tag:blogger.com,1999:blog-53421858244553451812024-02-02T02:27:59.419-08:00Movie ReviewsRead Before Watching The MovieUnknownnoreply@blogger.comBlogger75125tag:blogger.com,1999:blog-5342185824455345181.post-84642960208685391892011-10-11T21:39:00.000-07:002011-10-11T21:39:13.856-07:00UpIf there's a list of great computer animation movies of all time, Pixar
would dominate most of the top positions. Great story, great voice
talent, great timing, great for all ages. It'd be hard to pick just one
above another and perhaps another viewing of Up may be in order to
figure out where I'd place it among so much stellar work.<br /><br />Up is by far the most emotional human drama of any Pixar movies thus
far, very heavy, so much so if you're looking for pure fun with some
jaw-dropping chase and/or thematic scenes and no downer moments, Up may
not be for you. I saw it in a packed theatre of about a 65% adult, 35%
adult split audience and it's the only time I can remember being in ANY
animated movie where there was sniffles and watery eyes, and that was
within the first 10 minutes of the movie. There's an undercurrent of
life after losing a loved one in this movie, which I don't feel gives
anything away. It's pretty heavy subject matter, Pixar handles it, like
they do everything they touch, incredibly well, but it doesn't make it
any less sad to have the material threaded throughout much of the movie
you're reminded of it, but I suppose it's up to one's own
interpretation of loss and how to place it in your life that perhaps
will have an emotional effect on you.<br /><br />Story is what makes a great movie great. Without story, you don't
really have anything, maybe some effects, some action, maybe some cute
or clever sight gags, maybe some laughs, hopefully some emotion, where
Pixar shines above all others in animation and over a good 99% of the
movies out there is they can intertwine it all and do it seemingly
effortless, which is an incredible feat. To do this in a few movies is
one thing, but Pixar has pretty much nailed this now for their entire
career of making movies, that's just simply unprecedented. <br /><br />I should note I saw the 3D version which, to be honest, didn't really
take the movie to the next level. One of the more well known syndicated
reviewers had said you're better off seeing the non-3D version on
screen, and I actually agree. The 3D glasses added little to nothing to
the movie except for an eye-strain headache later in the night. It
didn't take away from Up mind you, it just didn't add to it either. <br />
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<br />Up is a great movie either way you slice it and it should be noted, the
theatre I saw it in gave it a fairly loud round of applause at the end.
It's pretty rare these days that an audience applauds after a movie,
perhaps we as a society has become too jaded, or too just expecting of
the goods or feeling we're entitled to the entertainment. It's nice
when a movie hits on all cylinders and elicits such a range and
emotional reaction people who don't know each other in a packed room
all gasp, laugh, cry, and applaud together. Great movies however can do
that and Up is truly a great movie.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-14364746883688327212011-09-26T17:40:00.000-07:002011-09-26T17:40:32.523-07:00Kung Fu Panda 2<div class="separator" style="clear: both; text-align: left;">
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Let me preface by saying I was rather unimpressed with the first Kung
Fu Panda. As entertaining and well-choreographed as it was, it didn't
pass my bar for mediocre DreamWorks animated movies. It was amusing and
had some heart, but all-in-all was pretty expected. Now when I got a
chance to see a preview of Kung Fu Panda 2, I was rather indifferent to
seeing DreamWorks trying to pump out a mediocre sequel and a new
franchise. But WOW... was I wrong! I take back everything I said
earlier because, man oh man, I have to admit that Kung Fu Panda 2 was
one of the best animated films I have ever seen.<br /><br />In in this installment, we find Po and the Furious Five defending the
Valley of Peace from evil when a new threat rises. Lord Shen, an albino
peacock banished by his parents many years ago, has returned with a
technology capable of ending kung fu and conquering China. As the
Furious Five embark to destroy the weapon, Po begins to realize that
Shen may be linked to his lost childhood past as a panda bear. I won't
say any more in fear of spoiling the story, but be prepared for a
powerful emotional experience.<br /><br />I found a big improvement was that they toned down all the things that
made the first movie irritating: over-the-top Jack Black antics,
overused slow-mo effects, and dialogue silliness. That's not to say
Kung Fu Panda 2 doesn't have humor; actually, it has exactly the right
amount at the right time. I found myself rolling my eyes a lot at the
jokes in the first movie, but the sequel had me (and the whole theater,
for that matter) genuinely laughing! The characters have fully matured
and been fleshed out to the point where even Jack Black fits
comfortably as Po, though regrettably the Furious Five barely get any
screen time. Of course, shining in the spotlight was Gary Oldman as the
sinister Lord Shen, whose fantastically evil voice acting tops even Ian
McShane's as Tai Lung and is the ONLY way that a peacock could possibly
be made scary! The 3D was also showcased quite well, enhancing most of
the visuals throughout the movie without being a headache.<br />
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Maybe you call it blasphemy, but the comparison must be made. Kung Fu
Panda 2 was put together with such a degree of excellence that it
rivals many Pixar movies (and in my opinion has a good chance of
outshining Cars 2 this year). With some fantastic animation, a
surprising and touching story, and convincing voice talent, Kung Fu
Panda 2 will easily go down as one of my all-time animated favorites.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-32929177675227106512011-09-26T17:36:00.000-07:002011-09-26T17:36:16.088-07:00Kung Fu Panda<div class="separator" style="clear: both; text-align: center;">
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After various 3D animated movies ranging from lacklustre "star" movies
("Madagascar"), boring tripe ("Shark Tale", "Bee Movie"), and
over-rated, over-hyped overkill ("Shrek"), Dreamworks can finally be
proud of a truly great film. (Sidebar: I actually enjoyed "Flushed
Away" and "Over The Hedge".) First, the bad. If I could complain about
ANYTHING it may be a few of the voices. Besides Po, Shifu and Oogway,
the rest of the cast seemed pretty 'phoned-in'. Thankfully, those
characters are pretty inconsequential so they're not really missed.<br /><br />Now the good... or rather great. While classic kung fu movies are poked
fun at, Kung Fu Panda does an excellent job of treating the genre with
great respect in a movie geared towards kids. And while it IS kid
friendly, it is not dumbed down to the point where it's childish. All
the classic elements of those great kung fu flicks are there, while
still keeping it pleasantly G-rated.<br /><br />Let me get this out of the way: this movie has some of the greatest 3D
animated fight scenes. Ever. What elevates them from good to great is
that while I expected the unbelievable, gravity-defying stunts that are
REQUIRED of a good kung fu movie, there is an amazing amount of
'realism' to the physics in this movie. Just watch the jailbreak and
you'll understand.<br /><br />Speaking of animation, the cinematography, character design and
backgrounds are all done very, very well. Whether it's flying through
the air alongside a leaping character, the painting-like backgrounds,
or the wonderful opening sequence (reminiscent of Samurai Jack),
they're all beautiful. Snap zooms, slow-motion, and flying cameras are
also used with great skill to further the experience.<br /><br />Even the music and sound is outstanding. Asian drums rumble in the
background of intense fights... stones shatter and crumble away...
fight sequences rise and fall with each of the music cues, or is that
the other way around? Beautiful.<br /><br />What helps make this a new classic in my eyes is what it doesn't have.
There are no Matrix, Spiderman, or other dated references. There are no
inside jokes related to the voice actors. There isn't even any double
entendre or unnecessary crude humour. Much like "Finding Nemo" or
"Monsters Inc", there's just plenty of pop-culture-free goodness that
is terribly entertaining.<br /><br />The last great part of this movie is often the most overlooked part of
a good family film... heart. This movie has oodles of it. Other movies
have tried to have a lesson in the end like 'be yourself' ("Shrek"), or
'the value of friends' ("Madagascar"), or... 'be yourself' ("Shark
Tale"), but "Kung Fu Panda" has genuine cinematic moments with dialogue
that carries real weight. Best line: Oogway regarding yesterday,
tomorrow and today.<br /><br />So, finally, as a complete sucker for Pixar animation, I'm glad that
another animation company can actually put proper thought and execution
into a FAMILY movie. What else can I say? Congratulations Dreamworks.
10 out of 10.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-65363369881848994882011-09-18T17:58:00.000-07:002011-09-18T18:03:56.332-07:00Iron ManThere was a big question mark looming over the theatrical adaptation of
Marvel's Iron Man property. It was in the guise of director Jon
Favreau. Now, don't get me wrong, I love the Favs, but when I heard he
was helming a big budget comic book flick…let's just say I was a little
worried. Once his cast was set and the fanboys started humming across
the internet I started to ease into the decision with high
anticipation. Thankfully, after finally seeing the finished product, I
was not disappointed in the least. With a great mix of the
professionalism and stakes seen in both Spider-Man and X-Men and the
comic wit and sheer fun of Fantastic Four, Iron Man shows how a comic
can be brought to the screen successfully without all the added drama
and weight. We finally have a film with the essence of what makes these
picture books so popular, the action and mythology along with a sense
of adventure and humor. Favreau never bogs us down with overwrought
emotions nor speaks down to us with gags and poorly written jokes.
