A war is fought in the near future after a nuclear holocaust. A defense network called Skynet went online and decided the human race was unworthy to survive and annihilated the world in an afternoon. Years later, the human survivors, used as slaves to help with the disposal of their kind, rise up in revolution and form The Resistance. Their leader is John Connor (Edward Furlong, Nick Stahl, Christian Bale). The fight is long and hard, losses on both sides and the machines begin a brilliant strategy, fight the future in the battlefields of the past. The machines learn the theories of time travel and send back their most deadly weapon, The Terminator, to eliminate Connor before he can fulfill his destiny and destroy Skynet. First they send one (Arnold Schwarzenegger) to kill Sarah Connor (Linda Hamilton) before John can be born...they fail. John Connor is born and twelve years later, Skynet tries again. They send their newest model (Robert Patrick) to kill John as a child. Again, they fail. John grows up off the grid, Skynet begins to target his resistance lieutenants starting with Kate Brewster Connor (Claire Danes, Bryce Dallas Howard,) his second in command, later his wife. They send the next lethal model (Kristanna Loken) and fail again. This is because the resistance has discovered the time traveling machine, too and has sent back protectors, starting with Kyle Reese (Michael Biehn, Anton Yelchin,) a human and John Connor's father, and several different Terminator 101 models (Schwarzenegger.) Together, the targets and protectors, work to avert Judgement Day: the day the machines destroy mankind. Judgement Day is fixed and the bombs fall regardless, and Connor survives again. In the year 2018, John struggles against the machines, but the future is not what he's been expecting...and this time Kyle's in danger, number one on Skynet's hit-list. And a mysterious stranger (Sam Worthington) who's also not what John's expecting may be their only hope.
Continuity in a series is vital to maintain the tightness of plot, allowing for a gradual plot arc to occur with little effort. The writing must be consistent, the tone must be similar, even if the scriptwriter is not the one who wrote the previous installment. Casting in serial films may not always secure the same performer for serial roles, so the writing and tone set the pace for the performer. The characters may also change story to story but the world remains the same, so it's important that Continuity be kept. Keeping continuity straight adds an air of credibility to the series.
This series has has four installments: The Terminator, T2: Judgement Day, Terminator 3: Rise of the Machines and Terminator Salvation. The films themselves span 25 years in production...and it seems they are not finished. And so, I'll review this series in three or four installments, in order to break up the length of the response, conforming to project rule number three.
The writing is consistent almost down to a formula, which I will cover next time. The story tells of a target being hunted down for extermination. He or she is safeguarded by a resistance-sent protector, who takes his job very seriously. The protector and the Terminator battle to the death, leaving the target to finish them off with an almost accidental plan.
It's in the characters that the consistency is most solid for this series. John slowly turns from an immature, empathetic child to a weary, battle-hardened warrior, as he is meant to. And Furlong to Stahl to Bale was perfectly cast. Furlong still has the tough nature he needs to become who he's supposed to become; however, he is only twelve and his performance says it clearly. Stahl performs street-smart with class and attitude, but still has the empathetic nature within and allows it to come out every now and again. Bale still has enough heart and humanity left, the moments between him and Howard are tender, but just tough enough to show that they are still warriors, and they're serious about this fight.
The tone is our Kryptonite. The first and second installments feel as if they could bleed into each other as two halves of a whole. Some of the same gimmicks are played out...and the formula is pretty much the same. The third becomes removed and comes off a bit corny, the humor is flat, the production design is too bright, and the score less militant. The performances were a bit awkward, despite Schwarzennegger's remaining in the role that defined him...and still does. Salvation tries to get back on track and does a good job in returning the dark militant nature to the series. The score by Danny Elfman, as well as the picture design and casting, especially with Yelchin as Kyle Reese, who brilliantly channels Biehn's original performance, maintains the feeling of the first two installments with the modernity of the third. As well, a good feeling like the beginning of a second trilogy with the air of a prequel. Three out of four, a solid majority in the positive...it's not perfect, but it does generally feel right; it's the same score, the same game.
Terminator's a smooth series and I'm looking forward to the rest, whenever that may be.
****
Coming soon: Terminator - The Formula
Friday, July 30, 2010
Thursday, July 29, 2010
On Discretion...
Entertainment is defined by the American Oxford Dictionary as the action of providing or being provided with amusement or enjoyment. It's a conscious act, chosen by the entertained, deliberate and intentional. Because it's deliberate, it, therefore, makes entertainment a moral issue. And, so with the available choices out there and the ones displayed here on my blog, I thought I might touch on the subject of discretion.
British Judge Lord Scarman defines discretion as the art of suiting action to particular circumstances. The American Oxford Dictionary defines it as the freedom to decide what should be done in a particular situation. Discretion is situational, unique and subjective. Therefore it all spins on choice.
