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Dan the Man's Movie Reviews

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

Tag Archives: Night Ranger

The Master (2012)

Move over Katie Holmes, Tom Cruise officially has a new arch-enemy.

A charismatic intellectual named Lancaster Dodd (Philip Seymour Hoffman) launches a religious organization following World War II. A drifter named Freddie Quell  (Joaquin Phoenix) becomes his right-hand man, but as the faith begins to gain a fervent following, the drifter finds himself questioning the belief system and his mentor.

Whether you’re a Scientologist and have been waiting to protest outside of every movie theater across the nation, have been waiting to see the return of “normal” Joaquin Phoenix, or have been waiting to see what writer/director P.T. Anderson has kept himself busy with over the past 5 years, chances are, you’ve been pretty amped for this flick, as well as I have been. I mean hell, I reviewed two movies, from the same director, for the past two days! I rarely do that, and I was definitely willing to make an exception for this guy just because he once again, proves that he is one of the best directors we have working in America today. Without a doubt.

One thing that could be said about this tale (but not taken away from, however) is that a lot of it plays out in the same vein as There Will Be Blood. Don’t believe me? Okay, well think about this: instead of oil, you have religion; instead of oil tycoon Daniel Plainview, you have religion-starter Lancaster Dodd; instead of the loose-cannon Eli, you have the loose-cannon Freddie; and instead of the relationship between Daniel and Eli being at the fore-front, you have the relationship between Freddie and Lancaster. The only difference here is that Freddie and Lancaster actually seem to get along with one another, rather than drinking each other’s milkshakes. But I digress.

Whatever way you want to look at this film, you cannot deny the artful skill and compelling nature that lies behind every frame of this movie that Anderson beautifully constructs. From a technical standpoint, this film honestly could not be any better as certain scenes will just have you forgetting about what’s going on screen by how beautiful and wonderful they look. Anderson captures the look and feel of the 50’s as if he actually took a DeLorean back to those days, along with his film crew, and just started filming right on the spot. The long landscape shots that Anderson captures are even more beautiful and breathtaking as the ones he took in There Will Be Blood and I highly suggest you see it in the 70MM way it was meant to be seen in. I would like to complain and say that it was almost distracting how wonderful this film looked sometimes because it really does take your eyes off the action at-hand, but I can’t diss art and that’s exactly what Anderson has painted here.

Then of course, you got the score from Johnny Greenwood that uses the same exact trifling with sounds as he used in There Will Be Blood, but this time almost plays out a bit differently as Anderson gets back into the grand scheme of things by allowing pop-music to ironically poke it’s head into some key scenes that will probably fit any type of emotion Anderson was going for in the first place. No, there’s no Sister Christian or Aimee Mann songs to jam out too, but still some nice quality tunes that shows Anderson is the perfect guy for when it comes to meshing music with scenes.

One of the biggest buzzes surrounding this flick is whether or not this is Anderson’s take on the early days of L. Ron Hubbard’s Scientology. There are a whole bunch of similarities between “The Cause” and Scientology, but Anderson never seems like he feels the need to go so far and just openly describes what it is and that was a pretty brave step coming from Anderson as he could have taken as many cheap-shots as he wanted to with this subject material. However, this does give him plenty of room and opportunity to talk about religion and whether or not this “Cause” is actually good for any of the people that follow it. You can tell that these people love being able to believe in something that makes them feel like they live in a beautiful and wondrous world, but at the bottom of it all though is the fact that some of this may just be all based on a bunch of lies. But still, even though this seems like an area that Anderson can get into and almost badger the hell out of, he smartly doesn’t and allow the viewers to make up their own interpretations about whether or not this religion is the right one to follow. Once again, another brave move by Anderson and shows you why he is in fact, one of the smartest-working writers and directors on the planet. That’s right, ON THE PLANET.

But as much as this film may seem to be about this underground religion and all of the effects it has on its people, this film is really all about the relationship between the two main characters: Freddie Quell and Lancaster Dodd. Both are very, very different from one another as one is the leader of a smooth-talking, happy-all-the-time “religion”, and the other one is just a drifter who can never seem to control his anger, or his drinking for that matter. This contrast between the two characters is probably one of the most interesting and entertaining aspects of this whole flick because we see them both work wonders for each other in ways that we thought weren’t even imaginable from the first meeting the two. They actually care for each other and both want what’s best for them, even if they don’t fully make it work every single time they try. One scene that comes to my mind the best when I think of the relationship between the two is when Dodd actually tells the cops to not hurt Freddie, even after he continues to beat the ever loving crap out of them all. It’s one of the most memorable scenes in the whole film not because it’s a turning-point for the whole direction in where the story was headed, but because it shows you the depths of the relationship these two have together.

