Nicolas Cage tackles the arms industry in the latest from writer-director Andrew Niccol, LORD OF WAR. Cage is Yuri Orlov, a lower-class New Yorker who works at his family’s restaurant, dreams of landing a former high school classmate, turned model and hopes to turn his fortunes around. Yuri believes he may have found his answer in the dangerous, yet profitable industry of firearms. He begins selling in Brooklyn, but after much success, expands nationwide and then internationally. Yuri is assisted in his venture by his brother Vitaly, played by Jared Leto.
LORD OF WAR is a simplistic, but expertly crafted left-leaning examination of the international arms trade. Although LORD OF WAR bears many similarities to Ted Demme’s BLOW, it’s a more intelligent picture in its dissection of its industry, working on a practical, tactical and satirical level. It also wisely addresses its lead character without much bias, where Demme’s view of George Jung was of miscalculated sympathy. Niccol has an agenda, but LORD OF WAR’s approach to Yuri’s dealings is very business-like in nature. Although Yuri’s dealings are a bit too hands-on for plausibility’s sake, it does skillfully demonstrate the step-by-step process. Cage continues his recent trend of roles, internalizing his anger and frustration, which is a necessity for an arms dealer. LORD OF WAR avoids the tough political questions and answers of arms dealing, but still provides an entertaining piece of propaganda.
Grade: B
Saturday, October 08, 2005
YES
Joan Allen begins a multi-cultural love affair following her husband’s infidelity in writer-director Sally Potter’s latest, YES. Allen’s character, credited as simply “She”, discovers that her husband Anthony has cheated on her the same evening that the two are to attend a major social event. During the event, “She” makes a connection with one of the event’s chefs, a Middle Eastern man played by Simon Abkarian. Their affair begins as a loving one, but becomes complicated when each reveals their thoughts and ideas on politics and religion.
I admire Potter’s ambition in tackling touchy issues in our post 9/11 atmosphere, and the flowing nature of the wordplay, phrasing it in poetic form. Somewhere, though, between her religious and political statements, and the film’s pretentious nature, Potter never really establishes a sense of character. YES is more concerned with its style, which at times works, and at other moments feels extremely ostentatious. Allen has received plenty of acclaim for her work in YES, and much of it is deserved. After playing second fiddle in supporting performances, Allen has established her persona has a strong-willed woman. She conveys this is in YES, but her character seems more like a device than a woman, intent on carrying out a purpose. YES is an ambitious film who’s lyrical and political style flows, but falters in its characterization and emotional connectivity.
Grade: C
I admire Potter’s ambition in tackling touchy issues in our post 9/11 atmosphere, and the flowing nature of the wordplay, phrasing it in poetic form. Somewhere, though, between her religious and political statements, and the film’s pretentious nature, Potter never really establishes a sense of character. YES is more concerned with its style, which at times works, and at other moments feels extremely ostentatious. Allen has received plenty of acclaim for her work in YES, and much of it is deserved. After playing second fiddle in supporting performances, Allen has established her persona has a strong-willed woman. She conveys this is in YES, but her character seems more like a device than a woman, intent on carrying out a purpose. YES is an ambitious film who’s lyrical and political style flows, but falters in its characterization and emotional connectivity.
Grade: C
FLIGHTPLAN
Jodie Foster loses her only child aboard a trans-Atlantic flight from England to the United States in the thriller FLIGHTPLAN. Foster is Kyle, a recent widow, who following her husband’s apparent suicide decides to return to the States with her young daughter Julia. During the flight, both Kyle and Julia decide to sleep, but when Kyle wakes up Julia is missing.
Director Robert Schwentke ratchets up the intensity, and with a compelling performance by Foster one can excuse a screenplay which asks its audience to put their minds on auto-pilot. Schwentke’s first major American release is a success thanks to his patience, as the German director allows the mystery and intrigue to boil. His patience is a luxury a director can afford with Foster in the lead. As she did in PANIC ROOM, Foster again plays the role of heroine in very convincing fashion. She epitomizes a woman of intelligence, instincts and resourcefulness, but also adds an edge to her performance that keeps us guessing. Peter Sarsgaard, as a Federal Marshall, and Sean Bean, as the plane’s captain, provide grounded performances that maintain a crucial sense of realism. It isn’t until the film’s final quarter that screenwriters Peter Dowling and Billy Ray go too far. When our questions are answered, the film’s improbabilities become impossibilities, and the film nearly spirals out of control. Even in the midst of the lunacy, Schwentke and Foster accelerate the ferocity to a level where one loses track of all the nonsense.
