Dan the Man's Movie Reviews

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Tag Archives: Val Kilmer

At First Sight (1999)

Eyes open or closed, we all know Mira Sorvino is downright beautiful.

Young architect Amy Benic (Mira Sorvino) needs a break from the busy high-life of Manhattan and decides to go out to the country-side, relax, and get her massage on. While she’s getting that on, she falls under the spell and hands of the masseur Virgil Adamson (Val Kilmer). She instantly clicks with him and realizes that there’s something between the two that’s as rare as it can be. Rare, because Virgil’s also blind and has no idea what she looks like, or anything else for that matter.

Watching all of these sappy, romantic-dramedies can honestly do a number on a person. Nicholas Sparks has dulled the senses so much, that even when something relatively sweet, sort of nice comes around, it’s hard to fully embrace it. For someone like me, I’m just so used to saccharine, annoying romantic-junk that yeah, it makes you forget about actual solid romantic-flicks out there in the world.

Sort of like At First Sight. But also, sort of not like At First Sight.

Let me explain.

Well, close enough.

Well, close enough.

Granted, it’s nothing special, but it works at being a piece of romantic-drama that you can root-root-root for the couple, and just hope that they end up together because you can see that they’re good people, have the best intentions for one another, and most of all, love each other like silly. Isn’t that what we all want to be reminded of when we watch sap-fests such as these? Well yes, as well as the ability to love and be loved is still out there and if you have a heart big enough to allow that into your soul, that even you can come under it’s spell? I think so, and I think that’s why I actually didn’t mind this movie as much as I was planning to.

Val Kilmer is a nice fit as our blind man for the two hours (way, way, way too long for my liking!), Virgil Adamson. Despite how he may be behind the scenes, Kilmer has always had a certain cool, suave charm about him, which is what works well for this character here, who could have easily just been a later-day saint who also happened to be blind. It’s also a nice refresher to see him play a much softer, more romantic-side, even though the movie surrounding him is, yes, corny and undeniably syrupy beyond belief.

But like I said, the guy’s so charming, he makes it work.

Daredevil totally ripped this movie off!

Daredevil totally ripped this movie off! Damn Ben Affleck!

Playing his love bird for the two hours (once again, way, way, way too long for my liking!), is Mira Sorvino as Amy. Sorvino is always a charmer and is as cute-as-a-button that whenever she smiles, it’s so easy to just feel all warm and gooey inside. She’s got that beautiful look to her that works to her advantage and it’s just great to see that in an actress that can make bad material like this work, even if we do see it coming a hundred-upon-a-hundred miles away. You actually believe that she could fall in love with a guy like this, knock down all of the problems of being blind, and just look at the person instead. It’s obvious stuff, but Sorvino and Kilmer make it work together and if it weren’t for these two in the roles, it’d be really hard to get through this thing.

Then, there’s Kelly McGillis who eventually shows up as Vrigil’s sister that is always there for him and watching over him and is okay, but also where the movie really starts to go off-the-rails. The first hour, while cheesy, is sweet, soft and enjoyable enough to where it’s a nice piece of time passing-by, because it’s never taking itself all that seriously. But then, miraculously, as soon as McGillis rears her head in, everything gets a bit bonkers and far too serious. It certainly doesn’t help the fact that she’s always yelling, upset, and crying about something going on. Thankfully, Nathan Lane is here to save the day and as usual, use his comedic-charm to his ability and have us love the guy like never before.

So when in doubt, just trust Nathan Lane.

Consensus: Is it predictable? Yes. Is it obvious? Yes. Is it long? Hell yes! Is it at least entertaining? Ehh, sure. At First Sight may not throw you any curve balls you won’t see coming at you miles away, but Kilmer and Sorvino at least make the material seem more than just your average, run-of-the-mill romantic-drama, even if that’s exactly what it is.

5 / 10

Correct me if I'm wrong, but aren't you not supposed to pet those dogs or something?

Correct me if I’m wrong, but aren’t you not supposed to pet those kinds of dogs or something?

Photos Courtesy of: Metro-Goldwyn-Mayer


Song to Song (2017)

Music rocks. Until it doesn’t.

Set in/around the Austin, Texas music scene follows the story of four different people who are all in some way, shape, or form connected to one another. There’s BV (Ryan Gosling) a struggling lyricist who has chances of becoming the next best thing since Bowie, but for some reason, doesn’t know if he wants to fully commit to this dream just yet. His buddy/co-writer/co-producer Cook (Michael Fassbender) is on a much different playing-field; he’s already established, rich, wild and happy as can be, but also a bit of a nut-case, which leads him to making some pretty rash, awful decisions. Then, there’s his former assistant, Faye (Rooney Mara), who now spends her time taking up odd-jobs, whenever she isn’t flirting with the idea of music. And then, there’s waitress Rhonda (Natalie Portman) who meets Cook and ends up not just falling for him, but the world he represents. The same thing happens when BV and Faye meet one another, too, however, their relationship becomes more and more toxic as certain secrets begin to come up into the air.

Look out, Rooney. This is how Baby Goose gets all the ladies.

Song to Song is a lot like every other Terrence Malick film released since the Tree of Life: Rambling, ambitious, meandering, random, and oh yeah, absolutely beautiful. And normally, as was the case in both Knight of Cups and To the Wonder, I would be annoyed, baffled and oh yeah, utterly disappointed; after all, this is the one director who every person in Hollywood wants to work with, drops everything to be around, and do so, without ever even being promised that they’ll be in the final-cut. It’s surprising, actually, because Malick, while no doubt having made some classics in his film-maker career, has more “mehs”, than actually “wows”.

Consider Song to Song in the category of the later, although, with some obvious mild reservations.

Of course, it deserves to be said that, at times, Song to Song can’t help but be incoherent; the editing is so dazzling and jumpy that it doesn’t take long to realize that every scene will probably be on the screen for upwards of five seconds, only to then be switched back to another. The editing is impressive and considering how much footage was probably there to be waded through, time and time again, cut-and-cut, it’s all the more surprising how much of it actually seems to make sense, when put together, but man oh man, the shots can tend to be repetitive.

I mean, yes, I get it: It’s a Malick film. So of course we have to have a bunch of scenes of people frolicking in nature, looking towards the sky, running around exotic locations, and trying not to kiss, but yeah, it happens way too many times here. A part of me wants to learn and accept that as Malick’s thing, and move on, but a part of me can’t help but think it’s just pure laziness, where rather than having to actually write a script, where people speak to one another and profess certain things, they can just run around, glance at each other, and appreciate nature. Once or twice is fine, okay, whatever, but it happens way too often here to where I was beginning to wonder if certain shots were re-used, just so that Malick could hit his frolicking-cue.

And on that note, let me just switch gears by saying, despite these reservations, this movie is quite the watch.

And I mean that in the best way possible.

Sure, it’s Terrence Malick, so the narrative isn’t always the strongest, but in a way, there’s more cohesion here, than there’s been in anything of his since the Tree of Life. Seemingly, they’re two love stories, all taking place around the Texas music scene, and while the movie does ramble on to other places, it’s easy to understand that it is about these four characters and leaving it at that. It’s easy to get confused and well, bored, in Malick’s other flicks, but here, it seems like he knows the kind of story he wants to tell and doesn’t try to go for anything else.

