A biological agent is stolen from a top secret facility run by the Umbrella Corporation and, in the process, is released into the facility, triggering the artificially intelligent security system to kill everyone inside. The problem is this: the biological agent regenerates non-living or diseased tissue and the recently dead don't stay that way. So an elite commando unit infiltrates the base to assess the damage and to contain the aftermath following the incident. And the aftermath is much larger than the corporation anticipated....
Our protagonist, Alice (Milla Jovovich) is initially a perfect example of an audience proxy. Alice loses her memory during the security breach. She is our eyes to the adventures; information is explained to her as the narrative plays out and she also regains her memory part of the way through. Jovovich's Alice has a certain innocent quality about her; and, as she starts to remember, her innocence fades and we're left with her true nature, which is consistently and incrementally released from innocent, amnesiac to hardened, jaded revenge-warrior. The outside world reflects her change. The global environment changes from lush, variable ecosystems to global deserts and urban wastelands.
The main villain is not a person, its a corporation whose play for world domination through business creates the apocalyptic condition their primary customers become. Their operatives are expendable; their lieutenants and leaders are cowards, living miles underground, away from the consequences. Then there's the infected, the consequence, which our heroes must fight, kill, or become part of on their way through the journey. They are the embodiment of what the Umbrella Corporation is, a gluttonous machine. Says a bit about massive corporations, I wonder if that's the point. Each film has a personification of the corporation, a main lieutenant, so to speak, and it's handled fairly well.
Alice is supported by some well fleshed-out characters through her journey. They provide a wide cadre of people to break up the mundanity of a single character going through the adventure. It's all right for video games, from which this series is based because it's a single-player game and the object is to simulate that the player is Alice. For instance, my dad has been Lara Croft, the Prince (of Persia fame,) Batman (in Lego form,) The Fellowship of the Ring, The Master Sergeant, and many others. However, he still looks like my dad, even after all of that. This approach, however, is not good for movie stories. Granted, it has worked before: Cast Away, I Am Legend, for instance. But, not for me. It's in human relationships that a story thrives. And a supporting cast is perfunctory for a story to work for me. This series has this in spades.
Audiences connect with people, so characters are required to act that way, whether they are human or not. In this case, the zombies are not characters, they are weapons and thematic elements. The Red Queen, in the first film, is a character, regardless of the fact she is a computer; she is purely logical and purely evil, something humans can be. The rest of the characters are human, so we definitely relate to them; and they are written well enough in this series for a relationship to form between the audience and the people in the series and for Alice, our hero.
The characters work well, their chemistry is well written and well delivered; a nice transition from a statically written medium.
***
Coming Soon: Resident Evil - Story and Series Analysis.
Thursday, August 19, 2010
Wednesday, August 18, 2010
The Punisher vs Punisher: War Zone
"Before you embark on a journey of revenge, dig two graves," says an ancient Asian proverb. Grief and sorrow fuel the anger and action in these two films. The Punisher and Punisher: War Zone tell the stories of Frank Castle, former government agent-turned-vigilante, and his loss. In both, Frank loses his family in a gangland assassination; in both, he turns to crime-fighting as revenge and in both he regains his soul in the process. Both stories are different, however. The soul stays the same, but the methods of delivery are drastically different.
The Punisher feels like any revenge action flick, mostly due to the rock-solid performances by Thomas Jane, John Travolta, Will Patton and Ben Foster. They bring a vintage, muscle-car, testosterone-fueled swagger that was famous back in the Dirty Harry and Steve McQueen days of the 70's and 80's. Completely masculine, the way that I wish men were portrayed today. Even Foster's Spacker Dave is masculine to the bone, even if Dave starts out weak. It also has an old-school western feel that I grew up watching in my childhood and still love today. The action is is dry and gritty with very few theatrical style points. The sound design makes it so. And it makes it as beautiful as the Carlo Siliotto’s film score, sounding like old-school Ennio Morricone's spaghetti-westerns. And you'd expect this film to feel like it belongs in the Marvel Family, but it doesn't. The "based on a comic book" design is absent, with the exception of one scene. With dynamic photography and its story penned like a classic revenge tragedy, it's the "black sheep" of the Marvel Family. But overall it's got a brilliant mix of sorrow and anger, which cuts down into the soul and makes it worth seeing.
Punisher: War Zone from the start makes amends with the family and restores the comic book tone. From its credits sequence to its main villain, its fighting style and photography, it belongs in the Batman Forever era in the Batman franchise. However, its redeeming feature is the plot line involving the Punisher's accidental slaying of an undercover FBI agent with Ray Stevenson's chilling performance as Frank Castle. Colin Salmon and Wayne Knight also offer solid performances as the FBI agent revenging his partner's murder and Castle's weapons-master, Micro. It's very clear, from the retroactive continuity elements in Castle's backstory, that this installment is not related to the other film whatsoever. In this one, Castle's already lost his soul and the FBI agent's death draws him to nearly lose his resolve. Guilt drives this one, just as sorrow drove the other. Stevenson seethes powerfully, allowing the character's emotions to fill him as he radiates guilt and remorse, both for what he's done and what he's lost. "Who punishes you?" Julie Benz' widow shrieks, for which Castle has no response, because it's clear: he does. The part that feels like a comic book, is Doug Hutchinson's Looney Bin Jim and Dominic West's Jigsaw. The pair of brothers are so incredibly ludicrous, they don't work against Stevenson's Castle; as they fail to be worthy targets for Frank's vengence. The stylistic action and photography, as well as cheese-ball cliche lines makes this installment less elegant that its counterpart. However, Stevenson's worth watching.
Of the two, Jane's Punisher is an opera. Everything from the music to the stunts to the performances shines above Stevenson's installment. Stevenson and Jane both portray Frank Castle with deep, compelling emotion making it difficult to choose whose face I'd rather see him wearing. However, it's the package that matters and I've got to choose Jane's. Director Jonathan Hensleigh's labor pays off high above Lexi Alexander's. The emotional release is better, the characters are more credible and I found I connected better with them, even Travolta's Howard Saint and Patton's Quentin Glass. The package is better and that's enough.
****
In: Thomas Jane
Out: Colin Salmon
Coming Soon: Resident Evil
The Punisher feels like any revenge action flick, mostly due to the rock-solid performances by Thomas Jane, John Travolta, Will Patton and Ben Foster. They bring a vintage, muscle-car, testosterone-fueled swagger that was famous back in the Dirty Harry and Steve McQueen days of the 70's and 80's. Completely masculine, the way that I wish men were portrayed today. Even Foster's Spacker Dave is masculine to the bone, even if Dave starts out weak. It also has an old-school western feel that I grew up watching in my childhood and still love today. The action is is dry and gritty with very few theatrical style points. The sound design makes it so. And it makes it as beautiful as the Carlo Siliotto’s film score, sounding like old-school Ennio Morricone's spaghetti-westerns. And you'd expect this film to feel like it belongs in the Marvel Family, but it doesn't. The "based on a comic book" design is absent, with the exception of one scene. With dynamic photography and its story penned like a classic revenge tragedy, it's the "black sheep" of the Marvel Family. But overall it's got a brilliant mix of sorrow and anger, which cuts down into the soul and makes it worth seeing.