Grade: B-
Director Robert Schwentke ratchets up the intensity, and with a compelling performance by Foster one can excuse a screenplay which asks its audience to put their minds on auto-pilot. Schwentke’s first major American release is a success thanks to his patience, as the German director allows the mystery and intrigue to boil. His patience is a luxury a director can afford with Foster in the lead. As she did in PANIC ROOM, Foster again plays the role of heroine in very convincing fashion. She epitomizes a woman of intelligence, instincts and resourcefulness, but also adds an edge to her performance that keeps us guessing. Peter Sarsgaard, as a Federal Marshall, and Sean Bean, as the plane’s captain, provide grounded performances that maintain a crucial sense of realism. It isn’t until the film’s final quarter that screenwriters Peter Dowling and Billy Ray go too far. When our questions are answered, the film’s improbabilities become impossibilities, and the film nearly spirals out of control. Even in the midst of the lunacy, Schwentke and Foster accelerate the ferocity to a level where one loses track of all the nonsense.
Grade: B-
A SOUND OF THUNDER
Time travelers disrupt the evolutionary track in the sci-fi thriller A SOUND OF THUNDER. A group of time-traveling scientists lead macho-millionaires back to pre-historic times for the thrill of encountering a T-Rex. Since the scientists have visited this specific place and time on several occasions, safety isn’t much of a question as they have all of the events calculated. As long as the participants stay on the charted course, everything will go just as planned. As you may have guessed, this doesn’t happen, as two adventurers veer off the path and alter the past. And if there’s one thing science fiction has taught us, if you alter the past, you alter the future.
Make no mistake, A SOUND OF THUNDER is a terrible film, but one which I enjoyed for the most part. The film took me back to my childhood, where second-rate science fiction, horror films would dazzle me. The special effects in A SOUND OF THUNDER are on the same level of the monster movies of the 80’s. The effects aren’t second-rate, but probably third or fourth rate, with various creatures resembling a hybrid of insect, bird, reptile and dinosaur. The creatures and circumstances get more bizarre and diverse as the story leaps from one time wave to the next. There are no distinguishable ideas in the movie, but rather a sense of joy to top one outlandish creature or scene with the next. Burns and McCormack seem to be acting in a different film, emphasizing a serious struggle and predicament, while Ben Kingsley hits his role dead-on projecting a madman who’s only concerned with the bottom line. A SOUND OF THUNDER is a goofy, brainless exercise, which despite my inner child exuberance, I can not recommend.
Grade: C-
Make no mistake, A SOUND OF THUNDER is a terrible film, but one which I enjoyed for the most part. The film took me back to my childhood, where second-rate science fiction, horror films would dazzle me. The special effects in A SOUND OF THUNDER are on the same level of the monster movies of the 80’s. The effects aren’t second-rate, but probably third or fourth rate, with various creatures resembling a hybrid of insect, bird, reptile and dinosaur. The creatures and circumstances get more bizarre and diverse as the story leaps from one time wave to the next. There are no distinguishable ideas in the movie, but rather a sense of joy to top one outlandish creature or scene with the next. Burns and McCormack seem to be acting in a different film, emphasizing a serious struggle and predicament, while Ben Kingsley hits his role dead-on projecting a madman who’s only concerned with the bottom line. A SOUND OF THUNDER is a goofy, brainless exercise, which despite my inner child exuberance, I can not recommend.
Grade: C-
ASYLUM
Passions run wild at a correctional facility in ASYLUM. Max Raphael has accepted a high administrative role at a correctional facility for those with psychological disorders. Max, along his wife Stella and son Nick live in close proximity to the facility, with several inmates serving as groundskeepers for their estate. Max doesn’t pay much attention to Stella, except to school her in proper etiquette so she is deemed acceptable to his colleagues. Stella meets an inmate named Edgar through Nick, and after several brief encounters, begins an elicit affair with him.