That said, there’s an energy to this thing that just keeps on kicking throughout the whole two hours. It’s honestly what kept me watching, even when it seemed the movie was going to lose its way. But surprisingly, it never does seem to; even in those parts where the movie slows down and focuses on, hey, get this, the actual characters and their lives, there’s still a rambunctious feeling in the air that Malick, believe it or not, just wants to kick out the jams.

Every waitress’ dream: One day, an alcoholic, drug-fueled, crazy and rather insane music-mogul will come in and sweep you off your feet.

And well, he sort of does.

If there’s one complaint that I’ve been seeing around is how Song to Song isn’t really as much about the music, as much as it’s about these characters that make and live around the music, which is an okay complaint, I guess. Except that well, that’s what the movie’s about. Malick doesn’t seem to set out and create some sort of conventional, crowd-pleasing musical in the same vein of La La Land or Chicago, but much more of a narrative-based movie that surrounds itself with loud guitars, amps, drums, and singers, like Nashville, for lack of a better complaint. Sure, we get brief glimpses of Florence and the Machine, Patti Smith, and the Black Lips, but the movie isn’t trying to make this the ultimate Woodstock experience for those who wanted to experience, but more or less, use it as an interesting backdrop for all of these wildly contained lives.

In a way, it’s incredibly smart on Malick’s part, because he not only makes us feel like we’re watching a documentary the whole way through, but a very interesting one at that. Which is to say that yes, Song to Song is beautiful, but you probably already knew that; Emmanuel Lubezki touches something and it automatically turns to art. But there’s something more beyond the prettiness and glossiness of the whole thing that makes it feel much more about the heart, other than the style.

Which is also why Malick does a smart thing in actually allowing his cast to aid him in telling the story, for once.

And with Gosling, Portman, Mara, and especially, Fassbender, Malick’s found some real treats. Granted, a good portion of their performances ultimately come down to narration, but when they are captured on-screen, in the moment, all of them are captivating and enthralling. Fassbender’s probably the stand-out here, showing a loose and wild man in Cook who, despite having all of the money and power in the world, still shows a great deal of darkness, lying underneath. While most of the performance seems improvised, it’s still a true testament to the kind of talent that Fassbender is, where he can play this sometimes over-the-top character and still, somewhat, make him seem real and honest.

Then again, it is a Terrence Malick film, so how real or honest you can get, totally depends on him.

Consensus: Though it does have the ability to ramble at certain points, the exciting energy, utter beauty, and interesting performances of Song to Song are what keep it, at best, compelling and a lively experience. Sort of like, hey, get this, going to a concert. Except with, of course, less music.

8 / 10

Alright, Rooney. Stop being Sia. Be you, girl.

Photos Courtesy of: Indiewire

Alexander (2004)

Some people let fame and fortune go to their heads. Others, just want to party and have a lot of sex.

Ever since he was a little boy, Alexander (Colin Farrell) was always a person destined for great and wonderful things like becoming the greatest empire in the world, at a staggeringly young age of 32. Of course, however, his path to greatness was a rough and troubling one, mired by all sorts of controversy and adversity that seemed to take him down a peg, even when it seemed like he was ready to take down everyone who stood in his way. There’s his mother (Angelina Jolie) and his father (Val Kilmer)’s legacy and how all of their accomplishments have overshadowed his impact; there’s his sexuality and how some people don’t ever know what it is that he likes to have sex with; and then, there’s also that need and utter desire he has that makes him want to kill nations and nations of people because they don’t praise him as the lord he so desperately wants to be praised as. Of course, all of this would be prove to be his ultimate demise.

"I know you love the blonde hair. All the girls do."

“I know you love the blonde hair. All the girls do.”

Alexander is not nearly as awful as people make it out to be. It’s probably Oliver Stone’s worst movie, but in that, therein lies an interesting movie that has a lot of good ingredients, a few rotten ones, and ultimately, doesn’t fully come together as perfectly as his other movies have. But does that make it absolutely, positively awful?

Not really.

And it’s because of Stone, that a movie like Alexander – one that would have been so slow and boring – actually comes off far more compelling than one would expect. Just as he’s shown before, Stone seems a whole lot interested in just what makes a legend like Alexander tick and become the man that he wants to eventually become; sure, the narrative of him from childhood, to his adult-years, don’t always mesh well and would have probably worked out better had they been shown in a more conventional format, but still, there is something of interest to this person here. Stone doesn’t always know what he wants to say about Alexander, or better yet, what point he’s trying to get across by telling his story in the first place, but there is something here, as small and as slight as it may be, that’s definitely worth watching and thinking about.

It’s just that it’s still hard to figure out just what that may be. Stone seems interested in judging this person solely on the fact that he condoned a whole lot of violence, yet, at the same time, didn’t know why or for what reasons, expect that it was all he was taught when he was just a little tike. But then, Stone also seems interested in how his sexual preferences may have also done a little something to make him seem like a weakling that couldn’t be trusted in the long-run. And then, of course, there’s also the fact that Stone seems interested in wondering just what it is about a person like Alexander that makes him feel like a God that can do no wrong, never die and still keep the love, respect and adoration of all those around him.

There’s a lot to think about and work with, but unfortunately, yes, the movie is also quite messy and doesn’t always make the best sense of what it’s trying to do or say.

And yeah, that’s a huge problem for Alexander, considering that it clocks in at nearly three hours, showing us that, once again, Stone is the King of excess, especially when it seems like there’s no real reason for the actual excessiveness in the first place. And hell, if there is a reason, it’s because Stone himself knows that he doesn’t quite know what he’s getting across with the material, so rather than trying his hardest to make a small, concise movie, he overloads it all, adding more bits and pieces of style that come and go as they please. It’s what we’ve come to know and, unfortunately, expect with Stone, even if it does sometimes feel like he’s got something of interest to work with here.

Their family is better than yours.

Their family is better than yours.

He just doesn’t know what it is, sadly.

But that’s why he’s got such a good cast to work with and, in ways, pick up the pieces whenever the narrative seems to flowing from one place to another. Colin Farrell is fine and hunky as Alexander, even if the character himself is written in so many different ways, that he almost feels like an entirely different person altogether, at random parts of the movie. Farrell gets past most of it, but he also feels like he’s struggling to make sense of just what Stone is aiming for here. As his parents, Val Kilmer and Angelina Jolie are terrific, vamping and hamming it up, showing us that Alexander definitely had two role models in his life, for better and for worse, and they made him who he is today, and honestly, the movie would have been a whole lot better just about them and their little dynamic.

Because once Kilmer and Jolie are thrown in the background, others like Jared Leto, Rosario Dawson, Jonathan Rhys-Meyers, and the one and only, Anthony Hopkins show up and quite frank;y, the material just isn’t there for them. They all feel like added-on characters who show up because Stone wanted to work with them and, honestly, needed an excuse. Dawson’s got the most to do out of all these actors, but even she feels short-shifted, only made to give sad looks and take her clothes off. I’m not complaining, but trust me, there’s a whole lot that she can do.

In fact, so can everyone else here. Including Stone himself.

Consensus: Not quite the travesty as some have made it out to be, Alexander suffers from being messy and never always making the best sense of itself, yet, gets by on a few good performances and moments from the near three-hour run-time.

6 / 10

"Join me in this fight now and afterwards, we'll all get mangled!"

