The Dark Knight---This is not only a superhero movie its a crime epic. This could easily have been a mess if fallen in the wrong hands but given that Nolan who haven't even made any single so-so flick forget about bad flick, things could have never gone wrong. A line from his previous movie "The Prestige": "The magician takes the ordinary something and makes it do something extraordinary." Nolan have been a magician here. With Insomnia, Batman Begins, Memento, The Prestige and The Dark Knight, Nolan leaves every other director far behind this decade.
As the Batman's character have been explored beautifully in Batman Begins so this time focus is not just on him but other characters like Harvey Dent, Lt. James Gordon and off course The Joker.
Aaron Eckhart is brilliant in the flick. Gary Oldman and Michael Caine do well specially Oldman who have better sketched role this time compared to Batman Begins. And Christian Bale as Batman is as convincing as ever giving it more human touch.
But this review and the movie itself is incomplete without mentioning the performance of Heath Ledger. Heath Ledger deserves all the praises he is getting...one of the most unforgettable performance given by any actor ever. One of the most scariest and creepiest villain of all time. Yeah its so damn good performance. His last devilish laugh at the end of the movie makes you cry. Ledger was not a big star but people started recognizing him after his Oscar Nomination for Brokeback Mountain..but still he needed something big...some big blockbuster movie and a performance which could have brought him on the front. What TDK is doing right now (both at box office and critical reception) and how people are in love with Ledger's performance this was what he all needed. It makes me sad and emotional when I think he is not with us to see what Dark Knight is doing and how people are crazy about his performance, to see the success and what his future in Hollywood would have taken turn from here onwards. Ledger was BORN to play the Joker. We all love you Heath and we miss you. A great loss to Hollywood and its fans...RIP.
Inspite of a running time of over 152 minutes this movie keeps you on the edge of the seat throughout. This is a fast, exciting and clever thrill ride with excellent performances, dazzling effects and beautiful cinematography. Its not only best movie of the summer but the best movie of the year. Nolan and team lives upto the expectations and successfully manages to come up with a dazzling masterpiece.
9/10
Wednesday, September 24, 2008
Monday, September 17, 2007
The Assassination of Jesse James by the Coward Robert Ford
The Assassination of Jesse James by the Coward Robert Ford
Reviewed by: Edward Douglas
Rating: 8 out of 10
Summary:
The slow pace and the fact that the title gives away the entire plot should only be a minor annoyance to those who love strong writing, powerful acting and great filmmaking.
Story:
The last days of the outlaw Jesse James (Brad Pitt) is seen through his last big train robbery and the men involved, including Robert Ford (Casey Affleck), a young wannabe who idolizes James.
Analysis:
The second movie by Australian filmmaker Andrew Dominik, whose indie "Chopper" brought Eric Bana to attention, can never be accused of false advertising. It's exactly what it says it's about: "the assassination of Jesse James by the coward Robert Ford" and much of the fun comes from wondering exactly when this preordained event will occur. Certainly, there are a lot of opportunities for Ford, played by Casey Affleck, to get the better of Brad Pitt's notorious outlaw, but you'll have to wait over two hours from the first time they meet, as Jesse and his brother Frank (Sam Shepard, impeccably cast) recruit a group of men to help them in an elaborate train robbery. If not for the title, we probably wouldn't presume much from Robert Ford, the youngest of his family who's used to being picked on and bullies by his older brother Charley (Sam Rockwell) and his friends, but he's also headstrong about being exactly like his idol Jesse James one day.
Most of the film is little more than a prologue to set-up the confrontation between the two men, and it's a fairly lengthy one at that, as it moves away from Jesse after the train robbery and starts focusing on the relationship between the other men involved. Jesse's presence is always felt though, as he keeps showing up unannounced "just to stop by", which usually means trouble or death for whomever he's visiting. We see this happen a few times, which makes it clear why everyone is so nervous around him. Meanwhile, the relationship between the other men has soured and a conflict between two of them leads to a gunfight in which Jesse James' cousin is killed. Due to their involvement, Rob and Charley Ford are worried that Jesse will be paying them a visit next, and sure enough, Jesse returns to plan their next job, with the Ford Brothers on edge wondering when Jesse will find about their part in his cousin's death. Earlier, Robert is told by Frank not to ever be alone or turn his back on Jesse, and sure enough, it's exactly what keeps happening, adding even more tension to a situation that builds over the next half hour as we wait for the fateful confrontation.
If you hadn't figured it out, Dominik's second film is a deliberately slow-paced character piece dealing with a specific event in a highly detailed way, presumably extrapolating and fictionalizing when necessary. Because of this, one's interest in the times and the legend of Jesse James might have some effect on whether they're able to withstand such a languid pace. This is clearly not Sergio Leone and anyone looking for a movie full of gun battles might be better suited for James Mangold's "3:10 to Yuma" but regardless, the entire film looks absolutely stunning, every frame and scene meticulously lit and shot, especially the way that Dominik captures the stark wilderness.
The casting of Brad Pitt as Jesse James couldn't be more perfect as the actor should be able to understand the perks and price of global fame and the necessary paranoia that comes along with it. He's equally strong at playing James at his most gregarious, when telling a wild anecdote from his adventures or playing with his kids, but he's even more effective as the serious, brooding killer whose unpredictable behavior makes everyone around him sweat. After Pitt disappears for an extended period of time, the movie becomes just as much about Casey Affleck's Robert Ford, and the young actor does a great job showing the different sides of this complex character, including the slow burn most have seen or felt as all of the light-hearted ribbing from his brother and Jesse starts to get to him.
Like far too many Westerns, the women are little more than an after-thought, clearly the case with Zooey Deschanel who shows up towards the end as Robert Ford's wife. It's also disappointing how Sam Shepard's Frank James disappears from the film almost completely after a great scene where he gives the young Ford a complete dressing-down.
Hugh Ross' voice-over sometimes acts like tryptophan lulling the viewer into a bit of daze, much like the narration in P. Thomas Anderson's "Magnolia," but fans of the Aussie Western "The Proposition" should appreciate what the ambient score by Nick Cave and Warren Ellis brings to the film. An appearance late in the film by Cave as a troubadour singing about Jesse James' shooting doesn't work as well.
Surprisingly, the actual shooting is almost an anti-climax compared to all of the build-up, but the narrator continues to relay the story, as the story continues to follow Robert and Charley, showing how their lives have changed by being the men responsible for Jesse James' death. Ultimately, it leads to a backlash from those that revered the outlaws' exploits, and the negative effects of fame on Robert and his brother are far more cruel than James' fate. It's probably not too coincidental how many metaphors that can be drawn from this fable, especially by film critics and tabloid journalists, but considering the lack of humor among both groups, one can presume that opinions will be divided whether Dominik's atmospheric Western is genius filmmaking or the height of pretentious cinematic wanking. Unlike the work of some of Dominik's precursors--Terrence Malick is the most obvious comparison--this is a movie that grows on you as the characters are developed and the tension builds to its inevitable climax and an unforgettable epilogue.
(source: http://www.comingsoon.net/news/reviewsnews.php?id=36950 )
Friday, August 17, 2007
The Bourne Ultimatum:Movie Review
THE BOURNE ULTIMATUM---***1/2
by Pete Vonder Haar
(2007-08-04) 2007, Rated PG-13, 111 minute
It’s been a long, contusion-filled road for Jason Bourne, the amnesiac assassin who’s spent two movies alternating between trying to piece together his past (“The Bourne Identity”) and avenging the murder of his girlfriend (“The Bourne Supremacy”). During that time, he’s been beaten, shot, blown up, and has squared off against a succession of shady CIA officials, all portrayed by the underappreciated character actor du jour (Chris Cooper, Brian Cox, and – here – David Strathairn). Very loosely based on the works of Robert Ludlum, the Bourne movies have always been characterized by frenetic chase sequences, impressively brutal fight choreography, and a welcome devotion to non-CG automobile mayhem.
“The Bourne Ultimatum” starts right where “Supremacy” left off, with Bourne (Matt Damon) fleeing Moscow police. While field dressing a wound, he suffers a flashback involving some sort of training session and a bit of water tank torture. Having achieved closure with the offspring of his first government-sanctioned murder in the last movie, Bourne decides to set his sights on the people who made him what he is, which means another violence-fueled romp through a number of exotic locales, culminating in what we must assume will be a final confrontation with those responsible for turning him into a ruthless killing macheen.
Like the first Bourne films, “Ultimatum” is a tense and often gripping effort. Damon and director Paul Greengrass have both helped to develop a thoroughly engaging franchise, with the latter ably capturing the former’s ass-kicking prowess. The two have slipped comfortably into their respective roles, picking up “Supremacy’s” threads without a hitch.
But if there’s anything bad to say about “Ultimatum,” it’s that perhaps Greengrass and three-time Bourne screenwriter Tony Gilroy has grown too comfortable with the franchise. There are the requisite thrilling chase scenes, including a fine foot-race across the rooftops of Tangiers, and they wisely elected not to try and top “Supremacy’s” superb climactic car chase (though this one ain’t half bad). But for all the combat, you get the sense the third movie is merely coasting along. We know Bourne is more or less the baddest dude on the planet, and could probably take on Col. Guile, Sub-Zero, and Liquid Snake at the same time, but maybe enough is enough.
The characters of Pamela Landy (Joan Allen) and Nicky Parsons (Julia Stiles) are also trotted out once again, but both are actually given fairly hefty roles for once, and Strathairn’s Noah Vosen is by turns coldly evil and grossly incompetent as the head of the CIA’s covert ‘Blackbriar’ operation (as is the case with the real CIA, one suspects).
Which brings me to the movie’s most hilarious problem; Landy repeatedly tries to convince Bourne to trust her, ultimately distancing herself from Vosen’s executive assassin program by claiming, “This isn’t us.” It isn’t? You mean the Central Intelligence Agency, when not failing to accurately assess the stability of the Eastern Bloc or gauge al Qaeda’s capacity to attack the mainland United States, hasn’t maintained a 60-year campaign of destabilization, murder and deception? Wow. Someone should notify the estates of Mohammed Mosaddeq and Jacobo Arbenz.
“The Bourne Ultimatum” is a perfectly serviceable action movie…better than most, in fact. The entire premise is growing creaky, however, leading us to think we might want to leave this particular spy out in the cold a while, before he becomes completely tiresome.
(source: http://www.filmthreat.com/index.php?section=reviews&Id=10212 )
Wednesday, January 10, 2007
Grave of The Fireflies movie review
Hotaru Nu Haka(Grave of The Fireflies)
****1/5
Made in Japan in 1988.Also known as 'Hotaru no haka' in Japanese
Is there any bond stronger than 'Love'??.Love which has so much depth that human beings never understand it fully Is there any crime greater than killing humans by humans??
Grave of the Fireflies tells the story during World War 2.U.S bombers used such bombs against Japanese cities which creates fire storms.Among such cities was Kobe.It tells the story of Sieta a young teenager and his sister Setsuko who is 5 years old.Their mother is wrapped in bandage struggling in hospital.Their home,school everything burnt down Then starts one of the most beautiful and hauntingly emotional journey of struggle for survival And also embarks the faith of love between a brother and sister.
Grave of The Fireflies is an animation flick.But the beauty of story is so much realistic that it leaves even a more powerful impact.
The story of survival gets stronger and stronger as the movie moves on. They are given sheltered and food by a relative.But as we know our shadows even leave us in our bad times The brother and sister moves in a hillside cave and their survival story gets even stronger
The story is not only about survival and struggle but also the evil and ghostly effects of war. The story is about love and caring attitude which Sieta shows towards her little sister
The biggest asset of the flick is that it never tries to be melodramatic but it moves like a poetry Some of the most remarkable moments include when they catch fireflies to light up their cave and next morning Sieta finds his sister burying those dead fireflies Another moment is that when Sieta tells her sister that their mother is in hospital and she starts crying For a moment he keeps quiet and then starts rolling trying to make her sister laugh
But the most impactfull and tearjerking moment comes when Sieta brings many things for her sister to eat while she is ill and founds that her sister had made 'rice balls' of 'mud' and asks him to have it.This was one of the most 'Unforgettable' moment of cinematic experience.The truth,the beauty,the love,the struggle,the hunger and the soon the fate they are going to achieve all involve in this scene makes it 'One of the most haunting and depressing moments of a movie'
As being made in Japan many people haven't watched this.But with release of English dubbed DVD it is reaching to more and more people. Watching it feels like a privilege.
Grave of Fireflies is one of the most haunting war films.And in spite of being animated one can feel for the characters which is the biggest triumph of this flick.Elegance,tearjerking,sad and yet so much beautiful and cute
This is the best animated movie which beats all animated movies without having special effects with its touching storyline.Moments and dramatic events are not forced to create impact.But the story moves with so much elegance that the impact is spellbounding.A story told so beautifully that can melt everyone
To sum up this is the most humanly animated flick which connects with our heart more than any human flick.One of the most beautiful and emotional flicks ever.It's a film about death, but the film connects itself with life. This is not only a flick this is a treasure
****1/5
Made in Japan in 1988.Also known as 'Hotaru no haka' in Japanese
Is there any bond stronger than 'Love'??.Love which has so much depth that human beings never understand it fully Is there any crime greater than killing humans by humans??
Grave of the Fireflies tells the story during World War 2.U.S bombers used such bombs against Japanese cities which creates fire storms.Among such cities was Kobe.It tells the story of Sieta a young teenager and his sister Setsuko who is 5 years old.Their mother is wrapped in bandage struggling in hospital.Their home,school everything burnt down Then starts one of the most beautiful and hauntingly emotional journey of struggle for survival And also embarks the faith of love between a brother and sister.