Instead he delivers on his promises and gives us a solid initiation
into what could be a great trilogy or more.<br />
<br />
Favreau seems to have had an idea to get an origin story out while not
boring us with long drawn out backstory. His ability to give us dual
information at once is nicely orchestrated, showing Tony Stark in his
basement creating while the TV in the background explains what is
happening in the outside world of the Middle East and inside his own
company. We as an audience are allowed to put the pieces together
amidst the witty banter of Stark and the wonderful special effects. By
the end of the film it is quite amazing how much information you will
realize you now know, all culminating in a decent final battle, but
more importantly a segue into the inevitable sequel. We are allowed
entrance into the character evolution of Stark as he goes from war
profiteer to man of action and cause, all while seeing the technology
improve and advance before our eyes. Much like Batman, we have a hero
here that needs help in fighting crime. He has no superhuman abilities
besides his brain and being able to see his thoughts go from paper to
reality is a feat of magic. Every stage is shown, every failure and
success. It's quite the ride in and of itself, but when you add onto it
the threat of global war and destruction, it can only get better.<br />
<br />
The real success here is in the bold move of casting an actor over-40
to be a superhero. This takes guts, because no matter how appropriate
it is, most studios would have said, "no, change the story and make him
younger so we can churn out as many of these babies as we can." I don't
know how he did it, but Favreau got Marvel to get Robert Downey Jr. to
play Stark, a sarcastic lothario with the brain capacity of Einstein. I
truly can't think of anyone better suited to the role and he proves it
by nailing every single scene. I'm sure there was some ad-libbing, but
even if not, his comic delivery and ability to switch on a dime to a
sincere seriousness at will shows his masterful craft.<br />
<br />
As for the rest of the cast, they all do well. Jeff Bridges plays the
bombastic creature of villainy over-the-top, but appropriately so;
Terrence Howard is nice as the friend and military liason, not given
much to do, but definitely sowing seeds for the future; and Gwyneth
Paltrow is good as the sweet assistant Pepper Potts who at times seems
a little underwritten and more female prop than anything else, but
comes through with some nice moments in a very comic sort of way. I
also really liked Shaun Toub as Yinsen, Stark's savior, and Clark Gregg
as the head of S.H.I.E.L.D. Good to see Favreau giving another actor
turned director props, (Gregg's directorial debut comes out later this
year in the form of Chuck Palahniuk's Choke). I just wish he would have
shied away from putting himself in the film. It's one thing to be seen
split-second, (like Stan Lee), but its another to give yourself a
thankless role with multiple scenes, just adding fuel to the fire on
people's opinions of egotism stemming from the drinking game created
off of the TV show "Dinner for Five" and how many references to
Swingers was made each episode. I'll forgive, though, because, once
again, I'm a big fan.<br />
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One can't forget that this is an action film above all else, so we
can't just praise the actors; every effect is also quite brilliant.
Those scenes of Iron Man flying amongst fighter jets in the trailer
seemed really lame, but when in context they deliver. The suit itself
is amazing as well, through every mach stage right to the end. My main
highlight, however, was with the computer systems that Stark utilizes.
The multiple screens, instant holographic reproductions, and ability to
actually interact with those 3D representations is stunning. We can
create them in fantasy, but it's just too bad we can't yet in real
life.<br />
<br />
Now Iron Man is not a perfect film, nor even a perfect comic book
adaptation. What it is, though, is a fun, comic actioner that should
light up the box office. The final showdown is a bit of a whimper in
comparison to the backstory and machine creation; a crucial element is
saved from destruction in the one contrived bit of screen writing, (not
quite utilized in the way I thought, although still for the same
means); and some moments seem a tad campy rather than witty, but
otherwise this is some topnotch cinema that should definitely be seen
on the big screen. I can't wait to see how the story progresses in a
couple years.Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-5342185824455345181.post-24346846706159125292011-09-15T17:49:00.000-07:002011-09-15T17:50:32.521-07:00Pirates of the Caribbean: On Stranger Tides<div style="text-align: justify;">
Law and Order: Special Victims Unit is one of my favorite television shows, even though its gone a bit downhill lately. Is it the cast? No, because they are mostly intact. What is actually happening is that each of the main characters, known for their superb chemistry amongst each other, are suddenly spending less screen time with each other and more time to themselves. This story actually has a point. On Stranger Tides suffers the same fate: fantastic cast that don't spend as much time with each other as we hope. Add some pointless plot lines, a calmer first-third of the flick, and you have yourself the fourth installment of Pirates of the Caribbean.<br />
<br />
That being said, its still quite entertaining. On Stranger Tides follows a variety of people searching for the fabled Fountain of Youth. Unfortunately for us, its not just Jack Sparrow. We have Blackbeard, the Spanish, the British (led by Barbossa), Angelica, and more doing the same thing. Subplots pertaining to this quest include Jack's past with Angelica, Barbossa's questionable change in character, some random guy falling for some random girl (I am serious, this part was totally pointless), and the pointless Spanish people that flock in and out of the movie.<br />
<br />
This is by far the weakest part of the movie, the script. For some odd reason, they borrowed far too much from the novel (whose pacing and themes far differ that of the Pirates brand) and forgot that sometimes simplicity is best---which is what made Curse of the Black Pearl such a great film. It was the easiest to follow, and On Stranger Tides didn't learn from the previous two installments. To add to that, the script utterly separated everyone, even those with the best on-screen chemistry. Barbossa was barely with Jack Sparrow, Sparrow was rarely with his ex-lover, and worst of all reliable Gibbs spent minimal time with Sparrow. When they are together, the humor, the banter, tension, and the charm works well. When they aren't, well, the movie drags a bit.<br />
<br />
Thank goodness the cast is still on their game. Johnny Depp once again breathes life into the pirate movie with his smart, unpredictable, and hilarious portrayal of Jack Sparrow. Despite what the reviews say, Jack Sparrow's shtick isn't getting old as he is still a delight to watch. Geoffrey Rush once again shines as Jack's best rival Barbossa, as his quiet intentions resemble that of Sparrow in earlier films. Penelope Cruz adds a layer of sexuality that we definitely did not have with the other Pirates of the Caribbeans--it's just a shame she didn't have much time with Sparrow. Director Rob Marshall was able to shell out good performances from everyone in the cast, but he definitely wasn't the man for this job.<br />
<br />
Almost all the chase scenes or action sequences were done with very low-lighting and poor camera angles. With the exception of the mesmerizing and chilling mermaid sequence and the opening chase, all the action moments were missing that special touch. While the bizarreness of Gore Verbinski will not be totally missed (although his style worked perfectly in Rango), his ability to crank out excellent stuntwork and fights was sorely missing here. At least we got to see plenty of it, from the opening chase to the final dramatic (and short) showdown. Say whatever you want, but there has yet to be anything that can top the infamous three-way sword fight/old mill showdown from Dead Man's Chest.</div>
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Bottom Line: Pirates of the Caribbean: On Stranger Tides is a mix of frustration and fun. There was plenty of potential that wasn't met because of questionable plot lines, pointless moments, lack of chemistry (once again: writer's fault. Good going Ted Elliot and Terry Rossio), and uneven direction. All that banter aside, Pirates is also plenty fun with several delightful moments, funny lines, and much more action than the last Pirates flick. Johnny Depp, Penelope Cruz and company keep the movie afloat, and prevent it from being a pure bore. But I think the franchise works better when Verbinski is behind the camera. On Stranger Tides is decent summer entertainment, but doesn't have the inescapable magic and charm of the first two. </div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-89502936884317301672011-09-14T01:18:00.000-07:002011-09-14T22:19:45.615-07:00Pirates of the Caribbean: At World's End<div class="separator" style="clear: both; text-align: left;">
Once you start downhill, it's difficult to halt the momentum. So to
apply this metaphor to the world of cinema, once a film franchise
delivers a poor entry, it's almost impossible to not deliver poor ones
from then on out. So, imagine the surprise when, after the lackluster
Pirates of the Caribbean: Dead Man's Chest, that screenwriters Ted
Elliot and Terry Rossio and director Gore Verbinski are able to deliver
a superior third entry in the Pirates series with Pirates of the
Caribbean: At World's End. It is hardly perfect, still far too long and
lacking in emotional depth, but for a summer spectacle, it still
manages to deliver the goods to a degree.</div>
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At World's End opens not long after Dead Man's Chest, with Will Turner
(Orlando Bloom) and Elizabeth Swann (Keira Knightly) joining forces
with recently resurrected Captain Barbossa (Geoffrey Rush) to rescue
Jack Sparrow (Johnny Depp) from Davy Jones' locker, where he was
dragged to by the Kraken at the conclusion of the last film. While they
are on their way to the afterlife, Lord Cutler Beckett (Tom Hollander),
has exerted his influence over Davy Jones (Bill Nighy) and is using him
to bring the pirates of the world to their knees. With their very
existence on the line, the pirate lords meet to discuss the possibility
of joining forces to combat Beckett, but since these are pirates, there
is a wide variety of skullduggery and backstabbing to be had.<br />
<br />
Pirates of the Caribbean: At World's End is rife with dazzling visuals.
As with both previous films, At World's End has spent it's
almost-certainly astronomical budget on what actually goes on the
screen. The sets, costumes, and stunning visual effects are impressive,
to say the least. You might be excused for actually believing that what
you are seeing is real at times, not just movie trickery. The make-up
artists have also once again proved that they can be the go to guys for
the creation of unappealing looking characters, as almost no one in
Pirates of the Caribbean: At World's End looks like they have taken a
bath or brushed their teeth, well, ever, which, in this case, seems to
work for the film. If you want to see a visually spectacular motion
picture, especially on the big screen, you need look no further than At
World's End.<br />
<br />
On the other hand, if you are interested in depth to go along with the
glittery outside, then At World's End will prove to be somewhat
lacking, although not nearly as much as Dead Man's Chest. The key
problem to this film is that the characters are underdeveloped. Most of
what makes them up is played out again without much added to the
proceedings from the previous entries: Jack wants everything for
himself, Barbossa wants what Jacks wants also, Will wants Elizabeth and
Elizabeth wants, seemingly, to be a pirate. Frankly, it's a bit sad
that the character with one of the best emotional arcs in the film is
one of its villains, Davy Jones, who has an almost touching degree of
pathos added to him thanks to a scene about halfway through the film.
Perhaps it is the film's never ending attempt to keep the audience
uncertain where the various characters loyalties lie that also works
against the audiences' identification with almost anyone. When it seems
that everyone is out only for themselves, it's hard to work up much
enthusiasm for them.<br />
<br />
The film's cardinal sin, as has been the case with every Pirates entry
thus far, is its bloated length. At World's End does not have nearly
the lopsided running time to substance ratio that Dead Man's Chest did,
but it still overstays it's welcome. Much like fellow summer
blockbuster Spider-Man 3, the filmmakers seem to believe that bigger is
better, and that is sometimes just not the case. In the film's defense,
there is quite of bit of plot to fill the minutes, but it could have
still been trimmed back to some degree while maintaining, and perhaps
even increasing, the entertainment value.<br />
<br />
That being said, At World's End still manages a few surprises, and the
ending does pay off much of what has gone before, and even though the
"love" between Elizabeth and Will seems almost non-existent, a key
scene at the end on a beach does manage to be effective. The actors
also generally deliver once again. Johnny Depp is entertaining as ever
as Jack Sparrow, although he finds the screen time a bit split amongst
the various other characters this outing. Depp seems to be having a
good time in the role, and it's hard to not understand his public
statements that he would be willing to go more rounds as the character.