Punisher: War Zone from the start makes amends with the family and restores the comic book tone. From its credits sequence to its main villain, its fighting style and photography, it belongs in the Batman Forever era in the Batman franchise. However, its redeeming feature is the plot line involving the Punisher's accidental slaying of an undercover FBI agent with Ray Stevenson's chilling performance as Frank Castle. Colin Salmon and Wayne Knight also offer solid performances as the FBI agent revenging his partner's murder and Castle's weapons-master, Micro. It's very clear, from the retroactive continuity elements in Castle's backstory, that this installment is not related to the other film whatsoever. In this one, Castle's already lost his soul and the FBI agent's death draws him to nearly lose his resolve. Guilt drives this one, just as sorrow drove the other. Stevenson seethes powerfully, allowing the character's emotions to fill him as he radiates guilt and remorse, both for what he's done and what he's lost. "Who punishes you?" Julie Benz' widow shrieks, for which Castle has no response, because it's clear: he does. The part that feels like a comic book, is Doug Hutchinson's Looney Bin Jim and Dominic West's Jigsaw. The pair of brothers are so incredibly ludicrous, they don't work against Stevenson's Castle; as they fail to be worthy targets for Frank's vengence. The stylistic action and photography, as well as cheese-ball cliche lines makes this installment less elegant that its counterpart. However, Stevenson's worth watching.
Of the two, Jane's Punisher is an opera. Everything from the music to the stunts to the performances shines above Stevenson's installment. Stevenson and Jane both portray Frank Castle with deep, compelling emotion making it difficult to choose whose face I'd rather see him wearing. However, it's the package that matters and I've got to choose Jane's. Director Jonathan Hensleigh's labor pays off high above Lexi Alexander's. The emotional release is better, the characters are more credible and I found I connected better with them, even Travolta's Howard Saint and Patton's Quentin Glass. The package is better and that's enough.
****
In: Thomas Jane
Out: Colin Salmon
Coming Soon: Resident Evil
Wednesday, August 11, 2010
Dreamcatcher
Four friends, Henry (Thomas Jane,) Pete (Timothy Olyphant,) Jonesy (Damian Lewis) and Beaver (Jason Lee,) who are gifted with special abilities when they help a seemingly autistic boy, Duddits (Donnie Wahlberg,) escape the school bully, get together for their annual hunting trip in the woods. Their timing, however, couldn't be more unsuitable. Their weekend is gravely disturbed by an extraterrestrial invasion, with a corresponding military quarantine overseen by a psychotic commander (Morgan Freeman) and his war-horse lieutenant (Tom Sizemore.) When one of the alien life forms possesses one of the quartet and kills two others, they discover their friend Duddits is not all he seems and their lives are all in peril, regardless in whose hands they find themselves.
It's a regular "frat boy" sleepover in this supernatural thriller by Stephen King in a story you shouldn't take without some kind of wacky external influence, like lack of sleep or too much coffee. The overall strangeness is an acquired taste, much like the rest of King's work. However, it is a study on human behavior during a crisis, also like some of his work, brilliantly contrasted with the reactions of the military and the quartet. With high-concept supernatural thrillers, in this vein, I enjoy watching the human relationships and this one is abundant.
The Duddits story-line is particularly potent. The quartet's devotion and affection for this person is as life and love is to be, sacrificial and loyal. Their love for each other, as well, is so well written and performed, it's easy to taste their sorrow and celebrate their triumphs. The quartet Jane, Olyphant, Lewis and Lee mesh together so well, it's entirely believable that they grew up together and fought injustice together with a bond that is unbreakable. So when two of them fall, it's genuinely heartbreaking.
Two performances make this film something to see. Damian Lewis' dual performance as New Englander Jonesy and Mr. Gray, Duddits' Bristish-accented (Lewis' own) nemesis. It's both horrifying and hilarious. The other is Donnie Wahlberg's Duddits. He's an emaciated, cancer-ridden man who's on his last mile. Wahlberg's dedication to the role is astounding, including his appearance, and he nails the autism tick with precision. In his other roles, it's hard to see the same man featured here.
Every movie collection needs the obligatory Stephen King adapted flick and this one's mine...and not a bad choice, just one that goes down funny when consumed, which is why I choose well when doing so.
***
In: Timothy Olyphant
Out: Thomas Jane
Coming Soon: The Punisher/Punisher: War Zone
It's a regular "frat boy" sleepover in this supernatural thriller by Stephen King in a story you shouldn't take without some kind of wacky external influence, like lack of sleep or too much coffee. The overall strangeness is an acquired taste, much like the rest of King's work. However, it is a study on human behavior during a crisis, also like some of his work, brilliantly contrasted with the reactions of the military and the quartet. With high-concept supernatural thrillers, in this vein, I enjoy watching the human relationships and this one is abundant.
The Duddits story-line is particularly potent. The quartet's devotion and affection for this person is as life and love is to be, sacrificial and loyal. Their love for each other, as well, is so well written and performed, it's easy to taste their sorrow and celebrate their triumphs. The quartet Jane, Olyphant, Lewis and Lee mesh together so well, it's entirely believable that they grew up together and fought injustice together with a bond that is unbreakable. So when two of them fall, it's genuinely heartbreaking.
Two performances make this film something to see. Damian Lewis' dual performance as New Englander Jonesy and Mr. Gray, Duddits' Bristish-accented (Lewis' own) nemesis. It's both horrifying and hilarious. The other is Donnie Wahlberg's Duddits. He's an emaciated, cancer-ridden man who's on his last mile. Wahlberg's dedication to the role is astounding, including his appearance, and he nails the autism tick with precision. In his other roles, it's hard to see the same man featured here.
Every movie collection needs the obligatory Stephen King adapted flick and this one's mine...and not a bad choice, just one that goes down funny when consumed, which is why I choose well when doing so.
***
In: Timothy Olyphant
Out: Thomas Jane
Coming Soon: The Punisher/Punisher: War Zone
Tuesday, August 10, 2010
Hitman
At an early age, Agent 47 (Timothy Olyphant) has known little more than the art of war and the sculpture of death. Raised by a covert organization whose sole purpose is the training and conditioning of professional killers and chosen from the world's destitute children, Agent 47 is the best. The Organization has ties to all governments, but prefers none. When he is hired to execute the Russian President, the job runs smoothly until he is told of a witness, and goes to intercept her, walking straight into an ambush. Having seemingly failed, his employer cuts all ties and orders a free-for-all for all its agents on his head. Pursued by his relentless, longtime nemesis, Interpol Agent Mike Wittier (Dougray Scott,) as well the head of Russian Intelligence, Yuri Markov (Robert Knepper.) Things are not as they seem, and Agent 47 is prepared to kill his way through the conspiracy and get his life back...but will he get the answers before his pursuers catch up to him?
Video games have a certain epic quality to them. I've spent hours beginning to watch (and usually falling asleep at certain time intervals) my dad play anything from Tetris Worlds to Lego Star Wars. I've played a few, myself, as well. It's not really my thing, but my dad likes it, so I watch...and he's way better than me, too!! However, the epic quality does tend to cross over into the movies that they're based upon. However, it doesn't feel epic here...it feels personal, emotional.
"You don't want to have me and you don't want to kill me; I've never felt so much indifference in my entire life." Olga Kurylenko's Nika describes in beautiful clarity Olyphant's performance. She also quips, "you know you really are charming when you're not killing people." This is also true. He has a disarming quality about him, that does melt the heart and weaken the knees. But he also has the ability to return that melted heart to ice with his soulless and icy performance. His humor also blends in quite nicely with his quiet serious nature. Absolutely stunning and completely flawless.
Our two agency pursuants are portrayed perfectly by Scott and Knepper. Scott perfectly has the balance of awe and chess-play for his target. He also is a man of cause and purpose and justice. And Scott fills his heart with it and it becomes him nicely. Knepper's Yuri is perfect as the pawn who wants so badly to succeed, but who is still a tough, suspicious, driven cold-war relic. He's not weak, just powerless and fearful.