Grave of The Fireflies is an animation flick.But the beauty of story is so much realistic that it leaves even a more powerful impact.
The story of survival gets stronger and stronger as the movie moves on. They are given sheltered and food by a relative.But as we know our shadows even leave us in our bad times The brother and sister moves in a hillside cave and their survival story gets even stronger
The story is not only about survival and struggle but also the evil and ghostly effects of war. The story is about love and caring attitude which Sieta shows towards her little sister
The biggest asset of the flick is that it never tries to be melodramatic but it moves like a poetry Some of the most remarkable moments include when they catch fireflies to light up their cave and next morning Sieta finds his sister burying those dead fireflies Another moment is that when Sieta tells her sister that their mother is in hospital and she starts crying For a moment he keeps quiet and then starts rolling trying to make her sister laugh
But the most impactfull and tearjerking moment comes when Sieta brings many things for her sister to eat while she is ill and founds that her sister had made 'rice balls' of 'mud' and asks him to have it.This was one of the most 'Unforgettable' moment of cinematic experience.The truth,the beauty,the love,the struggle,the hunger and the soon the fate they are going to achieve all involve in this scene makes it 'One of the most haunting and depressing moments of a movie'
As being made in Japan many people haven't watched this.But with release of English dubbed DVD it is reaching to more and more people. Watching it feels like a privilege.
Grave of Fireflies is one of the most haunting war films.And in spite of being animated one can feel for the characters which is the biggest triumph of this flick.Elegance,tearjerking,sad and yet so much beautiful and cute
This is the best animated movie which beats all animated movies without having special effects with its touching storyline.Moments and dramatic events are not forced to create impact.But the story moves with so much elegance that the impact is spellbounding.A story told so beautifully that can melt everyone
To sum up this is the most humanly animated flick which connects with our heart more than any human flick.One of the most beautiful and emotional flicks ever.It's a film about death, but the film connects itself with life. This is not only a flick this is a treasure
Pan's Labyrinth movie review
"A long time ago".......
With this line we are drawn straight towards into.....
Laberinto del Fauno, El(Pans Labyrinth)---2006
****1/2
Honestly speaking i have always found fairy tales absolutely childish
Although there remains some magic and cuteness in the flick but
there wasnt any fairy flick which satisfied me or kept totally engaged
Then i came across Pans Labyrinth trailer which caught me and excited me
But later i got disappointed to know that its an spanish flick and its
actual name is Laberinto del Fauno, El.
But again when i saw the reviews(84 positive reviews out of 85) which are
99% positive and also the movie climbed at #155 at Imdb top 250 i couldnot
controlled myself and downloaded this spanish flick
Pans Labyrinth is the story of a young girl who comes with her pregnant mother
to live with her step-father.Story is set in 1944,at the time when the country
was at war.But the girl gets caught in her own fairy and imaginative world
Prior to watching i thought that this flick will be very good but i ended
up watching a flick that is downright extraordirany in every aspect
Its a story which also compels that inspite of so much brutality going on in
world one tries to find peace and happiness by creating another world
There have been uncountable fantasy and fairy flicks but Pans Labyrinth beats
the hell out of every such flicks.This simply blows every others out of the water
Dark yet astonishingly beautiful...extremely brutal at times yet deeply
emotional and touching.Innocence vs brutality,dark vs light and
Fantasy vs Reality all interwooved together this is the fairy/fantasy flick
that i had always been waiting for or i had always dreamed of
Performance by Ivana Baquero(young gal) is nothing sort of extraordinary.
While her display of a gal caught between real and fantasy world left us stunned,
then her emotional display sent us on the verge of tears
Ably supported by Sergi Lopez and Maribel Verdu
But above all this is the flick of director "Guillermo del Toro"
He havent only succeded in making an astounding visually crafted flick
but also in unique style of storytelling.And all bow to him for making a fairy
flick that is for "grown ups".
And one must admire him for his unique vision and imagination and furthermore
finally being able to convert his vision into a masterpiece,
both as writer and director
Apart from the mesmerizing visuals,deeply touching storyline,extremely brtual
and dark scenes i would like to mention about its haunting and sad music.
Its one of the best i have heard in years if not the best.
kudos to Guillermo del Toro for creating a dark,beautiful,brutal and deeply
emotional fantasy flick which connects with our heart
Apparently Pans Labyrinth won over 20 minutes of standing ovation at Cannes,after
the flick ended.That says something
Finally,Pans labyrinth should definitely win Foreign language Oscar for best
flick if not the best Oscar in hollywood category
Stunning,amazing,spectacular,instant classic,extraordinary,masterpiece are some
of the proverbs that can be attached with Pans Labyrinth
Its sensitive as well as shocking
Pans Labyrinth is such a magical labyrinth which viewers dont want to leave
even after the flick gets over.
Bottomline:Its not only magical and visually appealing but it connects with our heart
and its deeply touching and emotional.A not to be missed by viewers who loves quality
cinema.A prime example of cinema which have got amazing direction,brilliant execution,astounding screenplay and a powerful script
A real cinematic masterpiece in true and every sense
4.5/5
With this line we are drawn straight towards into.....
Laberinto del Fauno, El(Pans Labyrinth)---2006
****1/2
Honestly speaking i have always found fairy tales absolutely childish
Although there remains some magic and cuteness in the flick but
there wasnt any fairy flick which satisfied me or kept totally engaged
Then i came across Pans Labyrinth trailer which caught me and excited me
But later i got disappointed to know that its an spanish flick and its
actual name is Laberinto del Fauno, El.
But again when i saw the reviews(84 positive reviews out of 85) which are
99% positive and also the movie climbed at #155 at Imdb top 250 i couldnot
controlled myself and downloaded this spanish flick
Pans Labyrinth is the story of a young girl who comes with her pregnant mother
to live with her step-father.Story is set in 1944,at the time when the country
was at war.But the girl gets caught in her own fairy and imaginative world
Prior to watching i thought that this flick will be very good but i ended
up watching a flick that is downright extraordirany in every aspect
Its a story which also compels that inspite of so much brutality going on in
world one tries to find peace and happiness by creating another world
There have been uncountable fantasy and fairy flicks but Pans Labyrinth beats
the hell out of every such flicks.This simply blows every others out of the water
Dark yet astonishingly beautiful...extremely brutal at times yet deeply
emotional and touching.Innocence vs brutality,dark vs light and
Fantasy vs Reality all interwooved together this is the fairy/fantasy flick
that i had always been waiting for or i had always dreamed of
Performance by Ivana Baquero(young gal) is nothing sort of extraordinary.
While her display of a gal caught between real and fantasy world left us stunned,
then her emotional display sent us on the verge of tears
Ably supported by Sergi Lopez and Maribel Verdu
But above all this is the flick of director "Guillermo del Toro"
He havent only succeded in making an astounding visually crafted flick
but also in unique style of storytelling.And all bow to him for making a fairy
flick that is for "grown ups".
And one must admire him for his unique vision and imagination and furthermore
finally being able to convert his vision into a masterpiece,
both as writer and director
Apart from the mesmerizing visuals,deeply touching storyline,extremely brtual
and dark scenes i would like to mention about its haunting and sad music.
Its one of the best i have heard in years if not the best.
kudos to Guillermo del Toro for creating a dark,beautiful,brutal and deeply
emotional fantasy flick which connects with our heart
Apparently Pans Labyrinth won over 20 minutes of standing ovation at Cannes,after
the flick ended.That says something
Finally,Pans labyrinth should definitely win Foreign language Oscar for best
flick if not the best Oscar in hollywood category
Stunning,amazing,spectacular,instant classic,extraordinary,masterpiece are some
of the proverbs that can be attached with Pans Labyrinth
Its sensitive as well as shocking
Pans Labyrinth is such a magical labyrinth which viewers dont want to leave
even after the flick gets over.
Bottomline:Its not only magical and visually appealing but it connects with our heart
and its deeply touching and emotional.A not to be missed by viewers who loves quality
cinema.A prime example of cinema which have got amazing direction,brilliant execution,astounding screenplay and a powerful script
A real cinematic masterpiece in true and every sense
4.5/5
Thursday, October 05, 2006
The Departed movie review
The Departed----****
It’s a pleasure to report that "The Departed," the gritty crime-gangster drama, is Martin Scorsese’s best film since the 1990 “The GoodFellas,“ to which the new film bears loose resemblance in thematic rather than stylistic terms.
After two quasi-epics, “Gangs of New York” and “Aviator,” both of which Oscar-nominated, and both flawed for different reasons, Scorsese is back on terra firma with a movie that’s right up his alley, one that’s linked directly not only to “GoodFellas,” but also to “Mean Streets,” back in 1973.
Like Michael Mann (who, incidentally, produced Scorsese’s “Aviator”), Scorsese is one of American cinema’s strongest proponents of film noir, infusing most of his films with darkly humorous approach and quintessentially noirish themes, motifs, and visuals. Nonetheless, unlike Mann, particularly in his last, disappointing effort, “Miami Vice,” in which striking style triumphed over a routine narrative, Scorsese is trying to find new subjects, with varying degrees of success, to which he can apply his singular noirish paradigm.
The story of "The Departed" is vaguely based on the 2002 brilliant Hong Kong thriller, "Infernal Affairs," which achieved great success in Asia before being released (briefly) in the U.S. in 2004. The collaboration with writer William Monahan (“Kingdom of Heaven”), an Irish-American native of Boston, proves fruitful in ways that the teaming with Paul Schrader was a generation ago in movies like “Taxi Driver” and “Raging Bull.” Monahan and Scorsese treat their movie as one inspired by “Internal Affairs,” rather than a remake per se.
Putting aside that film’s distinctive milieu, they have created a different setting--South Boston--with different actions and subplots. Monahan has judiciously expanded the scope of that movie, adding new characters, and enlarging one key role, mobster Frank Costello (played by Jack Nicholson), which was minor in the original saga.
Collaborating for the third time with Scorsese, after "Gangs of New York" and "The Aviator," Leonardo DiCaprio gives his first truly mature performance; it’s the first film in which he doesn’t look “boyish.” Along with DiCaprio, the film stars Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Alec Baldwin, and Vera Framiga, which makes “The Departed” as this year's the best-cast feature.
The story centers on two complex and morally ambiguous copes: Colin Sullivan (Matt Damon) and Billy Costigan (Leonardo DiCaprio). Smart and unabashedly ambitious, Colin appears to be on the fast track of Massachusetts State Police Department. The Department’s Elite Special Investigations Unit is waging an all-out war to take down the city's cop organized crime ring from the inside--their goal is to end the reign of powerful mob boss Costello (Nicholson).
In contrast, Billy is street-smart, tough, and suffers from a violent temper that has cost him his badge and eventually lands him back on the rough streets of South Boston, where he is recruited into Costello's ranks.
The story is about how two young men are shaped by the three major forces in their lives: the police, the crime group, and the neighborhood. In a flashback, we see Costello taking Colin as a young boy and making him into a seeming pillar of the community so he can rise up in the hierarchy of the state police. But, in reality, he is Costello's inside man.
In contrast, Billy’s determination to become a police officer is rooted in his desire to escape his upbringing. Billy comes from an underworld background and has many chips stacked against him. Joining the police because he has no other options, he wants to do things differently than his family. Ironically, Billy is asked to go undercover and pretend to be the very man he was determined not to become.
Billy is the perfect material for the police to send undercover, because he comes from South Boston's working-class element. He is put in the position to join Costello's crew, but he has really been set up to rat on Costello.
The one main character who is neither a cop nor a criminal is also its only woman: Madolyn (Vera Farmiga), a psychiatrist who specializes in dealing with troubled people on both sides of the law. In a twist of fate, Madolyn becomes another unwitting link between Colin, who she dates romantically, and Billy, the man she starts out seeing professionally.
For Billy, Madolyn is the only emotional connection he has, and the one person he can confide in, though in a limited way, because he can't reveal anything about himself, or what he's doing. As his counselor, Madolyn tries to help him initially, but then a stronger personal bind develops between them.
Like most of Scorsese’s films, “The Departed” is about sin, guilt, and redemption. Trying to redeem himself and not just be a product of his environment, Billy he ends up deep in a situation that's extremely dangerous. There are moments when he could be easily caught as the "rat," and everything begins to cave in around him.
Damon's and DiCaprio’s characters are, of course, two sides of the same coin; they even hail from the same neighborhood. Colin chooses one path, and Billy chooses another, but their lives are fatefully intertwined in ways they themselves could never understand. Ultimately, running on parallel tracks, Billy and Colin must--and do-- end up on a collision course.
The film gradually becomes a tense cat-and-mouse chase, based on information and misinformation, conveyed via computer and cell phones; here is one film that couldn’t exist without the cellular technology (for reasons that cannot be disclosed here). However, this being a noir policier-—and a quintessential Scorsese feature-—neither man is what he seems to be. As they work at cross-purposes, Colin and Billy are plunged into a dangerous game in which the stakes are high, really high.
Each man becomes consumed by his double life, gathering information about the plans and counter-plans of the operation he has penetrated. But when it becomes clear to the gangsters and the police that they have a mole in their midst, Billy and Colin find themselves in constant danger of being caught and exposed to the enemy. Each must race to uncover the identity of the other man in time to save himself.
Duplicity and deceit are manifest in Scorsese’s film, but, thematically, borrowing from noir, “The Departed” is soaked with the logic of a well-constructed crime melodrama (in the positive sense of the term) and the fatalism of a tragedy, focusing on the postmodern issue of identity, namely, what constitutes identity(a fluid concept to begin with), and what happens when people depart from what they really should be doing, instead playing roles allotted to them by social agencies.