“Join me in this fight now and afterwards, we’ll all get mangled!”

Photos Courtesy of: The Ace Black Blog, Metro, Cine Cola

Bad Lieutenant: Port of Call New Orleans (2009)

That guy pulling you over on the freeway? Yeah, he’s totally high on coke.

Terence McDonough (Nicolas Cage) is not the type of cop you want to mess with. And I don’t mean that in the sense that he’s a dangerous dude that will practically throw the book at you if you go past a stop sign and give him lip. Nope, I mean it in the way that he’s as crooked as a squiggly-line, is always perked-up on coke, oxy, heroin, whatever the hell he can find, and never seems to be in the right state of mind. Yeah, he’s that type of cop and the one that nobody wants to be around, nor be on the opposite end of the law with, hence why most of them just stay out of his way and let him do his thing, as insane as it may be. However, all of McDonough’s wild times of drugs, sex, alcohol, hookers, and all sorts of other debauchery finally begins to catch up with him once he has to get involved with the brutal murder of local family. Almost too involved, one could say.

Yes, I know. If any of you are long time readers out there reading this now, you will most likely come to know that I have indeed reviewed this back in the day when it first came out, four years ago. However, times have changed for me and this movie since those years ago, and I’ll tell you exactly what:

1.) For starters, I’ve become more in-tune with what makes a good film, actually considered “good” and all of the other essential parts here and there.

2.) I’ve seen more and more Nicolas Cage performances that I not only like, but came so far as to loving.

3.) I’ve seen more and more Werner Herzog movies, both documentaries and narrative-films that I not only like, but also came so far as to loving.

4.) And last, but sure as hell not least is the fact that I’ve actually seen the original, Abel Ferarra’s Bad Lieutenant, and needless to say, this movie swims laps, and then some, around that one.

"Pimp My Ride sucked. Hahahaahahahah!!"

Pimp My Ride sucked. Hahahaahahahah!!”

I know that the original and this remake don’t really share so much in common, except for the general plot-line and a tad bit of the name, but overall, the two flicks seem to have some sort of connection that goes further than just same characters and plot-outlines; it’s more that the flicks show their directors, and their main stars at the peak of their game, with one combination doing better than the other. The one combination that really worked to it’s ability was this movie, and no cheap shots at the original or Harvey Keitel’s penis, but this movie is a lot better and a lot more worth watching, especially if you’re in a happy, average mood. If you’re a deep, dark, depressing, and spiritually-thoughtful mood, then give the original a shot and see how many times you never look at Harvey Keitel the same again.

Where this movie works the best in, is not through its conventional plot, or through the twists and turns it sometimes throws at us, it’s more how the movie paces itself and makes this more than just a standard, police-procedural where we see a cop who’s obviously battling some inner-demons of his own creation, also come to terms with the harsh realities of the world outside of him. Some of those ideas are scattered throughout this movie, but most importantly, it’s a movie that shows one man’s descent from hell, to total purgatory. It’s also about every step he takes closer and closer towards crime and paying-off his debts, he gets further and further away from what makes a person considered “moral” or “good”. Plenty of those discussions come up, but they never seem to be used in a heavy-handed way like we’re used to seeing. Herzog’s better than that and so is Cage.

Together, these two compliment each other a whole lot better the second time on seeing them. With Herzog, everything new, cool, or fun that he brings to this story and the screen, he runs with and never lets anybody, or anything get in the way of it. It doesn’t matter what people are used to seeing with plots like these; if Herzog has an idea in his head that he wants to use, he’s going to use it and you better be happy with it. Sometimes, the decisions he takes are a little goofy, and take away from what the movie’s whole “message” is supposed to be, but they’re never anything too far-out to the point of where I lost any idea of just what I was watching. Despite all of the P-O-V shots from iguanas, alligators, and fishes, the movie still makes sense and builds up to a cohesive, understandable story that’s not hard to follow along with, nor is it any less compelling to watch. You don’t need some slick twist or turns to juice up a story like this, all you need is an interesting enough central character to really keep your eyes glued, and with the character of Terence McDonough, and Nicolas Cage playing him, you couldn’t have asked for anyone better.

Most of you may already know this around, but I’m a Nicolas Cage fan through-and-through. No matter how many bombs the guy has made in the past; no matter how many random chicks he’s dated; and especially, no matter how many times he’s tried to be cool and just hasn’t let it work for him, the guy always gets a pass from me because of those one-in-a-million shots he gets, to where he is able to prove to us that he is indeed not just a talented actor, but one of the best working today. That’s what I love so much about the guy in everything he does, especially in this. He’s insane, nutso, bonkers-as-hell, high all of the time, and is always on the verge of a mental breakdown, whether it be the Nic Cage I’m talking about on-screen or off.

He and Herzog work well with one another because they do things together, that you’d never expect them to be able to pull-off, and do it so successfully.

Don't be so quick to judge, they were talking shit on Knowing.

Don’t be so quick to judge, they were talking shit on Knowing.

For instance, there are plenty of long, tracking-shots where it’s just Nic Cage’s face going through all sorts of emotions, and not a single one of them are here to be put in here. Even with lines like “Keep shooting! His soul’s still dancing!”, or “I’ll kill you all to the break of dawn”, where Cage’s sense of being off-kilter is almost ridiculous, you never lose respect for this character, nor for Cage and his ability as an actor either. Still, you laugh your ass off at him, but also with him as it’s made pretty clear to us that not only does Cage know what type of performance he’s giving, but so does the rest of the cast and crew involved. They are all just there to have a little bit of fun, and watch the master at work.

Once Herzog eventually gets back to filming actual movies with a narrative in force, I hope to see more of Cage get involved with them, because not only does Herzog know what to do with him, but he also allows him to run the show with total faith and trust thrown firmly in the dude’s grasps.

Even though it is totally Cage’s show from start to finish, the supporting cast actually helps him out as well. Eva Mendes is playing it surprisingly straight-laced as his coke-addled, hooker girlfriend that loves him, but also can’t stop whoring around to protect her life for the hell of it; Xzibit is surprisingly intense as the main drug-lord of New Orleans that Terence takes a liking to; Val Kilmer is fun and entertaining to watch, just because he always finds a way to bring out that pitch perfect comedic-timing of his; it’s always a joy to see Fairuza Balk back on the big-screen, especially with her supporting some pretty fine, sexy lingerie; and even Brad Dourif gets to have some fun as the exasperated bookie who just wants his freakin’ money, man!

Overall, everybody’s good, but it’s Nic Cage’s show, and you can’t ever fuck with that.

Consensus: Though it’s a very odd, very strange experience to go through, Herzog, Cage, and the rest of the cast and crew keep Bad Lieutenant: Port of Call New Orleans surprisingly grounded in a sense of emotional-reality where drugs is more than just a reliance for people; it’s practically life.

8.5 / 10 = Matinee!!

"Told ya life would get better after Ghost Rider."

“Told ya life would get better after Ghost Rider.”

Photo’s Credit to: IMDBColliderJoblo

Palo Alto (2014)

California has some creepy-ass parents. And even more messed-up kids.