To exercise discretion it's important to know yourself. What are you like? What are your limits? Your constitution? It's also important to know what may cause you emotional, mental and spiritual discomfort. Conversely, what makes you happy, fulfilled, and spiritually uplifted. When you know who you are, your choices are easier to make and it becomes simpler to say "no." There are many tools to help you avoid painful situations. The rating system is one of them.
The MPAA is a collective of parents, teachers, clergy members and other community members who review and decide the appropriateness of films for children. It's a good start, but the ratings themselves are a blanket statement. The important thing to look for is the "why." Why is this film rated this? Am I comfortable with the reasons? If not, "just say no" and don't buy the ticket or rent that DVD.
When I was young, my parents decided what was best for me. They knew me, knew what they wanted for me and they chose what went through my head. And my brothers and I listened, for the most part. There are websites out there who's sole purpose is to make a laundry list for parents and unsure adults to peruse in order to ascertain what is objectionable in any given movie. As both a writer and a film watcher, I can say these sites present a level of hyper-clinicality that destroys the beauty of the story told. I rely on my family and friends' recommendations for what is good, because they know me. For example, my nephews can handle more tense content than my niece, she's very sensitive, and I know what not to select when she's an audience member.
In the last five years, I've only chosen a handful of films to view that have been too much to handle, and it was all due to lack of research. Trailers, IMDB.com and Wikipedia are tools that may have assisted in protecting me from the exposure to the subject matter that left my heart disturbed. I'll be honest, it takes practice to know if a movie is right for you without these things.
Know yourself; it's so important you do, because it's your greatest defense. There are movies out there designed to harm you, and if you fail to know what you're able to handle, the cost is innocence and the damage will be irreparable.
British Judge Lord Scarman defines discretion as the art of suiting action to particular circumstances. The American Oxford Dictionary defines it as the freedom to decide what should be done in a particular situation. Discretion is situational, unique and subjective. Therefore it all spins on choice.
To exercise discretion it's important to know yourself. What are you like? What are your limits? Your constitution? It's also important to know what may cause you emotional, mental and spiritual discomfort. Conversely, what makes you happy, fulfilled, and spiritually uplifted. When you know who you are, your choices are easier to make and it becomes simpler to say "no." There are many tools to help you avoid painful situations. The rating system is one of them.
The MPAA is a collective of parents, teachers, clergy members and other community members who review and decide the appropriateness of films for children. It's a good start, but the ratings themselves are a blanket statement. The important thing to look for is the "why." Why is this film rated this? Am I comfortable with the reasons? If not, "just say no" and don't buy the ticket or rent that DVD.
When I was young, my parents decided what was best for me. They knew me, knew what they wanted for me and they chose what went through my head. And my brothers and I listened, for the most part. There are websites out there who's sole purpose is to make a laundry list for parents and unsure adults to peruse in order to ascertain what is objectionable in any given movie. As both a writer and a film watcher, I can say these sites present a level of hyper-clinicality that destroys the beauty of the story told. I rely on my family and friends' recommendations for what is good, because they know me. For example, my nephews can handle more tense content than my niece, she's very sensitive, and I know what not to select when she's an audience member.
In the last five years, I've only chosen a handful of films to view that have been too much to handle, and it was all due to lack of research. Trailers, IMDB.com and Wikipedia are tools that may have assisted in protecting me from the exposure to the subject matter that left my heart disturbed. I'll be honest, it takes practice to know if a movie is right for you without these things.
Know yourself; it's so important you do, because it's your greatest defense. There are movies out there designed to harm you, and if you fail to know what you're able to handle, the cost is innocence and the damage will be irreparable.
Friday, July 23, 2010
Dog Day Afternoon
August 22, 1972. On a hot day, at 3 in the afternoon, two men sit in a parked car: Sonny (Al Pacino) and Sal (John Cazale). They begin their planned bank robbery, something that was supposed to last less than a half an hour, and it turns into a local media circus and a spectacle after four hours. After eight, it became a nationwide phenomenon. By the end of the day, the event was all history. Based on a true story.
I honestly find little to care about concerning this one; from Sonny's whining wife, to the whole premise, and that the movie lacks significant motion. With little direction from when the two gunmen enter the bank to when it's all over, I'm completely apathetic about the characters and, worse, for the story. The camera work is too static, inciting random yawning episodes. To top it off, there's no music score to keep the slow points moving and for distraction. When I began the project, I surveyed my choices and I dreaded the day I found myself involved with the two-hours torture that is this movie. I may test out how it is selling things to Secondspin.com with this one…who knows?!