In this film, Scorsese takes the crime-gangster genre and turns it into something different, more compelling and original. The uniquely American story involves the Irish underworld, the police force and the corruption, within and without that agency, which make the tale more relevant. The film's depiction of the characters and their attitudes toward the world, in both its public and personal domains, is uncompromising.
The production benefits from the cooperation of Thomas B. Duffy, a 30-year-vet of the Mass. State Police, who served as a technical consultant. Though the characters are placed in a specifically Irish-Italian milieu, as a story of trust and loyalty, betrayal and deception, it could be found in any big city around the world.
Giving the strongest performance of the all-star cast,DiCaprio excels in conveying the conflict of a young man who has gotten himself into a bad situation and then wonders what the hell he's doing there. DiCaprio renders an intense, volcanic performance, based as much on gestures as on words, resulting in high-impact emotional turn. Of the three roles, he played for Scorsese, this is by far DiCaprio's most impressive.
While the story is set entirely in Boston, principal photography was executed in and around Boston and New York. Most of the exterior scenes were shot in the Boston Common, Boston Harbor, Chinatown, and, of course, South Boston, known to the locals as "Southie." Traveling outside of the city, the company also shot in the neighboring towns of Braintree, Quincy, and Dorchester (where cast member Mark Wahlberg comes from).
Production designer Kristi Zea (who had previously collaborated on "GoodFellas") and longtime Scorsese vet cinematographer Michael Ballhaus capture the specific style of New England architecture, like the three-story wooden houses with front or back porches on each floor, and what they label as 'brutalist' mode of architecture, including the City Hall.
Outside of Downtown Boston, most of the structures are low, with plenty of sky view.
Juxtaposed with the city's historical landmarks, the imposing, cement-gray Hurley Building, in the heart of Boston's Government Square, was selected to serve as the exterior for the utilitarian headquarters of the Massachusetts State Police.
The team created the interiors of the headquarters on a cavernous soundstage in the Brooklyn's Williamsburg section, with the gray and brown palette of the existing structures.
As noted, “The Departed” is strongly shaped by the noir vocabulary. The film is lit like a black-and-white work, especially in the police station, which doesn't have much color. Ballhaus takes a similar approach to lighting the police headquarters, normally lit with fluorescents, thus creating a wash of light with no tension. Instead, Ballhaus uses direct light and shadows to add variety and texture to the atmosphere.
That said, whenever used, color creates an intense dramatic effect. Costume designer Sandy Powell utilized color to set Nicholson's Costello apart from the rest. Most of the characters wear uniforms or ordinary street clothes in neutral tones of brown, gray, and beige. Not so in the case of Nicholson, perhaps due to his interpretation, which carries his role to an extreme. Consistent with the view that Costello has so much power he can wear whatever he wants and no one would dare question it, Nicholson is clad in orange shirt with blue jackets and leoprad robes, or other lurid colors that call attention to his idiosyncratic character--and acting.
This being a vantage Scorsese picture, “The Departed” is richly dense with references and homages to other directors. Taking a cue from Hitchcock’s “Marnie” and its use of red, there’s a deliberate injection of red within the predominantly colorless settings. Whenever there’s red on screen, it stands out, because most of the costumes and sets are almost monochromatic. Scorsese utilizes this specific color as a subliminal message, as a sign of risk and danger, with blood being the most obvious correlate.
Speaking of blood, the last reel is particularly violent, and some of the shootouts are deliberately staged in grotesquely extremist way. Two climactic encounters owe (perhaps unintentionally) a visual debt to Tarantino’s “Reservoir Dogs” and “Pulp Fiction.”
The letter X is also used symbolically, on windows, walls, and floors, as a tribute to the 1932 movie "Scarface," directed by Howard Hawks and produced by Howard Hughes (the subject of "Aviator"), in which the X has special significance in the text.
The X is, of course, a sign of death, and it’s used in the film in both subtle and blatant mode. The concept of death harkens back to the film's title: The Catholic Church refers to the dead as “the faithful departed.” Among other things, “The Departed” is about faithfulness—to self as well as to others.
Finally, I recognized an explicit allusion to Carol Reed's “The Third Man.” Toward the end, there’s a poignant scene at the cemetery where Vera Farmiga walks by her lover Matt Damon without looking at him, recreating the scene between Alida Valli and Joseph Cotten in that 1950 masterpiece.
The Illusionist movie review
The Illusionist----****
Does the title, The Illusionist refer to the main charachter or does it refer to its director, Neil Burger? Because The Illusionist is just that; an illusion. As this story of love and magic unfolds, it became very apparent that Burger's script and directing style is fairly immature. It appears to be really good, but the use of smoke and mirrors (quite literally) can't hide this film's mediocrity for the full 2 hours.
Eisenheim (Norton), a one-time poor peasant of the country side, has become an extremely proficient stage magician in turn of the century Vienna. During one of his infamous shows, Eisenheim asks for a volunteer from the audience. The fiancee of the Crown Prince (who is also in attendance) volunteers willingly and it is then that Eisenheim discover this woman (Biel) is his long lost love from their adolescent years. What ensues is Eisenheim's plot to get his girl back and expose the corruptness of the Crown Prince, all the while keeping the chief inspector (Giamatti) off his back. Of course tricks and illusions come into play as the tensions mount. As his illusions become more and more ellaborate, the people of the town begin to think these aren't tricks at all, but he may actually have a divine power. To be honest, the audience in the theater doesn't know either. I went back and forth trying to decide for myself, which was a lot of fun.
First of all, the performances are brilliant. Brilliant. Giamatti is always amazing and he is no different here. Within 5 minutes, Giamatti's charisma and strength as an actor is brought to bare and a huge smile crossed my lips as I knew this was going to be a treat. His grumpy disposition and those huge, piercing eyes were perfect for this pseudo-villainous, against typecast role. Edward Norton doesn't make bad performances or bad movies for that matter, and his facial features were perfect for this role of a mysterious outsider who conjures spirits and mesmerizews people. Rufus Sewell, who plays the ferocious and villainous Crown Prince Leopold surprised me a great deal. I recognized him from the Zorro series and Tristan & Isolde. He was deliciously mean and corrupt and reminded me very much of an older Jude Law. Throw Jessica Biel into the mix for.... well, the hottie factor (an unfair comment since she does actually show some decent acting chops) and we've got an A-list cast that is nothing short of amazing.
As the story went along, especially after about 45 minutes, I began to think to myself, "This is really good and it may just have a shot at an Oscar nod." But as it began to wind down, it became apparent that the story, although original and interesting, was actually fairly predictable and kind of corny; especially the very end. However, although I had it predicted correctly (as did everyone I'm sure, as it was actually very obvious), there were pangs in my chest of uncertainty. This coupled with the amazing performances and the fun-ness factor of the illsusions kept me very interested.
To make the illusion more convincing, the producers have hired the great Phillip Glass for the film's score. It is truly amazing and some of Glass' best work in my opinion as it really sets the mood well. It is very reminiscent of a Hitchcock film or Basic Instinct. Perfect.
Since this is 19th centruy Vienna, of course the costumes and sets have to be convincing. And they are. They are, they are, they are. From Biel's beautiful gowns to the Crown Prince's amazing looking uniform, down to even the peasant folk, the costume designers may be the only group from this film to come away with an Academy Award. They are gorgeous and eye-catching and add a great deal to this movie's style and mood. In one of the first scenes of the film, we see Giamatti's character walking down the long hallway of the royal palace to meet with the Crown Prince. The hallways and main office in the palace are fantastic feats of design and authenticity. Bordering on distracting actually, are these great costumes and sets. The only disappointing factor was we never get to see the town from a distance. Everything is shot on a set and it is apparent. But that's nit-picking.
So it comes down to this; almost everything in this film teeters on perfect: the performances, the music, the dialogue (yes, even the corny lines), the sets, the costumes, the music and the illusions (some of which were "real"- i.e. not CGI). There is every ingredient to make this movie great. The only reason I can't give it a 100%, thumbs up, is for the cliche and predictable ending. It lacked a true climax or an original idea. If not for this, I would put this movie in the best of the year category. I still recommend it to all. It's a very good time and in fact, I would even watch it again simply for the fantabulous performances and to try and figure out how some of those tricks were pulled off (remember, many were true magic tricks, supposedly). So I recommend giving this one a try, you won't believe your eyes.
Does the title, The Illusionist refer to the main charachter or does it refer to its director, Neil Burger? Because The Illusionist is just that; an illusion. As this story of love and magic unfolds, it became very apparent that Burger's script and directing style is fairly immature. It appears to be really good, but the use of smoke and mirrors (quite literally) can't hide this film's mediocrity for the full 2 hours.
Eisenheim (Norton), a one-time poor peasant of the country side, has become an extremely proficient stage magician in turn of the century Vienna. During one of his infamous shows, Eisenheim asks for a volunteer from the audience. The fiancee of the Crown Prince (who is also in attendance) volunteers willingly and it is then that Eisenheim discover this woman (Biel) is his long lost love from their adolescent years. What ensues is Eisenheim's plot to get his girl back and expose the corruptness of the Crown Prince, all the while keeping the chief inspector (Giamatti) off his back. Of course tricks and illusions come into play as the tensions mount. As his illusions become more and more ellaborate, the people of the town begin to think these aren't tricks at all, but he may actually have a divine power. To be honest, the audience in the theater doesn't know either. I went back and forth trying to decide for myself, which was a lot of fun.
First of all, the performances are brilliant. Brilliant. Giamatti is always amazing and he is no different here. Within 5 minutes, Giamatti's charisma and strength as an actor is brought to bare and a huge smile crossed my lips as I knew this was going to be a treat. His grumpy disposition and those huge, piercing eyes were perfect for this pseudo-villainous, against typecast role. Edward Norton doesn't make bad performances or bad movies for that matter, and his facial features were perfect for this role of a mysterious outsider who conjures spirits and mesmerizews people. Rufus Sewell, who plays the ferocious and villainous Crown Prince Leopold surprised me a great deal. I recognized him from the Zorro series and Tristan & Isolde. He was deliciously mean and corrupt and reminded me very much of an older Jude Law. Throw Jessica Biel into the mix for.... well, the hottie factor (an unfair comment since she does actually show some decent acting chops) and we've got an A-list cast that is nothing short of amazing.
As the story went along, especially after about 45 minutes, I began to think to myself, "This is really good and it may just have a shot at an Oscar nod." But as it began to wind down, it became apparent that the story, although original and interesting, was actually fairly predictable and kind of corny; especially the very end. However, although I had it predicted correctly (as did everyone I'm sure, as it was actually very obvious), there were pangs in my chest of uncertainty. This coupled with the amazing performances and the fun-ness factor of the illsusions kept me very interested.
To make the illusion more convincing, the producers have hired the great Phillip Glass for the film's score. It is truly amazing and some of Glass' best work in my opinion as it really sets the mood well. It is very reminiscent of a Hitchcock film or Basic Instinct. Perfect.
Since this is 19th centruy Vienna, of course the costumes and sets have to be convincing. And they are. They are, they are, they are. From Biel's beautiful gowns to the Crown Prince's amazing looking uniform, down to even the peasant folk, the costume designers may be the only group from this film to come away with an Academy Award. They are gorgeous and eye-catching and add a great deal to this movie's style and mood. In one of the first scenes of the film, we see Giamatti's character walking down the long hallway of the royal palace to meet with the Crown Prince. The hallways and main office in the palace are fantastic feats of design and authenticity. Bordering on distracting actually, are these great costumes and sets. The only disappointing factor was we never get to see the town from a distance. Everything is shot on a set and it is apparent. But that's nit-picking.
So it comes down to this; almost everything in this film teeters on perfect: the performances, the music, the dialogue (yes, even the corny lines), the sets, the costumes, the music and the illusions (some of which were "real"- i.e. not CGI). There is every ingredient to make this movie great. The only reason I can't give it a 100%, thumbs up, is for the cliche and predictable ending. It lacked a true climax or an original idea. If not for this, I would put this movie in the best of the year category. I still recommend it to all. It's a very good time and in fact, I would even watch it again simply for the fantabulous performances and to try and figure out how some of those tricks were pulled off (remember, many were true magic tricks, supposedly). So I recommend giving this one a try, you won't believe your eyes.
Little Miss Sunshine movie review
Little Miss Sunshine----****
Olive (Breslin) is a young girl who dreams of winning a beauty pageant. Her parents Richard (Kinnear) and Sheryl (Collette) decide to drive Olive to California so she can compete in the Little Miss Sunshine pageant. However, Richard's father (Alan Arkin), their son Dwayne (Paul Dano), and Sheryl's brother Frank (Steve Carell) also come along for the ride, and it's not long before everything starts to go wrong for the traveling family.
Charming, funny, and always involving, Little Miss Sunshine is a film with something for everyone. A fine script by Michael Arndt is bolstered by a number of excellent performances, and the direction remains focused at all times.
Young Breslin is simply a revelation as Olive. Her range is extraordinary, and she really makes the role her own. Kinnear and Collette are both ideal as her parents, and Dano, rather ordinary in The King, makes up for that with a fine performance here. Arkin is an absolute delight as Richard's foul-mouthed father. This sort of character is tricky to pull off, principally because there's no guarantee the audience will like them, but Arkin allows us to see that there's a good heart behind the gruff exterior. Carell gives a very fine performance too, particularly when you consider this is rather new turf for him.
There are a number of things that make Little Miss Sunshine work so well. The most important reason is that the family comes across as real. This is partly due to the performances, but also because of the writing. Each character has strengths and flaws, and every single one of them has to come to terms with these as the film progresses. The dialogue between the family members is extraordinarily realistic, the characters are properly fleshed out, and the cast have a wonderful chemistry together.