In California, a group of high school students come to terms with what’s supposed to be “adulthood”, yet, can’t seem to shake the fact at all that they might actually have to go through with it. Fred (Nat Wolff) is a wild, crazed lunatic that is downright unstable and on the verge of having himself a full-on, mental breakdown; Teddy (Jack Kilmer) is a meek, quiet, and reserved kid that likes to do most things that any teen on the face of the planet enjoys to do, but finds himself in a bit of a rut when he gets arrested one night; Emily (Zoe Levin) is a girl who gets around and uses sex as a tool for attention, but finds herself actually wanting a relationship with the wild-card that is Fred; and then there’s April (Emma Roberts). April is a smart one, but she’s also confused, angry and bored, which leads her into the arms of her soccer coach/baby-sitter employer (James Franco), and further away from the one that actually wants to be with her (Teddy). These four teens all know each other and find their stories interconnecting in ways, while also share the same idea: Being a teenager blows.

To be honest, that synopsis there was a bit of a stretch for me because there isn’t really much of a premise here. Instead, writer/director Gia Coppola (if you know the last name, you know exactly which family she comes from) just sort of moves this film from one event to the next, without much conflict, arch, or narrative to be found in there. It’a almost as if Coppola got this whole cast together, plopped the camera on the ground, and told them to “go!”, without really taking much initiative.

Probably listening to the Antlers, or whoever the "hip" band is nowadays.

Probably listening to the Antlers, or whomever the “hip” band is nowadays.

This may all sound like a bad thing, but I can assure you, it’s not. Somehow, this absolutely works for Coppola’s movie because it shows that she’s not judging anybody here whatsoever; there’s no villains, heroes, or clear-cut person that’s easy to predict what their actions next will be. Everybody here is a human being, and because of that stance Coppola seems to take, the movie feels exactly like that: A snapshot of real life, happening in front of our own very eyes. Sometimes, you could even say it’s a bit too real, but there’s something different here about the reality of these teen’s lives that Coppola creates, then against something like say, I don’t know, a Larry Clark movie.

Here, Coppola distances herself away from the material and just allows everyone, and everything to tell itself out; whereas with most of  Clark’s movies, it’s clear and obvious that he has some sort of agenda – almost as if he’s just rubbing all of this meaningless debauchery in our faces to show us how realistic it all truly is. But Coppola isn’t that type of director, and while there may be some lurid acts here that may not sit well with possible-parents out there, it still works as a way of getting us deep inside this small, boring life that these young, privileged kids have surrounded around themselves. While plenty of kids do drugs, drink, have sex, break stuff, drink flower-pot water, get into car accidents, and listen to deafening hip, EDM-jams, it’s never supposed to be seen as fun. It may cause some people to laugh in a nostalgic, “hey, I remember when I did that back in the good old days before I got old and boring”-way, but for the most part, it’s supposed to show us, the audience, that these kids are living dull lives.

Yet, it’s all that they have and somehow, you end up feeling bad for them because of so.

For example, take the character of Fred; the kind of guy you knew in high school who didn’t take shit from anyone, anywhere, regardless of it was reasonable or not. He just loved to be an asshole and get his point across, so therefore, he wasn’t the most popular/loved guy in high school, but everybody still knew exactly who he was. Watching him go around, insult people to their faces and basically say, or do, whatever comes natural to him, definitely strikes a chord with most of us who have ever felt that rebellious spirit burning deep down inside of themselves at any time in the adolescence. And because of this, Fred’s a pretty cool guy, albeit, a very dysfunctional one that doesn’t always make the right choices, with the best intentions.

However, that doesn’t make him a terrible human being, per se. It makes him somewhat thinly-minded, but he’s not a terrible person, which is something that Coppola wants to get across about each and everyone of these characters; they make decisions, not all of which will be morally correct in the eyes of “the perfect human specimen”. Because of this, it’s characters like Fred that are seen as honest and raw kids that you could walk into on the street, or may have even met back in the day, before all of the selfies and Twitter took charge of the young, fragile minds.

Gosh, this generation truly is fucked. You know?

Anyway, speaking of Fred, Nat Wolff is a downright scene-stealer in this role and shows me exactly why this kid is a young talent to be looked after. As I’ve said before about Fred, he’s a bit of a punk that doesn’t always do, or say the right things, yet, has a conscience that wants to be with those who appreciate his company and also wants to have a good time. There’s a possibility that his character and Zoe Levin’s may start up something very serious and committed together, and it shows them two as more than just a bunch of reckless, shallow teens; they want love, but they’ve never felt, or had it before, so they don’t know how to approach it or go on about it. Zoe Levin is great too, by the way, and gives Emily a very sad-streak that reminded me of plenty of girls in high school that I “knew”.

I won’t say anything more than that, but yeah, you get my drift.

"Hey, 'James Franco: Soccer Coach', has a pretty nice sound to it."

“Hey, ‘James Franco: Soccer Coach’, has a pretty nice sound to it.”

The other “love” on the other side of this story is supposed to be between Teddy and April, but without saying too much, that angle gets shelved for April and her soccer-coach to engage in some heavy, full-on flirting and kissing. Which, oddly enough, seems to be the main-attraction for this movie, only because of James Franco, but is probably the least-interesting aspect of the whole movie and isn’t even featured all that much to begin with. Franco is good as the pervy older-guy who creeps on April and possible other young gals her age, but isn’t in it all that much to really show him as anything more than just an “old dude who wants to rob the cradle a bit”. You could pretty much just say “half of Hollywood”, but you get the picture.

As for Emma Roberts, she’s amazing as April because, even though her character does some foolish, child-like things, she always seems smarter and more thoughtful than she lets on. When it becomes apparent that she may in fact love her soccer-coach, it isn’t done so in a way that makes it seem like a total fantasy, it’s shown in an understandable, believable way that has us feel bad for April because there’s absolutely no good that come of this, while simultaneously also feeling happy for her that she’s found a possible love in her life and may actually be pursuing it for the first time. This may sound like a total compliment to Coppola, but it’s really to Roberts who allows April to say so much, without saying anything at all and adding layers to her thought-process and the way she handles certain situations.

But the best for last is Jack Kilmer as Teddy, who, if you don’t know by now, is the son of the almighty Val Kilmer (who cameos up in this movie and just about steals the whole thing with only a few words of dialogue). However, just by taking one look at the kid, you’d know that right away because not only does he look a lot like his daddy did when he was a lot younger (and thinner, just saying), but even shows some of the same strengths as an actor as well. Kilmer does a lot of looking, which may seem boring and uninteresting to some, but really emphasizes a certain amount of mystery this kid has going for him and why it matters how quiet he stays. He’s the kind of kid that didn’t really talk much in high school, yet, was always there and was always doing nice things. Like everybody else in this movie, he’s not perfect, but then again, who the hell is?

Better yet, who the hell is considered “perfect” in high school – the time where practically all of us hardly have any idea of what to think of ourselves as being?

Consensus: Well-acted by just about everybody in the cast and thoughtful, Palo Alto is a promising directorial-debut for Gia Coppola that shows her inherent beauty for some of the more quieter moments in adolescence, as well as the ones that have most of us thinking about what’s right, and what’s wrong.

8.5 / 10 = Matinee!!

No way in hell would this ever work! You really think that this person and that person wants to be related to one another?

No way in hell would this ever work! You really think that this person and that person want to be related to one another?

Photo’s Credit to: IMDBAceShowbiz

The Missing (2003)

Directed by Ron Howard, or, better known as, “He Who Used To Play Richie Cunningham”.