Rush is also effective as Barbossa and Keira Knightley shows a bit more
energy than in the last entry, as does Orlando Bloom in the part of
Will.</div>
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So, what began as a seemingly bad idea (a Disney theme park ride turned
into a summer film) has concluded three films later with one of biggest
displays of blockbuster film-making, in terms of scope, as has been
seen in recent years. That the spectacle isn't quite in service of an
appropriate amount of core material is disappointing, but Pirates of
the Caribbean: At World's End is hardly a loss. It provides a decent
amount of entertainment, buckets of eye candy and a good laugh here and
there. While filmmakers should perhaps aspire to more, what they manage
deliver isn't half bad. I suppose that might sound like damning with
faint praise, but you just have to call them as you see them.</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-76809106145038954632011-09-13T20:43:00.000-07:002011-09-13T20:43:41.269-07:00Pirates of the Caribbean: Dead Man's Chest<div style="text-align: justify;">
Pirates of the Caribbean: Dead Man's Chest does the right thing as a sequel: It maintains the same carefree spirit of the original and creates an even more fitting story to the whole Pirates lore. After narrowly escaping the gallows--with the help of his friends Will Turner (Orlando Bloom) and Elizabeth Swann (Keira Knightley)--and reclaiming his cursed Black Pearl, it still seems Captain Jack Sparrow (Johnny Depp) has a few more fish to fry. More specifically the barnacle-encrusted undead on board the ghostly Flying Dutchman, lead by Mr. Octopus Face himself, Davy Jones (Bill Nighy). Jack apparently owes a blood debt to the inky captain and if he can't find a way out of it--namely locating the secret contents of Jones' famed locker--Sparrow will be doomed to eternal damnation and servitude in the afterlife (insert Jack Sparrow's face of disgust here). Making matters worse, Sparrow's problems manage to interfere with the wedding plans of Will and Elizabeth, who are forced to join Jack on yet another one of his misadventures. Depp's Oscar-nominated performance as Captain Jack is still a marvel in slovenly pirate behavior, with his slurred speech, swaying swagger and slack, waving arms. But whether channeling famed Rolling Stones' guitarist Keith Richards or not, it's the duality of the character that continues to intrigue us. He is a lusty, fearless man with a deeply defiant and somewhat sneaky streak but whose delicate features, long, dread locked hair, Kohl-rimmed eyes and almost girly mannerisms give him a subtly effeminate air that belies his macho antics. This time around, young Brits Knightley and Bloom have a little more to do, with Elizabeth's growing attraction to Jack and Will's reunion with his father, Bill "Bootstrap" Turner (Stellan Skarsgård), who's soul is stuck on the Flying Dutchman. And Nighy (Love Actually) once again makes his mark as an effective villain, infusing his rather quirky acting ticks--the laconic delivery, the laid-back attitude--which shines through all the special effects make-up. Let's just say, Nighy certainly rivals Depp in the arrogant rock star stance, even if he has tentacles for a face. The other thing Dead Man's Chest does right is make things bigger and better. From a hair-raising sword fight on top of a spinning water wheel to the way Davy Jones and his crew look--all water logged and crustacean-like--the film's production value is simply amazing. Returning producer Jerry Bruckheimer and director Gore Verbinski make sure the action sequences, the sets, the costumes, the make-up and the special effects give the audience a familiarity to the original while also taking them on a whole new adventure. And if you are a fan of the Disney park attraction (the one at Disneyland, not Disney World), the elements that got missed in the first one--the creepy bayou, the beating heart in the treasure chest--are in this sequel. Dead Man's Chest does lag a bit from time to time, especially in heating up the Jack, Elizabeth and Will love triangle. But that's OK. We enjoy watching their banter, as much as we do the rest of it. And for those who'll want more adventure after the movie ends, Dead Man's Chest gives us a promise the third installment will be just as much pirate fun.</div>
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-15071068311818081482011-09-12T17:21:00.000-07:002011-09-12T17:21:09.736-07:00Pirates of the Caribbean: The Curse of the Black Pearl<br /><div style="text-align: justify;">
<br />A damn good movie. One of the best of 2003 in my view.<br /><br />This movie made me laugh, and it really pulled me in.<br /><br />At first I was afraid this would be another bad Pirate movie. I went to see it anyway, as I've always loved the legends of pirates, and I love adventure. I saw it once. Then twice. Then Quadrupul. Then six times. And one more 7. And now I eagerly wait for the DVD in Australia.<br /><br />What i'm saying is I couldn't get enough of this movie. It was so well done.<br /><br />Johnny Depp was hilarious a Jack Sparrow, and acted like a true Pirate. His obsessive drinking antics, and his walk really brought out this chaqracter. Plus he made character we could all love and enjoy, that deserves an Oscar in my view.<br /><br />Geoffrey Rush played Barbosa the bad guy. Who turned out to be quite a good bad guy in my view. He showed real potential, and I loved the way how he manipulated people.<br /><br />Keira Knightley plays Elizabeth, the governor's daughter. Prisoner of the Pirates. She is quite momorable in this role, and is a great jump for her evergrowing popularity.<br /><br />Orlando Bloom plays Will Turner. A simple blacksmith, who is also a well trained swordsman. Who is in hot pursuit of saving Elizabeth from the Pirates.<br /><br />The more memorable thing about this though is the curse. A well thought out curse. That can always lead to sequel or a prequel. You'll see what I mean when you watch it.<br /><br />The story is based on these Pirates who happen to be cursed, and they want to rid the curse. To do that they need the blood of a pirate, not just any pirate but the son of Bill Turner- William Turner. Mistaken for Bill Turner's child the pirates Capture Elizabeth, and take her hostage, while William teams up with a Rogue pirate, Jack Sparrow, who is on a streak for revenge against Barbosa. While all at the same time are being chased by the british fleet.<br /><br />A great adventure. Well played swordfighting. Great laughs. Great music. And great story. Pirates are back in my good book.</div>
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</div>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-5342185824455345181.post-28478922089245206712011-09-08T18:19:00.000-07:002011-09-08T18:19:56.874-07:00Ip Man<div style="text-align: justify;">
In this bio-pic, Ip Man, one of the earliest Wing Chun martial arts exponents credited to have propagated its popularity, gets portrayed as the best of the best in 1930s Fo Shan, China, where the bustling city has its own Martial Arts Street where countless of martial arts schools have set up shop to fuel the craze of kung fu training. With each new school, the master will pay their respects to Ip Man and to challenge him to a duel. Ip Man, an aristocrat who spends most of his quality time developing and perfecting his brand of martial arts, will take them on behind closed doors, so as not to damage his opponents' reputation nor embarrass them in public. His humility is his virtue, and his style is never violent or aggressive, which often gets assumed and mistaken for being effeminate, since Wing Chun after all was founded by a woman.<br /><br />The bulk of the story gets set in the outbreak of the Sino-Japanese war, and it's not all fight and no story. Witth this historical setting, at times it does seem that there is an air of familiarity with the type of stories told, with how the Japanese Imperial Army had made life really miserable for the Chinese, and how the Chinese being fragmented in spirit, fail to unite during dire straits. More often than note, martial arts become a unifying force, and this aspect of the narrative might seem to be a walk in the usual territory. <br /><br />But with its array of charismatic supporting cast with the likes of Simon Yam as Ip Man's best friend and industrialist Quan, and Lam Ka Tung as a cop turned translator, there are little nicely put sub plots which seek to expand the air of respect that Ip Man commands amongst his community. The story by Edmond Wong did not demonize all the villains, often adding a dash of empathy and sympathy to the likes of the Japanese General Miura (Hiroyuki Ikeuchi), a highly skilled exponent from the North called Zhao (Fan Siu Wong) as well as Lam's translator character who is deemed as a traitor for being in the service of the Japanese. Ip Man the family man also gets put under the spotlight, where his passion could sometimes leave him neglecting his wife and kid, and through the course of the story this focus often leaves one quite exasperated for his family's safety as he puts his countrymen above self and family when going up against the oppressive Japanese forces.<br /><br />So what's the verdict on the action? Action junkies won't have to wait too long before watching Ip Man in action, and to Sammo Hung and Tony Leung Siu Hung's credit, they have intricately designed some of the most varied martial arts sequences in the movie, such as private fights in his home, a factory mêlée, a Japanese dojo battle as seen in the trailer, (which I know has actually sent some positive vibes amongst moviegoers, mouth agape at that incredible scene of Yen continuously beating down a karateka) being somewhat of a throwback and reminiscent of Bruce Lee in Fists of Fury, and a ringside duel amongst others. And it's not just Ip Man who gets in on the action, but specialized martial arts moves designed for the various practitioners as well. It's so difficult to name any particular one as a personal favorite, though I must add that you definitely won't feel short changed by the time the inevitable final battle comes rolling along and gets delivered with aplomb.</div>
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<br />I'm no Wing Chun practitioner, but Donnie Yen has this marvelous calm and zen like approach with his Ip Man taking out his opponents quite effectively with the minimal of moves. Like Huo Yuan Jia, he doesn't deliver the killing blows to friendly opponents, but rather simulates the various hit points, which actually calls for some astonishing control of strength and precision. This approach will change of course as the opponents become anything but friendly. And unlike the usual martial arts stance of crouching low, here we see him standing tall and striking with such precision and efficiency, it's like poetry in motion with some astounding closed quarter combat utilizing plenty of upper limb strength. <br /><br />With Wong Kar-wai at one point also declaring interest in making a Ip Man movie, I thought that this effort will be hard to beat, just like how Tsui Hark has crafted some of the more definitive movies in modern times about Wong Fei Hung and Jet Li benefiting from a major career boost, I'd say Ip Man just about cements Yen's reputation as a martial arts leading man, which I guess the cinematic world these days severely lacks. This has to go down in my books as one of my favorite movies of the year, and I'm already setting some money aside to get the best available edition of the DVD when it gets released. Highly recommended, so make a beeline for the box office now!</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-91807031619514377932011-09-01T03:59:00.000-07:002011-09-01T03:59:08.903-07:00The Core<div class="separator" style="clear: both; text-align: center;">