I'll say a few things "nice" about this one, to pay for the insult. Al Pacino is fairly decent, he worked enough to be believable. The antics with the crowd are funny enough. And the lady hostages are credible. But the rest, is just the rest. A bit like chicken noodle soup, Walmart brand...enough spice and substance to know it's chicken noodle soup, but not enough to hit the spot.
****
IN: Marcia Jean Kurtz
OUT: Lance Henricksen
Coming Soon: The Terminator
I honestly find little to care about concerning this one; from Sonny's whining wife, to the whole premise, and that the movie lacks significant motion. With little direction from when the two gunmen enter the bank to when it's all over, I'm completely apathetic about the characters and, worse, for the story. The camera work is too static, inciting random yawning episodes. To top it off, there's no music score to keep the slow points moving and for distraction. When I began the project, I surveyed my choices and I dreaded the day I found myself involved with the two-hours torture that is this movie. I may test out how it is selling things to Secondspin.com with this one…who knows?!
I'll say a few things "nice" about this one, to pay for the insult. Al Pacino is fairly decent, he worked enough to be believable. The antics with the crowd are funny enough. And the lady hostages are credible. But the rest, is just the rest. A bit like chicken noodle soup, Walmart brand...enough spice and substance to know it's chicken noodle soup, but not enough to hit the spot.
****
IN: Marcia Jean Kurtz
OUT: Lance Henricksen
Coming Soon: The Terminator
Wednesday, July 21, 2010
Inside Man
"My name is Dalton Russell. Pay strict attention to what I say because I choose my words carefully and I never repeat myself. I've told you my name; that's the "Who." The "Where" could be readily described as a prison cell, but there's a vast difference between being stuck in a tiny cell and being in prison. The "What" is easy. Recently I planned and set in motion events to execute the perfect bank robbery. That's also the "When." As for the "Why?" Beyond the obvious financial motivation, it's exceedingly simple: because I can. Which leaves us only with the "How." And therein, as The Bard would tell us, lies the rub." Our film begins with a narrative teaser explaining the conceit of the "two-hours traffic of our scene."
In New York City at one of the oldest elite banks near Wall Street, a group of bank robbers dressed as painters infiltrate and hold the clientele and staff hostage. The police dispatch a second string negotiator (Denzel Washington) and his partner (Chiwetel Ejiofor) when their primary is on vacation. Meanwhile, the owner of the bank (Christopher Plummer) hires a professional fixer (Jodie Foster) to make a deal with Dalton Russell (Clive Owen). As things heat up, the SWAT commander (Willem Dafoe) prepares to take the bank. In the aftermath, when the tear-gas clears, something is wrong: somehow the hostage-takers are nowhere to be seen. So, what really did happen?
The style is definitely intriguing...part narrative and slightly documentary. The coloring clearly conveys a different time. It's far less cinematic than the narrative in a very raw sort of record-keeping way. The editing and the story beats are clinical and efficient, but not without weight. The opening sequence alone was incredibly well directed and previews what the future holds for the audience.
The performances are all very solid, including the speaking extras. I particularly enjoyed Mr. Owen's mercurial character, Dalton Russell, his bi-polar cross from menace to mischief. Mr. Washington's Keith Frazier proved a powerful foe; so was Mr. Plummer's Arthur Case, two perfect matches against Mr Owen's Russell and each other. Each scene is incredibly comfortable to watch, with its wit, character and charisma. The actors' chemistry with each other interlocks the flesh of the story so smoothly, it adds so much realism that relating to the characters is not difficult.
In every hostage or terrorist story, there's a "why for" for the characters to answer. In our case, as Mr. Russell put's it, "all lies, all evil deeds stink. You can cover them up for a while, but they don't go away." Mr. Case's past is very sordid...and the delivery was well done. Leaked ever so slowly throughout the story allowing for the showdown against Mr. Case to become so much "sweeter."
The third act begins with a bang, literally, and things spiral out of control brilliantly and driving toward the end, finishing with a flourish. The writing is impeccable; the timing so well developed and executed, it's difficult to call the game before the coup de grace falls.
Comprehensively excellent!!
****
In: Denzel Washington
Out: Marcia Jean Kurtz
Coming Soon: Dog Day Afternoon
In New York City at one of the oldest elite banks near Wall Street, a group of bank robbers dressed as painters infiltrate and hold the clientele and staff hostage. The police dispatch a second string negotiator (Denzel Washington) and his partner (Chiwetel Ejiofor) when their primary is on vacation. Meanwhile, the owner of the bank (Christopher Plummer) hires a professional fixer (Jodie Foster) to make a deal with Dalton Russell (Clive Owen). As things heat up, the SWAT commander (Willem Dafoe) prepares to take the bank. In the aftermath, when the tear-gas clears, something is wrong: somehow the hostage-takers are nowhere to be seen. So, what really did happen?
