Dan the Man's Movie Reviews

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Mark Felt: The Man Who Brought Down the White House (2017)

Takes one whistle to blow.

Mark Felt (Liam Neeson) was just any other ordinary man, living in America, trying to do right by his country. He worked for the FBI, believed in the values the country was founded on, and mostly, wanted peace, love and harmony. He also wanted a happy marriage with his wife Audrey (Diane Lane), and to find his daughter Joan (Maika Monroe), so that she could come home once and for all and they could go back to being the perfect, little family. But soon, Felt will find out that like his family, the United States government can’t just be put back to perfect, because, in all honesty, it wasn’t even perfect to begin with. It’s a realization that shocks him and forces him to take matters into his own hands and do what we all call “leak”.

And the rest is, I guess, history.

“Don’t worry, honey. No one’s kidnapping you today.”

With three movies under his best (Parkland, Concussion, this) writer/director Peter Landesman shows that he has knack for assembling ridiculously impressive ensembles for fact-based, true-life dramas that seem like they’re more important than they actually are. Parkland was a movie about the different viewpoints on JFK’s assassination, but mostly just seemed like an attempt at doing Crash, but with a twist, whereas Concussion was a little bit of a better movie in that it tackled a hot-topic issue with honesty and featured a great Will Smith role, but ultimately, felt like it came out too early and would have been better suited as a documentary.

Now, Landesman is tackling Mark Felt, his life, and the whistle that he blew on the United States government and it’s about the same thing going on again: Big cast, big situations, big history, but almost little-to-no impact.

And that’s the real issue it seems like with Landseman – he’s good at assembling all of the pieces, like a cast, a solid story to tell, and a nice look to his movies, but he never gets to their emotional cores. They feel like, if anything, glossy, over-budgeted reenactments your grandparents would watch on the History channel and have about the same amount of emotion going on behind them. Every chance we’re being told that “something is important”, it mostly doesn’t connect and feels like Landseman capitalizing everything in the script, but never trying to connect with the actual audience themselves. It’s one thing to educate and inform, but it’s another to just do that and forget to allow us to care, or even give us a reason.

“Yo bro. You’re gonna want to hear this.”

Which is a shame in the case of Mark Felt, the movie, because at the center, there’s a real heartfelt and timeless message about how we need men like Felt to stand up to Big Daddy government, tell important secrets, so that the citizens of the U.S. know just what sort of wrongdoings are being committed on their behalf. Landseman clearly makes his case of who’s side he’s on here, which is also the problem, but his admiration is nice: We need more Felt’s in the world, especially when it seems like our government is getting involved with shadier and shadier stuff.

Issue is, that message is left in a movie that never gets off the ground for a single second.

Cause even though the cast is stacked and everyone here, including a solid Neeson, are all good, the material gets in the way. It’s too busy going through the bullet-points of who everyone is, what their relation to the story is, and why they’re supposed to matter, that we don’t actually get to know anyone, especially Felt himself. He himself feels like another bad-ass Liam Neeson character, but instead of finding people and killing them, he’s just taking information in and leaking it out to the presses. It’s really all there is to him here, as well as the rest of the movie.

Shame, too, because we need more Mark Felt’s in the world. Regardless of what those in power may want or say.

Consensus: Even with a solid ensemble, Mark Felt never gets off the ground and always feels like it’s too busy educating us, and not ever letting us have a moment to care.

3 / 10

Oh, what could have been. Or hell, what can be. #Neeson2020

Photos Courtesy of: Sony Pictures Classics


Dick Tracy (1990)

What a Dick that guy is.

Dick Tracy (Warren Beatty) is the type of detective all men of the law aspire to be. He’s charming, smart, inspired, always on the good side, gets whatever lady he wants, and always finds a way to catch the baddies before they cause anymore harm in the world. But he might just have met his match with “Big Boy” Caprice (Al Pacino). Caprice has practically taken over the crime world by himself, and made almost every sort of illegal activity occur. With Tracy on his tale, though, times may change for Caprice.

I’ve never fully understood why this thing didn’t become a series of movies rather than just a movie that seemed to promise one. Apparently, Beatty has been hyping one up for a long time and is still fighting producers and creators as to whether or not he still owns the name/title Dick Tracy. Who knows? Maybe 26 years later ain’t too late?