The action is routine, the story a bit cliche, playing a bit like the typical heist film. However, in the end, the film doesn't feel like it's based on a video game. It feels like an assassin film, an action movie with some quality acting to compliment. Olyphant's Agent 47 is perfectly executed, as are his antagonists. His sidekick and allies are also solidly written and performed. All around, this film is brilliant and stands well on its feet.
***
In: Robert Knepper
Out: Timothy Olyphant
Coming Soon: Dreamcatcher
Video games have a certain epic quality to them. I've spent hours beginning to watch (and usually falling asleep at certain time intervals) my dad play anything from Tetris Worlds to Lego Star Wars. I've played a few, myself, as well. It's not really my thing, but my dad likes it, so I watch...and he's way better than me, too!! However, the epic quality does tend to cross over into the movies that they're based upon. However, it doesn't feel epic here...it feels personal, emotional.
"You don't want to have me and you don't want to kill me; I've never felt so much indifference in my entire life." Olga Kurylenko's Nika describes in beautiful clarity Olyphant's performance. She also quips, "you know you really are charming when you're not killing people." This is also true. He has a disarming quality about him, that does melt the heart and weaken the knees. But he also has the ability to return that melted heart to ice with his soulless and icy performance. His humor also blends in quite nicely with his quiet serious nature. Absolutely stunning and completely flawless.
Our two agency pursuants are portrayed perfectly by Scott and Knepper. Scott perfectly has the balance of awe and chess-play for his target. He also is a man of cause and purpose and justice. And Scott fills his heart with it and it becomes him nicely. Knepper's Yuri is perfect as the pawn who wants so badly to succeed, but who is still a tough, suspicious, driven cold-war relic. He's not weak, just powerless and fearful.
The action is routine, the story a bit cliche, playing a bit like the typical heist film. However, in the end, the film doesn't feel like it's based on a video game. It feels like an assassin film, an action movie with some quality acting to compliment. Olyphant's Agent 47 is perfectly executed, as are his antagonists. His sidekick and allies are also solidly written and performed. All around, this film is brilliant and stands well on its feet.
***
In: Robert Knepper
Out: Timothy Olyphant
Coming Soon: Dreamcatcher
Friday, August 06, 2010
Good Night and Good Luck
A smoky room; a stock reel pulling celluloid through a projector overlooking a conference room; smooth jazz supporting the smooth voices of Edward R Murrow (David Strathairn) and his crew led by Fred Friendly (George Clooney.) It is the reign of Joe Mccarthy and the war against communism, and CBS News are resistance fighters; and they are both afraid and brazen. After coming across a news story, the sparks fly as the line between investigating and persecuting grows thinner and the CBS crew defends the country through investigative reporting.
Tension describes the tenor of this film from the dry sound design, black and white photography and to the editing between the stock footage of the proceedings by the real Joe McCarthy to the smooth jazz performed beautifully by Dianne Reeves to the foxhole moments in the bullpens, the elevators and the pubs late in the night, illustrate how paranoid people were at that time and how engaged the conflict between the news and the senator became.
Strathairn's Murrow is brilliantly constructed, both as a soldier in the cause of excellence in media and as a combatant for justice for the persecuted. He is single minded, and has his eye on the prize, with little sympathy for the others in his foxhole, especially the newscaster that follows his show. Clooney's Friendly is savvy and warm, despite the lack of color on the screen. I am particularly awed by the juxtaposition between the actual stock footage and the main action in the story, as if I've been a fly on the wall for 93 minutes.
As a reflection, this kind of excellence in the news is hardly seen today. Sensationalism, as well as instant reporting through YouTube, Twitter and Facebook has limited our expectations; as well, our taste. We're also unwilling to expect excellence on both the big screen and our televisions. This film does not fit in with expectations today, it outstrips them. Perhaps we should expect more than an instrument that merely entertains, amuses and insulates...perhaps we should expect illumination, education and inspiration.
****
In: Robert Downey Jr
Out: Robert Knepper
Coming Soon: Hitman
Tension describes the tenor of this film from the dry sound design, black and white photography and to the editing between the stock footage of the proceedings by the real Joe McCarthy to the smooth jazz performed beautifully by Dianne Reeves to the foxhole moments in the bullpens, the elevators and the pubs late in the night, illustrate how paranoid people were at that time and how engaged the conflict between the news and the senator became.
Strathairn's Murrow is brilliantly constructed, both as a soldier in the cause of excellence in media and as a combatant for justice for the persecuted. He is single minded, and has his eye on the prize, with little sympathy for the others in his foxhole, especially the newscaster that follows his show. Clooney's Friendly is savvy and warm, despite the lack of color on the screen. I am particularly awed by the juxtaposition between the actual stock footage and the main action in the story, as if I've been a fly on the wall for 93 minutes.
As a reflection, this kind of excellence in the news is hardly seen today. Sensationalism, as well as instant reporting through YouTube, Twitter and Facebook has limited our expectations; as well, our taste. We're also unwilling to expect excellence on both the big screen and our televisions. This film does not fit in with expectations today, it outstrips them. Perhaps we should expect more than an instrument that merely entertains, amuses and insulates...perhaps we should expect illumination, education and inspiration.
****
In: Robert Downey Jr
Out: Robert Knepper
Coming Soon: Hitman
Thursday, August 05, 2010
Charlie Bartlett
"There's more to High School than being well liked," quips Charlie Bartlett's mother. To which the titular character retorts, "Like what, specifically?" To which there's no reply. And I agree. It was the height of importance to be popular, especially at Nevada Union High. And I must say, popular was not my middle name. On the flip-side, I wasn't "uncool" either: I didn't spend the majority of my four-year tenure as a Mighty Miner with black eyes and toilet-bowl hair.
However, Charlie Bartlett's (Anton Yelchin) first day had him wearing both. After being expelled from every ivy-league prep school for near-criminal behavior, he enrolls in West Summit High School, the local public school. Needing to feel comprehensively liked, he becomes an expert on teenage psychological and behavioral issues and sets himself up as the school shrink. Complete with office, in the main hall boys bathroom, and pharmacy, run by school bully, Murphy Bivens. He takes his patients' sessions in the stalls and dishes out the proper medication. However, after one of his patients' suicide attempts, he must use his influence and popularity for more positive uses.
This film harkens back to great school flicks like Dead Poets Society, Ferris Beuler's Day Off, and Fast Times at Ridgemont High and other movies Robert Downey Jr (Charlie Bartlett's Principal Gardener) started his career exploring. It clearly is written by people from my generation, people who weren't sure who they were in high school. Who agree that high school can be a bit like Western Summit High's spring play "Hell Comes with Your Own Locker." Life is chaos and there's no sense to it.
I enjoyed the wit, wisdom and intelligent gimmicks. This film has the feel of an indie and punch-packed with the force of a blockbuster with rock-solid performances from Anton Yelchin, Hope Davis and Robert Downey Jr. Robert Downey Jr's Principal Gardener is brilliant as a man torn between giving up and fighting for his soul. His performance is brilliant in Gardener's obligatory confrontations, as most school flick principals perform; however, Downey Jr makes it very clear that Gardener does not want to be stereotyped as such. Yelchin's Charlie Bartlett is one step into adulthood and the other wanting to stay in high school a bit longer. And he is the typical school flick protagonist, played to perfection.
Complete with a student demonstration, a dance-party complete with indie rocker, romantic hook-ups between unlikely characters, a denouement that makes you feel fuzzy: yep, totally the quintessential school flick, this time with an education. And that totally rocks!!