What I think makes the relationship between them both the most memorable, is the fact that they are played so brilliantly by its two leads: Joaquin Phoenix and Philip Seymour Hoffman. I was so damn happy to see Joaquin back in full-on acting mode because it’s performances like these that make me realize the type of talent this guy has that shouldn’t be wasted on a faux-rap career. Phoenix is mesmerizing as Freddie Quell because he brings all of that vent-up frustration and strangeness that he had with his “character” in I’m Still Here, and let’s that play-out in a way that’s as memorable as it is compelling. You can tell that this guy is going to flip any chance he gets the chance to and it’s pretty obvious that he doesn’t have the best conscience out there, either. However, there are a couple of key scenes that show Freddie in a very sympathetic light that may have you understand why this guy is always so off his rocker. He comes off as a fully-realized character that has plenty of sides to him and you honestly can’t take your eyes off of. This performance is nowhere near the type of actor’s play-day performance Daniel Day-Lewis had with Plainview, but it’s still something that’s worth loving and remembering come Oscar time.

Then, you got Hoffman playing the type of Plainview-like character as Lancaster Dodd, a character that couldn’t have honestly been played by anybody else except for Hoffman. Hoffman does a great job with Dodd because he plays the character, like a guy that has so much charisma, so much heart, and so much warmth to him that it makes you realize why everybody feels so close to him that they could follow him and every word he speaks out. He’s almost reminiscent of Orson Welles in a way of how he’s all tight-lipped with his speeches and rarely ever loses his cool, but when he does, it’s one of the more memorable scenes since we see this character slowly start to unravel right in front of our eyes. It’s not like this character is treated like an evil piece of crap that nobody should care for, but is instead shown off to be a guy that believes in his own way of life and wants to spread that across to everybody else. Yeah, that could be viewed at as a bad thing but the film never quite portrays it as that and it’s another brave step Anderson was not only able to take with this story, but this character that Hoffman has also fully-realized in his own charismatic way.

Some may be surprised to see that Amy Adams doesn’t have a bigger role here as Dodd’s wife, Peggy, but does a nice job giving her character a very dark turn that I wasn’t expecting in the least bit. Still, out of the other two, she sort of comes off as the weakest-link and could have used a bigger and better role to be more substantial to everything that’s going on and the plot itself. Everybody else is good here too, and I like how Anderson made every character in this cast worth something and have their own moment, even if it may only be for a second or two.

So, here I am, going on and on and on about this flick and how amazing it is and you are probably sitting there wondering, “Oh em gee! Is he going to give it the prized 10/10 I haven’t seen in God knows how long??!?!”. Well, no. Sorry to burst your bubble everyone but this film did still have some problems in its own right and it’s that I think the emotional connection for this film was a bit more off this time around, probably due to the fact that the story is always weaving around and whatnot. With Daniel Plainview, it was easier to follow this character and know him for all that he was because it mostly just about him doing his own, evil thing, but here, the story goes back-and-forth between Freddie and Lancaster so much that it was a bit hard to build-up the tears when that ending came around. Also, there was this really strange scene that had to do with Amy Adams, Hoffman, and a bathroom that is still fresh in my mind because it made no sense and seems to be a bit misplaced in a film that seemed to really go for it all, in terms of being sane and keeping itself in reality. Still though, minor quibbles if you ask me.

Consensus: The Master could easily be a title that director P.T. Anderson is giving himself, because that is exactly what this guy is. Everything from the visuals, to the landscapes, to the score, to the performances, to the fully-developed story, to the religion movement; all are done with the masterful craft of Anderson and is sure to be one of the films to watch out for, come Oscar season.

9/10=Full Price!!

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Rock of Ages (2012)

If only life was played to the music of Def Leppard, then all girls would feel the need to pour some sugar on me. If you know what I mean.

This movie tells the story of small town girl Sherrie (Julianne Hough) and city boy Drew (Diego Boneta), who meet on the Sunset Strip while pursuing their Hollywood dreams. Their rock ‘n’ roll romance is told through the heart-pounding hits of Def Leppard, Joan Jett, Journey, Foreigner, Bon Jovi, Night Ranger, REO Speedwagon, Pat Benatar, Twisted Sister, Poison, Whitesnake, and more.

I’ve never been a big fan of the 80’s but from time to time, I’ll find myself rocking out to a couple of hair metal tunes like “Cherry Pie”, “Pour Some Sugar On Me”, and plenty of others. So the idea of having a musical taking place around that era and focusing on that music, didn’t really have me reaching out for my “nostalgia money” but hey, nostalgia isn’t all that bad.