The other main reason why the film is such a delight is because it accomplishes so many things. Little Miss Sunshine is essentially a black comedy, but it's often rather touching, poignant, and moving as well. The way these elements combine is excellent, with the more emotional moments never permitted to become overly saccharine or trite. The film even manages to include some decent satire as well, and the way it moves between these elements ensures that it's never predictable.
Credit is also due to Dayton and Faris, whose direction is so well suited you'd think they wrote the screenplay. They never allow the comedic moments to become silly (even though a couple of them have the potential to do so), and they don't force the audience to wallow in pity every time something bad happens to the family. They display a respect and an understanding of the writing that isn't always seen from directors.
I am genuinely at a loss to think of films similar to Little Miss Sunshine. Very few films have so adeptly woven extremely black comedy and such a charming story together. Perhaps the most recent example would be As Good as It Gets, but even that doesn't offer comedy as deliciously wicked as what Little Miss Sunshine has on display. When awards season rolls around Little Miss Sunshine may well find itself ignored, but some of the performances in particular are deserving of accolades.
Olive (Breslin) is a young girl who dreams of winning a beauty pageant. Her parents Richard (Kinnear) and Sheryl (Collette) decide to drive Olive to California so she can compete in the Little Miss Sunshine pageant. However, Richard's father (Alan Arkin), their son Dwayne (Paul Dano), and Sheryl's brother Frank (Steve Carell) also come along for the ride, and it's not long before everything starts to go wrong for the traveling family.
Charming, funny, and always involving, Little Miss Sunshine is a film with something for everyone. A fine script by Michael Arndt is bolstered by a number of excellent performances, and the direction remains focused at all times.
Young Breslin is simply a revelation as Olive. Her range is extraordinary, and she really makes the role her own. Kinnear and Collette are both ideal as her parents, and Dano, rather ordinary in The King, makes up for that with a fine performance here. Arkin is an absolute delight as Richard's foul-mouthed father. This sort of character is tricky to pull off, principally because there's no guarantee the audience will like them, but Arkin allows us to see that there's a good heart behind the gruff exterior. Carell gives a very fine performance too, particularly when you consider this is rather new turf for him.
There are a number of things that make Little Miss Sunshine work so well. The most important reason is that the family comes across as real. This is partly due to the performances, but also because of the writing. Each character has strengths and flaws, and every single one of them has to come to terms with these as the film progresses. The dialogue between the family members is extraordinarily realistic, the characters are properly fleshed out, and the cast have a wonderful chemistry together.
The other main reason why the film is such a delight is because it accomplishes so many things. Little Miss Sunshine is essentially a black comedy, but it's often rather touching, poignant, and moving as well. The way these elements combine is excellent, with the more emotional moments never permitted to become overly saccharine or trite. The film even manages to include some decent satire as well, and the way it moves between these elements ensures that it's never predictable.
Credit is also due to Dayton and Faris, whose direction is so well suited you'd think they wrote the screenplay. They never allow the comedic moments to become silly (even though a couple of them have the potential to do so), and they don't force the audience to wallow in pity every time something bad happens to the family. They display a respect and an understanding of the writing that isn't always seen from directors.
I am genuinely at a loss to think of films similar to Little Miss Sunshine. Very few films have so adeptly woven extremely black comedy and such a charming story together. Perhaps the most recent example would be As Good as It Gets, but even that doesn't offer comedy as deliciously wicked as what Little Miss Sunshine has on display. When awards season rolls around Little Miss Sunshine may well find itself ignored, but some of the performances in particular are deserving of accolades.
Monday, September 18, 2006
Life Is beautiful
Life Is beautiful---****1/2
Vita è bella, La(Life Is beautiful)-----1997
Made in Italy by actor and director Roberto Benigini
This flick is not about racism but about the human spirit
Life Is Beautiful shows how humour can set the spirit free
even in the most darkest circumstances of life.
In 1939 Italy,Guido(Roberto Benigni) is a carefree Jewish person who wants to open bookstore
With his amazing sense of humour he woos a beautiful school teacher Dora(Nicoletta Braschi)
Later on they marry and story moves to 5 years later.Now they have a son Joshua(Giorgio Cantarini)
1945 during WW2 they all are captured by fascists and sent to death camps.Guido makes
his son believe that this is actually a game of 'hide and seek' in which one have to get 1000 points to be a prize winner which is a tank
The first half is full of comedy and humour and one might think its romantic comedy
But second half takes a u turn and makes the movie intense and tragic yet lighter
The second half gives a feeling of 'Schindlers List'.But this movie is not as brutal as that
rather we see a deeply touching story told with imagination and humour
Inspite of second half being dark and grim,light and comical moments are interwoven with death and misery all around
Life Is Beautiful is a daring,original story
As an innovative director and a supremely talented actor.
Critic Roger Ebert,the first person ever to win Pulitzer Prize for film criticism says
...Guido uses the only gift at his command to protect his son.
If he had a gun, he would shoot at the Fascists. If he had an army,
he would destroy them.He is a clown, and comedy is his weapon.
I couldnot have agreed and decribed it more profoundly
Guido in profound fashion, Guido personifies the axiom "Life is what you make it".
It is an unexpected,oddly passionate yet deeply emotional portrayal of a father's sacrificial love for his son.
Roberto Benigini popularly known as Jim Carrey of Italy gives his lifetime performance
Its unimaginable to believe the way he portrays humour even in heart wrenching and emotionally driven scenes which can put many audience on the verge of tears
He got well deserved best actor Oscar that year
Roberto Benigini...again truimphs as a writer and director.The scene where he is caught and sees his son hiding leaves you just speechless.Even in that haunting scene by dispalying humour he makes his son believe its part of the game.A class act
Life is beautiful is not about barbarism and brutality but about human spirit.About hope for future
Its about victory of hope over despair,light over dark and also this deeply affecting film triumphs humour over hatred
In the battle against barbarism,Benigni is saying, there are also the weapons of joy and imagination.
It makes u believe that life is not what happens to us,but how we react to it.We must learn to enjoy every moment of our life.
It is up to us to make it beautiful.
And one can assume the greatness of flick as inspite of being made in Italy this timeless classic doesnot only got oscar nomination for 'Best Foreign' language film but it got 7 Oscar
nominations in leading categories out of which it won 3 oscars.
Winner of Grand Jury Prize at Cannes Film Festival 'Life is Beutiful' poignantly shows us that in the midst of dark ugliness of death the light of life shines at its 'Most Beautiful'
Unarguably among the greatest flicks.....
..........4.5/5
Vita è bella, La(Life Is beautiful)-----1997
Made in Italy by actor and director Roberto Benigini
This flick is not about racism but about the human spirit
Life Is Beautiful shows how humour can set the spirit free
even in the most darkest circumstances of life.
In 1939 Italy,Guido(Roberto Benigni) is a carefree Jewish person who wants to open bookstore
With his amazing sense of humour he woos a beautiful school teacher Dora(Nicoletta Braschi)
Later on they marry and story moves to 5 years later.Now they have a son Joshua(Giorgio Cantarini)
1945 during WW2 they all are captured by fascists and sent to death camps.Guido makes
his son believe that this is actually a game of 'hide and seek' in which one have to get 1000 points to be a prize winner which is a tank
The first half is full of comedy and humour and one might think its romantic comedy
But second half takes a u turn and makes the movie intense and tragic yet lighter
The second half gives a feeling of 'Schindlers List'.But this movie is not as brutal as that
rather we see a deeply touching story told with imagination and humour
Inspite of second half being dark and grim,light and comical moments are interwoven with death and misery all around
Life Is Beautiful is a daring,original story
As an innovative director and a supremely talented actor.
Critic Roger Ebert,the first person ever to win Pulitzer Prize for film criticism says
...Guido uses the only gift at his command to protect his son.
If he had a gun, he would shoot at the Fascists. If he had an army,
he would destroy them.He is a clown, and comedy is his weapon.
I couldnot have agreed and decribed it more profoundly
Guido in profound fashion, Guido personifies the axiom "Life is what you make it".
It is an unexpected,oddly passionate yet deeply emotional portrayal of a father's sacrificial love for his son.
Roberto Benigini popularly known as Jim Carrey of Italy gives his lifetime performance
Its unimaginable to believe the way he portrays humour even in heart wrenching and emotionally driven scenes which can put many audience on the verge of tears
He got well deserved best actor Oscar that year
Roberto Benigini...again truimphs as a writer and director.The scene where he is caught and sees his son hiding leaves you just speechless.Even in that haunting scene by dispalying humour he makes his son believe its part of the game.A class act
Life is beautiful is not about barbarism and brutality but about human spirit.About hope for future
Its about victory of hope over despair,light over dark and also this deeply affecting film triumphs humour over hatred
In the battle against barbarism,Benigni is saying, there are also the weapons of joy and imagination.
It makes u believe that life is not what happens to us,but how we react to it.We must learn to enjoy every moment of our life.
It is up to us to make it beautiful.
And one can assume the greatness of flick as inspite of being made in Italy this timeless classic doesnot only got oscar nomination for 'Best Foreign' language film but it got 7 Oscar
nominations in leading categories out of which it won 3 oscars.
Winner of Grand Jury Prize at Cannes Film Festival 'Life is Beutiful' poignantly shows us that in the midst of dark ugliness of death the light of life shines at its 'Most Beautiful'
Unarguably among the greatest flicks.....
..........4.5/5
Friday, September 01, 2006
World Trade Center :Movie Review
World Trade Center---***1/2
At the end of April, British documentarian Paul Greengrass gave us a harrowing re-creation of the only one of four hijacked airliners which didn't reach its target in the docudrama United 93. Now, American filmmaker Oliver Stone recounts the memories of two Port Authority (PA) policemen who survived the attacks on the Twin Towers on 11 September 2001.
The name "Oliver Stone" conjures up thoughts of conspiracy theories and the like. However, in World Trade Center, Stone has given us a film based solely on the recollections of the two policemen (and their wives) that this story follows. It is a story about the human spirit. It is about fear and fraility as well as strength and courage.
Nicolas Cage plays John McLoughlin, a patrol sergeant with the Port Authority stationed at the authority's midtown bus terminal. On the morning of 11 September, McLoughlin awakens early to prepare for his day at work. Stone deftly lets us know without a whole lot of exposition that there's trouble in the McLoughlin marriage. The sergeant rolls out of bed without so much as disturbing his wife. He showers, dresses and checks in on his children. He then makes the drive into New York City to begin his day.
Through a variety of establishing shots and background radiocasts, Stone lets us know that it is what passes (then) as a normal day in New York. Meanwhile, rookie patrolman Will Jimeno (Michael Peña) jumps in his SUV and heads to work as well. After a time, Stone takes us to morning roll call at the bus terminal's police sub-station where McLoughlin makes routine assignments for the day.
Jimeno, after bantering with his buddy Dominick Pezzulo (Jay Hernandez), heads out to Eighth Avenue to begin his assignment. Our first inkling that something is wrong is when Jimeno hears a jet roar overhead and we see the shadow of an airliner against a nearby building. In short order, the various members of the squad hear a code on their radios which they recognize as an emergency order to report back to the substation. As Jimeno, Pezzulo and their colleagues return, they see newscasts of the crippled North Tower. Speculation starts to run rampant about what has happened at the Trade Center.
McLoughlin assembles a team and commandeers a city bus for his team's trip downtown. On the bus, the patrolmen speculate on what has actually happened. One of the patrolmen has talked to his wife and learned that a second plane has hit the South Tower. Meanwhile, in a department Suburban, McLoughlin and his lieutenant (Kassimatis, played by Nick Damici) discuss the rescue plan for the Towers. It's here where we learn that McLoughlin helped draw up emergency plans for the Trade Center complex after the 1993 terrorist bombing. However, McLoughlin lets Kassimatis know that there's nothing in their plans to cover the scenario facing them.
Once downtown, McLoughlin asks for volunteers to go into the Towers. After some hesitation, Jimeno, Pezzulo and a few others step forward. What follows is nightmarish as McLoughlin and his team set about gathering equipment to help rescue people in the Towers. There are sheets of paper everywhere, falling debris, and the frightful sounds of explosions and the buildings shuddering.
Just as McLoughlin's team has gathered all the equipment that they need, the tower above them starts to shudder and McLoughlin, realizing what is happening, shouts “Run!” McLoughlin and his team head for an area between the two towers which McLoughlin knows holds the best chance for their survival. However, we soon learn that only McLoughlin, Jimeno and Pezzulo seem to have survived.
From this point forward, we're watching what those three officers did to survive and what those above did to rescue them. Interspersed with these images are how the officers' families deal with the uncertainty of not knowing whether their husbands are dead or alive. We particularly follow the tribulations of Donna McLoughlin (Maria Bello) and Allison Jimeno (Maggie Gyllenhaal) as they wait for word about their missing husbands while trying to cope with their families around them.
What happens to McLoughlin, Jimeno and Pezzulo after the towers collapse is positively frightening. Stone doesn't spare us any intensity as we view what happens below and above the rubble.
I should mention the performance of Michael Shannon who plays ex-Marine Dave Karnes. Karnes, who was an accountant who decided to go to New York to help search for survivors of the attack. Karnes calmly leaves work, gets his hair cut, dresses in Marine fatigues, and heads for Ground Zero. Save for the fact that this part of the story is based in reality, this would seem incredulous. Karnes is single-minded in his attempt to find survivors. When he, along with fellow ex-Marine PFC Dave Thomas (William Mapother), finds the buried PA patrolmen, it brings one of the few uplifting moments in the film. When Jimeno pleads for Karnes not to leave, Karnes simply states “You are our mission!”