****
In: Anton Yelchin
Out: Robert Downey JR
Coming Soon: Good Night and Good Luck
However, Charlie Bartlett's (Anton Yelchin) first day had him wearing both. After being expelled from every ivy-league prep school for near-criminal behavior, he enrolls in West Summit High School, the local public school. Needing to feel comprehensively liked, he becomes an expert on teenage psychological and behavioral issues and sets himself up as the school shrink. Complete with office, in the main hall boys bathroom, and pharmacy, run by school bully, Murphy Bivens. He takes his patients' sessions in the stalls and dishes out the proper medication. However, after one of his patients' suicide attempts, he must use his influence and popularity for more positive uses.
This film harkens back to great school flicks like Dead Poets Society, Ferris Beuler's Day Off, and Fast Times at Ridgemont High and other movies Robert Downey Jr (Charlie Bartlett's Principal Gardener) started his career exploring. It clearly is written by people from my generation, people who weren't sure who they were in high school. Who agree that high school can be a bit like Western Summit High's spring play "Hell Comes with Your Own Locker." Life is chaos and there's no sense to it.
I enjoyed the wit, wisdom and intelligent gimmicks. This film has the feel of an indie and punch-packed with the force of a blockbuster with rock-solid performances from Anton Yelchin, Hope Davis and Robert Downey Jr. Robert Downey Jr's Principal Gardener is brilliant as a man torn between giving up and fighting for his soul. His performance is brilliant in Gardener's obligatory confrontations, as most school flick principals perform; however, Downey Jr makes it very clear that Gardener does not want to be stereotyped as such. Yelchin's Charlie Bartlett is one step into adulthood and the other wanting to stay in high school a bit longer. And he is the typical school flick protagonist, played to perfection.
Complete with a student demonstration, a dance-party complete with indie rocker, romantic hook-ups between unlikely characters, a denouement that makes you feel fuzzy: yep, totally the quintessential school flick, this time with an education. And that totally rocks!!
****
In: Anton Yelchin
Out: Robert Downey JR
Coming Soon: Good Night and Good Luck
Tuesday, August 03, 2010
Terminator: Final Thoughts
The Terminator series is one of my favorites. I believe I first encountered it during my short tenure at Hollywood Video after I graduated college. I also remember my dad renting the first one for a movie night (with the fellas) before I was a teenager. I am fond of the story with its tale of ordinary people rising above apocalyptic circumstances to save the world. And so, my final thoughts on the series.
The Terminator has one thing the others don't, the basis of the mythos. However, it has the awkwardness of being first base. I, personally, have a particular fondness for this installment and for one character in particular: Kyle Reese. It's not due to the overall good looks on his portrayer: My fondness for this one is due to the fact that the protector (Kyle) is human, therefore he has something to lose. The fight is seemingly a suicide mission, and he knows it...but he does his duty anyways. Honor, dedication, love, loyalty, sacrifice; the stuff of which heroes are made.
T2: Judgement Day has the popular distinction of being one of the few "sequels" that outshines its parent film. The effects are definitely better, and the camerawork shines more. But the gimmicks are similar, the formula is the same, and there are more of the same characters from the previous installment than any of the others. The technicality of the piece outstrips it predecessor, but the story's not better, nor are the performances. I also have a problem with the "hero" being a machine who's humanity is never shown.
Terminator 3: Rise of the Machines is as sleek and sexy as its villain machine. Fate is an interesting antagonist, as the hero of the series isn't interested in fulfilling his destiny to lead the human race. Nick Stahl has the perfect balance between what Furlong began in T2 to what Connor will eventually become. His brooding nature along with hidden compassion, coupled with a credible street-savvy, gives us a window into what Connor's destiny will require. However, the biggest downside is that there is no brain or heart to this installment, merely filler.
Terminator Salvation returns to the bleak future in the aftermath of Judgement Day. The production design paints the devastation and hopelessness brilliantly, complete with low-tech guerilla tactics and high-tech enemies. The gimmicks are similar, but not mirror images of the previous installments. Pristinely cast, especially in Anton Yelchin's Kyle Reese, Christian Bale's John Connor and Sam Worthington's Marcus Wright. Each bring a level of heart and soul to their characters that makes them worth our concern. Marcus' character works as a written character, however, in the grand scheme of the mythos...he's a bit far fetched.
The series is well mapped, well cast, and well delivered. The mythos is clearly laid out and executed. I look forward to seeing the events surrounding the deploying of each protector in the future.
****
In: Lance Heinricksen
Out: Anton Yelchin
Coming Soon: Charlie Bartlett
The Terminator has one thing the others don't, the basis of the mythos. However, it has the awkwardness of being first base. I, personally, have a particular fondness for this installment and for one character in particular: Kyle Reese. It's not due to the overall good looks on his portrayer: My fondness for this one is due to the fact that the protector (Kyle) is human, therefore he has something to lose. The fight is seemingly a suicide mission, and he knows it...but he does his duty anyways. Honor, dedication, love, loyalty, sacrifice; the stuff of which heroes are made.
T2: Judgement Day has the popular distinction of being one of the few "sequels" that outshines its parent film. The effects are definitely better, and the camerawork shines more. But the gimmicks are similar, the formula is the same, and there are more of the same characters from the previous installment than any of the others. The technicality of the piece outstrips it predecessor, but the story's not better, nor are the performances. I also have a problem with the "hero" being a machine who's humanity is never shown.
Terminator 3: Rise of the Machines is as sleek and sexy as its villain machine. Fate is an interesting antagonist, as the hero of the series isn't interested in fulfilling his destiny to lead the human race. Nick Stahl has the perfect balance between what Furlong began in T2 to what Connor will eventually become. His brooding nature along with hidden compassion, coupled with a credible street-savvy, gives us a window into what Connor's destiny will require. However, the biggest downside is that there is no brain or heart to this installment, merely filler.
Terminator Salvation returns to the bleak future in the aftermath of Judgement Day. The production design paints the devastation and hopelessness brilliantly, complete with low-tech guerilla tactics and high-tech enemies. The gimmicks are similar, but not mirror images of the previous installments. Pristinely cast, especially in Anton Yelchin's Kyle Reese, Christian Bale's John Connor and Sam Worthington's Marcus Wright. Each bring a level of heart and soul to their characters that makes them worth our concern. Marcus' character works as a written character, however, in the grand scheme of the mythos...he's a bit far fetched.
The series is well mapped, well cast, and well delivered. The mythos is clearly laid out and executed. I look forward to seeing the events surrounding the deploying of each protector in the future.
****
In: Lance Heinricksen
Out: Anton Yelchin
Coming Soon: Charlie Bartlett
Monday, August 02, 2010
Terminator: The Formula
Form, as defined in the glossary in one of my film textbooks, is the general system of relationships among the parts of a film. Therefore, story form is the relationships among the parts of a story. The American Oxford Dictionary defines formulas as a fixed form of words especially one used in particular contexts or as a conventional usage; a stock epithet, phrase or line repeated for various effects in literary composition. Genre films usually follow formulas as a rule. Genre films refer to film stories that have been repeated again and again with only slight variations. Formulas can also bleed over from genre to films in a series.
Terminator is one of those film series. As far as what genre it is: science fiction, simply put. The science fiction genre is fiction based on imagined future scientific or technological advances and major social or environmental changes, frequently portraying space or time travel and life on other planets. However, the distinction here is that each of the series' four installments follows a separate formula independent of the science fiction genre. The plot, characters and thematic elements are virtually identical. Archetypes exist in each installment. Archetypes are typical examples of a certain person or thing. Here, we have four in characters with a fifth in the form of a thematic element. The plot is similar in each because of these five.