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The Core is one of those movies you can hate intensely yet can feel a strange affinity for. It resembles the kind of nonsensical science-fiction made in the 1950s when audiences had no knowledge whatsoever about science: a dodgy set-up, a ludicruous solution, and an eager band of gradually expendable characters to join you on this world-saving adventure. Like its predecessor Armageddon it gives you a totally unbelievable scenario, but pleasingly does not fill the ship with a grab-bag of misfits and personality disorders to provide humour. And off they go deep into the Earth's crust, armed with a mid-range special effects budget and a mid-range script. Like HG Wells or Lovecraft you can either reject it out of hand, or bite your tongue and enjoy the ride. I chose the latter, and while I shook my head continuously, it wasn't the worst thing I've seen.<br /><br />Like many sci-fi films these days, the set-up seemed better than the conclusion: dozens of people sporting pacemakers drop dead after a magnetic shockwave hits a city, pigeons go berserk in Trafalgar Square, the Space Shuttle veers off-course and lands in an LA culvert. The movie's head boffin is comandeered from his dull lecturing job to explain the world's problems with the help of a peach, some air-freshener and a cigarette lighter (perhaps the most pathetic scientific demo in the history of cinema). You see, the Earth's core has stopped spinning, our electro-magnetic field is dying, and we're all about to be toasted by the solar winds. How do we get it fixed? Drill 2000 miles into the core and detonate some nukes? No problem!<br /><br />I'll ignore the many scientific, physical and continuity errors that popped up during the movie as they have been amply described here already - more or better advice could've been taken to prevent these needless flaws is all I can say. Then again, good old B-movie schlock like "Fantastic Voyage" and "Journey to the Centre of the Earth" also had its share of shortcomings, and this is in the same vein - I just hope nobody thinks they are learning geophysics from this film. Watch it with eyes wide open and brain shut, and you'll be fine.</div>
<br />Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-5342185824455345181.post-40313787768092427512011-09-01T03:56:00.000-07:002011-09-01T03:56:07.722-07:00Man on Fire<div class="separator" style="clear: both; text-align: center;">
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<br />I hate preachy revenge flicks. I pay money to go see a revenge movie, I want revenge -- not some tough guy learning that killing is bad, etc. Seriously, if I wanted a sermon on the importance of turning the other cheek, I'd either go to church or rent an eco-friendly Steven Seagal movie.<br /><br />I'm a big fan of the revenge genre, there's something about the build-up that gets my blood boiling. I love getting attached to characters and feeling their vengeance, which is why I love revenge movies that go all-out and feature TRUE revenge.<br /><br />COLLATERAL DAMAGE is a good example of a movie that just backed itself into a wall. It starts as a revenge movie and ends as a message against terrorism, war, and violence. In an Arnold Schwarzenegger film? Give me a break.<br /><br />So I had never expected to see such hardcore material in MAN ON FIRE -- it's an all-out action thriller that takes no prisoners. When Denzel stuck a stick of dynamite up a man's anus, then blew him up, I thought, "Wow, this movie really isn't afraid of offending people."<br /><br />Washington's character isn't likable which is part of the reason this succeeds. Most revenge movies feature heroes who, magically, don't seem to want to kill anybody. However in this, Creasy (Washington) is a bodyguard who avenges the death of a little girl (Dakota Fanning) and he does so with more than mere vengeance. "I'm going to kill everyone," he says, and then does, with no pity and no remorse.<br /><br />In fact this actually reminded me of the Tom Clancy novel "Without Remorse," only it's even better. Scott is at the top of his game here, revolutionizing subtitles along the way and adding an unmistakable grain to his movie that only helps it become more memorable as a gritty revenge flick.<br /><br />It also features both Christopher Walken and Mickey Rourke -- the Kings of Cool -- in the same film together. That right there makes the film worth seeing.<br /><br />I agree with Quentin Tarantino. This is one of Tony Scott's best films and a great, hard-as-nails revenge movie -- I had expected little and got back a lot. A definite must-see, and an Oscar-worthy performance by Washington.<br /><br />One of 2004's most underrated films. How did this get 30% positive reviews on Rotten Tomatoes?!</div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-87971472983877142982011-09-01T03:53:00.000-07:002011-09-01T03:53:02.178-07:00Face/Off<div style="text-align: justify;">
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Sean Archer is the head of a special unit set up to hunt down master criminal Caster Troy. In an airport shootout Archer puts Troy in a coma and captures his brother Pollux. Archer then discovers that Troy has planted a bomb in LA, yet Pollux refuses to reveal where it is. With time running out Archer is offered a terrible option - to switch faces with Troy and have surgery to alter his body shape. After the surgery Archer goes undercover in prison to learn the location of the bomb. However when in prison, Troy awakes from his coma, forces the doctors to give him Archer's face, kills everyone who knows about the mission and assumes Archer's life. Trapped in prison, Archer is forced to escape from prison and join with Troy's gang to expose Troy - mayhem ensues.</div>
<br />This was Woo's third American film and it was the one he finally struck gold with. The story is simply daft - don't try to pick holes in it because it's far too easy to do. What makes the film is that the plot is glossed over by sheer spectacle and great action - you barely have a moment to catch your breath, never mind pick holes in the plot. The action is fantastic throughout - plenty of trademark slow-mo, diving with two guns etc and all given such style. In his other US films it all felt like Woo-lite, however here he is allowed to do just what he wants. OK - the plot may not stand up in repeated viewing, but the action is superb!<br /><br />Travolta and Cage both have great fun playing each other - they mange to swap roles really well. Travolta has the most fun as he gets to ham it up as Troy for most of the time, but Cage has the better role as he plays the `good guy' for most of it. Allen and Gershon are both good as the protagonist's partners but have little to do in this man's world. Really it's all about Cage and Travolta and Woo - nobody else really matters.<br /><br />Overall this may not be a great film due to the weakness of it's plot, but it is still a superb action movie. Most action movies have poor plots - but not all can provide the huge amount of action and fun that Face/Off does. Fantastic! <br /><br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-63189822228641827992011-08-30T05:02:00.000-07:002011-08-30T05:02:07.065-07:00A Bronx Tale<div class="separator" style="clear: both; text-align: center;">
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<br />This might be a matter of taste, but "A Bronx Tale" remains Number 2 on list of Favorite Movies of All Time. It just happens to be one of the most deeply moving, powerful films I've ever encountered. Yes, some may consider this a simple story, but that's the beauty of it. It's a down-to-earth, coming-of-age story that perfectly mirrors the life of a boy like C growing up in the Bronx at such a hectic time. Of course, this is based on Chazz Palminteri's real life experiences, and I envy Chazz, being an aspiring screenwriter/director. I wish I had life experiences like that to put on film. And I have to commend my man Bobby D for bringing these images to life in such a vibrant, engrossing way.<br /><br />DeNiro captures every element of the 1960's Bronx, with a great opening sequence featuring doo-wop singers sweetly singing the movie's theme. He captures so many elements of the period, and it was nice to see only one goof was captured. It was interesting to find out that most of the movie was actually shot in Brooklyn--my hometown. Then again, the two places are alike in their own simple ways. <br /><br />Bobby D has a short, but memorable role (which is against type) as a working-class bus driver. He's desperately trying to get by and support his son, Cologero (I think that's how to spell it...LOL), and disapproves of his son's new "job" with gangster Sonny (Chazz, who gives a landmark performance). The interactions between DeNiro and his son are extraordinary in the way they mirror the way a real father and son would argue in those situations. As I said, it's the whole down-to-earth quality of this movie that I think made it tick. It's nothing pretentious. This is a simple movie about humanity. The gangster plot is merely a backdrop. <br /><br />The only other movie I've seen him in was "Crimson Tide" in a very small role, but Lillo Brancato (who plays DeNiro's son in the later years) is a revalation! He gives one of the best performances I've ever seen and I'm surprised I haven't seen him in any more recent movies. And I have to say DeNiro did a dynamic job of casting. As far as I know, Brancato and Bobby aren't related, but please tell me if I'm wrong, because they look EXACTLY alike! If you've seen any of DeNiro's very early films, Brancato is a mirror image of him. Is it coincidence or what? I've rarely seen a film where the son/daughter even directly resembles the parents, but Brancato has the DeNiro nose and everything. If you observe closely, there's a scene where Brancato is wearing a black jacket and a black hat, and if you were to see this in a split-screen with DeNiro in "Mean Streets" it would be uncanny. <br /><br />There are so many people I have to commend for this film. That also includes the supporting cast. Taral Hicks as C's love interest was also impressive. And of course, you can't have a movie directed by DeNiro and starring DeNiro without his main amigo making an appearance. Hopefully, you haven't read the cast list on the IMDB. Because I was surprised and overjoyed when "the man" appeared in the final scene. <br /><br />There are many lessons on life to be drawn out of this film, some of which given by Chazz's character Sonny, who plays the most likeable gangster I've seen in cinema. Yet at the same time, you can't consider him "too nice." Which was a good move. Sonny was a nice guy in the core, yet he still has a heart of a gangster. In a great monologue, he explains how he'd rather be feared than loved. And of course there's the great monlogue that everyone remembers: the car door scene. That was really an unforgettable speech. Plus, there's funny moments, too. The gambling scene in the basement, for example. "Get in the f**king bathroom!!!" LOL...that was hilarious. <br /><br />To add to the emotional intensity, we have an interracial relationship between Brancato and Hicks at a time when Bronx was heavily segregated and whites wanted absolutely nothing to do with blacks. The scene where the boys beat those innocent black boys down was an extremely powerful scene. And through DeNiro's direction, we feel the characters' every emotion. I like how he used the doo-wop music to contribute to the soundtrack.<br /><br />By the end, I was almost at tears. I'm virtually tearing up just writing this review and looking at this masterful drama in retrospect. This is something ONLY Bobby D and Chazz could've done! No one could've done it better! For me to be this deeply moved by a motion picture is unprecedented. I wish I could be thanking the two guys in person.<br /><br />If anyone hasn't seen this movie, please don't hesitate to pick it up! This is one of those great, underrated masterpieces that you feel sad after finding out about its poor success. A film like this really deserves more recognition.<br /><br />And Bobby D....I think you owe a bunch of "thank yous" to your buddy Scorcese. He's taught you well.<br /><br />My score: A perfect 10! (out of 10) </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-26535049909970639212011-08-30T04:59:00.000-07:002011-08-30T04:59:07.418-07:00American Gangster<div class="separator" style="clear: both; text-align: center;">