A mother of two (Cate Blanchett), who works as a “healer” while caring for a farm in the middle of New Mexico, gets her life shaken-up a bit when her oldest daughter is kidnapped by a bunch of ruthless, savage Native Americans. Distraught as hell, she calls on her estranged father (Tommy Lee Jones) to help, even though they don’t get along quite so well. But what does make their advantage seem a little better is that the father is actually part-Native American himself and knows all the ways, code, and language of the Indian ways. Problem is, these Indians he’s dealing with here are bastards, and nothing but.

Sounds like a pretty simple premise, right? Well, add Ron Howard as director to the mix, hot-off the block of his Best Director Oscar for A Beautiful Mind and you think you’d have a keeper, right? Sadly to say: Not at all. That’s a huge, huge problem too, which all stems from the fact that Howard himself indulges way too much into this material. I honestly don’t mind it when a flick is deliberately slow, in order to tell it’s story and set the pace for what’s next to come, but this was just a tad bit ridiculous here. I mean, the actual kidnapping of the gal that goes “missing”, doesn’t even occur until about 30 minutes in and by that time, my ass was already checking out at the door. Then I realized: Shit, I had about 2 more hours left of this crap. That’s when things got bad.

Or should I say, “real bad”.

"Fuck my dad and his long hair."

“Fuck my dad and his much-longer hair!”

I’m all for when a story wants to set up an idea, run around with it, see how long it can milk it for, and eventually build on it by the end, almost to the point of where I feel like it can’t go on any longer or else the whole idea itself is just going to crack. Basically, if that last sentence didn’t make any sense to you; well, good. The idea of a movie is to have an idea that lasts so long throughout a movie that not only do you stop paying attention to it, but you forget that it’s even there in the first place. So many directors are perfect at working with this same attitude in their minds and hearts, that even they too, don’t realize the idea they are coming up with in their head. Where I’m getting at with all of this jibber-joo is that Ron Howard definitely seems to have an idea here, but he doesn’t go anywhere with it at all. Instead, he just continues to hammer it and hammer it down into the ground, almost as if we won’t catch on to the fact that the movie itself is built on nothing else but a repetitive idea that these Indians are bad folks, and should not be messed with.

Some may see this as not your normal Western, mainly because even though the villains are the Indians, the hero itself is also part-Native American, but Howard doesn’t do anything with that aspect of the movie and just keeps it going and going at such a snail’s pace, that I began to lose interest many, many times. Seriously, as I’ve stated before: I don’t mind when a flick wants to set it’s story up for all to get accustom to, but this was just way too little, for way too long of a time-limit. Thankfully, I didn’t see the Extended Cut of this movie that’s apparently out there, but lord knows that if I did, I would have given up and thrown my copy right out the window, as soon as humanly possible.

But some out there may think that I’m being too harsh on a movie because it “has one idea”, “repetitive”, and “slow”, but there’s more to it than just that. Take for instance, the “villains” themselves: the Indians. Not only are the Indians in this flick a bunch of evil, sadistic sons of bitches, but none of them at all seem to have an ounce of humanity or heart within them. I get it, most Indians at and around this time were probably pissed off that they were continuing to get their land taken away from them by the dumb-ass white man, but they’re so detestable here, that it’s almost over-the-top, as if I was watching a bunch of cartoon Indians in a Loony Tunes cartoon. The leader of the pack, El Brujo, is so insane and blood-thirsty, that it was a surprise to me that the dude ever made a business selling these young girls away in the first place, because he always seems like he can’t keep his head on straight, or keep his hands away from his mallet that he so firmly insists on using.

"I'd like to do business with you, and eat your spleen afterwards."

“I’d like to do business with you, and eat your spleen afterwards.”

The whole movie plays out like this and I do have to give Howard some credit for at least not backing-down and making a soft, sensational Western that appealed to all members of the juror. This is a downright bloody, disgusting, and off-putting Western that takes all that you know about good-taste, and shoves it right back in your face, but not without spitting in your general direction either. Never thought I’d say that about a film from Ron Howard’s hands, but I was surprised. However, the gruesome violence doesn’t help the film all that much either, and gives it this odd, uneven tone where one second, somebody will be getting their heart eaten-out, and then the next second, a daddy and a daughter will be reconnecting over lost time. Howard doesn’t really seem to know what sort of movie he’s making here, or what he’s trying to say, so instead decides to have the two sides battle-it-out and see which one can distract the audience more.

Nobody wins, not even the cast in that general aspect either. Tommy Lee Jones probably gets off the easiest as the tough and rugged daddy-figure that’s as mean and cruel as you can get, but yet, also has a bit of a soft, spiritual side to him as well. Jones has this sense of comfort to the way he acts, so it’s not hard to feel safe and in control of the situation whenever he’s around, but that hair. Seriously, what the fuck was up with that!??! Not only does he look like a long, lost hippie that somehow got trapped way before Woodstock (the original, not “RapeStock”) and didn’t no how to get back to the end of the 60’s. He looks goofy, but the film plays it off with such a serious look, it’s almost too hard to even get by when he’s on the screen. Cate Blanchett is okay as his daughter, even if she doesn’t get to do much and is only called on to hold a gun, shoot it, and thrown some dirt and blood on her face for good, old times sake. Must have been fun for them, because it sure as hell wasn’t fun for me.

Consensus: Howard deserves an ounce of credit for giving a disheartening version of the old school Western, but that’s a very small ounce when you take into consideration the uneven tone, the shallowly-written characters, and the fact that nothing happens for the longest time in The Missing, and you’ll be wondering where all of the time you had in your day went.

2 / 10 = Crapola!!

"My movie suck. Me sad."

“Tommy hair too long. Tommy sad.”

Photo’s Credit to:

True Romance (1993)

Don’t eff with the comic book nerds.

The film tells the story of a novice prostitute Alabama Whitman (Patricia Arquette) and the adventure with her lover, comic book store clerk Clarence Worley (Christian Slater). When Clarence kills Alabama’s pimp (Gary Oldman), the newlyweds ride off into the sunset — with $5 million worth of cocaine in a suitcase and the police and the mob on their trail.

Since director Tony Scott is in such a slump nowadays, I honestly think he should just go back to having Tarantino write his scripts because he gave him two of the best films of his career. Aside from ‘Crimson Tide’, this is the other one.

The real selling point of this flick is that it’s written by Tarantino himself, and as everybody already knows, this guy is a freakin’ original genius. Tarantino is able to take any situation and make it go from normal to completley insane in about a matter of 5 seconds and it will give you this bad-ass feeling that you could not expect. The story is a pretty familiar but there are people getting killed at every second that you wouldn’t expect, twists and turns, random pop-culture references that somehow fit into the story, and just a whole bunch of other cool moments in this flick that make it ten times more the awesome thrill ride that it is known as today.

My complaint with this script is that even though it is by Tarantino, this is definitely not his best work by any means. Yes, he does get to use all of his trade-marks like funny one-liners, pop-culture references, and tense stand-offs but for some reason it’s not as edgy as you would expect. There was just something that felt like it should have really hit me harder and stuck with me more but instead it just ended up entertaining me and left me with a pretty happy mood. I don’t think Tarantino had full control over his story and that’s why the story may come off as a little more lame than his usual stuff, but it still at least works in a rather medium way.