The first character is the machine. In this series, this is in the form of two things: three in the form of Terminators and the final in the form of Skynet itself. The T-101 (Arnold Schwarzenegger) is the first to arrive in the first installment, relentless, but sloppy, unable to integrate into the flow of humanity. Played, unfortunately, to perfection by the actor, but to no less success. Skynet, when it fails, sends another. The T-1000 (Robert Patrick) is sent later and infiltrates much easier and smoother as its liquid metal abilities allow. The third, the T-X, or Terminatrix (Kristanna Loken), is able to infiltrate a bit better than it's predecessor, however, still contains the awkwardness of the T-101. However, it's been built as a response to the past two T-101 protection models, so its sleek and sexy human persona is matched by equally fatal weapons beneath. The last machine is Skynet itself (Helena Bonham Carter.) Because we've joined the past with the present, Skynet cannot be compared with its predecessors as it is, in fact, part of its predecessors. The fact that all fail to do what their objective is, to infiltrate and eliminate or die in the process, clearly reiterates the theme.
Next we have the protector. Their job is to protect the machine's target. They have the same mission as the machine, find a target and eliminate a threat. Only the threat is the machine. They have the same mindset, complete the mission or die in the process. They have, consequently, little humanity or sympathy for their protectant. Half of the protectors cannot help this, while half can. The two T-101 Terminators are the two who cannot. Kyle Reese (Michael Biehn) is one of them who can, John Connor (Christian Bale) is the other.
The protector is joined by the believer. This is the person who is completely convinced Skynet is real, the threat to the target is real and that the future depends on the success of the protector's mission. They, like the protector are prepared to die for that success. Unlike the protector, their humanity is usually intact. I say usually; half of the believers start hardened and then at a sudden point, their humanity bursts through with a tender moment with the target. The other half have humanity with abundance, their heart is so exposed that they cannot be anything else. Only after confession of his feelings combined with an intimate night with Sarah Conner (Linda Hamilton) does Kyle Reese lose his hardened shell...but this night is so important, because it's the night that John Connor is conceived. Sarah Conner, after her experiences with the T-101, losing Kyle, and after a time being her son's drill-sergeant is committed to a psychiatric hospital, turns from loving mother and innocent to a hard, driven soldier. The two who keep their humanity during their term as "believer" are John Connor (Nick Stahl) and Kyle Reese (Anton Yelchin) who remind the protector and the innocent of the score and the importance humanity plays in the series.
Our final character is the virgin, an innocent to the war with the machines. Usually this person is the target and is the case with three of four of the installments. They're unaware of John Connor and his importance to the human race. They get tied into the war by coming across the believer and/or protector and join in the fight, usually to help protect themselves against the machine's mission. Our first innocent was a target, Sarah Connor. Being the mother of the future messiah of humanity, she takes it upon herself to be prepared for the future and loses her innocence along the way. John Connor (Edward Furlong), in the second installment, really might not count as an innocent. He's been told, by his mother, for his whole life, that he's the future leader of humanity, but it's too much for him and he denies what he's been taught. When he's told by his protector that it's all true, he genuinely reacts with surprise. Kate Brewster Connor (Claire Danes) is the perfect example of the virgin for the series as is Marcus Wright (Sam Worthington) although he accepts much faster than she does. Kate denies up until the protector T-101 allows her to shoot him. Marcus, on the other hand is shown by believer Kyle Reese (who's also the target) the moment they meet and he agrees to help the "heroes" side. However, the bigger denial comes from his encounter with Skynet later. Plus, this virgin is not a target, so his survival must come at the hands of John Connor, the protector.
Our final archetype is one of our themes: the danger to John Connor and his family. Each installment of the series has a target. And that target is a member of John Connor's family. Skynet targets his mother, himself, his wife and chief lieutenant, and finally, his father.
The formula for the plot is simple: Skynet sends an assassin to kill a member of John Connor's family in order to reset future events to have an alternate timeline free of the presence of John Connor and his lieutenants, so that Judgement Day is successful and the human race is annihilated.
Formulas are tricky to spot in a series, our minds disengage for formula films, because we're already fans. And because we're already fans, we don't care if the same thing passes from film to film. It works, and that's all.
****
Coming Soon -- Terminator: Final Thoughts
Terminator is one of those film series. As far as what genre it is: science fiction, simply put. The science fiction genre is fiction based on imagined future scientific or technological advances and major social or environmental changes, frequently portraying space or time travel and life on other planets. However, the distinction here is that each of the series' four installments follows a separate formula independent of the science fiction genre. The plot, characters and thematic elements are virtually identical. Archetypes exist in each installment. Archetypes are typical examples of a certain person or thing. Here, we have four in characters with a fifth in the form of a thematic element. The plot is similar in each because of these five.
The first character is the machine. In this series, this is in the form of two things: three in the form of Terminators and the final in the form of Skynet itself. The T-101 (Arnold Schwarzenegger) is the first to arrive in the first installment, relentless, but sloppy, unable to integrate into the flow of humanity. Played, unfortunately, to perfection by the actor, but to no less success. Skynet, when it fails, sends another. The T-1000 (Robert Patrick) is sent later and infiltrates much easier and smoother as its liquid metal abilities allow. The third, the T-X, or Terminatrix (Kristanna Loken), is able to infiltrate a bit better than it's predecessor, however, still contains the awkwardness of the T-101. However, it's been built as a response to the past two T-101 protection models, so its sleek and sexy human persona is matched by equally fatal weapons beneath. The last machine is Skynet itself (Helena Bonham Carter.) Because we've joined the past with the present, Skynet cannot be compared with its predecessors as it is, in fact, part of its predecessors. The fact that all fail to do what their objective is, to infiltrate and eliminate or die in the process, clearly reiterates the theme.
Next we have the protector. Their job is to protect the machine's target. They have the same mission as the machine, find a target and eliminate a threat. Only the threat is the machine. They have the same mindset, complete the mission or die in the process. They have, consequently, little humanity or sympathy for their protectant. Half of the protectors cannot help this, while half can. The two T-101 Terminators are the two who cannot. Kyle Reese (Michael Biehn) is one of them who can, John Connor (Christian Bale) is the other.
The protector is joined by the believer. This is the person who is completely convinced Skynet is real, the threat to the target is real and that the future depends on the success of the protector's mission. They, like the protector are prepared to die for that success. Unlike the protector, their humanity is usually intact. I say usually; half of the believers start hardened and then at a sudden point, their humanity bursts through with a tender moment with the target. The other half have humanity with abundance, their heart is so exposed that they cannot be anything else. Only after confession of his feelings combined with an intimate night with Sarah Conner (Linda Hamilton) does Kyle Reese lose his hardened shell...but this night is so important, because it's the night that John Connor is conceived. Sarah Conner, after her experiences with the T-101, losing Kyle, and after a time being her son's drill-sergeant is committed to a psychiatric hospital, turns from loving mother and innocent to a hard, driven soldier. The two who keep their humanity during their term as "believer" are John Connor (Nick Stahl) and Kyle Reese (Anton Yelchin) who remind the protector and the innocent of the score and the importance humanity plays in the series.
Our final character is the virgin, an innocent to the war with the machines. Usually this person is the target and is the case with three of four of the installments. They're unaware of John Connor and his importance to the human race. They get tied into the war by coming across the believer and/or protector and join in the fight, usually to help protect themselves against the machine's mission. Our first innocent was a target, Sarah Connor. Being the mother of the future messiah of humanity, she takes it upon herself to be prepared for the future and loses her innocence along the way. John Connor (Edward Furlong), in the second installment, really might not count as an innocent. He's been told, by his mother, for his whole life, that he's the future leader of humanity, but it's too much for him and he denies what he's been taught. When he's told by his protector that it's all true, he genuinely reacts with surprise. Kate Brewster Connor (Claire Danes) is the perfect example of the virgin for the series as is Marcus Wright (Sam Worthington) although he accepts much faster than she does. Kate denies up until the protector T-101 allows her to shoot him. Marcus, on the other hand is shown by believer Kyle Reese (who's also the target) the moment they meet and he agrees to help the "heroes" side. However, the bigger denial comes from his encounter with Skynet later. Plus, this virgin is not a target, so his survival must come at the hands of John Connor, the protector.