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Need not be in the mafia movie grouped on this assumption. At first I was Denzel nails hero, this film is the police catch criminals. Not many spectators, it is the end, he and all his other Dzunhamyon Frank Lucas is a man, it is very clear.<br /><br />American Gangster works on numerous levels. It's in part a portrait of late 60s-early 70s Harlem and America, full of drugs and desperation and weakness, where the strong rise above the rest and the cops are dirtier than the rats. As a crime thriller it's entertaining and at 2 hours 37 minutes, never loses interest. But, maybe most surprisingly, it's also a superb character drama and study. Literally every character who steps on screen is compelling, has depth to them, has their motivations, and is tossed into conflict. For example there's a scene early on where Crowe's character Richie and his partner are searching a parked car and find a very large amount of unmarked money in the trunk. Without giving away more, it and the following scenes lead to some surprising moral and character statements by Scott. Richie's morals vs everyone else the temptation of the streets is commonly laid on him throughout the film, and thanks to Crowe's great great performance, it adds a lot to the movie.<br /><br />Denzel is brilliant here. Frank Lucas, with his collected yet fiery, always powerfully menacing performance is one of the better king bosses I can think of in recent memory. When he's not talking, just the way his face is set, he totally totally gets in this character. The academy would do right to easily give him a nomination this year. I also wanted to add that while the two leads don't get on screen till the last 20 minutes, they have a long extended scene that is pure dynamite and gold. They play off each other perfectly and it's well worth the build-up, and maybe are among the highlights of each performance.<br /><br />Going through supporting actors, Josh Brolin gives one of the year's most surprising performances as an insufferable and despicable dirty cop. He's so slimy, money-grubbing, and yet intelligent and an equal, he's just cunning. Cuba Gooding, Jr. is decent in his one scene, though it's hampered by being mostly unneeded. Chiwetal Ejifor makes a believable side character though he's not given as much to do, and finally I think Ruby Dee could be a sleeper Best Supporting Actress contender for her role as Mama Lucas. Every other short and thankless role I didn't mention is acted superbly here as well, it's a sign of a great director that they're all so on their game.<br /><br />Ridley Scott's direction, brilliant, what can you say. He creates New York and the rats living in it to the point with fantastic attention to detail, and most of the scenes in the film are shot and constructed simply perfectly. This includes the short but brutally effective opening scene, which stands as one of the more memorable openings I've seen in a while. Actually any time there's gunplay or action, even if there isn't that much overall, it's stunning. Particularly, at the end there's a police raid scene that stands as the "holyyyy crap" sequence of the film. Going from a hallway to a heroine preparing apartment, and without revealing anything more, it's incredible, simply incredible. Remember when people were going nuts over the tracking shot gimmick in Children of Men? I felt that way about this one. If there's a god, Ridley will finally pick up his directing Oscar this year, he deserves it for this and his wide career.<br /><br />American Gangster is probably one of the best cop-based films I've seen, and up there with gangster ones. It does one of the best jobs of examining the rise and fall of a crime or drug boss right from the beginning, and dives right into on the other side what it means to be a cop and to strive for something, as well as just telling an awesome and magnificently directed gangster story.</div>
<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-5342185824455345181.post-84541143536445282262011-08-30T04:50:00.000-07:002011-08-30T04:53:37.700-07:00Public Enemies<div class="separator" style="clear: both; text-align: center;">
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<br />This year, 1933, it is the Great Depression. Imagine the number of tries desperately to do for the time. The people have suffered for a crime he can improve. John Dillinger (Johnny Depp) two, it was time for the opportunities and possibilities: been formed a steep slide in the rampant criminality, JJ Edgar Hoover (Billy Crudup), who the FBI to meet Melvin Purvis (Christian Bale) is out. Public Enemy Number One, is to deal with them is doomed to failure. Collection of information (eg, the same court records about the purchase and track the location of the phone call, etc.), to nature and their brutal training and armed with a new access type delrinjeoui wave, thermal, and the company operates.<br /><br />"I like baseball, movies, good clothes, fast cars... and you. What else do you need to know?" - John Dillinger. Johnny Depp IS John Dillinger. He's perfect for the role. The cool, confident and almost cocky nature of the character is really portrayed on screen (such as bragging to reporters about his bank jobs and teasing Purvis and agents who are after him). It's a look of how a man lived and succeeded in a hard time. Dillinger was a man that lived in the moment as only a man in the depression could. From the worlds on John Dillinger, "I'm to busy having fun today to even think about tomorrow." Who knows what tomorrow might bring? Bale also succeeds in his role and is a solid counterpart against Depp. It works well having two top, well known actors opposing each other on screen. <br /> </div>
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The film is directed by Michael Mann who brought us such films as Heat, The Insider, and Collateral and he adds another good film to his resume with this one. The action sequences, bank heists, and shootouts in this film are probably the biggest highlights. After all, this is from the same guy who gave us one of the most famous and arguably the best shootout of all time in Heat. The sequences are cool, slick, and gritty. Excellence at it's best. (I have to throw in a note of praise for the superb shootout at the Little Bohemia lodge, which was an extremely impressive scene)<br /> </div>
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The cat and mouse aspect makes it intriguing, but I think more could have been added to it. It just feels as if something was missing. Much of the film focuses on the love story between Dillinger and Billie Frechette (Marion Cottillard) It's also interesting to see the other gangsters of this time and how they relate to Dillinger and the criminal world.</div>
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<br />Much has been made of Public Enemies being filmed on HD video, mostly complaints. I must say that at times, the picture looked amazing. The night sequences, especially looked beautifully slick and realistic. I loved the cinematography here. The cars, headlights, street lights, and everything looked fantastic. Other times, it doesn't look as good. It just felt as if something didn't look right. I'm not sure what to think about this. </div>
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<br />One problem I had with this film would have to be the lack of character depth in many of the characters. At times, it seems as if we are expected to know and understand the characters before going to see the film because it is a real life story. But as a film, it could have developed the characters more to help us (and those who know nothing about Dillinger, his life, or Purvis and the FBI) understand them better. Another problem was some of the historical inaccuracies. Many things portrayed in the film, do not happen as they did in real life. Many sequences are just out of order. I know the filmmakers had to know about this and just tried to work it in as best as they could. It's not a documentary, it's a movie.<br /> </div>
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I really enjoyed Public Enemies. It's a solid crime drama and a good summer film. I understand expectations were through the roof, but that's a little hard to ask for. It's a really good film, but not quite a great one... The action is fun, the story is interesting. Maybe instead of being a very good film, it could have became a really great film if more was put into the characters? I'm not sure. It just felt as if something were missing. But who can knock a film for still being good?</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-5342185824455345181.post-31320269415908998742011-08-29T02:04:00.000-07:002011-08-29T02:04:21.324-07:00The Godfather: Part III (1990)<div class="separator" style="clear: both; text-align: center;">
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<br />I liked The Godfather: Part III right up to and including Sofia Coppola's much maligned performance as Mary Corleone daughter of Don Michael Corleone, the one and only Al Pacino. I think she was unjustly criticized. In her performance she set out to play one of the innocent children of Al Pacino. <br /><br />There's a moving scene in The Godfather where we saw Al Pacino and Marlon Brando talking for the last time. Brando's hopes were for his son to become Governor Corleone, Senator Corleone to attain that level of respectability that was out of the Don's reach. Pacino tells him, maybe the next generation.<br /><br />Flash forward to the late seventies where Pacino has slowly divested himself of the illegal interests of the Corleone family. But the other crime bosses don't like the idea of him going completely legitimate. He also has some opposition within his own family. His surviving sibling Talia Shire thinks he ought to keep a hand in and his illegitimate nephew, Andy Garcia is having a running feud with another family head, Joe Mantegna.<br /><br />Andy Garcia got the only acting nomination for The Godfather: Part III as Sonny's son out of wedlock. And he's every bit as wild and hot tempered as Sonny was from The Godfather. Garcia brings a lot of passion to the part. But he does prove able to learn from his uncle and eventually not repeat the mistakes of his father. Garcia lost to another hoodlum portrayal, Joe Pesci for Goodfellas for Best Suppporting Actor.<br /><br />Probably Al Pacino has gotten all he could out of the character of Michael Corleone. He's gotten real respectability now, he's been conferred with a Papal Knightship for the good works of the Corleone Foundation now. He's high up the criminal world too. But people and circumstances won't let those worlds mix and as he ruefully remarks, "just when I think I'm out, they drag me back in again."<br /><br />Only four characters made it through the three Godfather films, Al Pacino, Diane Keaton, Talia Shire, and Richard Bright as Al Neri. All except Neri seem to grow in character, Neri is still button man in chief since Lucabrazzi started sleeping with the fishes in The Godfather. Keaton's character is still the outsider. Separated from Pacino in The Godfather: Part II, she still loves him and regrets as much as he has the outside forces that caused their separation.