Regardless, Dick Tracy came to us back in the day when comic book movies used to not be so serious and dark, and instead were just goofy, campy, and over-the-top. However, they were also knowing about it so it wasn’t just a strange movie from start-to-finish, it had reasoning for being so silly. That’s the smart approach Beatty thankfully takes here and is one of the key aspects to Dick Tracy being more than just another conventional comic book flick.

"Go fish."

“Go fish.”

Cause we’ve got way too much of that now.

It all starts as soon as we’re introduced to the character of Tracy, what he does, how he does it, and where he does it. He gets a call on his watch about somebody missing, leaves the play he is at with his gal, comes back five minutes later after scoping the scene out, and acts all natural and cool. If that doesn’t at least have you chuckle, then don’t even bother with this movie because that’s all there is here. Just goofiness, through and through, and that’s what keeps it relatively fun.

The only time the movie does seem to lose its sense of “fun”, is when it decides to focus its story on so many other elements that weren’t needed. Throughout the whole movie, we get to see Tracy’s miniature-sized side-kick, “The Kid”, pal around, hang out, and help Tracy solve crimes. The only problem is that he’s an orphan and orphans are supposed to be thrown into the orphanage as if they were garbage. Most of the movie concerns whether or not Tracy will end up falling for the tricks and keeping Kid, or getting rid of him and doing what the law says. It’s a dilemma that we’re supposed to care about, but just don’t. Kid is actually sort of annoying because all he does is yell, scream, and shout that there is some crime needing to be stopped. He’s a joyful, little lad, but it got annoying, real quick. And yes, is having “the Kid” loyal to the comics? Of course, but sometimes, it just doesn’t work.

But as the film goes on, it continues to entertain but bore at the same time. It’s very confusing actually because you never know what type of film Beatty is trying to go for. You know he’s trying to make a wacky, wild romp that’s based on some nutty source-material, but he never quite goes all out. Certain parts of Dick Tracy are really silly and weird and seem like the perfect fit for the kind of over-the-top, wild romp that comic books seem to promise. But then, there’s a bunch of subplots that continue to complicate the story and make it seem like we’re supposed to be caring about this more than we actually are.

After all, what everyone comes to Dick Tracy for, in the first place, is to have a little bit of fun. Take that away and what the hell is the point?

The ladies love Dick.

The ladies love Dick.

Thankfully, the cast always keeps things together. Despite being nearly 53 at the time and initially seeming like an odd fit, Beatty works well as Dick Tracy. There’s always been something about Beatty’s cool, calm and breezy charm, that makes you trust and like the guy, but also never feels like he’s macho-posing for the hell of it. It works for the character and makes Tracy seem like a good guy. Granted, in a time where superheros reign supreme and show up almost every, single summer, it’s a bit unexciting to get a superhero that just shoots a Tommy Gun and figures out predicaments pretty easily, but it’s simple. You don’t need a superhero that has some sort of inner-problems going on with his life, or something taking away what he can and cannot do with his special talents. You just need a guy that does right for the world he loves, does whatever he can, continues to fight until no more, and leave it at that.

Simplicity at its finest, folks.

But really, it’s Al Pacino who walks away with this all here. As “Big Boy” Caprice, Pacino spends literally each and every scene yelling and acting way over-the-top. But, it works. Pacino loves to scream and shout himself through a role, but while that can sometimes feel unnecessary in mostly everything he does, here, it works for the whole movie. The tone, whenever it’s focusing on him, is played for laughs, so we never need to take him seriously. Pacino’s in this crazy, little pulpy world that doesn’t care how much he screams, or how loud it is – it just cares how much fun he’s having.

Everybody else in this movie deserves a pat on the back for the same thing as well, even if they only show up for a good couple of minutes. James Caan is here for five seconds to look cool, mobster-ish, and intimidating, only to walk off and get blown-up by a secret car bomb; Paul Sorvino shows up in tons and tons of make-up, only to be betrayed and thrown in a tub of concrete underneath the ground; the late, great Charles Durning is playing a cop that Tracy can trust no matter what; and last, but sure as hell not least is Dustin Hoffman as Mumbles, who does exactly that. It’s funny to see, especially because you know Hoffman is enjoying himself while doing so. Oh and Madonna is quite the sexy, fiery presence that the movie oh so promised on in all of its advertisements, proving that she could definitely act, given the right material to play around with.