Director Adam Shankman is a guy who knows how to do musicals and bring out the most energy in them. Everything looks so colorful, the dance numbers have people running all over the place while pulling off some neat Michael Jackson-like moves, the editing is choppy but gives the film this frantic feel to it, and a hell of a lot of camp to be had here as well. I mean whenever anybody talks about the 80’s, you can’t get past the fact that everything in that era was just so corny and goofy, but also, so perfect for that time period. That aspect is what this film plays off of and I think Shankman did a pretty damn good job recreating this era to the point of where I felt like I actually was watching a story in the 80’s, not just a dramatization on what might have been.

But if you’re going to see this film, you’re not going to be bothered with the camp of purty colors that are on display. Nope. You’re definitely going to be seeing this film because you love 80’s music, or just music in general and if that is the case, then this is a perfect fit for your music loving heart. Every time the film would start to get lame and focus on its “story”, a kick-ass musical number would just come right in to bring my attention back onto the screen, get my feet tapping, and simulate all of drum parts for each and every song. Everybody in the theater that I was with, kept looking at me but I didn’t care because I just could not help myself once people starting belting out lyrics to “Hit Me With Your Best Shot”, “I Wanna Rock”, and even, yes, “I Want to Know What Love Is” (hey, don’t judge that song can get to you, man). Some of the songs aren’t used in the right context here and some even weren’t made yet by the time that this film takes place in, but either way, I could not stop rocking out and I came to realize that the 80’s was a pretty cool time for music. Never thought I’d be saying that.

The problem with this film is that whenever people aren’t jamming out to some choice tracks, everything starts to get boring and terribly dull. The center story, that the rest of the film takes place around, is beyond cliché where we see a young girl come all the way to Hollywood to be a huge singer, only to fall in love with another young, up-and-comer. Boring! This is something we have all seen done before and nothing else is really changed here with the exception that this love is surrounded by 80’s tracks, but even they couldn’t get my head past the weak-ass story. I actually think I dozed off a couple of times, only to be awoken by the loud, thunderous sounds of the music that would bring all of the fun this movie needed.

The film also doesn’t have much to say about the 80’s, let alone the music that took over this decade. Maybe I was going for something more than what I really needed from a musical like this but I think that the film could have done more with it’s whole 80’s premise, rather than just showing us how cool it was. It would have been a nice mixture of Rock Star and Hairspray, and even though that may not sound so wickedly cool and fun, it still would have offered more insight to its decade than this film did. Also, 2 hours and 4 minutes is sort of pushing it a little too long, especially when you have a musical that’s just strictly for the 80’s crowd.

What really made this film such a blast though, aside from the 80’s tracks, was the strange ensemble that came out believable and made this film a whole lot better. Malin Akerman is delightful and sexy as the “Rolling Stone” reporter that gets involved with a big-time rocker; Mary J. Blige may not be the best actress out there but she sure as hell can sing, which that’s all this film needs; Paul Giamatti is slimy and slightly evil as Paul Gill, but who else could play that type of character; Catherine Zeta-Jones is over-the-top as Patricia Whitmore, the wife of the Mayor, but is entertaining and has one sick-ass dance number that brought me back to her Chicago days; and Alec Baldwin and Russell Brand both have a lot of fun with each other as the two club owners, but I think needed more time on-screen as well. As for our little tikes in the leads, Julianne Hough and Diego Boneta, they are delightful to watch but kind of get blown out of the water by this phenomenal supporting cast. Mainly, one in particular.

Tom Cruise as hair metal icon Stacee Jaxx, was not only a perfect bit of casting for Mr. Cruise here but also the best part of this whole movie. Lately, Cruise has been taking more and more roles that show him sort of making fun of his own image and this is one of those roles where he gets to play around a bit with that image, but also be able to release his inner rocker. His voice may sound a little too weak for some of these songs that he performs, but it doesn’t matter because the guy takes over the screen whenever he’s on and also has a pretty credible character arc to him as well. It’s nothing like Magnolia, but it’s still the only arc for any character in this movie and it’s used well because it’s Tom Cruise dammit! Honestly, Tom Cruise has one last, big Oscar for him somewhere and even though it may not be this role, I know it’s still coming up soon regardless.

Consensus: Rock of Ages may have a weak story that makes the era its portraying more dull than it has any right to be, but the non-stop 80’s tracks are filled with energy and fun, and feature some great performances from this impressive ensemble cast of characters, especially an intense Tom Cruise.

6.5/10=Rental!!