Very few films have as contemptible characters as ASYLUM, or as much contempt for their characters. More or less, all of ASYLUM’s characters are mad, with their characteristics ranging from passionate to calculating to cruel. Whether its love, power or money, these characters are obsessed with these entities and will do anything and everything to achieve them. The last time I can remember viewing such despicable individuals, was the well-directed and well-acted CLOSER. It should come as no surprise that scribe Patrick Marber wrote both CLOSER and ASYLUM. Both films are cold and calculated, more concerned with utilizing its characters for twisted storylines than understanding them. Where CLOSER seemed unrealistic, ASYLUM feels preposterous. Natasha Richardson and Ian McKellan play their characters earnestly even if Stella and Peter aren’t deserving of their talents. This cold harlequin film should be avoided at all costs.
Grade: D+
Very few films have as contemptible characters as ASYLUM, or as much contempt for their characters. More or less, all of ASYLUM’s characters are mad, with their characteristics ranging from passionate to calculating to cruel. Whether its love, power or money, these characters are obsessed with these entities and will do anything and everything to achieve them. The last time I can remember viewing such despicable individuals, was the well-directed and well-acted CLOSER. It should come as no surprise that scribe Patrick Marber wrote both CLOSER and ASYLUM. Both films are cold and calculated, more concerned with utilizing its characters for twisted storylines than understanding them. Where CLOSER seemed unrealistic, ASYLUM feels preposterous. Natasha Richardson and Ian McKellan play their characters earnestly even if Stella and Peter aren’t deserving of their talents. This cold harlequin film should be avoided at all costs.
Grade: D+
GRIZZLY MAN
An animal rights activist gets up close and personal with some menacing bears in the documentary GRIZZLY MAN. Timothy Treadwell was on a mission to bring awareness to the plight of grizzly bears that roamed the Alaskan region. During a 13-year stretch, Treadwell would embark on a retreat each summer to live amongst the Alaskan grizzly bears and other wild animals.
Although titled GRIZZLY MAN, Treadwell is far from that, but rather a sensitive, fractured and plagued soul, who seemingly couldn’t deal with normal society so he reverted to life in the wilderness. Director Werner Herzog seems as interested in Treadwell as he does his impact in the Alaskan region, and for good reason. While it’s enthralling to watch him interact with wild bears and foxes, it’s also engaging to learn why he would subject himself to such danger, limitations and seclusion. Treadwell’s footage is astonishing, revealing the brutal nature and animal instincts of the bears and Treadwell himself. At times you wonder which animal is more dangerous, the bears clashing in brutal fur-ripping confrontations, or Treadwell barking out profanity-laced monologues against his doubters, Alaskan wildlife personnel and the federal government. GRIZZLY MAN is an interesting look into several wild animals, one of which is the documentary film maker.
Grade: B
Although titled GRIZZLY MAN, Treadwell is far from that, but rather a sensitive, fractured and plagued soul, who seemingly couldn’t deal with normal society so he reverted to life in the wilderness. Director Werner Herzog seems as interested in Treadwell as he does his impact in the Alaskan region, and for good reason. While it’s enthralling to watch him interact with wild bears and foxes, it’s also engaging to learn why he would subject himself to such danger, limitations and seclusion. Treadwell’s footage is astonishing, revealing the brutal nature and animal instincts of the bears and Treadwell himself. At times you wonder which animal is more dangerous, the bears clashing in brutal fur-ripping confrontations, or Treadwell barking out profanity-laced monologues against his doubters, Alaskan wildlife personnel and the federal government. GRIZZLY MAN is an interesting look into several wild animals, one of which is the documentary film maker.
Grade: B
THE EXORCISM OF EMILY ROSE
A priest faces charges of reckless patient endangerment in the horror, courtroom drama THE EXORCISM OF EMILY ROSE. Father Moore is on trial for manslaughter in the death of Emily Rose, a college student who died of either an epileptic disorder or demonic intervention. His defense attorney, Erin Bruenner played by Laura Linney, doesn’t believe in demons but hopes the case will be a springboard for her at the firm. The case becomes an even tougher test, when a practicing Christian represents the prosecution.