Consensus: Beatty’s direction may be too all-over-the-place for such goofy material as Dick Tracy to make it work wonders, but it always stays fun, light, goofy, and knowingly over-the-top, without ever making apologies for being so. It’s just pure, unadulterated fun.

7 / 10

All these gangsters and no pasta?!? What the hell?!?

All these gangsters and no pasta?!? What the hell?!?

Photos Courtesy of: Indiewire, Den of Geek

Mystery, Alaska (1999)

The New York Rangers clearly have better things to do. Like watch paint dry.

In the small town of Mystery, Alaska, hockey is king. It’s everywhere you look and, quite frankly, it’s all anyone cares about. That’s why, when it turns out that the New York Rangers actually want to fly out there for a total publicity stunt, not only does the town take it as serious as a heart-attack, but the hockey team themselves are as prepped-up and as excited as anybody else in the town. Problem is, they now have to sort through their own personal problems to get their heads in-check for the big game. There’s John Biebe (Russell Crowe), the town sheriff who, at one point, was the captain of the hockey team, but due to his slowness, was given the boot; there’s Charlie (Hank Azaria), a hot-shot producer from New York who once went out John’s wife (Mary McCormack) and now seems to miss his lovely, little hometown; there’s Stevie Weeks (Ryan Northcott), who wants to have sex with his girlfriend, but can’t actually seem to get the act done; there’s Skank Marden (Ron Eldard), who has sex with practically every woman in town, including the mayor (Colm Feore)’s wife (Lolita Davidovich); and then, there’s Judge Walter Burns (Burt Reynolds), who doesn’t really care for hockey, but just might once this game gets going.

No. I am not entertained.

No. I am not entertained.

There’s a lot going on in Mystery, Alaska, however, none of it ever seems to involve the actual playing of hockey. Which, for some people, will be a huge deal-breaker. For those expecting a sports flick with plenty of swearing, fighting, heart, humor and hockey in the same vein as Slap Shot, well, go the other way. Instead of actually getting a movie that’s as dedicated to the sport as it states it is, we get more of a inside look into the lives of these various characters, as they not only try to wade through their problems, but also try to find ways to make themselves the best hockey players that they can be for the big game.

The big game, which, mind you, is highly unlikely to ever occur in the real world, regardless of how many reasons you try to toss in.

But honestly, the fact that this plot is unbelievable to a fault, is the least of its problem. That it wants to be a melodramatic character-study, but is in no way, dramatic, or ever interesting, already proves to the point that maybe more scenes of hockey being played would have helped out. But director Jay Roach and writers David E. Kelley and Sean O’Byrne, never seem to be all that interested in ever portraying the sport; more or less, it wants to see just what the dudes who play the sport are up to. And truly, I’m all for this – however, the writing is neither strong, nor compelling enough to make me see why we needed a movie so dedicated to finding more out about these characters.

Not to mention that the characters, for the most part, spend the majority of the movie going on and on about the loads of amounts of sex they had, and that’s about it. Ron Eldard’s character is made out to be the biggest horn-dog in the whole town and while his subplot is supposed to pack some sort of dramatic-weight, it never actually does because we don’t care about him, the people he’s banging, or the kind of effect it has when those said people he’s banging, get caught by their significant other. Same goes for whatever Russell Crowe’s character is going through; we’re made to think it’s some sort of mid-life crisis, but all of a sudden, turns into a possible extramarital love affair, or whatever.

After awhile, it gets to a point where you’ll wonder: Where’s all the damn hockey!

And then, eventually, the hockey does come up. Problem is, it’s towards the end, which means that you have to wade through the meandering and plodding initial 90 minutes, just to get there. Even then, though, it’s already too late to where we don’t care which team wins or loses, we just want it to be over so we can go home and play NHL 16 or whatever the cool hockey game the kids play nowadays.

Eh. Hope they lose.

Eh. Hope they lose.

Which is to say that Mystery, Alaska, despite the solid cast on-hand, doesn’t do any of them justice. 1999 was a pretty weird time for Russell Crowe’s career, as the Insider had yet to come out and Hollywood didn’t quite know what to do with him. Therefore, we get a pretty dull performance from him as this small-town sheriff who can’t seem to turn that frown of his upside down. Not to mention that once Hank Azaria’s character comes into town, now we have to listen to numerous spousal disputes between he and Mary McCormack’s character; neither of whom, are actually ever interesting to hear, because we don’t know who these characters are, nor do we really give a hoot if they’re together or not by the end.