<br /><br />Although Talia Shire got an Oscar Nomination for Best Supporting Actress in The Godfather: Part II, I think she really comes into her own in this one. Had it not been for male chauvinism implicit in the Sicilian culture, she'd be taking over the family business from Pacino. She's changed so dramatically over the course of the three films. In The Godfather she's the innocent daughter about to embark on marriage to a wife beater. In The Godfather: Part II, she's now entering middle age, overindulging in excesses, unhappy as a many time married widow, her first husband being killed in the original Godfather. She lives on the sufferance and tolerance of her brother. Now in The Godfather: Part III she takes an active interest in the family business and the family legacy. She realizes more than Pacino there's no escaping the Corleone roots. She champions Garcia as the new Don, she knows he's got the chops for the job, she hopes he can develop the smarts as does Pacino.<br /><br />Eli Wallach contributes a fine performance as another aging crime Don who's got a lot more to him than when we first meet him. Raf Vallone plays Pope John Paul I and the urban legend of his sudden demise after a one month papacy is woven into the Corleone story. As is Joe Mantegna who plays an undisguised version of Brooklyn mob boss Joe Columbo.<br /><br />I'm sure if the money's right and a workable screenplay is developed we may not have seen the last of the Corleones. There was one talked about a few years ago. Still if it never develops, The Godfather: Part III is a fine film to end the saga.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-57146218818908488732011-08-29T02:00:00.000-07:002011-08-29T02:00:13.119-07:00The Godfather: Part II (1974)<div style="text-align: justify;">
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Coppola's masterpiece, in order to clarify the impact of corruption extends the power before and after the first film set in just the 1940's "The Godfather, Part II" ... and show some range tragic grandeur of its rivals, the breathtaking film two people. New York City, to establish himself in the post-World War I, the first Jews in Italy since 1917 to the turn of the 20th century, the dark world of the crimes of his century, the island of Sicily, the young aware of the career of early Vito Corleone, and in parallel to extend the period of the story of the other two, Michael and his son (Al Pacino), it is trying desperately to keep together his family The.</div>
<br />Al Pacino's performance is quiet and solemn... He is cold and ruthless, with a whole contrast from the idealistic innocent war hero we initially met at the beginning of the first film... Here he's a calculating and frightening force, seeking to expand casinos into Pre-Revolutionary Cuba and consolidating an empire surrounded by perfidy and treason, maintaining total confidence in his ability to control the situation whether testifying before enraging Senators or trying to outface his worst enemies...<br /><br />The film's haunting final shot of a lonely, isolated paranoid Michael in his empty compound, is an unforgettable movie scene, a tragic portrait of a lonely and fully damned person, emotionally empty and finished, far from a waspish wife, more distant from a faithful lawyer...<br /><br />De Niro's rise, from an orphan child by a family feud back in Italy to a hood in New York and his position as a respected Don, provides a welcome break from Pacino's relentless attitude... Since the people he kills seem to deserve it, Vito comes off better than Michael does, and it was wise of Coppola to shuffle the two stories together despite lengthy flashbacks and the disturbance of continuity...<br /><br />The entire cast contributes greatly to the success of the film: Lee Strasberg, a fascinating mixture of lust and ruthlessness; G. D. Spradlin, absolutely right as the sinister and corrupt Nevada Senator; Michael V. Gazzo, unforgettable as the troubled gray-haired informer; Gastone Moschin, excellent as the blackmailer in white suit; John Cazale, marvelously timid as the vague, confused, and hesitant Fredo; Diane Keaton, clearly irrational as the long-suffering wife Kay; Talia Shire, too extravagant as the lousy mother; Troy Donahue too ambitious as the fortune-hunting suitor; and Robert Duvall excels as the confidant, and retainer to the all-powerful Corleone family...</div>
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Coppola's motion picture is not just a mere supply with new characters and events from the original, it's a far more complex and intimate movie than its predecessor... It is not really a sequel... It's just more... It cleverly shifts in time between two distinct narratives with extreme realistic violence and criminal mentality of gangsters... </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-60709024227156166022011-08-29T01:56:00.000-07:002011-08-29T01:56:02.760-07:00The Godfather (1972)<div style="text-align: justify;">
Personally loans is one of several films have not found a serious weakness after many visits. Direction, the acting, story, score, loan words are a classic, it is written across all the many surprises and in fact, one of the best film in five of all time have been studied now , and not many are watching is not. If it were to approach the film, perhaps revolutionary loan than Citizen Kane, but his influence is comparable to the video. Films rarely defined or defined a new genre just for some "gangster movie," It does not have, his influence was far more advanced services.</div>
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The Godfather's influence has been so big through the years that elements of it can be found in virtually every "organized crime film" nowadays; almost every comedy featuring a gangster in the last few years has spoofed something in The Godfather. The Italian-American old mobster a-la Don Vito Corleone has become one of the most established figures in the public's imagination.<div style="text-align: justify;">
<br />But to say that The Godfather is simply "influential" is to diminish its true qualities, and so is to describe it simply as "a movie about gangsters". The Mafia is certainly the main focus the story revolves around (despite the fact that the word is never mentioned), but although the movie never tries to forcedly insert separate subjects it contains an amount of psychological and social subtexts that cannot be overlooked. Considerations on how the social environments changes us, on how moral values appear different from different point of views, on how violence can destroy a human soul, and on how power can corrupt an individual are deeply blended into a story that stays practically always true to complete realism, and the result is a picture of astonishing efficacy and believability.<br /><br />As good as the direction and the story are, it would be unfair not to consider the major role that the actors' performances had in the cinematic triumph that was The Godfather. Praised by many as the best cast to ever appear in an American movie, all the cast in The Godfather succeeds in portraying complex, three-dimensional characters without ever making a slip. The exceptional portrayals of Don Vito and Michael Corleone respectively by Marlon Brando and Al Pacino, the performances by Robert Duvall, James Caan and Diane Keaton as Tom Hagen, Santino Corleone and Kay Adams, the ruthless Virgil Sollozzo played by Al Lettieri -- as well as more than a few other roles -- are all perfect for the movie, and they all succeed in making us believe these are real people, not just actors. We are not watching a central character and a bunch of incomplete figures that revolve around him: although Michael Corleone is the character that gets the most screen time, everybody is the center of this world his own way. The movie makes it possible for the viewers to identify with different characters and to observe how their personality and story fits in, and it does it much more effectively than many bloated multiple-storyline movies that came out in the last few years.<br /><br />The movie opens on the wedding of Don Vito Corleone's daughter, Connie (Talia Shire). Don Corleone is a powerful man, and it was not without the use of violence that he achieved this position during the course of his life. The wedding scene gives a perfect setting of where and how the Don's power extends; from the regular worker in a neighborhood, to the immensely popular singer, to the friends in politics and right to the ruthless killer, Don Corleone has links to people ready to ask him favors and to pay him back. Some are trustworthy, some are not, but thanks to his intelligence and intuit the Don can almost always distinguish the two.<br /><br />However, this is 1946, times are changing, and to many of the younger people working in the crime business, Don Corleone's ideas are becoming obsolete. The Don believes that the new trend in the business, narcotics, is too dangerous and the families dealing with it would eventually end up self-destroying; while his family had deals in alcohol and gambling for a long time, part of the Government and law enforcement was ready to close one eye. Drugs are another thing.<br /><br />To this day, Don Corleone was able to keep things together while maintaining his economic and political power, but things will brutally change when a powerful drug dealer name Sollozzo enters the picture. The refusal of Don Corleone to cooperate with Sollozzo, and a weakness immediately spotted by the latter, will ignite a war that will cost many lives, and that will see Michael Corleone, Vito's younger son and the one who never wanted to take part in the family business, lose his "innocence" and transform into a gangster as ruthless as the people he initially stood up against.<br /><br />I purposely decided not to spoil much about the plot because I believe that the film is perfectly enjoyed without knowing anything in advance, and -- believe it or not -- there are still quite a lot of people who have never seen this movie. There are multiple scenes that manage to create an incredible tension, various twists, and although like any other masterpiece The Godfather can be watched knowing the whole story beforehand and still be a phenomenal experience, I believe it is always a pleasure to see it for the first time and enjoy its multiple climaxes. Besides, to outline such complicated characters and such an emotionally intense story in a short review like this one would be inadmissible.<br /><br />There has been much speculation on how the events in The Godfather novel written by Mario Puzo, the book the film is based on, could be an exposé of true facts. Many believe that the character of Johnny Fontane , for instance, was based on Frank Sinatra's real life, and many of the other characters were modeled after real people. I won't go into that: frankly, I have no idea whether these voices are reliable, although the Frank Sinatra reference seems obviously quite believable.<br /><br />The cinematography of The Godfather is dark and tasteful, and colors are used perfectly to give a true feel of the era it is set in. There is a fair amount of violence, though rarely gratuitous.<br /><br />The Godfather certainly doesn't need my recommendation. The film is universally considered one of the best of all time, and the performances by Pacino and Brando alone is the stuff of legends. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-77462707778326065482011-08-28T09:08:00.000-07:002011-08-28T09:08:07.338-07:0013 Going on 30<div style="text-align: justify;">