Director Tony Scott also adds a bunch of fun to this flick by giving it this straight-forward, energetic thrill ride that isn’t filmed with that annoying shaky-came he can’t ever seem to get his hands off of nowadays. Scott is a good director when he’s got good source material, which he definitely has here, and even though it’s not drenched in style like you would expect from him, it still has a fast-paced to it that keeps the story going and the bullets flying.

However, what really had me going for this flick was its whole ensemble cast that is filled with just about every star from the early 90’s. Christian Slater is pretty good as Clarence, a guy that may seem a little strange but after awhile you start to believe and actually hope he comes out of all of this shit alive. Patricia Arquette is also a lot of fun to watch as Alabama, and you can totally feel like this one girl could actually fall in love with this type of dude. Their romance is something you actually care about because we spend enough time to see them together, and to see them be happy with one another so that when they go on this road trip and their lives are in danger, we care not only about them but their relationship as well. Sounds pretty sappy, I know, but it’s something that surprisingly worked here.

The rest of the cast is freakin’ great too, considering that just about every big star this flick had to show is in here for about 5-10 minutes each but totally kick-ass for the time they have. Dennis Hopper is great here as Clarence’s dad, in a non-psychotic role; Val Kilmer is here as “The King” but is still funny and cool, considering we barely see him; Gary Oldman is hilarious and menacing as Drexl, the white boy pimp with dreadlocks; Brad Pitt is also here as our pot-smoking friend, Floyd, and probably one of the best performances of his career, and I am willing to go toe-to-toe with whoever thinks otherwise; and Christopher Walken shows up for about 7 minutes but gives the film’s best scene where its just him and Hopper talking shit to one another and once again, it’s always Walken who steals the show at the end of the day and I can’t say that I expected anything else. Aside from these peeps I already mentioned there are plenty of other familiar faces here such as Samuel L. Jackson, James Gandolfini, Michael Rapaport, and Bronson Pinchot among others. Basically, it’s one of the better casts for a flick that I’ve seen and they all do excellent jobs with what they are given.

Consensus: It may not be Tarantino’s best script ever written, but it still has a great energy to it, with crazy performances from the ensemble cast, and some really kick-ass moments that make this film a fun watch if not as good as you would expect from these Scott and Tarantino working together.


Kiss Kiss Bang Bang (2005)

Batman and Iron Man together at last! Except this time, Batman actually is gay.

Harry Lockhart (Robert Downey Junior) is a thief posing as an actor who teams up with tough-guy private eye Perry Van Shrike (Val Kilmer) and frustrated actress Harmony Faith Lane (Michelle Monaghan). They stumble upon a murder, which is when the comedy starts to ensue.

When you take elements of a noir, mix it together with dark comedy, action, a little bit of love, and a whole lot of satire and put in one flick, it seems like it would just be another jumbled up piece that would turn out to be just another lame rip-off of ‘Pulp Fiction’. However, c0-writer/director Shane Black is definitely a guy you can depend on for originality.

The film starts off with this very self-aware narrative that shows us all of the things we should know about this story, and makes it a point to point out all of the obvious stuff that pop-up later on in the flick. This was a hilarious way to start the flick off because it got me in the right mind-set of how the comedy was going to be, how frequent it was, and that I also wasn’t going to see something I’ve seen before. Black is a writer that I hear so much about and I can really tell that he has some real talent because with each and every single frame, he keeps on bringing more and more fresh ideas to this story to the point where you think anything can happen, and it actually does.

Despite bringing some fresh and new air to this type of flick, there is also a huge amount to laugh-out-loud here, which is exactly what I did. There’s a lot of gay jokes here to be heard but they work incredibly well, the tongue-in-cheek humor that shows these characters basically talking like they are in another crime-action flick works and doesn’t seem overly used at all, the one-liners just come out like crazy, and you can’t laugh at how funny Black is when he’s poking fun at Hollywood. We always get those flicks that make it abundantly clear that Hollywood is just a huge scam but this flick tells it in a very funny and different way where Black brought up funny statements such as the fact that every girl from a little farm-town makes it “big” or that everyone in these bars look like celebrity impersonators, just felt like the best kind of satire that actually had me laughing. It’s also one of those flicks that pokes fun at people getting shot and killed but that still made me laugh. I don’t know what it is with this guy, but Shane Black is really earning points from me.

My only gripe with this flick is that I do feel like the film tries a little too hard to give us a complicated plot so it doesn’t become one of those stories it’s making fun of. Yes, the plot is a mystery but it gets way too complicated to the point of where I had no idea who the hell this chick was that they were searching for, let alone, if she was alive or dead. All I wanted to see was what would happen to our three main characters and I guess that’s where my favorite parts of this flick came from.

Robert Downey Jr. is absolutely awesome as Harry Lockhart because he plays Downey the way we want to see him played. The character, Harry himself is pretty interesting but it’s not his character arch that made him interesting, it was the charisma and charm that Downey gives off in his performance that gets you behind this guy right from the start. Once again, it’s one of those mile-a-minute/tweeker talks that we usually get from him but it works well for his character and it’s just so much fun to see Downey having a ball with a character like this.

However, what really surprised me was how he actually took the back-burner from a dude none as, Val Kilmer. Yes, The Val Kilmer takes this film from Downey and practically makes it his own with his hilarious performance as Gay Perry (yes that is his name). Kilmer is an actor that is known for choosing some really good roles but then at the same time, known for choosing some real shit roles but I think he found his niche here as the sarcastic-as-hell, gay cop that just elevates this film beyond belief, every time he shows up on-screen. Don’t let me take any credit away from Downey because I think he was awesome here equally, but it was Kilmer who just brought so much energy, so much fun, and so much humor to this whole flick that it really made me crack-up at just about everything he said, even when he was being serious. The chemistry is also a lot of fun to watch too considering that they are supposed to be hating each other for a good part of the flick but they still end up having that buddy chemistry that worked so well for Black in the past.

Michelle Monaghan is surprisingly awesome as Harmony Faith Lane, Harry’s love-interest. I was very surprised when I actually found myself laughing at Monaghan’s character here because not only is she fine as hell but she’s got some great comedic timing to her as well and makes her character seem more than just another one-note, action flick love-interest that starts off strong but then starts to fade away from the picture slowly. I also couldn’t stop thinking about how much Emma Stone actually looks and sounds like her but I hope that Stone stays on the path she’s on, considering Monaghan hasn’t really had a good flick in awhile.

Consensus: Kiss Kiss Bang Bang is an original piece of work that combines mystery, crime, action, romance, and tongue-in-cheek comedy that works on almost every level especially with its great lead performances and gets me more and more excited to see what Black and Downey Jr. are going to do with ‘Iron Man 3’.


MacGruber (2010)

I really need to find me some copies of MacGyver.

When he’s called back into action to deactivate archenemy Dieter Von Cunth (Val Kilmer), MacGruber (Will Forte) is on the case. Now, he must thwart Von Cunth’s plans to destroy Washington, D.C., with a nuclear warhead.

I must say when I found out that this SNL skit, which was pretty damn hilarious in the first place, was going to adapted, I automatically wondered just how bad this will be. Somehow, that doesn’t happen.