And everybody else pretty much suffers the same fate as Crowe, McCormack and Azaria. Burt Reynolds, even after coming hot off from an Oscar nomination for Boogie Nights, seems like he’s just going through the motions as the older, yet wiser man of the town who likes to dispose of his knowledge whenever the moment seems necessary. It’s a boring role for Reynolds and quite frankly, he doesn’t do a nice job of hiding his own snoozes. Same goes for Colm Meaney and Lolita Davidovich who, like McCormack’s and Crowe’s characters, are left to just have marital problems and honestly, it’s hard to care at all.

All we want to see is more hockey, the actual New York Rangers (who never actually show up, because they were obviously smart enough), and somebody getting the absolute crap beaten out of them. Just like an actual hockey game.

Except with those, we don’t really care about what their personal lives are like.

Consensus: Even though there’s a great cast on the bench for Mystery, Alaska, none of them are given anything credible to work with, nor do they ever actually get to play as much hockey as everything about this movie may suggest.

2 / 10

And yeah, this is totally not forced.

And yeah, this happens, too.

Photos Courtesy of: A Movie A Day, Every Day, Sorry, Never Heard of It!

The Conspirator (2011)

Where have I heard this story before? Well, nowhere actually, but see what I’m trying to get across in a not-so subtle way?

Mid-April 1865, stage actor John Wilkes Booth (Toby Kebbell) assassinates President Abraham Lincoln during a production of Our American Cousin. We all know this, who the hell doesn’t, but what most people don’t know is the story surrounding the other conspirators in this assassination, one of which was a woman wrongfully accused all because her son was one of those conspirators. That gal’s name was Mary Surratt (Robin Wright), her son was Mary Surratt (Robin Wright), and she ran a boarding house in Washington that Booth, along with the other conspirators in this assassination frequently stayed in, and where the plan was most likely hatched. Whether or not Surratt really did conspire to kill the President isn’t quite known yet, but Union war hero and attorney Frederick Aiken (James McAvoy) is assigned the task to defend her to the best of his ability, by any means necessary. At first, Aiken doesn’t think it matters because she’s guilty in his eyes, but after awhile, he starts to see that there is more brewing beneath the surface here with this case, and he will not stop until justice is so rightfully served.

In case you don’t know by now, Robert Redford is a pretty political guy, and he takes his liberal-stance very seriously. So seriously, that most of his flicks seem to come off more as history lessons, rather than actual movies, with real, interesting, and compelling narratives driving them along. That said, the guy’s got plenty of power in Hollywood to do whatever he wants, when he wants, with whomever he wants, and how he wants to, which makes total sense why a real life story like this would get such a star-studded cast, with such a preachy message, that it’s no wonder why it got past almost every producer out there in the world.

It’s Robert Redford, are you going to deny his movie?

Did a woman who's being wrongfully convicted for a crime she didn't necessarily commit really need to be dressed in all-black throughout the whole movie?

Did a woman who was being wrongfully convicted for a crime she didn’t necessarily commit really need to be dressed in all-black throughout the whole movie?

That’s why, as intriguing as this story is, you know exactly where he’s getting at with every part of this movie. For instance, Redford is obviously making a lot of points about the similarity between this case and the ones of post-9/11 hysteria that was more about finding anybody who was even close to being guilty, and make sure they pay the price so that the rest of the country can begin to feel like a safe and peaceful place like it was meant to be. Honestly, it’s a nice analogy that Redford uses, the only problem is that we get it every step of the way. So instead of being a movie that’s filled with a compelling story, characters, and emotions, it just feels like a history lesson where we’re being talked down to, as if we don’t know all about the problems our world of politics is facing today.

And it should come as no surprise that this was Redford’s first movie since doing Lions for Lambs, which was more of a thesis, than an actual movie, so I at least have to give the guy credit for cobbling up something of a story together and making something out of it. While I don’t want to get into discussing that movie anymore than I already need to, I will say that this movie does show Redford improving more as a film-maker who has a point behind his movies, even if they are extremely heavy-handed and as blatant as you can get. While that does seem weird to say about a guy who has a Best Director Oscar to his name, as well as plenty of other great movies he’s written and directed under his belt, it seems like something that needs to be said considering how damn preachy the guy gets, both in real life and with his movies.