Although often haunting, the courtroom posturing drains much of the drama and intrigue out of THE EXORCISM OF EMILY ROSE. The film is told during the trial of Father Moore, with flashbacks demonstrating Emily’s demonic possession and her exorcisms. These flashbacks infuse the film with fear, intrigue and mystery, and also benefit from Jennifer Carpenter’s intense and impacting performance as the tormented soul. Carpenter’s performance is the film’s best, which says a lot when sharing the screen with Wilkinson, Linney and Campbell Scott. These three veteran actors provide solid performances, but are punished with a less-than compelling script. The defense’s case is a flimsy one at best, and the presentation of it is poorly handled. The film is based on the actual trial of Rose, and I believe the outcome stays true to form. I only wish the film’s case for Moore was more convincing. Despite some genuine chills, I can’t recommend THE EXORCISM OF EMILY ROSE.
Grade: C+
Although often haunting, the courtroom posturing drains much of the drama and intrigue out of THE EXORCISM OF EMILY ROSE. The film is told during the trial of Father Moore, with flashbacks demonstrating Emily’s demonic possession and her exorcisms. These flashbacks infuse the film with fear, intrigue and mystery, and also benefit from Jennifer Carpenter’s intense and impacting performance as the tormented soul. Carpenter’s performance is the film’s best, which says a lot when sharing the screen with Wilkinson, Linney and Campbell Scott. These three veteran actors provide solid performances, but are punished with a less-than compelling script. The defense’s case is a flimsy one at best, and the presentation of it is poorly handled. The film is based on the actual trial of Rose, and I believe the outcome stays true to form. I only wish the film’s case for Moore was more convincing. Despite some genuine chills, I can’t recommend THE EXORCISM OF EMILY ROSE.
Grade: C+
VALIANT
A group of misfit carrier pigeons hope to assist Allied forces in World War II in the animated feature VALIANT. Valiant is the title character, a small, but aspiring pigeon who dreams of delivering mail to British forces, braving all obstacles and dangers. Valiant enlists in the R-H-P-S, or Royal Homing Pigeon Service, but may have gotten more than he bargained for with the service’s combat training.
VALIANT is one strange bird. It’s an odd and poorly calculated decision by Disney to set a children’s film around World War II. The situations are a bit darker by understanding the world’s circumstances at the time, and although younger children won’t pick up on this, there also isn’t anything for youngsters to embrace. The occasionally witty British humor works at times, but it’s not obvious enough for children and not consistent enough for adults. The characters are too dry, and the situations too familiar making the film seem less reverent than more recent animated fare. Despite all of the VALIANT miscalculations, the film may still have worked had it been anchored with interesting or colorful characters. Instead, are feathered friends are rather bland and lifeless. Leave this bird grounded.
Grade: C
VALIANT is one strange bird. It’s an odd and poorly calculated decision by Disney to set a children’s film around World War II. The situations are a bit darker by understanding the world’s circumstances at the time, and although younger children won’t pick up on this, there also isn’t anything for youngsters to embrace. The occasionally witty British humor works at times, but it’s not obvious enough for children and not consistent enough for adults. The characters are too dry, and the situations too familiar making the film seem less reverent than more recent animated fare. Despite all of the VALIANT miscalculations, the film may still have worked had it been anchored with interesting or colorful characters. Instead, are feathered friends are rather bland and lifeless. Leave this bird grounded.
Grade: C
THE 40-YEAR OLD VIRGIN
The Daily Show’s Steve Carell is a man beset by bed-side struggles in the romantic-comedy THE 40-YEAR OLD VIRGIN. Carell is Andy, a 40-year old virgin, whose sex life failed him during high school and college, and now, has more or less resigned from dating. During a late-night game of poker with his co-workers, Andy’s love life is exposed and his fellow employees decide they’ll assist Andy in ending his drought.
Just like THERE’S SOMETHING ABOUT MARY and this year’s WEDDING CRASHERS, THE 40-YEAR OLD VIRGIN works because it’s hilariously crude absurdities, really aren’t that absurd. In some ways, the film is just as crude as DEUCE BIGALOW: EUROPEAN GIGELOW, but VIRGIN earns laughs because, as ludicrous as the situations are, we laugh with its characters and understand their plight. Carell, along with director Judd Apatow, wrote the script which works in large part due to Andy. Unlike the previously mentioned BIGALOW, Andy is a really likable guy, who hasn’t been with a woman due to luck, circumstance and probably most of all, because he’s a gentleman. Carell deserves as much credit for his acting, as he does his writing, creating a character who we can laugh at, and with. THE 40-YEAR OLD VIRGIN is a rambunctious and fun-loving comedy that I recommend.