Our final archetype is one of our themes: the danger to John Connor and his family. Each installment of the series has a target. And that target is a member of John Connor's family. Skynet targets his mother, himself, his wife and chief lieutenant, and finally, his father.
The formula for the plot is simple: Skynet sends an assassin to kill a member of John Connor's family in order to reset future events to have an alternate timeline free of the presence of John Connor and his lieutenants, so that Judgement Day is successful and the human race is annihilated.
Formulas are tricky to spot in a series, our minds disengage for formula films, because we're already fans. And because we're already fans, we don't care if the same thing passes from film to film. It works, and that's all.
****
Coming Soon -- Terminator: Final Thoughts
Friday, July 30, 2010
The Terminator: On Continuity
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
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
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
Friday, June 25, 2010
The Spirit
Where our previous Frank Miller escapade was dark, the Spirit is silly. The Spirit tells the story of a former cop (Gabriel Macht) who protects the people of Central City beating up bad guys, like Central City's psychotic criminal mastermind The Octopus (Samuel L. Jackson,) and taking a pounding in the process with no side effects. He's a ladies man who cannot be killed and he's on the beat tracking an old flame Sand Saref (Eva Mendes) and her idiot husband (Eric Balfour.) The Octopus and his bored mad-scientist associate, Silken Floss (Scarlett Johanssen,) are after a priceless artifact. Seems Sand Saref is after it, too. And The Spirit just wants to end The Octopus' underground activities permanently.
The central figure of a noir plot may be a disgraced cop, in this case one who's undead. He's involved in an investigation into the underground. A boss is involved and there a clutch of femme fatales, girls who have their own agendas and who are seductive and destructive in the same package. And there is a love interest who stands miles away from the femmes. She is pure, virtuous, and our hero loves her with all his heart: it's always been her, but she waits in the wings, because he can't resist the others. And usually the case destroys our hero. But is this the case with The Spirit? This one is so like the typical noir plot, but unlike as well. The similarities include the disgraced cop/hero, the underground boss, and the femme fatales, as well the style, dark and starkly lit as is Frank Miller's brilliant style. But it's also slightly more into the vein of a superhero story, as our hero is undead and so is his nemesis and they fight in the realm of the supernatural and superhuman. Its a western, in heart, with the shootouts and scuffles. But it works well this marriage of genres.
The only problem I see is the long dialogue, mostly delivered by Samuel L. Jackson's The Octopus. The action turns stale, both internal, emotional action and also physical movement. Mr. Jackson is one of my boys, I've been a really big fan since the pairing between himself and Mr. Travolta in Pulp Fiction with his misquoting of the prophet Ezekiel. However, here, he harms the overall feel of the story with over-the-top delivery, which, to be fair, is what The Octopus is. So, what we have here is a Catch-22. The Octopus as a character is perfectly cast in Mr. Jackson, but his performance puts me off....yeesh!!
Sin City is elegant; The Spirit is simple. Over-the-top melodramatically simple, yes. The film is also beautifully designed, similar to Rodrigues' opera. But this is jazz, smooth jazz with an edge that sounds a bit wrong, but it does the job. The story is tight, but the villain dissolves the oil in the gears causing the machine to creak a bit. But there's little damage done and it works as a great piece of eye candy that really tastes good.
***
In: Jamie King
Out: Louis Lombardi
Coming Soon: Suicide Kings
The central figure of a noir plot may be a disgraced cop, in this case one who's undead. He's involved in an investigation into the underground. A boss is involved and there a clutch of femme fatales, girls who have their own agendas and who are seductive and destructive in the same package. And there is a love interest who stands miles away from the femmes. She is pure, virtuous, and our hero loves her with all his heart: it's always been her, but she waits in the wings, because he can't resist the others. And usually the case destroys our hero. But is this the case with The Spirit? This one is so like the typical noir plot, but unlike as well. The similarities include the disgraced cop/hero, the underground boss, and the femme fatales, as well the style, dark and starkly lit as is Frank Miller's brilliant style. But it's also slightly more into the vein of a superhero story, as our hero is undead and so is his nemesis and they fight in the realm of the supernatural and superhuman. Its a western, in heart, with the shootouts and scuffles. But it works well this marriage of genres.
The only problem I see is the long dialogue, mostly delivered by Samuel L. Jackson's The Octopus. The action turns stale, both internal, emotional action and also physical movement. Mr. Jackson is one of my boys, I've been a really big fan since the pairing between himself and Mr. Travolta in Pulp Fiction with his misquoting of the prophet Ezekiel. However, here, he harms the overall feel of the story with over-the-top delivery, which, to be fair, is what The Octopus is. So, what we have here is a Catch-22. The Octopus as a character is perfectly cast in Mr. Jackson, but his performance puts me off....yeesh!!
Sin City is elegant; The Spirit is simple. Over-the-top melodramatically simple, yes. The film is also beautifully designed, similar to Rodrigues' opera. But this is jazz, smooth jazz with an edge that sounds a bit wrong, but it does the job. The story is tight, but the villain dissolves the oil in the gears causing the machine to creak a bit. But there's little damage done and it works as a great piece of eye candy that really tastes good.
***
In: Jamie King
Out: Louis Lombardi
Coming Soon: Suicide Kings
Wednesday, June 23, 2010
Sin City
A saxophone cries, and first-person narrative begins, with the story of a perceptive hit-man set in black and white landscape with a bold insinuation of color, a red dress complimented by exact-color lipstick. The cheeky narrative that follows is romantic, dry, dark and wickedly poetic. Four stories intersect: a hit-man's quarry, a cop's last ride, a good-willed scrapper's revenge for his prostitute lover's murder and a mob-war on the streets of Old-Town Sin City begun by an exiled, razor-wielding murderer with a red Cadillac. With a massive cast, academy award-winning and from tony-nominated musicals and three directors with a production design that left my jaw eating carpet.
The photography lives in black and white, with the violent splash of color, light and animation. The audio mix is nostalgic of the old film noir of the 1930's and 1940's smacking of Double Indemnity and Sunset Boulevard. The framing feels exactly as it's meant to, from a comic book. The narrative is pure noir with femme fatales and crooked cops, sensual and brooding. And yet, it's clearly modern with its wire-stunts, seamless prosthetic make-up, green-screen effects and CGI. Each cast member added depth to each story. It is this, most of all that keeps me coming back to this film. All are heavy hitters in today's cinema and I love a good-sized cast. The directors as well are brilliant and two of them are two of my favorites: Rodriguez and Tarantino. Rodriguez is a master storyteller and each of his films I've played in my DVD Player has kept me captive in my seat on the possessed side of my sectional sofa. Where Rodriguez breathes and guest director Tarantino interrupts is clear, but smooth, with his acid trip-style and ADD-fueled emotional ride. It's actually one of my favorite scenes, between Dwight and Rafferty on the way to The Pits. But it is Frank Miller's storyboard guide in the graphic novel that speaks loudest and is interpreted most shockingly by cinematographer Rodriguez.
The photography is why my chin has a rug-burn, the color highlights; interesting where the color is found: in Dwight's shoes, the customer's eyes and lips, Goldie's hair, the mole, Becky's, eyes, every cut and blood spatter. The atypical use of animation, white on black as well as the black and white live-action keeps the memory of this film a clear one. I will continue to crave the excellence this film wears.