Sometimes, I get annoyed by how certain comedies just do raunchy and dirty things to bring out laughter, but this film didn’t bother me that much even though the whole film is basically just one crude joke after another. There’s no real story here, but the film makes up for that with having many funny situations, and jokes that hit right below the belt, but hit very hard and very well. My ribs weren’t hurting by the end of this, but I can easily say, I sure was laughing a whole lot, more than I actually expected really.

The whole film basically parodies a 1980’s action film, with the corny one-liners, cliche explosions, and 80’s music montages, but it never really satisfied me on that action level that I would have liked. The action just seemed pretty lame and didn’t do all that much to actually keep me fully entertained when there wasn’t any dirty jokes going on. I don’t really think that this is what the film was aiming for, but if it could have really went all the way to fully entertain everybody with some actually good action.

Will Forte, has never been my favorite SNL member, but he really is a goddamn riot as MacGruber. His intense and over-dramatic delivery took awhile to get used to, but somehow it got to me and I couldn’t stop but help to laugh at his character and all these crazy antics he does just had me cracking up. My only problem with this character is that MacGruber is kind of a dick, and you may find him funny, but that doesn’t make him all that likable. Some of the shit he does here is mean, and throughout the whole film I didn’t know whether or not I should have liked him, or liked his crazy antics. Ryan Phillipe is a really strange choice here as Lt. Piper, but he does a good job with it. But it actually does speak about his career and how he’s not all that of a serious dude, and will choose films where it can all be kind of moronic. Kristen Wiig plays Vickie St. Elmo, MacGruber’s love interest, and she seems to have stepped in the 70’s but she can definitely pull it off. She owns that sweet, subtle neurotic charm that she has about her, and really brings out some amazing laughs here. Val Kilmer is funny when does funny, but here he’s not really doing anything funny as the evil Dieter Von Cunth. Say that about 10 times and you’ll get the joke.

Consensus: Some elements here and there may not be as enjoyable, but the non-stop crude, raunchy, dirty, and dumb humor keeps MacGruber from being another bad SNL adaptation.


Felon (2008)

Prison is made for ass-kicking.

After accidentally killing a burglar while trying to protect his family, regular guy Wade Porter (Stephen Dorff) finds himself convicted of involuntary manslaughter and thrown into a maximum security prison for three years. Facing a harsh new world — including a notorious mass murderer cellmate (Val Kilmer) and regular beatings organized by the head guard (Harold Perrineau) — Wade soon realizes he’ll have to toughen up if he’s going to survive.

I always like being surprised by a film that I had no idea even existed. Man, you gotta love Netflix sometimes!

I have to praise director Ric Roman Waugh who does a very tense job of keeping this film interesting, but at the same time suspenseful enough as well.  As you watch this film, you can’t help but be on the edge of your seat with every unpredictable thing that happens. It’s plot may look like the same old prison story we see time, and time again, but this film actually keeps its plot expanding into more and more territory we weren’t expecting in the first place.

Take it for granted, this is a very violent film that shows a lot of blood, punching, stabbings, and just a lot of gritty stuff going on. I didn’t mind the grittiness as much as I minded the shaky-cam element that the film used to convey a more sense of realism. In ways, it did, but other times the camera was all over the place, and I found myself sometimes confused as to what was really going on. It’s not terrible shaky-cam, but it’s not good shaky-cam either, if there ever was any such thing.

Stephen Dorff gives a very physically and emotionally challenging performance here as Wade. He shows great, wide range in starting off as your every-day man, who then evolves into a brutalized inmate, and then to a man who just want’s nothing but to have enough of all the crap life has been treating him with. Val Kilmer as John Smith is also good playing a somewhat goofy character to begin with, but still you don’t take him for granted, and all of the best lines come from him. I absolutely despised Harold Perrineau’s character, Lieutenant Jackson. He plays this character so well, because he shows how a normal man can turn into a vicious, and brutal type of monster. Every scene he was in, I just wanted to beat his ass myself, and that is what happens when you got yourself a good prison villain.

Consensus: Though it’s not perfect, Felon still works well as a modest prison-thriller with great performances from the cast, as well as a story that surprisingly expands well as it goes along.


The Salton Sea (2002)

Why couldn’t Val Kilmer hang as Batman? He kicks so much ass.

Punk-rocking speed freak Danny Parker (Val Kilmer) freelances as an informant for a pair of brutal narcotics cops (Anthony LaPaglia and Doug Hutchison). But when he’s not assisting the cops on drug busts, Danny gets high and leads a double life as a talented, mild-mannered trumpeter named Tom Van Allen. One personality is in search of his wife’s killer, but reality is evasive.

I’m not going to lie but this film is all over the place. It starts off very quick, fast, and funny which got me ready for a fun-filled, crime comedy, but instead turns out to be something a lot more than that.

The problem I had with this film was that it’s pace is sort of all over the world. It’s quick, and fun in the first 15 minutes, but then you start to notice that it dies down, and gets a lot more serious. I didn’t have much of a problem with this change of pace, as much as I had with it’s genre mixing. This is honestly a crime thriller, with features of neo-noir, and under lining humor. It seems crazy just describing it, and it really is when you see it play out.

However, when the film isn’t being slow, and dramatic, it actually does a good job at creating a entertaining story. The side dealers we meet in this film are funny, and entertaining, providing plenty of humor for this film. And the action, when it happens, works very well and will please any gun-loving maniac.

But that almost seems to be able to cover up for the fact that the story-line can be terribly confusing sometimes. I wasn’t as confused with the story as much as others were, but I will admit that you could get easily confused right away. There are certain twists, here and there that will keep you glued, and explain a lot about the story. But for others it will just mean more confusion, to a already confusing story.

Val Kilmer is the man. He can pretty much play any role you put in front of him, and although it may not be the greatest thing you ever see, it’s still entertaining to watch him play these crazy characters. We cheer on Val Kilmer here, it’s easy to get behind him, with his casual approach to all the craziness happening, and ways of figuring things out right away. But he is only the straight-main in this film, as everybody else is used as even better entertainment. Vincent D’Onofrio does a good job as the crazy drug-dealer Pooh, who brings so much to the film, that it actually takes the film to a different level. Peter Sarsgaard is good here playing a crazed-out “tweeker”, and his act never gets old. You also got other satisfying supporters such as Adam Goldberg, Doug Hutchison, Anthony LaPaglia, and Luis Guzman.

Consensus: It’s entertaining, and does a lot with a story that seems crazy at first, but many will find themselves confused, as well as wondering whether they should laugh or not, by what’s actually happening.


Top Secret! (1984)

The poster makes it seem stupid, which it is, in a good way.

Nazis are staging a cultural festival to distract attention from a secret attack on a submarine fleet using a new weapon designed by a captured scientist. Leonard Bernstein is unavailable to play at the festival, so rock god Nick Rivers (Val Kilmer) is tapped to replace him. Before he knows it, Nick is trapped in an international incident, aiding the daughter of the scientist in the French Resistance!

This is one of those films that is basically a parody of a famous type of genre, think of it as the 80s Scary Movies, Disaster Movies, etc. But the thing with this one is that the jokes never stop.

The film does a nice job of combining both Elvis films with WWII era films and actually make a good story out of it, with plenty of jokes on the way. There are other parodies of films that are hard to come by the first time, and other you’ll notice right away.