Basically, what I’m trying to say is that it’s better than Lions for Lambs.

There, happy? I rest my case!

The only way that this movie survives throughout it’s near-two-hour-running-time is because its cast is so stacked to the brim, that you can’t help but want to watch and see what they’re able to pull out of this. James McAvoy was a great choice as Frederick Aiken, the type of guy you feel like would make it big as a lawyer-type in today’s society, but just didn’t have much leeway to get past all of the head-honchos back in those days. McAvoy is good at handling the determined, passionate character that Redford doesn’t bother to cut any deeper with, but I still think that’s better than nothing consider he can get-by in scenes against heavy-hitters like Kevin Kline, Tom Wilkinson, and most of all, Robin Wright.

"Attica!!! Oh, shit. Wrong history class."

“Attica!!! Oh, crap. Wrong history class.”

However, it should be said that it couldn’t have been too hard for McAvoy to get by in his scenes with Wright because she doesn’t do much talking really. Instead, her performance is strictly consisting of cold stares, a lot of frowning, and just looking like she’s about to lose it at any given second – which isn’t such a bad thing because the gal handles it very well. I’ve always liked Wright in all that she’s done and I feel like she gets a great chance to give it all she’s got, even in a way that didn’t need to be over-the-top or totally blown out-of-proportion. This is a especially surprising given the fact that this character could have easily gone that way, and to even worse results being that this is a Redford flick, and he usually seems to sympathize quite heavily with wrongfully convicted.

And since I’m on the subject of the cast, I have to say that the rest of this ensemble do pretty good jobs with their roles as well, even if some do feel a bit off here and there. Those two in particular are Justin Long and Evan Rachel Wood who both feel as if they’re a bit too modern for this type of material, and don’t really fit in well. Maybe for Wood’s character, that’s probably done on purpose, but for Long, whenever it is that he shows up with his fake mustache that looked like it was ripped right off the face of Burt Reynolds, it feels like a total curse on him, whoever is around him the scene, and the movie itself. Not saying that he ruins the movie just by the pure simple fact of his presence being noted, but just because it feels like a piece of stunt-casting that back-fired on Redford, as well as Long himself; a very underrated actor that has yet to be given the full-on pleasure of taking a complex role and making it his own. Maybe one of these days. Just maybe.

Just hopefully not in a Robert Redford flick, is all.

Consensus: The true story that the Conspirator is telling is a very interesting, compelling tale that may stand the test of time, but as for the preachy, history lesson disguised as a full-length feature-flick? Not so much.

5.5 / 10 = Rental!!

"Okay, what I want you to do in this next scene is point to the camera and say that, "You are innocent, until proven guilty.""

“Okay, what I want you to do in this next scene is point to the camera and say that, “You are innocent, until proven guilty.'”

Photo’s Credit to: Thecia.Com.Au

Layer Cake (2004)

Selling ecstasy is the ideal way to become James Bond.

Sleek, well dressed and polite, XXXX (Daniel Craig) looks like any other businessman. Now he’s looking at retiring while he’s still young enough to enjoy his ill-gotten gains. He reckons a couple of days should see him clear of the business. That’s the plan, anyway.

It seems like any British gangster flick that has come out within the past 15 years, all have to be compared to Guy Ritchie films. Ritchie did sort of bring this whole “goofy gangster” type of movie to the public, so it makes sense. But what happens when one of his buddies try to out-do him? Ehh, nothing much.

Instead of relying on off-the-wall humor or a slick style, director Matthew Vaughn, creates a story that is pretty interesting right off from the start and stays that way for awhile. Vaughn brings a whole bunch of plot twists that are sure to mess with you for awhile and he gives us this gritty and mildly bleak look at these characters and the lives they live. I don’t want to say that Vaughn has a pretty distinctive style, because I don’t think he has any set style here whatsoever, but I will say that he knows how to make a regular gangster film look pretty damn depressing just by setting it in certain places that you wouldn’t expect them to be at. I can definitely see why this guy went on to do Kick-Ass and X-Men: First Class, because he can definitely keep the momentum going no matter what it is that he’s doing.