[The identity, until last week, of the second Marine was unknown to investigators and filmmakers. However, it is now known that he is former Marine Sgt. Jason Thomas. You can read about Karnes and Thomas in the articles cited at the end of this essay.]
World Trade Center is heart-wrenching while at the same time exasperating. Unlike United 93, which more or less took place in real time, this film takes place in compressed time. With the amount of narrative that Stone has to cover, that shouldn't be such a big problem. However, despite a running time of two hours and five minutes, I would like to have seen just a tad more exposition leading up to the critical events. Also, since a great deal of the narrative takes place beneath the rubble, the film tends to be claustrophobic and sluggish. The nature of the material also tends to make this film much more melodramatic than United 93.
All in all, this is a film worth seeing. It exposes the raw elements of human nature but also the triumph of human spirit. It makes an excellent bookend with United 93.
At the close of the film, we learn that 2,749 people died in the Twin Towers attack. Only 20 people survived.
At the end of April, British documentarian Paul Greengrass gave us a harrowing re-creation of the only one of four hijacked airliners which didn't reach its target in the docudrama United 93. Now, American filmmaker Oliver Stone recounts the memories of two Port Authority (PA) policemen who survived the attacks on the Twin Towers on 11 September 2001.
The name "Oliver Stone" conjures up thoughts of conspiracy theories and the like. However, in World Trade Center, Stone has given us a film based solely on the recollections of the two policemen (and their wives) that this story follows. It is a story about the human spirit. It is about fear and fraility as well as strength and courage.
Nicolas Cage plays John McLoughlin, a patrol sergeant with the Port Authority stationed at the authority's midtown bus terminal. On the morning of 11 September, McLoughlin awakens early to prepare for his day at work. Stone deftly lets us know without a whole lot of exposition that there's trouble in the McLoughlin marriage. The sergeant rolls out of bed without so much as disturbing his wife. He showers, dresses and checks in on his children. He then makes the drive into New York City to begin his day.
Through a variety of establishing shots and background radiocasts, Stone lets us know that it is what passes (then) as a normal day in New York. Meanwhile, rookie patrolman Will Jimeno (Michael Peña) jumps in his SUV and heads to work as well. After a time, Stone takes us to morning roll call at the bus terminal's police sub-station where McLoughlin makes routine assignments for the day.
Jimeno, after bantering with his buddy Dominick Pezzulo (Jay Hernandez), heads out to Eighth Avenue to begin his assignment. Our first inkling that something is wrong is when Jimeno hears a jet roar overhead and we see the shadow of an airliner against a nearby building. In short order, the various members of the squad hear a code on their radios which they recognize as an emergency order to report back to the substation. As Jimeno, Pezzulo and their colleagues return, they see newscasts of the crippled North Tower. Speculation starts to run rampant about what has happened at the Trade Center.
McLoughlin assembles a team and commandeers a city bus for his team's trip downtown. On the bus, the patrolmen speculate on what has actually happened. One of the patrolmen has talked to his wife and learned that a second plane has hit the South Tower. Meanwhile, in a department Suburban, McLoughlin and his lieutenant (Kassimatis, played by Nick Damici) discuss the rescue plan for the Towers. It's here where we learn that McLoughlin helped draw up emergency plans for the Trade Center complex after the 1993 terrorist bombing. However, McLoughlin lets Kassimatis know that there's nothing in their plans to cover the scenario facing them.
Once downtown, McLoughlin asks for volunteers to go into the Towers. After some hesitation, Jimeno, Pezzulo and a few others step forward. What follows is nightmarish as McLoughlin and his team set about gathering equipment to help rescue people in the Towers. There are sheets of paper everywhere, falling debris, and the frightful sounds of explosions and the buildings shuddering.
Just as McLoughlin's team has gathered all the equipment that they need, the tower above them starts to shudder and McLoughlin, realizing what is happening, shouts “Run!” McLoughlin and his team head for an area between the two towers which McLoughlin knows holds the best chance for their survival. However, we soon learn that only McLoughlin, Jimeno and Pezzulo seem to have survived.
From this point forward, we're watching what those three officers did to survive and what those above did to rescue them. Interspersed with these images are how the officers' families deal with the uncertainty of not knowing whether their husbands are dead or alive. We particularly follow the tribulations of Donna McLoughlin (Maria Bello) and Allison Jimeno (Maggie Gyllenhaal) as they wait for word about their missing husbands while trying to cope with their families around them.
What happens to McLoughlin, Jimeno and Pezzulo after the towers collapse is positively frightening. Stone doesn't spare us any intensity as we view what happens below and above the rubble.
I should mention the performance of Michael Shannon who plays ex-Marine Dave Karnes. Karnes, who was an accountant who decided to go to New York to help search for survivors of the attack. Karnes calmly leaves work, gets his hair cut, dresses in Marine fatigues, and heads for Ground Zero. Save for the fact that this part of the story is based in reality, this would seem incredulous. Karnes is single-minded in his attempt to find survivors. When he, along with fellow ex-Marine PFC Dave Thomas (William Mapother), finds the buried PA patrolmen, it brings one of the few uplifting moments in the film. When Jimeno pleads for Karnes not to leave, Karnes simply states “You are our mission!”
[The identity, until last week, of the second Marine was unknown to investigators and filmmakers. However, it is now known that he is former Marine Sgt. Jason Thomas. You can read about Karnes and Thomas in the articles cited at the end of this essay.]
World Trade Center is heart-wrenching while at the same time exasperating. Unlike United 93, which more or less took place in real time, this film takes place in compressed time. With the amount of narrative that Stone has to cover, that shouldn't be such a big problem. However, despite a running time of two hours and five minutes, I would like to have seen just a tad more exposition leading up to the critical events. Also, since a great deal of the narrative takes place beneath the rubble, the film tends to be claustrophobic and sluggish. The nature of the material also tends to make this film much more melodramatic than United 93.
All in all, this is a film worth seeing. It exposes the raw elements of human nature but also the triumph of human spirit. It makes an excellent bookend with United 93.
At the close of the film, we learn that 2,749 people died in the Twin Towers attack. Only 20 people survived.
Talladega Nights: The Ballad of Ricky Bobby:Movie Review
Talladega Nights: The Ballad of Ricky Bobby-----***1/2/*****
Columbia Pictures
Year Released: 2006
MPAA Rating: PG-13
Director: Adam McKay
Writers: Will Ferrell, Adam McKay
Cast: Will Ferrell, John C. Reilly, Sacha Baron Cohen, Gary Cole, Michael Clarke Duncan, Leslie Bibb, Jane Lynch, Amy Adams.
Review by Rob Vaux
As you are no doubt aware, Talladega Nights: The Ballad of Ricky Bobby stars Will Ferrell, who many people consider tremendously funny. I find his humor more sporadic than hysterical, but he's hit the target enough times to give a movie like this at least modest potential. Thankfully, Talladega Nights fulfills it with admirable professionalism, delivering another idiot man-child for Ferrell to inhabit while broadly skewering the admittedly easy target of NASCAR culture. Its trump card, however, comes not just in the star, but in the very funny supporting cast chosen to back him up: people you've likely seen before but whose names don't register on the National Fame Barometer. Names like Gary Cole, Office Space's Boss from Hell, who rocks the house as Ferrell's shiftless dad. Or Jane Lynch -- last seen freaking out Steve Carell with details of her deflowering in The 40-Year-Old Virgin -- as Ferrell's cheerfully mordant mother. There's John C. Reilly slam-dunking another doofus best friend, Molly Shannon getting her groove on as an alcoholic trophy wife, and even Michael Clarke Duncan raising more than his share of unexpected snickers. That the film wastes the wonderful Amy Adams is less a case of ignoring her brilliance than simply lacking the time to let her strut. With such an army behind him, Ferrell need only find the right tone and step up to the plate. If he misses, they're still going to knock it out of the park.
And that's all that matters for movies like Talladega Nights. Are we laughing? Yes? Then throw away the checklist, because our money is officially well spent. Ferrell and director/co-writer Adam McKay find fertile ground in the Red State tackiness of professional racing, but like all good satirists, they temper their jabs with heartfelt affection. Their fulcrum is Ferrell's Ricky Bobby, stunningly dim king of the NASCAR circuit whose win-at-all-costs philosophy consumes every inch of his distressingly limited brain space. Like Anchorman's Ron Burgundy, he lives in a fantasyland of insecure male adolescence, complete with a toadying pal (Reilly) happy to always come in second and a bling-laden missus (Leslie Bibb, another standout) who seems cloned from Jessica Simpson's hair extensions. Trouble enters his paradise with the arrival of Jean Girard (Sacha Baron Cohen, another standout), who embodies the unholy trifecta reviled by all of Bobby's ilk: he's French, he's intellectual, and he's very very gay. Even worse, he's a better racer than Bobby, and a few easy humiliations soon reduce Ferrell's Champion Good Ole Boy to a blubbering wreck. It will take the love of a patient woman (Adams), a newfound sense of humility, and a few manly-man lessons involving blindfolds and cranky mountain lions to get him back into the winner's circle.
The faux machismo of Bobby's lifestyle makes a tasty satirical snack as Farrell and McKay again look to deflate the hubristic preening that passes for male emotional development in our society. Gauche materialism, xenophobia, and the "second place is the first loser" mentality of Ugly America take it on the chin as well, giving Talladega Nights a timely feel even as it apes Anchorman's winning formula. Obvious swipes are the order of the day, but McKay still knows how to invest them with insight and wit, and he never takes the buffoonery for granted. The second half runs low on gas, as the formulaic plot sputters a bit and the guffaws of the first hour slowly diminish to quieter chuckles, but even when it stumbles, someone amid the standout ensemble is always ready to pick up the slack.
And for all of its barbs, it retains a core of sweetness at its heart. Talladega Nights mocks NASCAR, to be sure, but it never shortchanges the excitement and atmosphere that have made the circuit such a phenomenon. McKay keeps the racing scenes pumped full of adrenaline, and though he spares nothing in assaulting the zeitgeist surrounding them, he never questions why people should love NASCAR, or devalues the immense skills displayed by Bobby's (hopefully brighter) real-world counterparts. Adam Sandler's films leave a bad taste in the mouth because they have fundamentally nasty souls -- an ugly, bullying mentality that displays open contempt for their chosen targets. Talladega Nights, on the other hand, loves what it ridicules, even at its most chiding. For all his stupidity and arrogance, and for all the appalling shortcomings of the bubble he inhabits, Ricky Bobby is basically a decent guy underneath. Talladega Nights always keeps that gentleness in mind, even as it refuses to let him off the hook for all of his dipshit idiocy. Its laughs are broad, but consistent, and its creators adore the subject enough to find all the proper tickle spots. Talladega Nights requires nothing more in order to cruise happily across the finish line.
Columbia Pictures
Year Released: 2006
MPAA Rating: PG-13
Director: Adam McKay
Writers: Will Ferrell, Adam McKay
Cast: Will Ferrell, John C. Reilly, Sacha Baron Cohen, Gary Cole, Michael Clarke Duncan, Leslie Bibb, Jane Lynch, Amy Adams.
Review by Rob Vaux
As you are no doubt aware, Talladega Nights: The Ballad of Ricky Bobby stars Will Ferrell, who many people consider tremendously funny. I find his humor more sporadic than hysterical, but he's hit the target enough times to give a movie like this at least modest potential. Thankfully, Talladega Nights fulfills it with admirable professionalism, delivering another idiot man-child for Ferrell to inhabit while broadly skewering the admittedly easy target of NASCAR culture. Its trump card, however, comes not just in the star, but in the very funny supporting cast chosen to back him up: people you've likely seen before but whose names don't register on the National Fame Barometer. Names like Gary Cole, Office Space's Boss from Hell, who rocks the house as Ferrell's shiftless dad. Or Jane Lynch -- last seen freaking out Steve Carell with details of her deflowering in The 40-Year-Old Virgin -- as Ferrell's cheerfully mordant mother. There's John C. Reilly slam-dunking another doofus best friend, Molly Shannon getting her groove on as an alcoholic trophy wife, and even Michael Clarke Duncan raising more than his share of unexpected snickers. That the film wastes the wonderful Amy Adams is less a case of ignoring her brilliance than simply lacking the time to let her strut. With such an army behind him, Ferrell need only find the right tone and step up to the plate. If he misses, they're still going to knock it out of the park.
And that's all that matters for movies like Talladega Nights. Are we laughing? Yes? Then throw away the checklist, because our money is officially well spent. Ferrell and director/co-writer Adam McKay find fertile ground in the Red State tackiness of professional racing, but like all good satirists, they temper their jabs with heartfelt affection. Their fulcrum is Ferrell's Ricky Bobby, stunningly dim king of the NASCAR circuit whose win-at-all-costs philosophy consumes every inch of his distressingly limited brain space. Like Anchorman's Ron Burgundy, he lives in a fantasyland of insecure male adolescence, complete with a toadying pal (Reilly) happy to always come in second and a bling-laden missus (Leslie Bibb, another standout) who seems cloned from Jessica Simpson's hair extensions. Trouble enters his paradise with the arrival of Jean Girard (Sacha Baron Cohen, another standout), who embodies the unholy trifecta reviled by all of Bobby's ilk: he's French, he's intellectual, and he's very very gay. Even worse, he's a better racer than Bobby, and a few easy humiliations soon reduce Ferrell's Champion Good Ole Boy to a blubbering wreck. It will take the love of a patient woman (Adams), a newfound sense of humility, and a few manly-man lessons involving blindfolds and cranky mountain lions to get him back into the winner's circle.