The style is definitely intriguing...part narrative and slightly documentary. The coloring clearly conveys a different time. It's far less cinematic than the narrative in a very raw sort of record-keeping way. The editing and the story beats are clinical and efficient, but not without weight. The opening sequence alone was incredibly well directed and previews what the future holds for the audience.
The performances are all very solid, including the speaking extras. I particularly enjoyed Mr. Owen's mercurial character, Dalton Russell, his bi-polar cross from menace to mischief. Mr. Washington's Keith Frazier proved a powerful foe; so was Mr. Plummer's Arthur Case, two perfect matches against Mr Owen's Russell and each other. Each scene is incredibly comfortable to watch, with its wit, character and charisma. The actors' chemistry with each other interlocks the flesh of the story so smoothly, it adds so much realism that relating to the characters is not difficult.
In every hostage or terrorist story, there's a "why for" for the characters to answer. In our case, as Mr. Russell put's it, "all lies, all evil deeds stink. You can cover them up for a while, but they don't go away." Mr. Case's past is very sordid...and the delivery was well done. Leaked ever so slowly throughout the story allowing for the showdown against Mr. Case to become so much "sweeter."
The third act begins with a bang, literally, and things spiral out of control brilliantly and driving toward the end, finishing with a flourish. The writing is impeccable; the timing so well developed and executed, it's difficult to call the game before the coup de grace falls.
Comprehensively excellent!!
****
In: Denzel Washington
Out: Marcia Jean Kurtz
Coming Soon: Dog Day Afternoon
Thursday, July 15, 2010
Crimson Tide
During a state of high alert, the USS Alabama is deployed to monitor a nuclear crisis. When her executive officer falls ill, her captain (Gene Hackman) is forced to draft a new one, Commander Hunter (Denzel Washington.) Following a shootout with a Russian submarine which damages the radio buoy in the middle of a transmission, a disagreement splits the crew in half. Half loyal to Commander Hunter and half loyal to the captain, the situation becomes volatile as the line is drawn between loyalty, mutiny and common sense.
I'm very certain the players for this palace drama were chosen very carefully and very well. With names that add power and presence to this piece, goosebumps line my shoulders and the back of my neck with good reason. Washington and Hackman are well balanced by solid performances by James Gandolfini, Matt Craven, Rocky Carroll and Viggo Mortensen. Mr Mortensen plays the seduced courtier with power, pathos and subtlety. The direction, both in production and post-production, were handled with finesse and dignity. My favorite episode being the Akula attack. Its tension is supported by the casting of Danny Nucci, his acting and the sound levels as he calls the plays from the sonar desk; as well, the swelling cues from Hans Zimmer's sweeping score. The editing was simple, but solid.
My only concern comes from the racial subtext after the disagreement by Gene Hackman's Captian Ramsey. It tries to infer something that is clearly not the point of the piece. This argument leads the viewer to believe the film is about race, but it clearly is not. This film is meant to be a tension-filled drama about two men who differ in their philosophy of war while in command of a deadly arsenal. It's a palace drama with political intrigue and deadly weapons. Also a picture of the modern nuclear submarine. It's not meant to be a "thinking" picture, it's meant to be a hair-raiser...and it is for the most part.
Overall the picture is indeed just that and is well executed, something that never fails to raise the goosebumps that cause my arm hairs to sit vertically for the duration of this story.
****
In: Rick Schroeder
Out: Denzel Washington
Coming Soon: Inside Man
I'm very certain the players for this palace drama were chosen very carefully and very well. With names that add power and presence to this piece, goosebumps line my shoulders and the back of my neck with good reason. Washington and Hackman are well balanced by solid performances by James Gandolfini, Matt Craven, Rocky Carroll and Viggo Mortensen. Mr Mortensen plays the seduced courtier with power, pathos and subtlety. The direction, both in production and post-production, were handled with finesse and dignity. My favorite episode being the Akula attack. Its tension is supported by the casting of Danny Nucci, his acting and the sound levels as he calls the plays from the sonar desk; as well, the swelling cues from Hans Zimmer's sweeping score. The editing was simple, but solid.
My only concern comes from the racial subtext after the disagreement by Gene Hackman's Captian Ramsey. It tries to infer something that is clearly not the point of the piece. This argument leads the viewer to believe the film is about race, but it clearly is not. This film is meant to be a tension-filled drama about two men who differ in their philosophy of war while in command of a deadly arsenal. It's a palace drama with political intrigue and deadly weapons. Also a picture of the modern nuclear submarine. It's not meant to be a "thinking" picture, it's meant to be a hair-raiser...and it is for the most part.
