner-Mr. Ripley.

It is quite surreal to see a story that’s so much about the human-spirit and always turning lemons into lemonade, directed by the guy who’s brought us some of the sickest stories in the past decade or so, but that’s what makes it so unique as well. Fincher has never, ever came close to touching material like this and at times, you’ll just think that it’s an attempt for him to make some cash and make a passion-project of sorts for himself, but you’ll begin to notice, there are still a whole bunch of Fincher’s trademarks. Everybody and anybody who has ever seen this movie always says the same damn thing, “It’s like Forrest Gump, but the guy’s older”. To be fair, that is a very true and realistic observation, one that I can’t contend with, mainly because the same writer of that flick (Eric Roth), is the same writer here but what makes the tales so different, is how one is all about sunshine and light at the end of the tunnels, this movie is more about how life starts and ends the same way: you start out as nothing, and in the end, you are still nothing. Anybody that has ever known you, will be the only ones and it’s a matter of whether or not you made an impact on their life is what really counts.

It’s a really depressing idea, especially when you put it side-by-side with something like, “Life is like a box of chocolates”, but it’s also more realistic and that’s why I applaud Fincher here, not just for stepping-out of his comfort-zone, but for being able to step-out and make the best type of movie he can. The story spans over generations and as long and dragging as it may be, it is always entertaining to see the type of stuff this man goes through, what he learns from certain experiences, and how it makes him a full and total human-being. Yes, there is always that known-factor that the guy is going to die at the end, but then again, isn’t that how life actually plays-out? Thanks, David Fincher! You’re always the type of guy I can depend on to remind me that life is great and all, but in the end, we just float away into the air. Happy hugs all-around!

Somehow, I still feel like this is how most of our elders still look in the mirror nowadays.

In a way, I still feel like this is how most of our elders still look in the mirror nowadays.

Where I still feel like this flick hits a problem in, is that it does begin to run-out of steam by about the third-to-last-act and I think that’s mainly because Fincher, as well as all of us, knows what has to be done, what has to be said, and what needs to come of this story. We all anticipate the time to when Benjamin eventually starts to get so young and so tiny, that he can’t remember anything that has happened in his life and is just continuing to shrink-up into this little guy, that is eventually going to die any day now. It’s so sad to watch and as much of as an emotional-impact it may have on you because you’ve gotten so used to this character and all his stories, it is slightly redundant and almost feels like Fincher really needs to shoot somebody or decapitate somebody, you know, just to spice things up. I can totally tell that Fincher was running a little wild on the inside, but at least he made it interesting and entertaining for us, in the meantime.

What probably distracts people the most from this story, is how much time and effort was put in to the make-up and special-effects for these characters and their surroundings. Since Benjamin is aging backwards, we get to see him when he’s old as hell and looks like a turd on the side of the road, to the point of where he looks like Pitt from Meet Joe Black. It’s mesmerizing to just stare-at, not just because they make Pitt look as handsome as ever and Blanchett as sexy and glorious as she’s ever been, but because it’s almost seamless and never seems like a gimmick. Movies like these that simply just depend on changing-up a person’s look or style through neat-o special-effects, usually kills a movie and features no substance, but thankfully, the movie features both the neat-0 special-effects that help make us believe more in this story, as well as having a story that is worth believing in and actually getting involved with. Still, it’s great to see Pitt and Blanchett back in their younger, golden days, even if it all by a computer. Damn you technology!

You’d still take him to bed. Don’t even bother fibbing.

Speaking of the Blanchett and Pitt, both make Daisy and Benjamin a lovely couple that is worth staying-for, no matter how uncommon the relationship they have may actually be. Blanchett is a joy to watch as Daisy, especially when she goes through her younger days as a free-willing, energetic dancer in her prime from NYC, and we get to see that charm and beauty come out of Blanchett’s acting-prowess that can sometimes go away when she takes crap scripts. I was a bit surprised to see that she didn’t get a nomination for her work here, but hey, I guess the Academy felt like they had to give the nomination to Taraji P. Henson, the caretaker of the old person’s home who finds Benjamin and takes of him, up until he’s an old, but yet, young-looking man. Henson is so charming and fun to watch in this movie that it’s a real shame she hasn’t been able to do anything that’s really worth buzzing-about. The girl’s got spark to her, and that shows through every scene she has.

Brad Pitt, though, is the real star of the show and milks this Benjamin Button’s simpleness almost to the point of where it doesn’t seem like he can go any longer, but however, he can. Pitt is great as Benjamin Button because he’s so kind, so simple, so polite, so regular, and so bright-sided about the world he lives in, that’s it almost way too easy to mark him as another caricature that ends-up taking some happiness out of his disability, but it’s not, and that’s all because Pitt won’t allow it. The guy doesn’t show many emotions throughout the whole flick (and that was the intention), but it feels real and honest, mostly because Pitt and Fincher, together, have painted a portrait of a guy that loves life and all those who inhabit it. Pit’s great to watch and the chemistry and love he has with Blanchett in this movie, never for a second, felt unrealistic or schmaltzy. It was as every bit as epic and heartfelt as I once remembered, and that will always stick in my mind when I think of this flick.