The faux machismo of Bobby's lifestyle makes a tasty satirical snack as Farrell and McKay again look to deflate the hubristic preening that passes for male emotional development in our society. Gauche materialism, xenophobia, and the "second place is the first loser" mentality of Ugly America take it on the chin as well, giving Talladega Nights a timely feel even as it apes Anchorman's winning formula. Obvious swipes are the order of the day, but McKay still knows how to invest them with insight and wit, and he never takes the buffoonery for granted. The second half runs low on gas, as the formulaic plot sputters a bit and the guffaws of the first hour slowly diminish to quieter chuckles, but even when it stumbles, someone amid the standout ensemble is always ready to pick up the slack.
And for all of its barbs, it retains a core of sweetness at its heart. Talladega Nights mocks NASCAR, to be sure, but it never shortchanges the excitement and atmosphere that have made the circuit such a phenomenon. McKay keeps the racing scenes pumped full of adrenaline, and though he spares nothing in assaulting the zeitgeist surrounding them, he never questions why people should love NASCAR, or devalues the immense skills displayed by Bobby's (hopefully brighter) real-world counterparts. Adam Sandler's films leave a bad taste in the mouth because they have fundamentally nasty souls -- an ugly, bullying mentality that displays open contempt for their chosen targets. Talladega Nights, on the other hand, loves what it ridicules, even at its most chiding. For all his stupidity and arrogance, and for all the appalling shortcomings of the bubble he inhabits, Ricky Bobby is basically a decent guy underneath. Talladega Nights always keeps that gentleness in mind, even as it refuses to let him off the hook for all of his dipshit idiocy. Its laughs are broad, but consistent, and its creators adore the subject enough to find all the proper tickle spots. Talladega Nights requires nothing more in order to cruise happily across the finish line.
Invincible:movie review
Invincible (2006)----***
The latest in a recent string of fact-based, sports-themed dramas from Disney, Invincible neatly balances the inevitable, Frank Capra-esque sentiment with a welcome dash of blue collar grit and rowdy good humor. This engaging, classic underdog yarn inspired by the remarkable story of Seventies-era Philadelphia Eagles player Vince Papale may not break any new cinematic ground or have the emotional texture of Friday Night Lights, but on its own populist filmmaking terms, Invincible succeeds without yanking on the heartstrings too blatantly.
Cinematographer-turned-director Ericson Core and his production team effectively capture the look and feel of Philadelphia, circa 1976, when the Philly's rabid football fans were showing little of their city's famed brotherly love towards the Eagles, then in the midst of a humiliating, eleven-season losing streak. Hard times have also hit schoolteacher Vince Papale (Mark Wahlberg), who was ditched by his wife and lost his job in crushing succession. Just when it seems he's hit the proverbial rock bottom, however, Vince gets a second chance, courtesy of the new Eagles coach, Dick Vermeil (Greg Kinnear), who decides to hold public tryouts for the NFL team. At the urging of his buddies Tommy (Kirk Acevedo), Pete (Michael Kelly), and Max (Michael Rispoli), Vince reluctantly goes to the tryout—and surprises everyone, including himself, by surviving the first cut. Immediately embraced by the media as the local boy made good, Papale receives a far chillier reception from the Eagles players, who dismiss him as an over-age amateur—that is, when they're not pulverizing him on the field. But in time-honored underdog fashion, Vince gradually proves that Vermeil was right to pluck him out of obscurity.
Making a solid directorial debut, Corr generally refrains from milking Papale's story for maximum syrupy uplift. To that end, he's aided enormously by his cast, which also includes Elizabeth Banks (Seabiscuit), who brings a refreshing spikiness to what could have been a thankless love-interest role as Janet, a pretty barmaid and adamant New York Giants fan. She brings much-needed energy to her scenes with Wahlberg, who's likable, albeit a tad recessive, as the modest, "regular Joe" hero. But if the sleepy-eyed Walhberg appears to lack the larger-than-life charisma of a true movie star, he's certainly a convincing and sympathetic presence in Invincible, especially in the football scenes, which Corr shoots with an exciting, bracing immediacy. Yes, Invincible has its fair share of earnest, "one for the Gipper"-style moments that are probably unavoidable in sports-themed films, yet these moments don't undermine what is ultimately a stirring crowd-pleaser about a real-life gridiron version of that other Philly underdog, Sylvester Stallone's Rocky.
The latest in a recent string of fact-based, sports-themed dramas from Disney, Invincible neatly balances the inevitable, Frank Capra-esque sentiment with a welcome dash of blue collar grit and rowdy good humor. This engaging, classic underdog yarn inspired by the remarkable story of Seventies-era Philadelphia Eagles player Vince Papale may not break any new cinematic ground or have the emotional texture of Friday Night Lights, but on its own populist filmmaking terms, Invincible succeeds without yanking on the heartstrings too blatantly.
Cinematographer-turned-director Ericson Core and his production team effectively capture the look and feel of Philadelphia, circa 1976, when the Philly's rabid football fans were showing little of their city's famed brotherly love towards the Eagles, then in the midst of a humiliating, eleven-season losing streak. Hard times have also hit schoolteacher Vince Papale (Mark Wahlberg), who was ditched by his wife and lost his job in crushing succession. Just when it seems he's hit the proverbial rock bottom, however, Vince gets a second chance, courtesy of the new Eagles coach, Dick Vermeil (Greg Kinnear), who decides to hold public tryouts for the NFL team. At the urging of his buddies Tommy (Kirk Acevedo), Pete (Michael Kelly), and Max (Michael Rispoli), Vince reluctantly goes to the tryout—and surprises everyone, including himself, by surviving the first cut. Immediately embraced by the media as the local boy made good, Papale receives a far chillier reception from the Eagles players, who dismiss him as an over-age amateur—that is, when they're not pulverizing him on the field. But in time-honored underdog fashion, Vince gradually proves that Vermeil was right to pluck him out of obscurity.
Making a solid directorial debut, Corr generally refrains from milking Papale's story for maximum syrupy uplift. To that end, he's aided enormously by his cast, which also includes Elizabeth Banks (Seabiscuit), who brings a refreshing spikiness to what could have been a thankless love-interest role as Janet, a pretty barmaid and adamant New York Giants fan. She brings much-needed energy to her scenes with Wahlberg, who's likable, albeit a tad recessive, as the modest, "regular Joe" hero. But if the sleepy-eyed Walhberg appears to lack the larger-than-life charisma of a true movie star, he's certainly a convincing and sympathetic presence in Invincible, especially in the football scenes, which Corr shoots with an exciting, bracing immediacy. Yes, Invincible has its fair share of earnest, "one for the Gipper"-style moments that are probably unavoidable in sports-themed films, yet these moments don't undermine what is ultimately a stirring crowd-pleaser about a real-life gridiron version of that other Philly underdog, Sylvester Stallone's Rocky.
Friday, July 14, 2006
Superman Returns:Movie Review
***1/2/****
Does the world really needs Superman??
While Lois Lane ex-girlfriend of Superman has written off about him.She wrote 'The world does not need Superman' and she won prizes and medals for this article too.
But Clark Kent says:You wrote that the world doesn't need a saviour, but every day I hear people crying for one.
'The Man of Still' is back after a gap of 20 years
Positive aspects: This Superman has soul.Inspite of all those superpowers which makes him god alike Bryan Singer have shown his inside feelings Brilliant special effects
Negative: Love Story--Its quite irony..really irony for me to write that which is the strong point of the movie also becomes its weak points When love story seems to get overdose and hampers the progress.The pace lacks
Performance:
Brandon Routh:Its quite unbelievable to imagine playing the iconic character played by Christopher Reeve during 80's by anyone else Doubts galore surrounded whether a bartender could pull off this character?? Yes he does.He had played the portrayal of Superman and Clark Kent so much convincingly that its impossible for the makers to take any other actor for the sequels. From the Superpower guy saving the world to a normal reporter Clark Kent he is outstanding.From the man flying in air to an emotional person who have lost his love he is incredible One sentence--'Bartender have become a star and a convincing actor'
Kate Bosworth:She looks good and acts good.Her performance is not on par with Brandon Routh but a good performance overall
Parker Posey:She is good and carries the character of Kitty Kowalski in same vein as it was left
Sam Huntington is good adding some humorous elements to the flick
Kid is so cute
Now Kevin Spacey.Anyone who have seen the flicks of this two time Oscar winning actor(usual suspects,American beauty) even without watching this flick can tell that he will be good in the flick He takes the character of Lex Luther to another level.He brings charm in the flick whenever he comes on the screen
Now finally Bryan Singer,the director---Bryan singer had himself stated that Superman had been his favourite superhero character And he shows how much respect he gives to this 'iconic character'. From making the best ever thriller(The Usual Suspects) and generating a new breed of superheroes(X-Men) and going back for making a sequel of the 'American Icon' he had came a long way And being so young he will go a long way.Thanks Singer for making the 'dad' of all superheroes so superhuman
So,so what if Superman costume is not good looking and kewl in todays perspective....so what if superman getup does not look kewl as Batman,Spidey or X-Men But 'Man of Steel' has a heart of gold.Whether its Batman or Spiderman everyone's path for saving the world starts from revenge.Later on they turn for good cause But SuperMan had always been there fighting for truth and justice.And his mission does not starts with revenge.This makes me to give him the most respect of all superheroes
Now the big question floating prior to its release..'Whether SuperMan beats Batman Begins in terms character and storytelling' Frankly no.And its quite unfair to expect that too.Cause Batman Begins started from beginning and Spiderman-2 was 2nd flick of the series,SUperman Returns is the third flick of their franchise So,the 'character stabilisation' and all such things cant be as much strong.However SR will top Batman Begins in terms of Box office
We have never seen superman so much struggling...a bullet shot straight into the eyes,got beaten badly and left into the sea with crystal in back.SuperMan was never so much in trouble
While the first half is slow paced,second half before the climax is as fast as it could have been and does not let u even drop your eyelid. The special effects are sensational and mindblowing.But the climax again slows down the film And pace of the film had been the major problem with the audience.Many people can find it bit slow
In the climax of the movie,when lois lane and kid went on to see Superman,we see mother(who have raised him) of Superman struggling and standing with normal people to see his son And i ran into emotion seeing that being ex-gf how lois lane easily meets Superman but her mother not cause no1 knows her. The old woman stands there with emotion and sadness on her face
A worthy sequel.The wait is finally over
So long SuperMan,where have u been??
Does the world really needs Superman??
While Lois Lane ex-girlfriend of Superman has written off about him.She wrote 'The world does not need Superman' and she won prizes and medals for this article too.
But Clark Kent says:You wrote that the world doesn't need a saviour, but every day I hear people crying for one.
'The Man of Still' is back after a gap of 20 years
Positive aspects: This Superman has soul.Inspite of all those superpowers which makes him god alike Bryan Singer have shown his inside feelings Brilliant special effects
Negative: Love Story--Its quite irony..really irony for me to write that which is the strong point of the movie also becomes its weak points When love story seems to get overdose and hampers the progress.The pace lacks
Performance:
Brandon Routh:Its quite unbelievable to imagine playing the iconic character played by Christopher Reeve during 80's by anyone else Doubts galore surrounded whether a bartender could pull off this character?? Yes he does.He had played the portrayal of Superman and Clark Kent so much convincingly that its impossible for the makers to take any other actor for the sequels. From the Superpower guy saving the world to a normal reporter Clark Kent he is outstanding.From the man flying in air to an emotional person who have lost his love he is incredible One sentence--'Bartender have become a star and a convincing actor'
Kate Bosworth:She looks good and acts good.Her performance is not on par with Brandon Routh but a good performance overall
Parker Posey:She is good and carries the character of Kitty Kowalski in same vein as it was left
Sam Huntington is good adding some humorous elements to the flick
Kid is so cute
Now Kevin Spacey.Anyone who have seen the flicks of this two time Oscar winning actor(usual suspects,American beauty) even without watching this flick can tell that he will be good in the flick He takes the character of Lex Luther to another level.He brings charm in the flick whenever he comes on the screen
Now finally Bryan Singer,the director---Bryan singer had himself stated that Superman had been his favourite superhero character And he shows how much respect he gives to this 'iconic character'. From making the best ever thriller(The Usual Suspects) and generating a new breed of superheroes(X-Men) and going back for making a sequel of the 'American Icon' he had came a long way And being so young he will go a long way.Thanks Singer for making the 'dad' of all superheroes so superhuman
So,so what if Superman costume is not good looking and kewl in todays perspective....so what if superman getup does not look kewl as Batman,Spidey or X-Men But 'Man of Steel' has a heart of gold.Whether its Batman or Spiderman everyone's path for saving the world starts from revenge.Later on they turn for good cause But SuperMan had always been there fighting for truth and justice.And his mission does not starts with revenge.This makes me to give him the most respect of all superheroes
Now the big question floating prior to its release..'Whether SuperMan beats Batman Begins in terms character and storytelling' Frankly no.And its quite unfair to expect that too.Cause Batman Begins started from beginning and Spiderman-2 was 2nd flick of the series,SUperman Returns is the third flick of their franchise So,the 'character stabilisation' and all such things cant be as much strong.However SR will top Batman Begins in terms of Box office
We have never seen superman so much struggling...a bullet shot straight into the eyes,got beaten badly and left into the sea with crystal in back.SuperMan was never so much in trouble
While the first half is slow paced,second half before the climax is as fast as it could have been and does not let u even drop your eyelid. The special effects are sensational and mindblowing.But the climax again slows down the film And pace of the film had been the major problem with the audience.Many people can find it bit slow
In the climax of the movie,when lois lane and kid went on to see Superman,we see mother(who have raised him) of Superman struggling and standing with normal people to see his son And i ran into emotion seeing that being ex-gf how lois lane easily meets Superman but her mother not cause no1 knows her. The old woman stands there with emotion and sadness on her face
A worthy sequel.The wait is finally over
So long SuperMan,where have u been??