Overall the picture is indeed just that and is well executed, something that never fails to raise the goosebumps that cause my arm hairs to sit vertically for the duration of this story.
****
In: Rick Schroeder
Out: Denzel Washington
Coming Soon: Inside Man
Wednesday, July 14, 2010
Poolhall Junkies
My grandparents babysat my great-uncle's pool table for twenty years while I was growing up and I learned the game on that table. My brothers were gifted in angles, velocity and control. Me, I fell short of those, but I still enjoy the game.
Johnny (Mars Callahan) never wanted to be a pool-hustler, but he trusted the wrong backer. His handler, Joe (Chazz Palminteri,) blocks his way to the pool-hall professionals, and when Johnny finds out, he quits. After a few dead-end jobs, trying to be honest, he quits and returns to the pool-hall. His brother Danny (Michael Rosenbaum) is following close on his brother's footsteps, but he's not hip to the game and ends up losing hard to a big-shot hustler. Danny breaks into a pawn shop to cover his debt and gets arrested. So Johnny's got to play to save his brother and pay off the debt.
This movie fits well for the Saturday afternoon movie on Ion Television at 3pm; one of those obscure films you pass by on a lap around the dial. The story is a bit disorganized with some elements that add credibility. Writer-Director-Star Callahan knows his material well and how to shoot compellingly. His casting is credible with stars like Palminteri, Rosenbaum, Rick Schroder and Christopher Walken each with pretty solid performances. However, his writing needed just a little more time and his dialogue some work. The jargon works, but the actors just aren't comfortable. The only player totally comfortable is Callahan himself. The movie's not a bad concept; however, the execution is a little rocky. The sub-sub-plot with Danny's friends, for instance, freezes the main plot like an ancient parking lot speed bump, the kind you always take at 5mph no matter what kind of hurry you're in. This knocked the credibility and beauty off so much that the film is a bit like Danny and his friends, a bit naive and immature.
****
In: Alison Eastwood
Out: Rick Shroeder
Coming Soon: Crimson Tide
Johnny (Mars Callahan) never wanted to be a pool-hustler, but he trusted the wrong backer. His handler, Joe (Chazz Palminteri,) blocks his way to the pool-hall professionals, and when Johnny finds out, he quits. After a few dead-end jobs, trying to be honest, he quits and returns to the pool-hall. His brother Danny (Michael Rosenbaum) is following close on his brother's footsteps, but he's not hip to the game and ends up losing hard to a big-shot hustler. Danny breaks into a pawn shop to cover his debt and gets arrested. So Johnny's got to play to save his brother and pay off the debt.
This movie fits well for the Saturday afternoon movie on Ion Television at 3pm; one of those obscure films you pass by on a lap around the dial. The story is a bit disorganized with some elements that add credibility. Writer-Director-Star Callahan knows his material well and how to shoot compellingly. His casting is credible with stars like Palminteri, Rosenbaum, Rick Schroder and Christopher Walken each with pretty solid performances. However, his writing needed just a little more time and his dialogue some work. The jargon works, but the actors just aren't comfortable. The only player totally comfortable is Callahan himself. The movie's not a bad concept; however, the execution is a little rocky. The sub-sub-plot with Danny's friends, for instance, freezes the main plot like an ancient parking lot speed bump, the kind you always take at 5mph no matter what kind of hurry you're in. This knocked the credibility and beauty off so much that the film is a bit like Danny and his friends, a bit naive and immature.
****
In: Alison Eastwood
Out: Rick Shroeder
Coming Soon: Crimson Tide
Thursday, July 08, 2010
Midnight in the Garden of Good and Evil
The spiritual tones of KD Lang opens as we fly into Savannah, Georgia. Reporter John Kelso (John Cusack) arrives to write a story about Jim Williams' (Kevin Spacey) Christmas Party, the event of the season for the city. It soon becomes clear to Mr. Kelso that he's stepped into another world, as the eccentricities of the neighborhood surround him: people walking imaginary dogs, throwing parties at 2am while squatting, a man who continually threatens to put poison in the drinking water, college football and getting invited to Mr. Williams' Christmas Party. And a little bit of voodoo! Mr. Kelso's story was to be a social postcard, but as his visit grows older, the story turns into something more. When Billy Hanson (Jude Law,) Mr. Williams' mechanic ends up dead, Kelso takes it upon himself to prove Williams innocent. But things aren't what they seem and influences beyond the veil threaten all involved.
The film's dry wit paints exactly what Mr. Kelso's story is supposed to be, a social postcard. It's a snapshot of eccentric society. Mr Spacey's Jim Williams is the epitome of the eccentricities of the ethos of the story. Minerva (Irma P Hall,) the voodoo priestess, is the picture of the culture of New Orleans and Southern Georgia. The tea and poker club as well as the homes they live in, as well as the strictness to manners and rules. And the high society gossip, too, but even that is restrained by manners and rules because as attorney Sonny says, "Saving face in the light of unpleasant circumstances is the Savannah way."
