Anakin Skywalker makes the complete transformation to the dark side in George Lucas’ galactic epic STAR WARS EPISODE 3: REVENGE OF THE SITH. As the star wars heats up, growing resentment begins to build over who maintains control over the republic, the Senate or the Jedi Counsel. After rescuing Supreme Chancellor Palpatine from the clutches of Count Dooku and the clones, Palpatine forcefully requests that Anakin be placed on the Jedi counsel. This creates complications for Anakin, who must inevitably decide which side to choose.
REVENGE OF THE SITH marks an appropriate finish for the first three STAR WARS, maintaining a stoic approach, but delivering a terrific introduction into the events of Episode Four, the original STAR WARS. REVENGE OF THE SITH still lacks some of the fun and excitement of Episodes Four through Six, mainly because the characters lack the personality and connection that a Darth Vader or Hans Solo brought to the mix. Yet, despite its dry personalities, Episode Three delivers the necessary tension and drama, especially in the film’s final reel. Not only is there a great deal of connectivity between Episode Three’s finish, and the following three episodes, but a certain amount of compassion can be gained by knowing what lies ahead for Anakin, Obi-Wan and the two twins, Leia and Luke. REVENGE OF THE SITH does not capture the full spirit of the following episodes, but it does provide many interesting and compelling answers to the STAR WARS saga.
Grade: B-
Thursday, June 16, 2005
MINDHUNTERS
A group of FBI agents must stake out a killer amongst themselves in the thriller MINDHUNTERS. The Federal Bureau of Investigation is seeking another agent for the position of profiler, and eight lucky individuals have been pegged as potential profilers. Their assignment is a pseudo-serial killer case on a remote island just off the shores of the United States. As the agents soon find out, the pseudo-case isn’t the only one they’ll be working on. One by one the agents are murdered, and it’s obvious that the killer must be one of them.
If you buy into, or at the very least, go along with the synopsis that I just provided there’s a good chance you’ll enjoy MINDHUNTERS. The film was directed by Renny Harlin, who’s DEEP BLUE SEA was quite enjoyable because it was extremely absurd, graphically terrifying and had a couple of decent surprises to boot. Although not quite on the level of DEEP BLUE SEA, MINDHUNTERS is absurd, terrifying and at times surprising. Much of the entertainment comes from the mousetrap scenarios concocted by writer Wayne Kramer, and the game performances by Val Kilmer, LL Cool J, Christian Slater and Johnny Lee Miller. The mousetrap scenarios are ludicrous, but enjoyable, as we witness the agents’ flaws become their death sentence. MINDHUNTERS is preposterous, violent, campy, and a pretty fun little film.
Grade: B-
If you buy into, or at the very least, go along with the synopsis that I just provided there’s a good chance you’ll enjoy MINDHUNTERS. The film was directed by Renny Harlin, who’s DEEP BLUE SEA was quite enjoyable because it was extremely absurd, graphically terrifying and had a couple of decent surprises to boot. Although not quite on the level of DEEP BLUE SEA, MINDHUNTERS is absurd, terrifying and at times surprising. Much of the entertainment comes from the mousetrap scenarios concocted by writer Wayne Kramer, and the game performances by Val Kilmer, LL Cool J, Christian Slater and Johnny Lee Miller. The mousetrap scenarios are ludicrous, but enjoyable, as we witness the agents’ flaws become their death sentence. MINDHUNTERS is preposterous, violent, campy, and a pretty fun little film.
Grade: B-
LAYER CAKE
Matthew Vaughn serves up another sorted crime caper with LAYER CAKE. The producer of LOCK, STOCK AND TWO SMOKING BARRELS and SNATCH, centers LAYER CAKE around an unnamed drug dealer, played by Daniel Craig. Craig’s unnamed anti-hero doesn’t consider him self as much a drug dealer as he does a businessman, providing a service to a willing customer. His mantra is as an accountant, he doesn’t brandish a firearm and he likes to keep his transactions nice and tidy. Things become messy for him when his boss requests a special assignment, involving a sticky drug deal and both of their bosses daughter.