What I love about this movie is the fact that it is so offbeat and silly. The jokes fly fast and furiously, and it might take several viewings to catch all of them. So many times I just found myself laughing at almost every single line and part of this film. There are times in this film when one thing is going and then the next thing could be so completely random and stupid, but that’s the point of these movies which is why its so funny. The non-stop gags, are what makes the film the because it comes by your eye so quick without becoming over-done.

Val Kilmer in his first role makes this film surely great, with a lot of his physical comedy, good looks (no homo), and great singing voice for a couple of songs, really shows that he was destined for glory. The others in the cast are good too, the only problem was that the film started to die down in the end and lose its balance, which caused it to come to an immediate halt. I wish the film actually went on longer instead of its short run-time of 86 minutes.

Consensus: Top Secret! is the most underrated comedy ever, but with its hilarious parodies, jokes mixed with sight gags, and a good performance from Kilmer, everything in this film works without being too stupid, or maybe that was the point.

9.5/10=Full Pricee!!!

Heat (1995)

A long ass movie that didn’t need to be an long ass movie.

De Niro plays Neil McCauley, a professional burglar who is a calm and methodical introvert, while Pacino plays Lt. Vincent Hanna, veteran LAPD homicide detective whose explosive temper and devotion to his job causes him to neglect those closest to him.

For a long time now I have been just craving the time and effort to watch this film, now that I have seen it, I can finally stop wondering if it is great or not.

I have to give director Michael Mann credit here because he takes the old story about two people stuck in their lives, and puts in a different seat, and fresher approach. The film had some great and exciting action scenes in it with plenty of the crazy shootouts that we all know and love Mann for.

I enjoyed how well the script moved along with such a long movie. This film goes into great detail about how a score is taken down and how law enforcement track their prey. The action is there and plenty of times but the film gives their characters and story enough time to talk and be a three-dimensional character. The screenplay is written so witty, truly, and also very compelling.

The complaint I had with this film was that it was 171 minutes, when it should have been about 150 minutes or less. There are a lot of powerful scenes that keep your interest as the film goes on, but there are sometimes where nothing at all except for talking happens. I did enjoy a lot of the talking but the rest was very lack luster and didn’t quite enjoy me as much. The film had a couple of scenes where it just lagged on completely cause there really was nothing else going on. In my opinion, Mann should have at least cutted out 45 minutes of this film and left the better scenes in there.

Now the main reason for this film to be seen is cause its De Niro and Pacino’s first-time on-screen together, even though its only for about 10 minutes. I liked how all the scenes they were given were not just to play off of each other but more of to play themselves and give their own look at the character. The one scene where they finally meet is just a great scene that almost every film buff should watch if they want to see greatness.

Consensus: Though a lot of it should have been cut out, Heat still packs those 171 minutes with a well-written script, exciting action, and most of all 2 great performances from De Niro and Pacino.


Bad Lieutenant: Port of Call New Orleans (2009)

Respect for Nicolas Cage goes wayyyyyy uppp!!!!

Corrupt Det. Terence McDonaugh (Nicolas Cage) — whose bad habits include pain drugs, reckless sports gambling and accepting sexual bribes — investigates the murder of five Senegalese illegal immigrants in New Orleans.

The original film back in 1992, was actually good, considering I saw it about 2 years ago. But, both films have the same material but are completely different by the way they are filmed and told.

Director Werner Herzog really does prove that he is one of the most fearless and creative directors out there. He takes this source material that we are familiar with and adds all these different and insane things that we have never really seen before. I mean tell me, have you ever seen a camera shot from the viewpoint of an iguana? I would think not. There are so many other cool things Herzog does but to list them would take way too long.

None of this movie should have worked but somehow it does. I think it gets very whacked out when Cage starts to take drugs and go crazy, and this is when you could have just called it a day. However, crazy shit goes down that keeps your attention, and at times, I found most of the scene s to be highly suspenseful.

The cosmic, sleazy, and sometimes scuzzy jokes that were made in this film were just really great. Herzog doesn’t try to hide that there are jokes and it can be looked at as a comedy. The film soon, if not sooner, will be an instantaneous quotable film sooner or later.

The one problem I had with the film was that it just wasn’t great enough. There were some little sub-plots that didn’t really quite work out well as the main story did, and compared to Herzog’s others, there aren’t really any mezmerizing visuals here. It tries to act too much like a noir but really just falls flat as coming off as another comedy-drama cop film.

When Nic Cage is on fire, I don’t think any theater can hold him. He is absolute amazing in this film, and gives off one of the best performances from him in the past 10 years. He is so funny, so loopy. and so crazy, that despite his destructive life, you can’t help but to just love the guy and root for him throughout.

Consensus: Compared to its original there are no comparisons. This film contains a never-back-down direction from Herzog, some hilarious moments, and one of the greatest performances from Cage.


The Doors (1991)

Wow, Jim Morrison was kind of an ass now that I think about it.

This drama is as much about 1960s music culture as it is about legendary outlaw Jim Morrison (Val Kilmer), one of the most influential figures in the history of rock and roll. This electrifying drama chronicles Morrison’s rise from obscurity to the pinnacle of the rock and roll music world as lead singer for The Doors, and, finally, to his tragically early death in a Paris bathtub.

Personally, I love The Doors. I like a lot of their music and thinks its so strange and out there that it really is some of the best. I think Jim Morrison was a great artist when he was alive, he wrote some strange but really beautiful poetry and music. And, I also love Oliver Stone, as much of you already know. Why didn’t this whole film work out like I wanted it to??

To start it off let me look at the positives. The concert scenes are filmed in large screen, cause that’s how Stone wants you to see them as and really there was no other way they could have been shown other than in wide screen presentation. It is amazing how the concert scenes are re-created, as they look like outtakes taken from a documentary at the time. The crowd scenes have a real distinct powerful effect, and this is one of the most realistic looking rock movies I’ve seen in a long time.

Val Kilmer looks so much like Morrison it’s actually scary. But not only does he look like him, Kilmer captures the total essence that Morrison had. He was a strange man, who’s erratic behavior got worse as he started to deal more into drugs, as this film shows very well. Meg Ryan also has a good performance as his long-time girlfriend who goes through some changes herself, and through Ryan’s performance we see this very well.

However, there were many problems I had with this film that did bother me a lot. The historical innacuracies really do start to get out of hand very early in this film. The film shows Morrison holding his crotch and mocking the TV as he says “higher” on live television. Now in real life, Morrison just sayed “higher” by accident and didn’t really know what he was doing when he did it. Also, the film does a great job at showing us the drug addicted, sex making, drunken Jim Morrison, and never really shows us anything good about him. The film dives into his personal life of booze, sex, and drugs, and totally forgets about his work at hand and how his songs came to be.

I did like Stone’s direction as I felt it was very inspired but I felt he could have really changed the last hour or so. The typical rise-and-fall story of Morrison is falling right at about when the first hour is up. The after that the whole film basically becomes a total downer for anyone who loved the band The Doors, such as myself.

Though we get little tidbits of what the other band members have to say, we never fully meet them. We always are able to see their reactions, but there’s never a chance to see where Morrison and all the others met, and we never get to see how close they really were to Morrison.

Consensus: Though it’s not one of Oliver Stone’s finest films, The Doors is exciting and well-acted, but never shows anything good from Morrison and its innacuracies start to get a little out-of-hand by the end of the first act.