Pirates of The Caribbean:Dead Man's Christ--Movie review
'Pirates' sequel long but occasionally strong
By Glenn Whipp, Film Critic
***/****
Just like its predecessor, "Pirates of the Caribbean: Dead Man's Chest" is an exercise in forgiveness, asking its audience to sit through the bloat to get to the treasure.
Blowhard director Gore Verbinski gives us two of everything — villains, self-sacrificing fathers, love triangles — when one would have sufficed. He never stages an action sequence that he doesn't want to repeat for lessened effect. The result is a 21/2-hour movie that starts slowly and only gets up to full sailing speed by its last hour.
Johnny Depp redeemed the first "Pirates" movie, and if they gave Oscars the way baseball crowns its league MVPs — for contributions to the success of the team — Depp would have won best actor, hands-down. Take him away from that 2003 film, and you're left with an empty, unwatchable spectacle.
Depp, of course, returns in "Dead Man's Chest,"
again playing everyone's favorite, mascara-wearing prancing pirate, this time leaning more on the character's Pepe Le Pew inspiration, though Keith Richards still comes through, too. While the thrill of discovering the character and Depp's performance is gone, it's still a joy watching him play this narcissistic, word-slurring anti-hero. Just seeing Depp run — and Capt. Jack runs a lot in this movie — is to behold a Chuck Jones cartoon come to life, and it makes me smile every time.
Given how Depp so thoroughly stole the movie from Orlando Bloom and Keira Knightley the first time around, you wish producer Jerry Bruckheimer would have been smart enough to jettison the bland characters and let Sparrow fly alone this time around. But that would violate the laws of sequels, not to mention run the risk of alienating the teen girls who blush at the sight of Bloom.
The problem is, credited screenwriters Ted Elliott and Terry Rossio struggle in putting the three main characters back together, delivering an opening hour that is incoherent and largely uninvolving. Separated lovers Will (Bloom) and Elizabeth (Knightley) are present only because one of the villains (the boring, non-CG one) wants something from Jack.
Meanwhile, the other villain, the astounding, computer-generated, squid-faced Davy Jones (Bill Nighy) wants something from Jack as well — his soul. This is where the movie gets good, if not great: when Jones' submerged Flying Dutchman ship pops out of the ocean, revealing its barnacle-covered, bizarro crew of the aquatic undead, adversaries more than worthy of Capt. Jack. One other item of note: Jones commands a giant squid that makes the beastie in "20,000 Leagues Under the Sea" look like a wee jellyfish.
Davy Jones and his crew are fantastic,
flawless creations — you can't take your eyes off them. John Knoll's Industrial Light & Magic visual effects team have gone above and beyond the call here, creating a band of characters that impeccably serve the story without needlessly calling attention to themselves.
There's a Hammerhead Shark Man, a Hermit Crab Head ... really it's a rogues gallery straight out of Dick Tracy. Although they're almost entirely computer creations, they feel as real as the flesh-and-blood humans.
More real, in fact. If Depp was the Oscar nomination waiting to happen for "Black Pearl," it's Nighy's turn for "Dead Man's Chest." Nighy has spent his entire career elevating bad movies ("Underworld") or turning good films into near-great ones ("Shaun of the Dead"). Here, even though everything about the squid-faced Jones, even the eyes, are artificial, Nighy's performance comes through loud and clear, full of magnificent menace, a villain for the ages.
His presence makes the prospect of next year's third "Pirates" movie palatable, even if, given the progression of the series, Verbinski pushes the running time to 3 hours. These are movies that cry out for the "scene selection" feature on the DVD.
But when the scenes work and cook, they're the essence of summer moviemaking. They shiver your timbers and make you feel like a kid.
Source:http://www.dailynews.com/filmreviews/ci_4014836
By Glenn Whipp, Film Critic
***/****
Just like its predecessor, "Pirates of the Caribbean: Dead Man's Chest" is an exercise in forgiveness, asking its audience to sit through the bloat to get to the treasure.
Blowhard director Gore Verbinski gives us two of everything — villains, self-sacrificing fathers, love triangles — when one would have sufficed. He never stages an action sequence that he doesn't want to repeat for lessened effect. The result is a 21/2-hour movie that starts slowly and only gets up to full sailing speed by its last hour.
Johnny Depp redeemed the first "Pirates" movie, and if they gave Oscars the way baseball crowns its league MVPs — for contributions to the success of the team — Depp would have won best actor, hands-down. Take him away from that 2003 film, and you're left with an empty, unwatchable spectacle.
Depp, of course, returns in "Dead Man's Chest,"
again playing everyone's favorite, mascara-wearing prancing pirate, this time leaning more on the character's Pepe Le Pew inspiration, though Keith Richards still comes through, too. While the thrill of discovering the character and Depp's performance is gone, it's still a joy watching him play this narcissistic, word-slurring anti-hero. Just seeing Depp run — and Capt. Jack runs a lot in this movie — is to behold a Chuck Jones cartoon come to life, and it makes me smile every time.
Given how Depp so thoroughly stole the movie from Orlando Bloom and Keira Knightley the first time around, you wish producer Jerry Bruckheimer would have been smart enough to jettison the bland characters and let Sparrow fly alone this time around. But that would violate the laws of sequels, not to mention run the risk of alienating the teen girls who blush at the sight of Bloom.
The problem is, credited screenwriters Ted Elliott and Terry Rossio struggle in putting the three main characters back together, delivering an opening hour that is incoherent and largely uninvolving. Separated lovers Will (Bloom) and Elizabeth (Knightley) are present only because one of the villains (the boring, non-CG one) wants something from Jack.
Meanwhile, the other villain, the astounding, computer-generated, squid-faced Davy Jones (Bill Nighy) wants something from Jack as well — his soul. This is where the movie gets good, if not great: when Jones' submerged Flying Dutchman ship pops out of the ocean, revealing its barnacle-covered, bizarro crew of the aquatic undead, adversaries more than worthy of Capt. Jack. One other item of note: Jones commands a giant squid that makes the beastie in "20,000 Leagues Under the Sea" look like a wee jellyfish.
Davy Jones and his crew are fantastic,
flawless creations — you can't take your eyes off them. John Knoll's Industrial Light & Magic visual effects team have gone above and beyond the call here, creating a band of characters that impeccably serve the story without needlessly calling attention to themselves.
There's a Hammerhead Shark Man, a Hermit Crab Head ... really it's a rogues gallery straight out of Dick Tracy. Although they're almost entirely computer creations, they feel as real as the flesh-and-blood humans.
More real, in fact. If Depp was the Oscar nomination waiting to happen for "Black Pearl," it's Nighy's turn for "Dead Man's Chest." Nighy has spent his entire career elevating bad movies ("Underworld") or turning good films into near-great ones ("Shaun of the Dead"). Here, even though everything about the squid-faced Jones, even the eyes, are artificial, Nighy's performance comes through loud and clear, full of magnificent menace, a villain for the ages.
His presence makes the prospect of next year's third "Pirates" movie palatable, even if, given the progression of the series, Verbinski pushes the running time to 3 hours. These are movies that cry out for the "scene selection" feature on the DVD.
But when the scenes work and cook, they're the essence of summer moviemaking. They shiver your timbers and make you feel like a kid.
Source:http://www.dailynews.com/filmreviews/ci_4014836
Sunday, April 30, 2006
Ice Age:The Meltdown:movie review
***/*****
Ice Age: The Meltdown (2006) / Animation-Comedy
MPAA Rated: PG for some mild language and innuendo
Running Time: 90 min.
Cast (voices): Ray Romano, John Leguizamo, Denis Leary, Queen Latifah, Seann William Scott, Josh Peck, Will Arnett, Jay Leno, Joseph Bologna, Alan Tudyk
Director: Carlos Saldanha
Screenplay: Peter Gaulke, Gerry Swallow
It's rare for a sequel to be on par with the original film, but Ice Age: The Meltdown is, thankfully, not a letdown. It's also less dark than the first entry, and doesn't carry the baggage of having to introduce the characters and scenario, which allows for a more free-flowing and buoyant effort. This one's an easy recommendation: if you liked Ice Age, you'll probably like this one, and if you didn't, you probably won't. I liked the original modestly, and came away with the same feeling here, although both have their share of weaknesses and lulls.
At the very least, at least you can't say that this film is bogged down by excessive plotting. As the ice of the dam surrounding the valley where our protagonists live begins to melt and break down, it becomes apparent that a flood of cataclysmic proportion threatens all life there. As the creatures begin their mass exodus to get to the other side, Manny (voiced by Ray Romano, Eulogy), the hapless mammoth, begins to lament the fact that he maybe the last surviving member of his species. His fears are allayed somewhat when he encounters a female mammoth named Ellie (Latifah, Beauty Shop), although he has a hard time convincing her that they need to keep their kind alive, especially as she believes herself to be a possum.
Ice Age: The Meltdown will probably fit the bill for the intended audience of young children, most of whom just enjoy seeing funny talking animals and lots of silly, high-energy slapstick. Adults will probably be mixed in their enjoyment, but if it keeps the young ones quiet for 90 minutes, at least they will have a pleasant experience outside of the movie itself. As with most current animated fare, there is an emphasis on fast-paced, frenetic action, which can be a bit hard to take for those that don't enjoyed frenzied, noisy films.
There are plenty of sight gags, and the usual mirth and mayhem, although they are mild in humor value, as the Ice Age series has run mostly on charm and affability, rather than on catchy zingers and genuine wit. Although many of the scenes are aimed at children, there is some mild innuendo that will keep the adults in the audience tuned in. This is the kind of film you go to for some escapism and a pleasant time, and along those lines, I suppose one can call The Meltdown a successful venture.
While this isn't nearly the caliber we might expect from a Pixar release, it's better than other recent 3D animated efforts, strictly for audiences that like these sorts of cutesy, computer-generated comedies. Top-notch production values help.
Source:http://www.qwipster.net/iceage2.htm
Scary Movie 4:movie review
SCARY MOVIE 4
RATING 2.5
(Director: David Zucker, PG-13, 88 min)
The scariest thing about this is that they’re still making these sequels (even if they promise this 4th edition is the final chapter of the "trilogy"). But as long as there is an audience who’ll pay money to go see these spoofs, we’ll continue to get a new version every couple of years. The good thing is that this is an improvement over the last couple of installments; the bad thing is that wouldn’t take much.
In this go round, the movie opens with Shaquille O'Neal and Dr. Phil having a Saw moment. Then the story settles down into a combination of The Grudge meets War of the Worlds – Cindy (Anna Faris) returns as a home caregiver for the nearly comatose Cloris Leachman and the ghost-kid hanging around the house. She lives right next door to Tom Ryan (Craig Bierko) who is trying to reconnect with his kids, hook up with Cindy, and save the world from invading aliens – when he’s not busy visiting Oprah (Debra Wilson) to dance on her couch and proclaim his love for Cindy.
This franchise doesn’t just spoof the horror films (probably because they need more material). To incorporate more movies into the mix, Cindy has a Million Dollar Baby flashback, while Tom’s friend Mahalik (Anthony Anderson) fondly remember his fishing trip a la Brokeback Mountain. Then Cindy learns she can get the answer to the alien problem if she and her old friend Brenda (Regina Hall) go to visit the set of The Village and speak to the one with the answers (Bill Pullman).
Some old characters return for a brief cameo (and a paycheck) including Carmen Electra (who gets to have the embarrassing toilet humor moment), Leslie Nielsen as President Harris, and Charlie Sheen as Tom Logan.
Scary Movie 4 starts with some promise – sure, it’s like sketch TV, but at least it’s SNL in the good years. Unfortunately, when it starts to fall apart, it takes a dive, then falls so fast the g-forces shock the audience into silence (no wait, they just got quiet because it stopped being funny). There aren’t even outtakes or any fun stuff during the credits to leave on a good note.
source:http://www.themoviechicks.com/early2006/mcrscarymovie4.html
V FOR VENDETTA:Movie reviews
***1/2/*****
V FOR VENDETTA
by Pete Vonder Haar
(2006-03-18)
2006, Rated R, 132 minutes, Warner Bros.
Famously disowned by creator Alan Moore (who, it should be noted, behaves towards every film adaptation of his works in the same way) and held back from release following 2005’s London subway bombings (for more “tweaking,” according to producer Joel Silver), this 20-year old story of a masked terrorist who does battle with the government of a fascist future Britain finally comes to theaters. Written by the Wachowski brothers and directed by Wachowski crony James McTeigue, it’s understandable that people might fear more of the same ridiculousness that permeated the “Matrix” sequels.
Happily, that’s not entirely the case. The core of Moore’s original tale – England as a security state, where news is generated by the government and undesirables (be they sexually, racially, or politically so) have long since been “removed,” their disappearance blamed on external forces. The lone challenger to the regime is a strange man in a mask with a penchant for quoting Shakespeare.
In this pleasant setting we’re introduced to young Evey Hammond (Natalie Portman) just as she is about to be assaulted by several of the government’s internal security agents (unfortunately referred to as “Fingermen”). However, before anything untoward takes place, a mysterious fellow in a Guy Fawkes mask appears. He explains, in a lengthy and obnoxiously alliterative soliloquy, that his name is “V,” right before he kills the three men and spirits Evey to the rooftops so she can watch while he blows up the Old Bailey.