***
Entrance Actor: Josh Hartnett
Exit Actor: Jamie King
Coming Soon: The Spirit
The photography lives in black and white, with the violent splash of color, light and animation. The audio mix is nostalgic of the old film noir of the 1930's and 1940's smacking of Double Indemnity and Sunset Boulevard. The framing feels exactly as it's meant to, from a comic book. The narrative is pure noir with femme fatales and crooked cops, sensual and brooding. And yet, it's clearly modern with its wire-stunts, seamless prosthetic make-up, green-screen effects and CGI. Each cast member added depth to each story. It is this, most of all that keeps me coming back to this film. All are heavy hitters in today's cinema and I love a good-sized cast. The directors as well are brilliant and two of them are two of my favorites: Rodriguez and Tarantino. Rodriguez is a master storyteller and each of his films I've played in my DVD Player has kept me captive in my seat on the possessed side of my sectional sofa. Where Rodriguez breathes and guest director Tarantino interrupts is clear, but smooth, with his acid trip-style and ADD-fueled emotional ride. It's actually one of my favorite scenes, between Dwight and Rafferty on the way to The Pits. But it is Frank Miller's storyboard guide in the graphic novel that speaks loudest and is interpreted most shockingly by cinematographer Rodriguez.
The photography is why my chin has a rug-burn, the color highlights; interesting where the color is found: in Dwight's shoes, the customer's eyes and lips, Goldie's hair, the mole, Becky's, eyes, every cut and blood spatter. The atypical use of animation, white on black as well as the black and white live-action keeps the memory of this film a clear one. I will continue to crave the excellence this film wears.
***
Entrance Actor: Josh Hartnett
Exit Actor: Jamie King
Coming Soon: The Spirit
Friday, June 18, 2010
Lucky Number Slevin
We begin in a parking garage with an assassination/robbery as a man is shot and falls into his driver-side window. Another place, another time and another man visits someone else seated behind a desk and swiftly whacks everyone in the room with a pair of glasses and a smooth fastball. The tale is one of revenge, 20-years-in-the-making, beginning with a sure-thing score on a horse race and ending in an example made in a routine mafia housecleaning. It's what Mr Goodkat (Bruce Willis) explains as the inciting incident to a "Kansas City Shuffle." This, he continues, is when someone points right, and you look right, and then proceeds to escape to the left. The "Shuffle" involves the story of Slevin Kelevra (Josh Hartnett) who comes to visit his friend Nick Fisher in the city. And in a classic case of mistaken identity, Slevin is picked up by Slo and Elvis, two enforcers for the Boss. Nick is in red to the Boss and the Rabbi, two kingpins, for quite a bit of money. So the Boss (Morgan Freeman) dragoons Slevin to kill the Rabbi's son in vendetta for the death of the Boss' son, who was assassinated recently. The Rabbi (Ben Kingsley,) however, just wants his money, in 48 hours, or Slevin is dead. And to top it off, Detective Brikowski (Stanley Tucci) doesn't know who he is. And then there's Mr. Goodkat, who's been hired to kill someone, and he will, no matter what happens. To complicate things Nick's sexy neighbor Lindsey (Lucy Liu) falls for Slevin with the feelings being mutual. Lines are crossed, confessions are made, people die and the strings behind it become clear and the puppet-master is unmasked.
This film's story, presentation and denouement seems as it would fit as comfortably on stage as it does on screen. With its static sets, chess-move plot, wit and dramatic tension, it's completely captivating. I found myself disinclined to turn away from the story, even to make dinner; a captive audience, despite the fact I can walk around my apartment freely (something I do not advocate you try while seeing anything at any theater.) The plot is perfectly tight, I can't see anything that could be cut or transposed. As well, the down-spiral from dark comedy to thrilling drama makes this film fresh and memorable with its quirky dialogue and dextrous character creations. The acting is top notch with quality performers Ben Kingsley, Morgan Freeman, Stanley Tucci and Bruce Willis; I enjoyed the photography, editing and music, as well; and I fell in love with Josh Hartnett the first time I saw this one. Granted the film's score is nothing you'd notice if it passed through the local classic-music station, but it fits perfectly and adds the right tension, romance and wit in enhancing the story.
My favorite scene is the prelude to the denouement with the denouement, when everything is capped off and the puppet-master and his motives are finally revealed. The operatic performance by Hartnett, Kingsley, Tucci, and Freeman was stunning. Stunning, as well, was the editing and the brilliant choice to hand a major part of the narration to an extra and leave the majority of the performances silent. Orson Wells said that a person should be able to turn off the sound of a film and still be able to tell what's happening. This is true during these scenes, it is edited and acted in such a way that, when I turned the sound off to watch the scene again, it plays out just the same: a sign of a great director. And this is a beautiful and elegant scene!! The prelude, between Kingsley and Freeman, is a powerful one and well done, being performed back-to-back and tied up in chairs. Bravo, gentlemen!!
****
Entrance Actor: Stanley Tucci
Exit Actor: Josh Hartnett
Coming Soon: Sin City
This film's story, presentation and denouement seems as it would fit as comfortably on stage as it does on screen. With its static sets, chess-move plot, wit and dramatic tension, it's completely captivating. I found myself disinclined to turn away from the story, even to make dinner; a captive audience, despite the fact I can walk around my apartment freely (something I do not advocate you try while seeing anything at any theater.) The plot is perfectly tight, I can't see anything that could be cut or transposed. As well, the down-spiral from dark comedy to thrilling drama makes this film fresh and memorable with its quirky dialogue and dextrous character creations. The acting is top notch with quality performers Ben Kingsley, Morgan Freeman, Stanley Tucci and Bruce Willis; I enjoyed the photography, editing and music, as well; and I fell in love with Josh Hartnett the first time I saw this one. Granted the film's score is nothing you'd notice if it passed through the local classic-music station, but it fits perfectly and adds the right tension, romance and wit in enhancing the story.
My favorite scene is the prelude to the denouement with the denouement, when everything is capped off and the puppet-master and his motives are finally revealed. The operatic performance by Hartnett, Kingsley, Tucci, and Freeman was stunning. Stunning, as well, was the editing and the brilliant choice to hand a major part of the narration to an extra and leave the majority of the performances silent. Orson Wells said that a person should be able to turn off the sound of a film and still be able to tell what's happening. This is true during these scenes, it is edited and acted in such a way that, when I turned the sound off to watch the scene again, it plays out just the same: a sign of a great director. And this is a beautiful and elegant scene!! The prelude, between Kingsley and Freeman, is a powerful one and well done, being performed back-to-back and tied up in chairs. Bravo, gentlemen!!
****
Entrance Actor: Stanley Tucci
Exit Actor: Josh Hartnett
Coming Soon: Sin City
Wednesday, June 16, 2010
Julie and Julia
Julie and Julia is the story of two women in their quest to find themselves through marriage and cooking. Julie Powell (Amy Adams) is a low-level government worker helping the victims of the September 11th attacks. Julia Child (Meryl Streep) is the wife of a low-level consulate officer who is assigned to the paris embassy. Their husbands Eric (Chris Messina) and Paul (Stanley Tucci) each are supportive of whatever their wives want to do. Julie decides, after a friend writes an article of the "lost generation," to which I also belong, and includes her as failing her dreams of being a writer, to write a blog about something. Her husband suggests that, since she enjoys cooking, she write about cooking. Julia Child's Mastering the Art of French Cooking is her muse. Julia, on the other hand, is a childless and bored housewife. Her husband, during a dinner discussion, suggests she do something, and she concludes that she loves French Cooking. So she joins Le Cordon Bleu Institute and becomes a master chef. She meets other like-minded women and agrees to write a cookbook for American housewives. Their stories are linked with failures, triumphs, writing and cooking.