With layer upon layer of criminals, drug dealers, assassins and other assorted bad guys, LAYER CAKE continues the spirit of SNATCH AND LOCK, STOCK AND TWO SMOKING BARRELS. All of the movies are deeply entangled webs of crime, which require multiple viewings for complete comprehension. Maybe multiple viewings wouldn’t be enough for each. Despite it’s convoluted plot, LAYER CAKE is a compelling corruption tale thanks to an intense performance by Craig, and a conclusion which is both shocking and appropriate. As XXXX, as his character is titled in the end credits, Craig creates a morally inept character who somehow elicits a rooting interest in the picture. He’s fairly cold, completely calculating, ethically bankrupt, but he generates a brilliant anti-hero. Director Matthew Vaughn keeps things interesting as well, ratcheting up the intensity with a wide array of characters and motivations. LAYER CAKE is a puzzle which might not be able to be solved, but contains some entertaining pieces.
Grade: B-
With layer upon layer of criminals, drug dealers, assassins and other assorted bad guys, LAYER CAKE continues the spirit of SNATCH AND LOCK, STOCK AND TWO SMOKING BARRELS. All of the movies are deeply entangled webs of crime, which require multiple viewings for complete comprehension. Maybe multiple viewings wouldn’t be enough for each. Despite it’s convoluted plot, LAYER CAKE is a compelling corruption tale thanks to an intense performance by Craig, and a conclusion which is both shocking and appropriate. As XXXX, as his character is titled in the end credits, Craig creates a morally inept character who somehow elicits a rooting interest in the picture. He’s fairly cold, completely calculating, ethically bankrupt, but he generates a brilliant anti-hero. Director Matthew Vaughn keeps things interesting as well, ratcheting up the intensity with a wide array of characters and motivations. LAYER CAKE is a puzzle which might not be able to be solved, but contains some entertaining pieces.
Grade: B-
HOUSE OF D
David Duchovny marks his theatrical writing and directing debut with the coming-of-age drama HOUSE OF D. Duchovny also stars as Tommy Warshaw, a forty-something French artist, who finally realizes on his son’s 13th birthday, that he must come to terms with certain events that defined his childhood. Anton Yelchin portrays the 13-year old Tommy, while Robin Williams is his best friend Pappass, a mentally handicapped man who also works with Tommy as a delivery man.
If good intentions made good movies, I’d be singing the praises of HOUSE OF D. Despite Duchovny’s attempt at a heart-warming coming-of-age tale, his writing and directing falls flat in terms of character establishment, emotion and connectivity. If isolated, the characters might have worked, but when they are forced to interact there is no sense of purpose and little emotion to pull us in. Tea Leoni as Tommy’s mentally anguished mom Katherine, Erkah Badu as an inmate at a women’s detention center and, yes, even Williams as Pappass all seem authentic. But when they share their scenes with Yelchin, the moments feel fabricated and never ring true. Part of the problem is Yelchin, who’s abundance of charm and innocence from HEARTS IN ATLANTIS, is all but absent There’s no connection between Tommy and any of the three abnormal characters, and it leaves HOUSE OF D hollow. I don’t recommend this Duchovny dud.
Grade: C-
If good intentions made good movies, I’d be singing the praises of HOUSE OF D. Despite Duchovny’s attempt at a heart-warming coming-of-age tale, his writing and directing falls flat in terms of character establishment, emotion and connectivity. If isolated, the characters might have worked, but when they are forced to interact there is no sense of purpose and little emotion to pull us in. Tea Leoni as Tommy’s mentally anguished mom Katherine, Erkah Badu as an inmate at a women’s detention center and, yes, even Williams as Pappass all seem authentic. But when they share their scenes with Yelchin, the moments feel fabricated and never ring true. Part of the problem is Yelchin, who’s abundance of charm and innocence from HEARTS IN ATLANTIS, is all but absent There’s no connection between Tommy and any of the three abnormal characters, and it leaves HOUSE OF D hollow. I don’t recommend this Duchovny dud.
Grade: C-
Wednesday, June 15, 2005
CINDERELLA MAN
Russell Crowe fights heavyweights and poverty in director Ron Howard’s latest, CINDERELLA MAN. Crowe portrays James Braddock, a former heavyweight boxer who suffered through the Great Depression and an injured right hand. After years outside of the ring, Jim receives a call from his former manager, on a one-time only fight with a serious contender. Despite his wife Mae’s urging, Jim steps into the squared-circle one more time with the assurance of a nice payday for his financially troubled household.