Having criticized the writer of "Connie and Carla" for not recognizing the writers of "Some Like it Hot" in the credits, I'd be a hypocrite not to fault the writers of "13 Going on 30" for not thanking the writers of "Big" (and probably "Vice Versa" and all those switch-comedies of the 1980s).</div>
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But unlike the wretched and dreadfully unfunny "Connie and Carla," which featured two horrible performances by the male and female leads, "13 Going on 30" is helped immensely by an utterly charming and winning performance by Jennifer Garner and yet another wonderful turn by Mark Ruffalo, who's fast becoming one of the best actors of his generation.</div>
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Garner has a smile that would melt the heart of the severest cynic and she uses that to great effect. She brilliantly captures the awkwardness of a confused teenager stuck in a 30-year-old body and is thoroughly believable as Jenna. There's a captivating sweetness to her performance that's lovely to watch. Ruffalo plays Matt with understated grace - there are scenes in this film that could easily have been played over-the-top, but it's his low-key approach that makes them all the more convincing.</div>
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The story, itself, is awfully conventional. There's nothing new or unexpected here. Even the odd twist in the plot provides nothing unpredictable. So it's up to the actors to elevate this above the ordinary and mundane. This film pours on the schmaltz at times, but it's Garner and Ruffalo who help take the schmaltzy plot and somehow make it work. This film succeeds solely because of their performances. Garner proved she could do action with TV's "Alias" and the dull "Daredevil," and now she shows she's a damn fine comedic actress, too.</div>
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Romantic comedies are inherently predictable. It's the nature of the genre. And, more often than not nowadays, they're also incredibly dull, uninspiring and make for tough viewing. And "13 Going on 30" being a Hollywood, not independent, film, you know the writers aren't going to take any risks with their story. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqrWg0jBAbF14bJXrqiC4IPIl1_BGT-SIPctIJ1Sk79fCDOz3mo3KuRewovjKR4CtIjcSVupcdfCIJdi_AAmcd41bdrQKF-4GRY-p6KfygZ7PWiOrnFbBx-NlD6yW5RsGdO-qzT-3bXmSQ/s1600/2004_13_going_on_30_008.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqrWg0jBAbF14bJXrqiC4IPIl1_BGT-SIPctIJ1Sk79fCDOz3mo3KuRewovjKR4CtIjcSVupcdfCIJdi_AAmcd41bdrQKF-4GRY-p6KfygZ7PWiOrnFbBx-NlD6yW5RsGdO-qzT-3bXmSQ/s320/2004_13_going_on_30_008.jpg" width="320" /></a></div>
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But somehow thanks to Garner and Ruffalo, "13 Going on 30" has undeniable charm. It may not leave a lasting impression, but you leave the theatre smiling and that's more than what can be said of most romantic comedies these days.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-47983263949823507602011-08-28T08:56:00.000-07:002011-08-28T08:56:58.678-07:00What Women Want<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTJLZ1pJuPztqCHHM-XBuJshytCooD89vTZHwWpxmHlaTgT3abttkiAb04tF7q0Tjhhl6B1aBxnwhPkkDMpJ7WkEhXSgW6nn9FzRvBiU6NkgBiYgL0ql2fuOtpQajau3ecFcdStYXhXulG/s1600/what+women+want.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTJLZ1pJuPztqCHHM-XBuJshytCooD89vTZHwWpxmHlaTgT3abttkiAb04tF7q0Tjhhl6B1aBxnwhPkkDMpJ7WkEhXSgW6nn9FzRvBiU6NkgBiYgL0ql2fuOtpQajau3ecFcdStYXhXulG/s320/what+women+want.jpg" width="320" /></a></div>
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Nick, a somewhat chauvinistic advertising exec hot shot, has his life turned haywire when a fluke accident enables him to hear what women think. At first all he wants to do is rid himself of this curse, until a wacky psychologist shows him that this could be used to his advantage! His first target is Darcy McGuire, the very woman that got the promotion he wanted. But just as his plan is beginning to work, love gets in the way.</div>
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This is pretty much the typical romantic comedy, but with an interesting twist; the main character has the ability to hear womens thoughts. The important thing was that for it to work, the character would be placed in a lot of interesting comical situations, where you could laugh at it, without it being too mocking of womens thoughts, or too far-out to enjoy. It succeeds pretty well, however the way the character gains and loses the ability were handled somewhat poorly. The humor is good, and there is plenty of it, throughout the entire runtime. The characters were believable, and the main character eventually grew to be likable. The plot was good, and the acting likewise. The only thing that brings the movie down, is the poor execution of the gain/loss of the ability to hear womens thoughts, and the sugar-sweet ending, that was too predictable and plain boring, as anyone who's seen one of the hundreds(possibly thousands) of romantic comedies out there. No actual new stuff brought to the table, apart from the interesting and original concept of a man being able to hear what women are thinking. OK for a romantic comedy.</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-5342185824455345181.post-88054492200388948872011-08-27T22:01:00.000-07:002011-08-27T22:01:49.503-07:00Phone Booth<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI2FhBCVN-LxvH5xxVnMjd7Br5K-0-hiLEzdUv88yyA0GTKyAvP0IoBfTrUdi8ePYjEIrm4XvJs1EQi6vMzaZIL_3r1BYRT67tQ1VwAVAgUguGsQup0iXm1OF5xCpI4lbEL5zGVLrHGtem/s1600/phone_booth_colin_farrell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI2FhBCVN-LxvH5xxVnMjd7Br5K-0-hiLEzdUv88yyA0GTKyAvP0IoBfTrUdi8ePYjEIrm4XvJs1EQi6vMzaZIL_3r1BYRT67tQ1VwAVAgUguGsQup0iXm1OF5xCpI4lbEL5zGVLrHGtem/s320/phone_booth_colin_farrell.jpg" width="320" /></a></div>
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For Stu Shephard, sincerity is little more than a fuzzy concept. A shady publicist, his life consists of spinning interconnecting webs of lies to further the careers of clients and raise his stature. In his spare time he enjoys abusing his assistant, and ignoring his wife. Stu is, is also determined to give an impressionable young actress a test run on the casting couch. When he enters the one functioning pay phone in a ten-block radius in the hopes of setting up a liaison, the phone rings. It turns out to be Stu's conscience on the line. With a sniper rifle aimed at Stu's head.<br /><br />When you take into account that `Phone Booth' was filmed in just ten days, on a limited budget with a dearth of special effects, one principle actor and a single venue you could be forgiven for questioning the potential success of this film. The original November 2001 release date might give one pause - films that sit on the shelf usually do so for a reason - read `straight to video'. In this instance the studio wanted to wait until Farrell was more familiar to moviegoers. He achieved this with a little film called `Minority Report' (the name of his co-star escapes me at the moment...). `Phone Booth's' new release date had to be pushed back once again after the sniping episodes in Washington. Some things are worth the wait.<br /><br />While he stole the spotlight as the maniacal hit man in `Daredevil', Farrell is faced with a different animal in `Phone Booth', an 80-minute soliloquy which lives or dies on his performance (several A-list stars walked away from the project for this very reason). Reminiscent of his much-lauded turn in `Tigerland', Farrell confirms that he isn't a one trick pony, proffering a wide-ranging display of emotions, from cocky to cathartic without straying into soap opera or comic territory. He delivers his lines with a solid fluidity rare among his peers, no simple feat when one takes into account that he's suppressing a harsh brogue. Farrell also demonstrates a presence, beyond mere charisma - his good looks can only inspire interest for so long - that draw the viewer into the story.<br /><br />While the supporting cast - Katie Holmes as the naive ingenue and Forrest Whitaker as the good cop - fulfill their purpose, it is Keifer Sutherland who takes up what little slack there is. While the audience doesn't get to see Sutherland, he is amply menacing as the cold, otherworldly voice on the other end of the phone. The audience is never privy to who he is (`Just call me Bob') or what his motives are, but it is inconsequential - he sees all, knows all, and is clearly in charge. Unlike S&M, there are no safe words. And for a control freak like Stu nothing could be more terrifying.<br /><br />Although tied to a static location, deft camera work provides action, perspective and mood with such techniques as quick pans, compressed zooming, and picture in picture sequences, while careful not to cross the gimmickry line . Enhanced sound editing bolsters the visuals: ringing phones are jarring, Bob's quietly booming voice is unsettling, and the sound of a round being chambered is deafening.<br /><br />`Phone Booth' could easily have been a quirky novelty flick that played well amongst the art house set. Thanks to Farrell's performance it makes for good mainstream cinema (normally an oxymoron) and may actually make a few top ten lists. </div>
Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-5342185824455345181.post-41178418873497256122011-08-27T01:18:00.000-07:002011-08-27T01:18:35.971-07:00The Devil Wears Prada<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqRvXRBAyyghGvxz-1cCFbnRrckyCVQrJ_sPcdb1ItuQEPsD3iR3IsBXU1muR0-efqF_dlDqXjIKdJIxotJBHxna3lm8JAq4XxNUC-LdB60drinbb6PBZWzSRs_FBwJ38hSfSh71tkeRuK/s1600/The_Devil_Wears_Prada+-+damncinema.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqRvXRBAyyghGvxz-1cCFbnRrckyCVQrJ_sPcdb1ItuQEPsD3iR3IsBXU1muR0-efqF_dlDqXjIKdJIxotJBHxna3lm8JAq4XxNUC-LdB60drinbb6PBZWzSRs_FBwJ38hSfSh71tkeRuK/s320/The_Devil_Wears_Prada+-+damncinema.jpg" width="320" /></a></div>
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<br /><br /><br />Let's see, it goes something like this; basically decent, idealistic, young (man/woman) goes to (New York/Chicago/Los Angeles/D.C.) to make his/her mark in (writing/business/music/acting/government) only to be temporarily seduced by the very environment/person they are the antithesis of, alienating his/her(boyfriend/girlfriend/family/friends/all of the above) in the process until he/she stumbles on to the revelation, "To thine own self be true." Devil is all of this. . . again. Only the trendy names being dropped have been updated for those who find that sort of thing significant enough to make them believe this is somehow a different story.<br /><br />The characters, as written, are equally as plugged-in and predictable. The film is only watchable because of the efforts of three actors. Streep is superb -- as always -- as Miranda Priestly, the self-absorbed, career-obsessed and patently unpleasant publishing mogul. Every incredulous look and pursed lip is right on the mark. She is not however, showing us anything we haven't been shown before – either about her acting or about women at the top. Even Miranda's obligatory "vulnerability scene" is thin and comes too late in the film to matter. By the time we witness what angst she is capable of, we really don't care. We are left with less a feeling of empathy than a sense of justice. (If you want to see her be truly chilling and ruthless, check out the remake of Mancherian Candidate.) <br /><br />Likewise, Emily Blunt, as Miranda's first assistant, does a wonderful job as an insecure, over compensating slave to someone else's expectation. Her portrayal is cattily on target and provides the requisite foil to our heroine's wide-eyed innocence. Performance-wise this is commendable, but it leaves the audience with next to nothing to like about her character. The dilemma here is that the film presents her (as well as the character of Miranda) in such a way that we have this nagging feeling maybe we are supposed to like her in some way – and yet, we don't. This creates even more of a dilemma later on when Andrea – our supposedly intelligent, perceptive and grounded protagonist, played forgettably by Anne Hathaway-- makes attempts to befriend these two soulless women. Many are left to perceive her gestures as a weak and irritating need to be liked rather than any real nobility of character.