The plot starts off pretty well and keeps a certain momentum to it that had me into it and watching, but then my interest started to stray away once the plot started digging deeper and deeper. With this story, characters are constantly flying in-and-out with barely any introduction at all and it’s never made clear to us as to what their presence serves to this plot at all. I tried my hardest to remember all of their names right away but as time went on, I found myself almost keeping a tally on my hand as to who was who and who was doing what to whom. It’s a very confusing plot that starts to get a bit more confusing.

Let’s also not forget to add that the characters have some very deep accents where you may only be able to catch about two to three words they say in each of their sentences. I can’t really blame this problem on the film and the actors considering they were born with this accent, but then again, it just adds more annoyance to your head when you’re trying to freakin’ map out everything that’s going on. I know a lot of this sounds like I wish that they dumbed this film down for me but I have to be honest when I say that the accents, countless characters, and plot twists messed me up at times if not for a whole 30-minute period. Then again, I got right back into it by the last act when it starts to become a lot more of a story about all these sort of bad muthtruckas just getting ready to kill one another.

People all say that this is the role that made Daniel Craig the next James Bond and I can definitely see it because this guy is pretty damn good. Craig makes this character (who goes unnamed the whole film on purpose) a very easy one to follow because he’s likable, very sleek and cool, but also is a bit vulnerable and finds himself in a lot of situations that you wouldn’t expect a certain “know-it-all-character” to find himself in. He’s just a good actor and if this was the role that got him his Bond gig, then so be it because he may be the best thing about this film.

It was also pretty cool to see Sienna Miller show up here as nothing more than a hot and sexy lady for Craig’s eyes but I sort of do wish that there was more of her and her character because they could have had a bit of a striking little romance go on here. Also, you may notice a little young performance here from a man known as Tom Hardy playing one of Craig’s lackies, and now that I think about it, I wonder who would win in a fight: Bane or James Bond? Now that would be pretty cool.

Consensus: Layer Cake has a great performance from Daniel Craig and an inspired direction from Vaughn, but it also suffers from being a bit too over-stuffed when it comes to its plot with too many characters, too many twists, and way too many accents that made it harder to understand just what the hell everybody was talking about.


Law Abiding Citizen (2009)

Jails not that bad after all, you can still do all of the things you want to do even if that is just getting revenge. Sweet sweet revenge.

Inventive master-mind, Clyde Shelton (Gerard Butler), wreaks havoc on prosecutor Nick Rice (Jamie Foxx) after one of the men who killed his family goes free. Basically, Shelton is out to screw everybody else who went out and screwed him, and I promise you that this is not a porno.

The whole legal system, regardless of who or where you are, is very flawed. I mean just by taking a look at this flick I have to say I kind of agree a bit with Butler’s character a bit. You got DNA evidence, an eye-witness, and even a confession from the killer themselves and you can’t make that stick? The criminal justice system is one that people have learned to trust less and less as the year’s go by and to be brutally honest, it may start to bring more rebellion to this country in the future. However, this is the only type of smart thoughts that went through this film.

Having the “whole legal system is flawed” aspect would have been a nice template for this film to fall back on but somehow it just starts to get more problematic as it goes on. The film tries to balance out the idea of us not knowing what’s going to happen next, even though we pretty much do and gives us these very gory and bloody death sequences of Butler just ripping a guy into 25 pieces. I did not understand what this film was trying to convey by showing this and I think that it was just director F. Gary Gray‘s way of trying to be hip and cool with the 21st century crowd by giving them some cool scenes that they would see in ‘Saw’. Let’s also not forget to mention that none of them are particularly original or new in any way.

I like the whole idea of this one dude getting even with the people that screwed him over in the first place and for the first 30-40 minutes, this film had me pretty entertained considering that this was practically Butler killing people left-and-right from the comfort of his own cell. Although, this all started to change as I soon realized how totally illogical and unbelievable these killings really are so that I started to have a feeling as to just where this flick was going.

The one thing about this film that really pissed me off is that I feel like the film wanted to have its cake but also eat it too. I already mentioned how the film brings up good points about the flawed legal system we have in today’s world but the film also feels like it needs to exploit it’s violence by having these savage killings. It doesn’t work both ways so by the end of the film, when everything starts to come full-circle after all of the blood-shed has been drawn, the film tries to go back to the points it made before and I just felt it was terribly phony right away. This film tried to cheat me but instead just failed miserably at trying to give me murdering with reason, and that’s the main reason why this flick made me mad.