The players are so natural, but also over the top. Mr Spacy's Jim Williams is a juicy treat. He's got the Georgian accent perfectly, perfect warmth with a touch of madness. Mr. Cusack's John Kelso is comfortable in dry wit and a great example of an audience proxy, someone who introduces us to the world we'll live in for the length of the plot. If I saw someone walking an imaginary dog through the pristine parks, it would throw me for a loop, just as it does Kelso.
The plot seems to be unimportant in this film. In the end it's the snapshot of society that matters most. However, whatever plot there is, it's really tightly knit. Clint Eastwood, director of this piece, captures the atmosphere of the setting with finesse. The casting also was done with finesse, the chemistry between the characters is perfect as if they've been friends for a while.
This film is based on an incident of true crime. And incredible, at that, because the story is so outrageous. And the outrageous nature of it is "over the top." Mr. Eastwood spins the yarn with flare and personality. It's not easily forgettable. The presentation invites the audience to join in, to walk invisible dogs and live in Savannah and commune with the people.
****
In: John Cusack
Out: Alison Eastwood
Coming Soon: Poolhall Junkies
The film's dry wit paints exactly what Mr. Kelso's story is supposed to be, a social postcard. It's a snapshot of eccentric society. Mr Spacey's Jim Williams is the epitome of the eccentricities of the ethos of the story. Minerva (Irma P Hall,) the voodoo priestess, is the picture of the culture of New Orleans and Southern Georgia. The tea and poker club as well as the homes they live in, as well as the strictness to manners and rules. And the high society gossip, too, but even that is restrained by manners and rules because as attorney Sonny says, "Saving face in the light of unpleasant circumstances is the Savannah way."
The players are so natural, but also over the top. Mr Spacy's Jim Williams is a juicy treat. He's got the Georgian accent perfectly, perfect warmth with a touch of madness. Mr. Cusack's John Kelso is comfortable in dry wit and a great example of an audience proxy, someone who introduces us to the world we'll live in for the length of the plot. If I saw someone walking an imaginary dog through the pristine parks, it would throw me for a loop, just as it does Kelso.
The plot seems to be unimportant in this film. In the end it's the snapshot of society that matters most. However, whatever plot there is, it's really tightly knit. Clint Eastwood, director of this piece, captures the atmosphere of the setting with finesse. The casting also was done with finesse, the chemistry between the characters is perfect as if they've been friends for a while.
This film is based on an incident of true crime. And incredible, at that, because the story is so outrageous. And the outrageous nature of it is "over the top." Mr. Eastwood spins the yarn with flare and personality. It's not easily forgettable. The presentation invites the audience to join in, to walk invisible dogs and live in Savannah and commune with the people.
****
In: John Cusack
Out: Alison Eastwood
Coming Soon: Poolhall Junkies
Wednesday, July 07, 2010
Identity
A deathbed confession in order to persuade the courts to stay an execution in exchange for the insanity plea is taken from a dangerous man. In another place, during a torrential downpour several strangers arrive at a remote hotel. A former cop turned limo driver (John Cusack), a prostitute (Amanda Peet,) an actress (Rebecca DeMornay.) a couple with their young son, a newlywed couple (Clea Duvall and Sean William Scott) and a correctional officer (Ray Liotta) transporting a murderer. Each arrive seeking shelter from the storm and they don't come alone, each comes with history and secrets to keep. Each direction on the road is flooded, so there's no exit. And one by one, people begin to die.
If Hitchcock had shot Psycho in color, using the cameras used on this film, it would look like this one. The hotel set is brilliant, the noir colors and the vintage decor and overall neglected state of repair adds to the sinister drama unfolding on screen. It's definitely a place I'd never want to stay during any type of weather. The costumes are not elaborate leaving the actors to do their parts mostly on their own. Bravo to the art department!!
Each person has reason and opportunity to kill, and just when I thought I'd figured out who's doing the killing, it's wrong. As each person dies, eventually the bodies disappear, too. It's a classic case of "um, what?" So it becomes clear, that this is a alternate reality; perfect twist!!
The story raises an interesting question, if a killer suffers from multiple personality disorder and one of his personalities kills, is the body responsible? As Malcolm (Pruitt Taylor Vince) ticks down each personality until he's left with one personality only; his demons are exorcised...all but one.