I am struck by the parallelism involved in the film. By the colors each of them wore in their costumes, by the editing and by the fusion of the two stories. Based on two separate books, the film is woven together brilliantly by the director and writers. Incredibly, they are both true stories. With the similarities there are differences as well. The two women are very different from each other. The modernity of the world is shown beautifully through Ms Adams' performance as well as the vintage performance by Ms. Streep. I was struck particularly by Stanley Tucci's performance in Paul’s romance, love and support.
The directing was superb and graceful. I was struck by the sub-plot with Julia's sterility. As she and Paul are walking down the streets of Paris trying to find something for her to do, they pass a couple with their baby buggy and Meryl's Julia stiffens ever so slightly and Stanley's Paul feels it and the supporting love is on. Bravo Nora Ephron!! As well, the editing parallels were brilliant. There's three distinct transitions that I love: Juile's failed stew, to Julia packing up the exact same pot to leave Paris, Juila laying in bed and pulling the blankets over her head with Juile popping out of hers after Eric leaves her, and finally the push-edit into the Smithsonian Kitchen to Julia's home kitchen. Beautiful!!
And this film is just that!!
***
Exit Actor: Stanley Tucci
Coming Up: Lucky # Slevin
I am struck by the parallelism involved in the film. By the colors each of them wore in their costumes, by the editing and by the fusion of the two stories. Based on two separate books, the film is woven together brilliantly by the director and writers. Incredibly, they are both true stories. With the similarities there are differences as well. The two women are very different from each other. The modernity of the world is shown beautifully through Ms Adams' performance as well as the vintage performance by Ms. Streep. I was struck particularly by Stanley Tucci's performance in Paul’s romance, love and support.
The directing was superb and graceful. I was struck by the sub-plot with Julia's sterility. As she and Paul are walking down the streets of Paris trying to find something for her to do, they pass a couple with their baby buggy and Meryl's Julia stiffens ever so slightly and Stanley's Paul feels it and the supporting love is on. Bravo Nora Ephron!! As well, the editing parallels were brilliant. There's three distinct transitions that I love: Juile's failed stew, to Julia packing up the exact same pot to leave Paris, Juila laying in bed and pulling the blankets over her head with Juile popping out of hers after Eric leaves her, and finally the push-edit into the Smithsonian Kitchen to Julia's home kitchen. Beautiful!!
And this film is just that!!
***
Exit Actor: Stanley Tucci
Coming Up: Lucky # Slevin
Tuesday, June 15, 2010
Discussion Guidelines
I picked this up from Maureen Ryan at the Chicago Tribune's TV Blog and I like it for discussion guidelines:
Observe the Lurkers Rule: The environment here should be so accepting, so calm and so non-screechy that most timid lurker should feel it's safe to comment. You can express any opinion you like, as long as it's on topic and as long as you express yourself without vitriol (sulfuric acid, people!!) and without attacking others
Anyways, see you tomorrow with our first response!!
Observe the Lurkers Rule: The environment here should be so accepting, so calm and so non-screechy that most timid lurker should feel it's safe to comment. You can express any opinion you like, as long as it's on topic and as long as you express yourself without vitriol (sulfuric acid, people!!) and without attacking others
Anyways, see you tomorrow with our first response!!
Jitters...and perhaps stage fright
First post goes up tomorrow and, I've got to admit, I'm a little nervous. I have what may be described as the feeling you get before you give an oral report for a class. Also, I'm affected a bit from writers block, although it doesn't seem like it now (because I'm writing this.) I've also got some jitters, because I'm about to critique the collection and I'm truly concerned with the perception of readers regarding some of the titles I own. However, know this: There are reasons why I have them, and I'm not afraid of their content; I'm open to seeing any genre, with one exception.
Max has nearly burned his way through the first tank of gas, on my dime, and has begun to take up Sebastian's place as the bird loo for our place in the parking lot in my apartment complex, so frequent trips to the car wash may be in order. I'm still lacking the proper tools to remove the California plates in order to put the Texas ones in their place, but I intend to visit a Lowes or Home Depot in the next few days. I'm fully enjoying the fully armed and operational air conditioning unit in my new transport...and it arrived in the perfect time. I've been so blessed during this entire process.
So, I was thinking...if this is to become a forum in the future, perhaps I should lay down some ground rules for such discussions. And I do welcome them. There is a great set somewhere out there, but I need to find them, so stand-by and I'll post them soon.
Coming Up: Julie and Julia
Max has nearly burned his way through the first tank of gas, on my dime, and has begun to take up Sebastian's place as the bird loo for our place in the parking lot in my apartment complex, so frequent trips to the car wash may be in order. I'm still lacking the proper tools to remove the California plates in order to put the Texas ones in their place, but I intend to visit a Lowes or Home Depot in the next few days. I'm fully enjoying the fully armed and operational air conditioning unit in my new transport...and it arrived in the perfect time. I've been so blessed during this entire process.
So, I was thinking...if this is to become a forum in the future, perhaps I should lay down some ground rules for such discussions. And I do welcome them. There is a great set somewhere out there, but I need to find them, so stand-by and I'll post them soon.
Coming Up: Julie and Julia
Wednesday, June 09, 2010
Smoking Gun...
The Eagle has Landed...and, so the gun has fired!!
Max arrived on Sunday with my Daddy, Larry!! Sebastian and I said farewell, after six years together, at Carmax in Irving on Monday in the AM and I walked away with $1200.00. We got Max inspected and titled in Texas, received the new plates, and transferred insurance. And, just like that, Max became my new transport in this metroplex.
And so, Max's arrival hearalds the beginning of this project.
Responses will begin posting next week on Wednesday. Our first selection will be Julie and Julia, the film that inspired this project.
Selections to follow will be picked based on a "six-degrees-of-Kevin Bacon" method. For anyone who does not understand the rules to that game, they are thus: The game requires a group of players to try to connect any film actor in history to Kevin Bacon as quickly as possible and in as few links as possible. And so, selection will be similar, but instead of searching for Kevin Bacon, we'll be finding the other films in my collection that include similar actors, in order to keep boredom at bay. If the exiting actor from a film freezes the process, then alphabetical selection will act as a failsafe to continue the process. When selection enters a series, Harry Potter, for instance, the series will begin at the beginning and continue serially until the series is complete. Special thanks to Sarah Ramos for the idea!!
And we're off!!
Max arrived on Sunday with my Daddy, Larry!! Sebastian and I said farewell, after six years together, at Carmax in Irving on Monday in the AM and I walked away with $1200.00. We got Max inspected and titled in Texas, received the new plates, and transferred insurance. And, just like that, Max became my new transport in this metroplex.
And so, Max's arrival hearalds the beginning of this project.
Responses will begin posting next week on Wednesday. Our first selection will be Julie and Julia, the film that inspired this project.
Selections to follow will be picked based on a "six-degrees-of-Kevin Bacon" method. For anyone who does not understand the rules to that game, they are thus: The game requires a group of players to try to connect any film actor in history to Kevin Bacon as quickly as possible and in as few links as possible. And so, selection will be similar, but instead of searching for Kevin Bacon, we'll be finding the other films in my collection that include similar actors, in order to keep boredom at bay. If the exiting actor from a film freezes the process, then alphabetical selection will act as a failsafe to continue the process. When selection enters a series, Harry Potter, for instance, the series will begin at the beginning and continue serially until the series is complete. Special thanks to Sarah Ramos for the idea!!
And we're off!!
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