Probably my favorite part of this whole film was probably the fact that I remembered when it was first getting filmed, that it all took place in Philadelphia and even a jail that is about 1 minute away from me. It was definitely cool to see my state and mainly my mayor in a film that gives it a bad name. However, if anybody who is reading this watches football, I highly doubt that this film is the only thing that gives Philly a bad name.

Jamie Foxx is a guy who is usually always a charmer in everything he does, so when he has to play an asshole lawyer (if that’s not a tautology) he seems very lifeless. The whole performance here that Foxx gives just seems lazy and the same emotion on his face the whole time. It also didn’t help that this flick tried to get us behind his character’s back considering that he made an asshole decision in the first place knowing the consequences going in as well. He definitely had more life in his eyes when he was playing Ray Charles. Getttt itt!??!

Gerard Butler struts his stuff and there’s nothing really with that here, however, his character just seems a bit one-note the whole time. Yeah, he’s mad and angry but does he always have to be? Can’t the guy at least show a little remorse and sadness over the things that have happened to him and the things that he does to others? I guess when you’re speaking of King Leonidas, who the hell cares! The film is also held accountable for the only time I have ever seen a bad performance from Viola Davis who plays the governor. Shame on you F. Gary Gray.

Consensus: Law Abiding Citizen is slightly entertaining in some spots and features a somewhat smart critique on today’s legal system, but it gets more and more implausible, unoriginal, and sillier as the film goes on and all of that critiquing goes away as soon as Butler blows up a 3rd car.


Get Him to the Greek (2010)

If I was able to chill with Russel Brand, I know it would probably be better than this movie.

Ambitious young record company intern Aaron Green (Jonah Hill) will let nothing get in the way of his planned rise to the top in the music business — not even the unruly rock star (Russell Brand) he must escort to Los Angeles for the start of his anniversary concert. Doing whatever it takes to get the rocker from Point A to Point B, Aaron encounters all manners of mishaps.

So for anybody who saw Forgetting Sarah Marshall may remember Russell Brand as Aldous Snow totally stealing the show. Well this one is a spin-off with the same guy here, the only problem is that I wish it was as funny as that one.

The script had me chuckling here and there, because the jokes have some good wit and work with the situations that this film places them in. However, the only problem that the jokes are way too raunchy, and not the good raunchy either. A lot of this film’s humor is just random, immature potty jokes that don’t work. I don’t mind a good raunchy joke here and there, but once it starts to become the only thing the film seems like it’s shooting for, it just starts to become an annoyance and do nothing for me. I laughed every once and awhile, but not enough as I was expecting.

The main problem with this film is that by the end the film starts to get a little bit more sweet than I expected as well. There is this little romantic sub-plot that really brings down this film. I get that they were trying to bring more heart to this film rather than a penis, which is where half of the film’s jokes were coming from, but the tone just seems to be uneven by the end. The things that happen in this film are a little bit too unbelievable to actually take into account of some reality, because the way these people act in just seems put on, and made for the next dumb scenario to happen.

I had a great time with these performances which actually helped me through some of the more annoying scenes. As always, steals the show by doing his usual charming, raunchy character as Aldous Snow, and it all feels genuine. Every time this guys on screen, you don’t see him as that crazy guy that did a weird hosting job of the MTV Video Music Awards a couple of years back, you see him as this nutty, drug-addicted rocker and it works. I’m glad to see that Russell BrandJonah Hill is at least still getting big roles that he deserves because this man is just funny in almost anything he does. It’s not just because he’s fat like many people think, it’s because that comedic timing Hill has is perfect. My favorite element of this film had to be Sean “P. Diddy” Combs playing the record producer, Sergio. He does to this film what Tom Cruise did in Tropic Thunder, and that’s basically just play himself, and curse all the time, thus providing many belly laughs. I found myself laughing at his parts the most out of the film, and I’m glad that Diddy at least doesn’t have that much of a huge ego, to take roles like this. There is also some nice little supporting jobs from the likes such as Rose Byrne, Colm Meaney, Elizabeth Moss, and randomly Lars Ulrich.

Consensus: There are some laughs here, much ado to the amazing cast here, but there is too much random raunch that seems put there to make crazy situations, seem even crazier, and the sweetness by the end doesn’t seem real.