To call CINDERELLA MAN a boxing version of SEABISCUIT would not be far off. Both films are centered around struggling, Depression-Era competitors who strive for one last hurrah, and find themselves as an inspiration to many. Although I enjoyed SEABISCUIT, CINDERELLA MAN works even better thanks to several good performances, a wonderful storyline and an unrelenting patience by Howard to demonstrate the perils many faced during the period. Despite opening the picture with a bout, much of the film’s background is centered on the Braddocks and the country’s financial struggles and hardships. This isn’t to say the boxing matches don’t pack a punch, they do. Howard wisely chooses a “meat and potatoes” approach to filming the sport. He utilizes concise cuts, freeze frames and a more brutal, less artful way of capturing the action. Crowe once again demonstrates there’s no limit to his acting prowess, bringing his rugged machismo to Braddock’s matches, while showing a delicate, sensitive side as husband and father. Giamatti, and Renee Zelwegger as Mae, provide solid supporting performances. CINDERELLA MAN is classic Hollywood filmmaking, with a wonderful cast, talented director and timeless story.
Grade: B+
To call CINDERELLA MAN a boxing version of SEABISCUIT would not be far off. Both films are centered around struggling, Depression-Era competitors who strive for one last hurrah, and find themselves as an inspiration to many. Although I enjoyed SEABISCUIT, CINDERELLA MAN works even better thanks to several good performances, a wonderful storyline and an unrelenting patience by Howard to demonstrate the perils many faced during the period. Despite opening the picture with a bout, much of the film’s background is centered on the Braddocks and the country’s financial struggles and hardships. This isn’t to say the boxing matches don’t pack a punch, they do. Howard wisely chooses a “meat and potatoes” approach to filming the sport. He utilizes concise cuts, freeze frames and a more brutal, less artful way of capturing the action. Crowe once again demonstrates there’s no limit to his acting prowess, bringing his rugged machismo to Braddock’s matches, while showing a delicate, sensitive side as husband and father. Giamatti, and Renee Zelwegger as Mae, provide solid supporting performances. CINDERELLA MAN is classic Hollywood filmmaking, with a wonderful cast, talented director and timeless story.
Grade: B+
CURSED
Christina Ricci finds herself in a hairy situation in Wes Craven’s CURSED. Ellie, Ricci, and her brother Jimmy are involved in a freak car accident on Hollywood’s Mullholland Drive. While tending to another of the car accident’s victims, a wolf-like animal attacks the victim and leaves his mark on both Ellie and Jimmy. The following day neither of the siblings are quite themselves, and both begin to bear certain carnal attributes.
Real B-movies are a rarity in today’s cinema, but CURSED certainly classifies as one. As much as I admired the films campy nature, its climatic missteps are too detrimental to make up for much of the film’s hokey fun. The screenplay, written by SCREAM’s Kevin Williamson, has plenty of fun with the Hollywood backdrop, but culminates with conclusions that make any of the SCREAM payoffs seem logical. Craven keeps the film moving with a couple of genuinely scary moments, on an elevator and in a room of mirrors, but doesn’t know when to say when. At only 96 minutes, CURSED feels drawn out thanks to one anti-climatic conclusion after the next. Outside of a few goofy cameos, CURSED doesn’t provide anything new.
Grade: C
Real B-movies are a rarity in today’s cinema, but CURSED certainly classifies as one. As much as I admired the films campy nature, its climatic missteps are too detrimental to make up for much of the film’s hokey fun. The screenplay, written by SCREAM’s Kevin Williamson, has plenty of fun with the Hollywood backdrop, but culminates with conclusions that make any of the SCREAM payoffs seem logical. Craven keeps the film moving with a couple of genuinely scary moments, on an elevator and in a room of mirrors, but doesn’t know when to say when. At only 96 minutes, CURSED feels drawn out thanks to one anti-climatic conclusion after the next. Outside of a few goofy cameos, CURSED doesn’t provide anything new.
Grade: C
BAD EDUCATION
Writer-director Pedro Almodovar brings his unique sensibilities to the silver screen again, this time with BAD EDUCATION. Almodovar favorite Gael Garcia Bernal stars as Juan, or Angel, when he is cross-dressing, an aspiring actor and screenwriter who is seeking work. Juan accidentally reunites with Enrique, an ex-boyfriend, after an interview with a small-time film executive. Enrique is the real deal maker, and is curious if Juan has continued to write screenplays. Juan allows him to read his latest, a personal tale of sexual abuse, and Enrique and Juan’s relationship becomes much more complicated.
Almodovar specializes in bizarre melodramas that are very narrow in their appeal. Outside of TALK TO HER, the scope of his dramas are limited and leave me feeling disconnected. The situations that Juan finds himself in, and his drastic actions, are alien to me in many ways. Not only can I not relate to his circumstances, but the characters emotions seem foreign to me as well. It’s a shame that Almodovar’s works leave me detached, because his aesthetic is as good as any director working today. The opening credit sequence plays as a tribute to Hitchcock, and several images of his can burn into your memory. Bernal does a nice job creating a mysterious and mischievous character, even if his actions and emotions appear unreasonable. Although BAD EDUCATION leaves a lasting impression, it’s completely isolated on an emotional level.