Consensus: Adapting a short story into a near-3-hour movie, is a bit of a stretch, especially when you have a flick that spans over decades-upon-decades, but The Curious Case of Benjamin Button is still a beautiful, endearing, and heartfelt story that looks at life through the eyes of a person who has a very strange one, despite him being played by the ultra-handsome, and ultra-powerful Brad Pitt.

8.5/10=Matinee!!

Keep control of your hormones, ladies.

2000s, 8-8.5/10, Movies 2008, Brad Pitt, Cate Blanchett, David Fincher, David Jensen, Donna DuPlantier, Ed Metzger, Edith Ivey, Elias Koteas, Elle Fanning, Eric Roth, Faune A. Chambers, Fiona Hale, Forrest Gump, Jacob Tolano, Jared Harris, Jason Flemyng, Joeanna Sayler, Josh Stewart, Julia Ormond, Madisen Beaty, Mahershalalhashbaz Ali, Marion Zinser, Meet Joe Black, Movie, Movie Review, Movie Reviews, Movies, Patrick Thomas O'Brien, Paula Gray, Phyllis Somerville, Shiloh Jolie-Pitt, Taraji P. Henson, Ted Manson, The Curious Case of Benjamin Button, Tilda Swinton

Killing Them Softly (2012)

21 Comments Posted by Dan O. on December 4, 2012

Roberta Flack is so ironic.

Brad Pitt stars as mob hitman Jackie Cogan, who is hired to hunt down three low-level criminals (Ben Mendelshon and Scoot McNairy) who robbed a mob-protected poker game, that just so happened to be run by a top mob-boss (Ray Liotta).

I think it’s pretty clear by now that this is not the typical, shoot ’em up action-thriller everybody, as well as the trailers/posters/TV ads have all been making it out to be. It’s a thriller, that uses the suspense and actual thrilling-element of this movie in talks, discussions, and most importantly, it’s pacing. If you go into this movie expecting that, you’re going to have a hell of a time, but if you don’t, you’re going to find yourself dozing off quite a few times and wondering just when the hell somebody’s going to get their head blown-off. Trust me, it happens but you got to have some patience. Actually, quoting a Guns N Roses song would have probably been a bit better, but hey, that’s just me.

Another justice I think you would be doing this movie before-hand, is seeing writer/director’s Andrew Dominik‘s last-movie that came out a couple of years back called The Assassination of Jesse James by the Coward Robert Ford, because with that movie, you’re expecting a whole bunch of show-downs, people getting lassoed by bandits, people drinking whiskey, hookers flinging themselves around beds like pillows, and many, many trips to the local saloons. However, like this one, that movie depended more on it’s conversations between characters to really build things up and get to that point of where you actually get to see heads blown-off and feel like you just witnessed something totally, and completely awesome. Once again, you’ve got to have patience and see Dominik’s last-movie to really understand just what the hell to expect. I did both, and I feel great.

What makes this movie so entertaining is that right from the start, you know that it’s going to be full of tension and suspense but how the film goes about it is something that really caught me by surprise. Instead of going right for it, starting off with the heist and getting-on with the simple plot at-hand, we get back story we get character development, and we actually get time to know what type of people/atmosphere we’re dealing with, and whether or not it’s exactly what we expected in the first-place. Hell, if you think this movie is going to be your typical, gangster shoot ’em up-like thriller, then you’re going to be dumbfounded once you actually realize that it’s already been 25 minutes into the movie, and we have yet to actually see the lead-character of the show.

And speaking of that lead-character of the show, Brad Pitt does an amazing job as the ruthless and toothless hitman known as Jackie Cogan. What makes Pitt so damn great and compelling in these types of roles that he chooses that are like Cogan, is that he looks and feels like this guy who just goes out there, wants whatever type of bloodshed he can get for money, and take it anyway he can, but at the same time, still be the smartest guy in the room that knows more than you may think. Because of this aspect to his character, we are always on-edge watching Pitt in every single scene he’s given because you know he has composure, you know he can play it cool, and you know that he’s not a slouch when it comes to getting the job done the right way, but you also never quite know just when the hell the switch is going to flip, and he’s going to take over anything and everything that stands in his way. Pitt is great with these types of roles and watching him play a character that was one-step ahead of everybody else around him, was just as fun to watch him, as much as it was for him to actually portray it.

Make no means though, because this is still Dominik’s movie and he still never lets you forget about it. His last movie felt like he was trying a bit too hard to go for that Malick look and feel, but here, the only type of style that I think he comes close to is the one of Stanley Kubrick, and that’s just me reaching for the stars. There’s no real style that this guy portrays and even though he may not have his own yet to where I can look at a frame or two and declare, “That, my friends, is an Andrew Dominik picture”, there is still something about this guy and the way he paces his movie’s and their stories to where he can do real-damage.