V, in a happy coincidence, also temporarily takes over the TV station where Evey works, announcing his presence and telling everyone he’ll be blowing up Parliament as well in a year’s time. Evey is implicated in the incident and goes into hiding as well, learning more and more about V’s motivations and goals. Finally – in one of the larger plot developments retained from the comic – she is forced to choose between giving up her life and protecting his. Meanwhile, the police (led by a suitably bedraggled Stephen Rea) attempt to track V down before he can make good on his promise.
Although the marketing for “V for Vendetta” relies heavily on the fact that this is from “the creators of ‘The Matrix’ trilogy,’ there’s surprisingly little of the expected wire fu and CGI shenanigans that helped make the second and third “Matrix” movies nigh unwatchable. Aside from a handful of fight scenes (only one of which evokes any serious eye-rolling), the Wachowskis actually seem to have given serious effort to telling a story, and not taking three movies to do it.
Of course, this is still a 2-hour adaptation of a wordy, 300-page comic book. Much of the subtlety and ambiguity of Moore’s original work had to be abandoned in favor of unlikely coincidences and plot conveniences. And, as with any Hollywood version of revolution, the film makes the assumption that every oppressed citizen is actively skeptical of their own government, can see through its propaganda, and is eager to take up active resistance. Quaint, but depressingly unrealistic.
Despite the fact that “V for Vendetta” has been bouncing around with different studios for some time, there’s no denying that the finished product was created with the war in Iraq and the ongoing domestic debate concerning wiretaps and shrinking civil liberties in mind. In that respect, it’s one of the first major Hollywood films to take such an overt anti-Bush stance. Certainly there have been a number of documentaries and subdued flicks like “Good Night and Good Luck” casting their stones at the Bush Administration, but the parallels between the Orwellian future onscreen and today’s chilly domestic political climate can’t be denied, and the Wachowskis are far from delicate in their rhetoric.
Finally, when I reviewed the movie “Constantine” (about another Alan Moore creation, humorously enough), I did a version for fans of the comic as well as those seeing the movie cold. This was mostly because I’m a huge fan of that character, and the tactic won’t be repeated here. While I can see the places where the Wachowskis kept Moore’s story and the (many) places where they just ignored it, I think they’ve done as decent a job as can be expected in making the story accessible to a wider audience. With its emphasis on dialogue and political machinations over explosions and kung fu fighting, it remains to be see whether or not “V for Vendetta” will actually find one.
Source:http://www.filmthreat.com/index.php?section=reviews&Id=8807
Silent Hill:Movie Review
***/*****
SILENT HILL
Director: Christophe Gans
Cast: Radha Mitchell, Laurie Holden, Sean Bean, Deborah Kara Unger, Tanya Allen, Jodelle Ferland, Kim Coates, Alice Krige
(TriStar, 2006) Rated: R
Release date: 21 April 20
by Cynthia Fuchs
PopMatters Film and TV Editor
It's Close to Midnight
Rose (Radha Mitchell) loves her little girl more than words can say. And more often than not, she's reduced to base expressions of that affection. Take the start of Silent Hill, where Rose appears in mid-panic, running after Sharon (Jodelle Ferland), a longtime sleepwalker who has wandered off into the night, leading her mom on a wild chase across the highway through a nearby stretch of scary woods, and finally to the edge of a cliff that features an odious waterfall. Rose yells "Sharon!" and "Wait for mommy!" repeatedly as she scurries over this bizarre terrain while dressed in her sleepwear -- short shorts and skimpy undershirt -- bounding in front of oncoming traffic and leaping across ridiculous heights, and reaching the girl just in time to save her from plunging into the thrashing water below.
Phew. Or... maybe not so phew. This opening scene sets up the film's fundamental troubles. Long on atmosphere, it's way short on cunning or beguiling. It's also short on sense, which may be a function of a submerged plot point, that everyone is dead and all that you see here is a series of unattributed hallucinations. Perhaps the simultaneously obscure and derivative plot (screenplay credited to the usually smart Roger Avary) has to do with its basis in a video game. And maybe its lumbering pace and awkward editing -- which hardly match up with director Christophe Gans and editor Sébastien Prangère's previous, strangely elegant collaboration (Brotherhood of the Wolf) -- result from some other, unknown influence (whether studio or otherworldly, the effect is the same).
Following its moody, unfathomable start (why are Rose and her husband Chris [Sean Bean] living near a cliff if they know Sharon sleepwalks? Why are doors unlocked?), Silent Hill offers a briefly incoherent sunshiney-idealy respite: sitting beneath a tree in a lovely open field, Rose tells Sharon they'll be on the road, looking for Silent Hill, the name a town in West Virginia Sharon pronounces during her sleepwalking adventures. Somehow, Rose imagines, going to this place will solve her adopted daughter's trauma. They both close their eyes and maybe they fall asleep, to suggest that what follows is a dream; or they're both already dead from the first scene, and what follows is set in some terrible purgatory.
The drive to Silent Hill is utterly ooky, punctuated by Chris' frantic phone calls to Rose, imploring her not to go -- as he looks up on the town's history on the net and discovers it's actually closed down, owing to an ongoing coal mine fire beneath the ground. (Somehow, Rose missed this tidbit during what you might presume was her own research.) En route, Rose draws the interest of motorcycle cop named Cybil (Laurie Holden), who wears one serious pair of skintight shiny britches and black knee-high boots, not to mention her helmet and large handgun. Cybil seems equipped to deal with whatever comes her way, but of course, she's not, because what does come her way makes no sense. To start, when she tries to pull Rose over on the highway, Rose guns her Jeep and heads off down a dark and windy road marked "Silent Hill," crashing through a large metal fence while instructing her understandably screaming daughter to hang on.
The town itself is as creepy and confused as any of this lead-up intimates (and it's actually full of noise, as opposed to silence), with weather ranging from dreadful downpours to pervasive ash-in-the-air, sometimes night, sometimes day. As Rose has been knocked out by her car crash, and wakes to find Sharon missing from the car, she spends the rest of the film trying to find her daughter, wandering desolate streets and occasionally running into dread-headed Dahlia (Deborah Kara Unger), another mother of a missing daughter. (Again, the waking in this perverse place suggests Rose might not actually be awake, but again, it doesn't much matter.)
While Rose persists in her pursuit of resolution (or something), Chris heads toward Silent Hill as well, where he's stopped by a police inspector, Gucci (Kim Coates), who has found the wife's Jeep and agrees to bring Chris along to search for her. Gucci tells some spastic story about the town's coal fire, the "hellish" day in 1974, when "people were dying and disappearing." (You might think that weirdly poetic and unspecific description, coming from a cop, would worry Chris, but no.) Gucci's dad died that day, but that doesn't quite explain his efforts to keep Chris in the dark. Then gain, "the darkness" is pretty much a character here, literally "coming" at certain times and scaring the occasionally-appearing inhabitants into a church, where they gather to "pray," which means chant and moan and hate on everyone outside.
Sharon also appears intermittently, running through hallways or leading Rose on lengthy chases down dark alleys and into grim basements (at points the music soundtrack turns grindy industrial, at other times bland metal). Conveniently discovering a lighter in her pocket and a series of flashlights that always light up, Rose comes on a number of oddballs, some with miners' gear and a canary in a cage, some seeming boneless or reminiscent of the scary screamer in Aphex Twin's "Come to Daddy," others marching in jaunty-out-of-joint step as if they've emerged from "Thriller" (If only Vincent Price might have provided voiceover explanations). Sometimes their skin flies off like its burning, sometimes they spew bloody-seeming goo. One particular victim-monster has his head tied to his feet, and kind of scoots along the floor as if menacing Rose, who screams bloody murder while standing still and holding her flashlight -- again, miraculously working -- on her ostensible assailant, who actually never quite makes it very far, seeing as he's all tied up and bent.
Even if you decide to go with Silent Hill's not-making-sense premise (which is, really, fine, as the mindscape here is plainly nightmarish and so not bound by physical or emotional logics), the film slips another mickey into its narrative cocktail. And that would be Christabella (Alice Krige, still looking a lot like the Borg Queen), leader of a kind-of cult inhabiting Silent Hill. Self-identified witch-burners, they announce to Rose that she, Sharon, and Dahlia's missing girl are all witches and must be burned in order to maintain their own "purity," whatever that can possibly mean, as they do all resemble ghouls and corpses.
The hordes of folks reciting and grabbing at Rose and Sybil (who shows up to do some ineffective shooting with her big gun) make for a familiar nightmare image, as do Christabella's invectives: "We fight the demon," and "We drew a line in the sand." Barbed wire grows up from a hell-hole below the church floor (it's as if the Big Bad was re-making its appearance in Buffy), a previous victim appears looking burnt, bloody, and gooey, they burn a designated witch (whose skin yuckily melts and falls off). All the while, Rose keeps telling Sharon, "It'll be okay, baby." Er. No.
Eventually Christabella starts to sound a little too familiar, especially as Rose interprets her. Trying to win over the corpsey folks, Rose describes herself as coming from "a world outside," then explains, "This woman uses your fear to control you." This comes very late in the proceedings (which run 127 minutes), when your eyes are well-glazed over, and you might be forgiven for thinking maybe the movie has suddenly turned into a critique of the war on terror. Or maybe not.
source:http://popmatters.com/film/reviews/s/silent-hill-2006.shtml
Wednesday, March 08, 2006
Eight Below:Movie review
***1/2/*****
The screening of Eight Below: Inspired by a True Story was on the morning before a major blizzard was to overtake the Philadelphia area. I was hoping to make it home before the flakes started to fall. I did, but of course the movie, which tells a conventionally wrenching story of eight beloved sled dogs accidentally left to fend for themselves at an Antarctic science base when the inhabitants have to make an emergency evacuation, made me feel vaguely silly. Twelve inches of snow? Thirty degree weather? Really, how horrifying.
I learn from the credits that Eight Below was both "inspired by a true story" and "suggested by" the Japanese film Nankyoku Monogatari, released on video in America as Antarctica. So the true story, whatever it is, is at best at one remove from this Disney affair, which takes as its mission to be as tearjerkingly fanciful as possible. Paul Walker is the human hero, but the dogs are the stars, and the movie spends considerable time alone with them in the Antarctic, where they do things that I doubt any dog would even consider, including some fairly incredible acts of altruism (as the audience coos at the screen in unison). As an aside, the canine actors are also often more expressive than Paul Walker. Just sayin'.
Actually, this is one film that Walker doesn't manage to ruin, though oh how he tries, as does Jason Biggs as his doofus sidekick. It labors hard and for a long time to evoke as few exasperated groans as possible: Walker's Gerry Shepherd, Antarctic guide extraordinaire, seems to have genuine, sweet affection for the animals he works with, and the intrepid scientist whose foolhardiness leads to the rushed abandonment of the base (Bruce Greenwood) seems like a nice, reasonable guy. Whoever is responsible for the hideously stupid trailer, in other words, does not get fruit cup: most of what made me roll my eyes when I watched the advertising and vowed -- vowed! -- not to go see Eight Below is not nearly so offensive in context. Even the immortal line "you gotta take chances for the things you care about," delivered by the ceaselessly dull-eyed Walker at what looked at the time to be some sort of gala or ball, ultimately makes more sense than one might expect. And another clip, the one where Bruce Greenwood wistfully waxes on "these eight amazing dogs," seems to have been excised entirely.
The extended sequences with the dogs alone in the Antarctic wild are at least as impressive as they are silly, the ludicrous title cards helpfully giving us both the date and the number of days the animals have spent on their own notwithstanding. At one point, the dogs have a scary encounter with a leopard seal, and how the scene was filmed remains beyond me -- was it a CGI seal? I honestly do not know. The animal action is flawless, and I could spot no obvious camera or editing tricks to facilitate it. I half-expected to be annoyed, but if anything annoyed me, it was the audience, which invariably interpreted desperate attempts at survival as just adorable. What the hell?
Eight Below becomes cloying in its last act, which also heralds the return of Jason Biggs, an actor with a filmography that can't suggest anything quite this insufferable. There is a series of shameless scenes leading up to the triumphant rescue, and of course the rescue must include the scene where the hero thinks his most cherished friend is dead, but -- wait a minute! -- maybe not. These missteps aside, Eight Below steadfastly resists attempts to pigeonhole it into being merely one of the execrable Disney live action canon. It's a solid adventure film.
Tuesday, February 07, 2006
Something New:Movie Review
***/*****
Kenya (Sanaa Lathan) is an ambitious African American career woman too driven to have a romantic life, yet too tightly wound to remain grounded without one. Landscape architect Brian (Simon Baker) is a blind date who winds up hanging around to reclaim the jungle in the backyard of her new home.
You know how it works. She's a control freak workaholic with demanding standards and an aversion to nature that isn't tamed and trimmed. He's a free and easy green thumb with a spontaneous streak and a romantic sensibility.
And there's one other complication: he's white. In Kenya's cultural circle, dating a white man is something akin to racial betrayal.
Despite the title, "Something New" is nothing new, a familiar tale of lovers separated by cultural assumptions and social expectations. It just feels like it is fresh because it's so rare to see the situation approached from perspective of the black professional community, which director Sanaa Hamri and screenwriter Kriss Turner (both making their feature debuts) explore intelligently -- it's as much about the expectations Kenya has internalized as it is about social pressure -- if not always deftly.
The film comes down to the same question: Will these crazy kids survive the personal clashes and social disapproval? Brian is hardly the ideal pedigree for Kenya's social status -- he's not just white, he's a gardener! -- but if he's the one under scrutiny, she's the one who squirms.
The experiences of a professional African American woman in a predominantly white business culture gives "Something New" an interesting perspective. The warmth of Baker as the cuddly nature boy (another idealized image, certainly, but a romantic one) and the intelligence and fire of Lathan give the lesson, and movie, just enough heart to make it enjoyable.
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