Grade: C
Almodovar specializes in bizarre melodramas that are very narrow in their appeal. Outside of TALK TO HER, the scope of his dramas are limited and leave me feeling disconnected. The situations that Juan finds himself in, and his drastic actions, are alien to me in many ways. Not only can I not relate to his circumstances, but the characters emotions seem foreign to me as well. It’s a shame that Almodovar’s works leave me detached, because his aesthetic is as good as any director working today. The opening credit sequence plays as a tribute to Hitchcock, and several images of his can burn into your memory. Bernal does a nice job creating a mysterious and mischievous character, even if his actions and emotions appear unreasonable. Although BAD EDUCATION leaves a lasting impression, it’s completely isolated on an emotional level.
Grade: C
A LOT LIKE LOVE
Ashton Kutcher and Amanda Peet share an on-again, off-again romance spanning years and miles in the romantic comedy A LOT LIKE LOVE. Oliver and Emily first meet during their early twenties on a flight bound for the “Big Apple”. There’s an instant attraction between the two which leads to a one-flight stand, if you catch my drift. They bump into each other again in downtown New York, Oliver gives Emily his number and tells her to call him in seven years, once his life is successful both personally and professionally.
A LOT LIKE LOVE is a good title, because the film is a lot like love, it’s a lot like romance, it’s a lot like a comedy…but it’s none of the above. It’s a wishy-washy, half-baked relationship flick which wants to desperately be this generation’s WHEN HARRY MET SALLY. Both films’ time frame is years, not days, but Harry and Sally actually spend years not days together. The screenplay for A LOT LIKE LOVE allots only a handful of moments for Oliver and Emily, most of which are either forgettable or annoying. Although the film spans seven years, the drastic change in Emily’s attitude is a bit much to swallow. Her transformation from punk girl to upscale photographer doesn’t seem reasonable, and everything relating to her lifestyle feels off. Peet and Kutcher seem game for this type of material, making the most out of lifeless characters. A LOT LIKE LOVE is a lot like WHEN HARRY MET SALLY when it comes to story structure, but it doesn’t come close otherwise.
Grade: C-
A LOT LIKE LOVE is a good title, because the film is a lot like love, it’s a lot like romance, it’s a lot like a comedy…but it’s none of the above. It’s a wishy-washy, half-baked relationship flick which wants to desperately be this generation’s WHEN HARRY MET SALLY. Both films’ time frame is years, not days, but Harry and Sally actually spend years not days together. The screenplay for A LOT LIKE LOVE allots only a handful of moments for Oliver and Emily, most of which are either forgettable or annoying. Although the film spans seven years, the drastic change in Emily’s attitude is a bit much to swallow. Her transformation from punk girl to upscale photographer doesn’t seem reasonable, and everything relating to her lifestyle feels off. Peet and Kutcher seem game for this type of material, making the most out of lifeless characters. A LOT LIKE LOVE is a lot like WHEN HARRY MET SALLY when it comes to story structure, but it doesn’t come close otherwise.
Grade: C-
DIARY OF A MAD BLACK WOMAN
A broken-hearted woman tries to rebound from her abusive husband in Tyler Perry’s DIARY OF A MAD BLACK WOMAN. Helen, played by Kimberly Elise, has just been kicked out of her home by her abusive, womanizing husband. Hoping to rebound from a tumultuous 18-year marriage, Helen goes to stay with her outlandish grandmother Madea, played by Tyler Perry. While she’s there, she learns more about her colorful family and meets the hunky Orlando, played by Shemar Moore.
What do you get when you mix a Lifetime melodrama with a dose of THE NUTTY PROFESSOR? The answer is one fine mess or as Tyler Perry would title it, DIARY OF A MAD BLACK WOMAN. The caricatures, not characters, play to the broadest reaches of human nature. Charles is the worst type of husband: greedy, selfish, egotistical and cruel. He brings new meaning to the word despicable, and Steve Harris brings justice to the poorly written character. Helen’s new man is the ideal: patient, giving, spiritually flawless, and just happens to look like a cross between a GQ model and a Chippendale’s dancer. The exaggerated characters stretch from one stereotype to the next, but reach a screeching halt when Madea and her crude brother Joe make their appearance. Perry wrote the screenplay, and the play it’s based on, but also stars as the bombastic, ridiculous and utterly unfunny Madea and Joe. I don’t doubt Perry’s intention of providing a religiously infused tale of perseverance and forgiveness, but the execution is thorough chaos.