In the end, the final stage was not big, bad and ugly. However, the package was performed well by the players, regardless. The perfect twist is done well at the beginning of the third act, but the ending lacked the punch necessary for the knock out. It failed to gut or release me emotionally. The catharsis wasn't there. As for the characters, the sympathy necessary to connect to them felt absent. A tight plot must have personality, this one turned out to be like a superficial friend you call when you're bored. Also, the transitions from the present to the hotel weren't smooth. More development of characters and more time spent on plot could have helped me fall more deeply in love with this story.
****
In: Clea Duvall
Out: John Cusack
Coming Soon: Midnight in the Garden of Good and Evil
If Hitchcock had shot Psycho in color, using the cameras used on this film, it would look like this one. The hotel set is brilliant, the noir colors and the vintage decor and overall neglected state of repair adds to the sinister drama unfolding on screen. It's definitely a place I'd never want to stay during any type of weather. The costumes are not elaborate leaving the actors to do their parts mostly on their own. Bravo to the art department!!
Each person has reason and opportunity to kill, and just when I thought I'd figured out who's doing the killing, it's wrong. As each person dies, eventually the bodies disappear, too. It's a classic case of "um, what?" So it becomes clear, that this is a alternate reality; perfect twist!!
The story raises an interesting question, if a killer suffers from multiple personality disorder and one of his personalities kills, is the body responsible? As Malcolm (Pruitt Taylor Vince) ticks down each personality until he's left with one personality only; his demons are exorcised...all but one.
In the end, the final stage was not big, bad and ugly. However, the package was performed well by the players, regardless. The perfect twist is done well at the beginning of the third act, but the ending lacked the punch necessary for the knock out. It failed to gut or release me emotionally. The catharsis wasn't there. As for the characters, the sympathy necessary to connect to them felt absent. A tight plot must have personality, this one turned out to be like a superficial friend you call when you're bored. Also, the transitions from the present to the hotel weren't smooth. More development of characters and more time spent on plot could have helped me fall more deeply in love with this story.
****
In: Clea Duvall
Out: John Cusack
Coming Soon: Midnight in the Garden of Good and Evil
Friday, July 02, 2010
Ten Inch Hero
In the beach city of Santa Cruz at the Beach City Grill, a by-the-inch sandwich shop operated by hippie, Trucker, and staffed by Jen (Clea Duvall), Tish (Daneel Harris), Priestly (Jensen Ackles) and newcomer, Piper (Elisabeth Harnois). Tish and Priestly banter about Tish's love life and the abundance in which she picks up shallow guys, which Priestly disapproves. And grill-man Priestly, who really wants just to have a quality relationship and nobody'll give him a chance. Computer geek, Jen's online relationship with Fuzzzy22 is blossoming and she wants to meet him. Hippie Trucker is passionate about Zen-savvy Zo (Alice Kirge), who runs the herbal shop across the street. And Piper is looking for the child she gave up for adoption. Nobody's being honest with anyone and trouble abounds for our motley crew when honesty is required and the truth seeps through the blankets everyone's hiding behind.
Emotional action is harder to show than physical action. It's easy to portray the escalation when guns or punches are involved: more swords, motorcycles, freeway chases. Emotional action involves broken hearts, disappointments, passionate kisses and swelling music. It's up to the actors and the writers to craft our emotional journey with the characters. I am impressed if I come to tears or sigh at the end of a story.
This is a film about friendship and love and being honest with yourself and the ones you spend your life with. I am especially touched with the story of Piper, Julia (Adair Tishler) and Noah (Sean Patrick Flannery.) It's told like a controlled explosion, with the perfect twist. The action comes to a head with a beautiful performance by Elisabeth Harnois and Sean Patrick Flannery. Mr. Flannery's performance throughout the film is warm, restrained and loving and his confusion is well done. As is Harnois' horror and realization as her hope is shattered.
The only thing I felt was off was Priestly's conversion. It robbed the character of his identity. He sold out; it really doesn't sit right with me. It left the plot a little unraveled with some frayed edges. And it's really not because Jensen Ackles is one of my boyz!! It's just not honest.
I am, however, impressed with the color of the piece: the humor, the sets and costumes. The art department did well in the warm atmosphere the film holds. It really invites you to live with these characters. Each of the "antagonists" is shown in earth tones, or sedate tones when their showdowns happen with our bistro workers, except for Priestly. Color is his tool for hiding and he sheds it to uncover himself. The photography is stunning with each shot bright and brilliant with the hope the story offers.
The story is intimate and well done. By the end, you love with the characters, you cry with them and you pull for your favorite couples while you are disgusted with others. Overall, the film is warm, loving, anti-prejudiced and full of hope.
****
In: Sean Patrick Flannery
Out: Clea Duvall
Coming Soon: Identity
Emotional action is harder to show than physical action. It's easy to portray the escalation when guns or punches are involved: more swords, motorcycles, freeway chases. Emotional action involves broken hearts, disappointments, passionate kisses and swelling music. It's up to the actors and the writers to craft our emotional journey with the characters. I am impressed if I come to tears or sigh at the end of a story.