But then again, there were also these times where I felt like the guy was trying a bit too hard to be like his main character Cogan: one-step ahead of everybody else. In a way, that’s not a bad thing because it keeps us, the viewer on our toes as to what to expect next, but it also makes this movie seem like it’s biting-off more than it could possibly chew. For instance, the whole political-message is very bothersome and wasn’t as heavy-hitting as I thought, except until the very-end and everybody’s starting to spout-out some form of political exposition about how the world works, how our economy does what it does best (ruin lives, sorry too political), and how people are able to make a living (ruin lives, once again, too political). I get it, the story here of Cogan having to come in and take care of a mistake that the mob made is the mob’s own-form of capitalism, but that doesn’t mean in every single, freakin’ scene of the movie where there is a radio/TV present, that we have to hear the voices or see the faces of Obama, McCain, or George Bush. It doesn’t get that annoying, until you actually focus on it and realize that maybe Dominik should have just stayed with all of the conversations, by building-up a message and great deal of suspense, up until we get the bloody-violence, in that way and then we would have had a more clearer, understandable thriller that’s nothing but.

Then, when you actually do think about the bloody-violence, then you can’t think of anything else except for how freakin’ awesome it is. Just like in Jesse James, the violence doesn’t take over the whole story and make you feel as if you’re watching an action-epic of the highest-order, but only shows-up in short spurts in the most violent, most disturbing, and most realistic-way possible. A couple of scenes that come to my mind is one that concerns a slow-mo, build-up of a hit conducted by Cogan, and another scene where Ray Liotta gets his ass beat to a bloody pulp. The reason why it sticks-out so clear in my mind is because it’s not like what you expect from a movie like this: the guy yells, screams, and pleads for his life just like you or I would, and what’s so shocking and disturbing about this, is that the guy is a mobster-like character that shouldn’t feel pain, be scared, or even cry like a little girl. It’s bloody, ultra-violent, and very realistic in the way it portrays the pain felt for one character, and the pain we the audience feel when we watch a guy get the ever loving shit kicked-out of him. Gawd, I miss that feeling.

Speaking of Ray Liotta, this is probably the best piece of work he has done in the past-decade (that’s if we’re including Tommy Vercetti) and just goes to show you that the guy may be a mean-old, nasty mobster-dude that doesn’t take shit from anybody, but also is pretty human, too once you think about it. However, everybody else is pretty damn good too, to where you almost feel like the show can’t be his, or anybody else’s for that matter. Richard Jenkins shows up as the corporate handler who is hired to meet and talk “business” with Jackie, and does a great-job playing the ultimate square, but also a guy you sort of feel for since he is totally out of his element in terms of what there is for him to do, how, and why. Scott McNairy and Ben Mendelsohn play the two crooks that get a bit too hot-headed after the whole robbery and are both very different in their portrayals, but also seem like the two, perfect guys to come together on something like this that could really seem to go either way. Especially Mendelsohn who with this, Animal Kingdom, and The Dark Knight Rises, is playing the corrupted, evil-as-hell characters that we all see and hate in these types of movies, but yet, can’t keep our eyes off of, either.

The one that really steals the show out of the whole cast and may, just MAY, have a slight-bit chance of getting himself nominated for an Oscar this year is James Gandolfini as the old mobster that Cogan brings back to help him out on the dilemma he has at-hand. From the first-shot, you think that this is going to be Gandolfini playing, surprise, once again another Tony Soprano-like mobster, but this is the farthest thing from it. Yeah, he’s still ruthless, mean, and nasty as hell, but he also has a bit of a drinking-problem that escalates into us seeing underneath a convention we already know about in so many similar movies like this: the mobster. Like Liotta, Gandolfini’s portrayal of a mobster is subtle with his angry-emotions, but not so subtle with his sad ones, neither, and this is what culminates into the two best scenes of the whole movie and makes you feel like Gandolfini really needs to come back and bring-out quality performances like these, once again. Hell, I wouldn’t have even minded watching a whole movie where it’s just him and Pitt, shooting the shit about life, money, and crime, the way two old mobsters like to do it, and with the the two scenes of that I got here, I was happy.

Consensus: Going into this movie and expecting exactly what you see in the ads for this movie (countless shootings, crime, and cool walking scenes), then you’re going to be terribly disappointed with what the final-product of Killing Them Softly truly is: a slow-burning, tension-filled thriller that relies more on the performances, than the actual-violence that takes place itself, no matter how bloody or gruesome it is to watch.

8.5/10=Matinee!!

2010s, 8-8.5/10, Movies 2012, Andrew Dominik, Ben Mendelsohn, Brad Pitt, Christopher Shane Berry, Garret Dillahunt, James Gandolfini, Joe Chrest, Killing Them Softly, Max Casella, Movie, Movie Review, Movie Reviews, Movies, Ray Liotta, Richard Jenkins, Roberta Flack, Ross Brodar, Sam Shepard, Scoot McNairy, Slaine, The Assassination of Jesse James by the Coward Robert Ford, Trevor Long, Vince Curatola

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