Grade: D-
What do you get when you mix a Lifetime melodrama with a dose of THE NUTTY PROFESSOR? The answer is one fine mess or as Tyler Perry would title it, DIARY OF A MAD BLACK WOMAN. The caricatures, not characters, play to the broadest reaches of human nature. Charles is the worst type of husband: greedy, selfish, egotistical and cruel. He brings new meaning to the word despicable, and Steve Harris brings justice to the poorly written character. Helen’s new man is the ideal: patient, giving, spiritually flawless, and just happens to look like a cross between a GQ model and a Chippendale’s dancer. The exaggerated characters stretch from one stereotype to the next, but reach a screeching halt when Madea and her crude brother Joe make their appearance. Perry wrote the screenplay, and the play it’s based on, but also stars as the bombastic, ridiculous and utterly unfunny Madea and Joe. I don’t doubt Perry’s intention of providing a religiously infused tale of perseverance and forgiveness, but the execution is thorough chaos.
Grade: D-
ENRON: THE SMARTEST GUYS IN THE ROOM
The fall of one of America’s most successful businesses is documented in ENRON: THE SMARTEST GUYS IN THE ROOM. As I’m sure you know, Enron filed for bankruptcy a few years ago, but not before the company’s executive officers withdrew millions of dollars in stock options, and left thousands of employees and stockholders penniless. This documentary tracks the rise of the business, and their fall due to accounting fraud, arrogance and a detrimental never-say-die mentality.
In many ways, the power hungry real-life characters in ENRON: THE SMARTEST GUYS IN THE ROOM resemble the same plight of STAR WAR’S Anakin Skywalker. They began with good intentions, but due to an extraordinary amount of ego and power, they convinced themselves that they would achieve their ultimate goal…at any cost. The documentary is based on the book, written by Bethany McLean and Peter Elkind, and nicely lays out the rise and fall of the company. I’m not sure how interesting the real big-wigs at Enron were, but director Alex Gibney ratchets up their personalities to construct some fairly obnoxious characters. The only recognizable flaw of the film is its poorly presented political motivations. It sinks to guilt by association, trying to implicate President Bush in the Enron scandal simply by stating he was a friend of Enron CEO Kenneth Lay. It also lays more blame on Bush for the California blackouts, than the state’s own governor at the time, Grey Davis. Despite it’s poorly executed politics, ENRON: THE SMARTEST GUYS IN THE ROOM adeptly illustrates how greed and pride can topple the most successful and intelligent individuals.
Grade: B-
In many ways, the power hungry real-life characters in ENRON: THE SMARTEST GUYS IN THE ROOM resemble the same plight of STAR WAR’S Anakin Skywalker. They began with good intentions, but due to an extraordinary amount of ego and power, they convinced themselves that they would achieve their ultimate goal…at any cost. The documentary is based on the book, written by Bethany McLean and Peter Elkind, and nicely lays out the rise and fall of the company. I’m not sure how interesting the real big-wigs at Enron were, but director Alex Gibney ratchets up their personalities to construct some fairly obnoxious characters. The only recognizable flaw of the film is its poorly presented political motivations. It sinks to guilt by association, trying to implicate President Bush in the Enron scandal simply by stating he was a friend of Enron CEO Kenneth Lay. It also lays more blame on Bush for the California blackouts, than the state’s own governor at the time, Grey Davis. Despite it’s poorly executed politics, ENRON: THE SMARTEST GUYS IN THE ROOM adeptly illustrates how greed and pride can topple the most successful and intelligent individuals.
Grade: B-
Review Blitz
I'm trying to make up for lost time, so over the next few days, I'll be posting several reviews that I've given for "Now Playing". "Now Playing" is a bi-weekly film review program that I co-host and co-produce with fellow blogger Mark Pfeiffer (whose blog can be found at reeltimes.blogspot.com).
I hope you find my take on recent features to be interesting even if you don't agree. Enjoy.
I hope you find my take on recent features to be interesting even if you don't agree. Enjoy.
Friday, June 10, 2005
Some Serious Slacking
Well, I know it's been awhile, but I have been busy watching movies, attending graduation and birthday parties, house sitting...blah, blah, blah.
I promise next week should be better on the blog.
I promise next week should be better on the blog.
Subscribe to:
Posts (Atom)