<br /><br />The one true bright spot of the film is Stanley Tucci, as Nigel, who once again seems to infuse a refreshing dimension and humanity to a character that was probably not written that way. He continues to amaze.<br /><br />Cinematically, The Devil was a small-screen script seemingly shot for the small screen. It no doubt will look stunning when it reaches HBO to be embraced by all those starving fans of Sex in the City and many others who believe that haute couture must surely be the apex of man's cultural accomplishments and that watching insensitive, catty women snipe at each other is actually entertaining.<br /><br />Billed as a "comedy/drama," the film was never very touching and only mildly amusing. There were no new insights or honest laughs -- the kind you share with friends about the mutually-experienced absurdities of life. No. The audience responses were more like those sophisticated, obligatory snickers that you exchange over lattes with people you don't really know that well -- and are reasonably certain you wouldn't want to spend time with again. <br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-92202771929697155362011-08-26T19:15:00.000-07:002011-08-26T19:15:29.366-07:00The Lincoln Lawyer<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFQkRFlQa9qJGpdSo5-agD7IIEKUVT_qpVuAOmF8Wsd1_iYUHpqk0IYcRc9MvnEZI5Mhxqx48vJwPk0_RN_WGkXxabjLMw4wis15k116Ialk2tM9eD3Mv3DzdoALlTsMfZQa_WQcmvqCui/s1600/The-Lincoln-Lawyer+-+damncinema.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFQkRFlQa9qJGpdSo5-agD7IIEKUVT_qpVuAOmF8Wsd1_iYUHpqk0IYcRc9MvnEZI5Mhxqx48vJwPk0_RN_WGkXxabjLMw4wis15k116Ialk2tM9eD3Mv3DzdoALlTsMfZQa_WQcmvqCui/s1600/The-Lincoln-Lawyer+-+damncinema.jpg" /></a></div>
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Lincoln Lawyer is a thrilling drama about a cocky and smooth defense attorney Mick Haller, played by McConaughey, who represents a high-profile client on charges of attempted murder. But as new evidence continues to pile on, Mick starts to grow suspicious that perhaps his client isn't telling him everything. With twists and turns at every corner, Lincoln Lawyer keeps you guessing till the very end.</div>
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With the help of that distinct country voice and southern charm, McConaughey takes the movie to another level with this portrayal of the fast-talking lawyer. With the role of Mick, McConaughey is actually given a chance to show off a range of emotions that will truly surprise viewers. Mcconaughey doesn't carry this alone, Lincoln Lawyer gets some great acting from the likes of William H. Macy, Michael Pena, John Leguizamo, Josh Lucas, and Marisa Tomei. The only black sheep of his movie comes from the alleged murderer Louis Roulet, played by the ever wooden Ryan Phillippe. The only thing I find amazing from Phillippe's attempt at acting is his unique talent to deliver every line of dialogue without moving a single muscle on his face.<br />
The tension and intensity that begins to engulf Mike as the case continues is stellar. Lincoln Lawyer really pushes Mike to edge as his whole world becomes begins to collapse due to his Attorney-Client relationship. This is where Lincoln Lawyer really comes alive and delivers a must see movie experience. The court room scenes are some of my favorite scenes in the movie and there are plenty. The approach they took to portraying the lawyer aspect of the film feels accurate and realistic. The plot is solid and keeps you invested right from the beginning and keeps the grip tight throughout the movie. The movie keeps a good pacing and the dialogue is smart and witty. The film's color and camera work gives a very raw feel although at times it can be a little too unstable. The story and characterization is done well but there are a few things that should have been given more focus, like Mike and Maggie's relationship and more insight as to why they got divorced. The movie touches on the idea with a scene or two but never really reveals too much. We also never really get too much on Mike's relationship with his daughter. My biggest problem with the film was the underwhelming ending that really had everything necessary to end the movie with, but still felt lackluster when it came. However, don't let these few problems sway you. I strongly recommend this film and promise you that you will leave satisfied.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-36265927777214159192011-08-26T08:34:00.000-07:002011-08-26T08:34:52.937-07:00Salt<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJmc2Irs7MF0lH7M1x0AN4SlOSLaoNoC70q-J6C66XsonNgEefPDVqHiCCfwhEXLgCXSXxC4xo0CaEC5FXyeonxln6M4JhnrEl4fhsPil47SZ4zO5oG-zEGbTqT1bRsXVjdhTp8tsYh3Z/s1600/salt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJmc2Irs7MF0lH7M1x0AN4SlOSLaoNoC70q-J6C66XsonNgEefPDVqHiCCfwhEXLgCXSXxC4xo0CaEC5FXyeonxln6M4JhnrEl4fhsPil47SZ4zO5oG-zEGbTqT1bRsXVjdhTp8tsYh3Z/s320/salt.jpg" width="320" /></a></div>
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Evelyn Salt is a CIA agent and highly respected by all, including her boss, Ted Winter. Out of the blue, a Russian spy walks into their offices and offers a vital piece of information: the President of Russia will be assassinated during his forthcoming visit to New York City to attend the funeral of the recently deceased U.S. Vice President. The name of the assassin: Evelyn Salt. Concerned about the safety of her husband, who she cannot contact, she goes on the run. Winter refuses to accept that she is a mole or a double agent but her actions begin to raise doubts. Just who is Evelyn Salt and what is she planning? </div>
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Salt claims this is absurd, but seeing the looks on the faces of her boss (Liev Schreiber) and Secret Agent Peabody (Chiwetel Ejiofor), Salt realizes that they are going to keep her at the agency and question her. Desperate to reach her husband for fear he's been liquidated, Salt breaks out and escapes. What follows is a breathless chase that has Salt scaling buildings from the outside, jumping onto trucks, blowing up offices, and killing.</div>
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Directed by Phillip Noyce and written by Kurt Wimmer, this is an incredible action film on the same level as one of the "Bourne" movies, done at a lightning fast pace. Jolie, who did most of her own stunts, is remarkable as a tough, clever, resourceful, and athletic agent.</div>
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The film moves so quickly that one is tempted to overlook some of the plot holes. If I like a movie, as I did here, I let them slide, as I will now, but I need to point them out because they're pretty glaring. The first one is, how is it possible that the CIA, for corn's sake, has no idea that Orlov, the spy who wants to defect, has a knife hidden in his shoe? The second one is far worse -- when Peabody tells Salt that no one will believe her story of what happened in the activation room, one wonders how this is possible. There are cameras in the hallways, the elevators, in the deepest recesses, yet in a room where an activating device for a nuclear attack is located, and where the President of the United States has to be to put in the code -- no cameras? No way to see what went on? Please! I'm sure there are others, and I realize the entire story is preposterous, but for me, this was a little too much dramatic license. I did love it, and I can't wait for the sequel. I hope there is one.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5342185824455345181.post-42295471205857668792011-08-26T08:31:00.000-07:002011-08-26T08:31:24.435-07:00The Tourist<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqMdKJCV3anD_rT9wRHFgA7sb0F8v6ha3Vd_QB9ZdHzuMAMy50PTulUCXvtiBJcQQUoKJxxc2fqxj5GXddZfk7jMUwWo_L_QlDOilL_BE87C7RmWo3BkX6mL8oaNRr1qCw_7GSJBvAmnfF/s1600/the-tourist-movie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqMdKJCV3anD_rT9wRHFgA7sb0F8v6ha3Vd_QB9ZdHzuMAMy50PTulUCXvtiBJcQQUoKJxxc2fqxj5GXddZfk7jMUwWo_L_QlDOilL_BE87C7RmWo3BkX6mL8oaNRr1qCw_7GSJBvAmnfF/s320/the-tourist-movie.jpg" width="320" /></a></div>
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<b>Storyline</b> </div>
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Elise (Angelina Jolie) sits next to an American tourist, Frank (Johnny Depp), on a train going to Venice. She has chosen him as a decoy, making believe that he is her lover who is wanted by police. Not only will they need to evade the police, but also the mobster whose money her lover stole. </div>
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<b>Review</b> </div>
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The Tourist stars Angelina Jolie and Johnny Depp in what appears to be a very promising plot. Jolie plays Elise, a beautiful and mysterious woman who ensnares spy-fiction fan Frank Tupelo (Depp) into his very own web of international crime and intrigue. Under the orders of Chief Inspector Jones (Timothy Dalton) Scotland Yard's John Acheson played by Paul Bettany (The Da Vinci Code, A Beautiful Mind) tries his best to keep up Elise and the man he believes she is connected to…Alexander Pearce.</div>
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For what sounds like a fantastic plot on paper, the execution of it all leaves a little something to be desired. Perhaps the problem is with expectations. As stated before, the premise and the trailer and two actors who typically take on fairly meaty roles suggests that The Tourist would at least have hints of substance, instead the audience is left with a beautiful and…fun movie that is essentially summer action fluff – think The Italian Job meets Knight and Day.</div>
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The problems with the film almost assuredly were the result of apparently several casting and directorial issues during pre-production. Depp's role was reportedly originally slated for Tom Cruise, who was replaced by Sam Worthington who dropped out over "creative differences" and ultimately was replaces by Johnny Depp. Angelina Jolie's character was also apparently intended for someone else…none other than Academy Award winning actress Charlize Theron. The director, German born - Florian Henckel von Donnersmarck (Director of the Academy Award winning film The Lives of Others) also was a replacement and who he himself dropped out at one point, only to resume his directorial role later on. It seems that for whatever reason, no one wanted to be a part of this film.</div>
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The Tourist certainly has its strong points. The visuals are simply stunning, whether that describes the beautiful European vistas, lavish homes and hotels or the lead actors, there is definitely eye candy everywhere. The action scenes are exciting and even the dialogue has some charm. However it seems that for every peak there is a valley. The Tourist like its pre-production story seems to have a bit of an identity crisis. At times the film feels intense and brooding, other times it feels like a carefree romp through the waterways of Venice. The dialogue and script have their moments of wit and charm while other parts feel like a reject Bond script. The Tourist is by no means a perfect film, however going in with realistic expectations; it may be just the way to end your night or your week.</div>
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