Grade: B
Just like THERE’S SOMETHING ABOUT MARY and this year’s WEDDING CRASHERS, THE 40-YEAR OLD VIRGIN works because it’s hilariously crude absurdities, really aren’t that absurd. In some ways, the film is just as crude as DEUCE BIGALOW: EUROPEAN GIGELOW, but VIRGIN earns laughs because, as ludicrous as the situations are, we laugh with its characters and understand their plight. Carell, along with director Judd Apatow, wrote the script which works in large part due to Andy. Unlike the previously mentioned BIGALOW, Andy is a really likable guy, who hasn’t been with a woman due to luck, circumstance and probably most of all, because he’s a gentleman. Carell deserves as much credit for his acting, as he does his writing, creating a character who we can laugh at, and with. THE 40-YEAR OLD VIRGIN is a rambunctious and fun-loving comedy that I recommend.
Grade: B
BROKEN FLOWERS
Bill Murray takes a cross country journey in search of his potential son in Jim Jarmusch’s BROKEN FLOWERS. Murray plays Don Johnston, a past-his-prime Casanova, who has become rich thanks to the computer craze, but has yet to find happiness. Don receives an anonymous letter in the mail claiming that he has fathered a child, and that his 19-year old son is en route to find him. His neighbor Winston views the letter, and decides it’s time for Don to take action. Winston researches all of the potential mothers, creates a cross-country itinerary and sets Don out on his search.
Don Johnston and Warren Schmidt have completely different lifestyles, but have a lot in common. Alexander Payne’s Schmidt and Jarmusch’s Johnston are both aging men who are realizing their lives haven’t amounted to much. BROKEN FLOWERS is more off-beat and quirky than ABOUT SCHMIDT, but at times it’s just as enriching. Murray is ideal as Johnston, a lost soul, whom after years of romancing beautiful women and making tons of money, has little to show for it. Throughout the years, Murray’s performances have contained more internal strife. With Don, he’s able to project this with a worn face, lackadaisical demeanor and deep, sorrowful glares. Murray’s Don is terrific, but the film’s actresses are just as crucial. Sharon Stone, Tilda Swinton, Jessica Lange and most-of-all Brea Frazier bring a unique nature to their characters, and help to explain Don’s condition. BROKEN FLOWERS uniquely explains the heartache after the romance.
Grade: B+
Don Johnston and Warren Schmidt have completely different lifestyles, but have a lot in common. Alexander Payne’s Schmidt and Jarmusch’s Johnston are both aging men who are realizing their lives haven’t amounted to much. BROKEN FLOWERS is more off-beat and quirky than ABOUT SCHMIDT, but at times it’s just as enriching. Murray is ideal as Johnston, a lost soul, whom after years of romancing beautiful women and making tons of money, has little to show for it. Throughout the years, Murray’s performances have contained more internal strife. With Don, he’s able to project this with a worn face, lackadaisical demeanor and deep, sorrowful glares. Murray’s Don is terrific, but the film’s actresses are just as crucial. Sharon Stone, Tilda Swinton, Jessica Lange and most-of-all Brea Frazier bring a unique nature to their characters, and help to explain Don’s condition. BROKEN FLOWERS uniquely explains the heartache after the romance.
Grade: B+
Lazy and busy
Due to a hectic schedule of films, sports and a treacherous two-week fantasy baseball championship victory I haven't posted anything on this rascal for a while.
In the next several posts, I'll be dropping several reviews I've meant to post for a while. Also, I've been too tired to write anything half-way intelligent about politics or sports lately. Needless to say, it's been a tough three months for Dubya.
In the next several posts, I'll be dropping several reviews I've meant to post for a while. Also, I've been too tired to write anything half-way intelligent about politics or sports lately. Needless to say, it's been a tough three months for Dubya.
Subscribe to:
Posts (Atom)