This is a film about friendship and love and being honest with yourself and the ones you spend your life with. I am especially touched with the story of Piper, Julia (Adair Tishler) and Noah (Sean Patrick Flannery.) It's told like a controlled explosion, with the perfect twist. The action comes to a head with a beautiful performance by Elisabeth Harnois and Sean Patrick Flannery. Mr. Flannery's performance throughout the film is warm, restrained and loving and his confusion is well done. As is Harnois' horror and realization as her hope is shattered.
The only thing I felt was off was Priestly's conversion. It robbed the character of his identity. He sold out; it really doesn't sit right with me. It left the plot a little unraveled with some frayed edges. And it's really not because Jensen Ackles is one of my boyz!! It's just not honest.
I am, however, impressed with the color of the piece: the humor, the sets and costumes. The art department did well in the warm atmosphere the film holds. It really invites you to live with these characters. Each of the "antagonists" is shown in earth tones, or sedate tones when their showdowns happen with our bistro workers, except for Priestly. Color is his tool for hiding and he sheds it to uncover himself. The photography is stunning with each shot bright and brilliant with the hope the story offers.
The story is intimate and well done. By the end, you love with the characters, you cry with them and you pull for your favorite couples while you are disgusted with others. Overall, the film is warm, loving, anti-prejudiced and full of hope.
****
In: Sean Patrick Flannery
Out: Clea Duvall
Coming Soon: Identity
Thursday, July 01, 2010
Suicide Kings
Avery's sister, Elise, has been kidnapped. Her ransom is Two Million Dollars with little time to spare. The plan is simple. Avery's friends kidnap Carlo Bartolucci, a local mobster, and force him to use his connections to find Avery's sister and pay the ransom money. But of course, the best laid plans never work; and, one of their own isn't as loyal to the plan as everyone assumes. When the wheels come off and Carlo's people come closer to finding him, the truth comes out and the plan falls into chaos and nobody walks away clean.
First thing I noticed was the low budget value. However, that's never been a problem for me. The story of Lono (Denis Leary) and the lawyer and their hunt to find Carlo is distracting a bit and somewhat long-winded. However, since the rest of the film is set inside a single house, it does break up the action sufficiently. However, the presentation is as chaotic and disorganized as the plan. The sound design and the tone is indicative of this disorganization. As is the editing, at one point a costume changes color between cuts. Costs, it seems, were cut in crew talent.
The budget did not skimp in cast talent, however. I was particularly impressed with Jeremy Sisto's TK in his performance of the conscience of the friends' crew. As always, Christopher Walken's Bartalluci was equal in geniality and menace...brilliant, as usual!! Johnny Gallecki's Ira plays the socially-inept nerd with pure innocence perfectly. He displays Ira's horror with finesse.
This film is definitely an acquired taste. It's very much written like a comedy, but plays like a tragedy. The gimmicks are executed well, for the most part; but, some are not. For instance, Brad Garrett and his sidekick and a bit of Lono's antics regarding his shoes. But Avery's crew, the chemistry is pristine as is Mr. Walken's dealings with everyone.
It's not perfect, nor profound...however, it does satisfy a craving.
****
In: Louis Lombardi
Out: Sean Patrick Flannery
Coming Soon: Ten Inch Hero
First thing I noticed was the low budget value. However, that's never been a problem for me. The story of Lono (Denis Leary) and the lawyer and their hunt to find Carlo is distracting a bit and somewhat long-winded. However, since the rest of the film is set inside a single house, it does break up the action sufficiently. However, the presentation is as chaotic and disorganized as the plan. The sound design and the tone is indicative of this disorganization. As is the editing, at one point a costume changes color between cuts. Costs, it seems, were cut in crew talent.
The budget did not skimp in cast talent, however. I was particularly impressed with Jeremy Sisto's TK in his performance of the conscience of the friends' crew. As always, Christopher Walken's Bartalluci was equal in geniality and menace...brilliant, as usual!! Johnny Gallecki's Ira plays the socially-inept nerd with pure innocence perfectly. He displays Ira's horror with finesse.
This film is definitely an acquired taste. It's very much written like a comedy, but plays like a tragedy. The gimmicks are executed well, for the most part; but, some are not. For instance, Brad Garrett and his sidekick and a bit of Lono's antics regarding his shoes. But Avery's crew, the chemistry is pristine as is Mr. Walken's dealings with everyone.
It's not perfect, nor profound...however, it does satisfy a craving.
****
In: Louis Lombardi
Out: Sean Patrick Flannery
Coming Soon: Ten Inch Hero
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