I wanted to see this movie because it seemed moving and relevant. I wasn’t familiar with the military’s stop-loss policy, so I did some research to find out about it. It’s basically a clause in a soldier’s contract that allows the president to extend his period of service. It sucks because it’s like a “backdoor draft.” Like Carlito said, just when you think you’re out, they pull you back in.
Ryan Phillippe (Crash) is Brandon King, a decorated Army sergeant who just led his men into a deadly ambush in Iraq. One man was lost, and another was seriously wounded. When he returns home to Texas he reminds anyone who’ll listen that he’s done his time and is getting out. When he goes to turn in all of his equipment, he’s informed that he has been stop-lossed and will be re-deployed to Iraq. What follows is a depiction of Brandon’s struggle to accept the fact that Uncle Sam basically owns his ass. He panics, he feels helpless, angry, and betrayed. He served his country as a loyal patriot and feels like the Army is not keeping their end of the bargain. The movie is unabashedly critical of the war, showing the cruelty of the stop-loss policy and the horrors of Iraq. However, it also shows the flipside of Phillippe’s character in the form of his best friend, Steve Shriver (Channing Tatum, Step Up). Steve is all about the red, white, and blue through and through. In a way they all are: Steve, Brandon (initially), and fellow soldier Tommy.
Stop-Loss was okay. Ryan Phillippe is a very very good actor. He infused Brandon with the appropriate amount of anger and heroism. His character wants out of Iraq, but he never seemed weak or cowardly, and I think that’s a reflection of the confidence and bravado Phillippe brought to the role. Of course I have criticisms, and they really stood out. Stop-Loss was produced by MTV Films, which may explain the music video-ish approach to some of the Iraq montage scenes in the movie. It also felt a little formulaic. Soldiers joking around and displaying juvenile male camaraderie? Check. Lots of pushing and shoving? Check. Cursory portrayal of post traumatic stress disorder? Check. Regarding the performances, I think Channing Tatum is a capable actor. He cried convincingly and I was impressed by that. He’s also nice to look at. My problem is that there was a 10 minute stretch when he broke into a TX drawl, and then he resumed his normal speaking voice. It was obvious. Does your character have an accent or not??!! I mean, I always wonder how no one catches the fact that a character is dropping in and out of an accent. I can excuse one word or two, but this was more than a slip. I’ll keep the other criticisms to myself so I don’t give anything away. I don’t think Stop-Loss stacks up well against other war movies. Jarhead puts it to shame, and I won’t even mention any of the older classics that portrayed the Vietnam War. Stop-Loss’ value lies in its current relevance, and it will be remembered as capturing people’s dissatisfaction and frustration with the war in Iraq. There’s something to be said for that, but the movie was solid, not great. It’s also depressing, so I wouldn’t see it unless you’re a fan of Phillippe or Channing Tatum. If you are then I’m sure you’ll enjoy.
Saturday, March 29, 2008
Friday, March 28, 2008
Meet the Browns
Tyler Perry. I don’t fool with him too tough, but I saw Meet the Browns anyway – mostly just to hang out with my mom. I’ll try to go easy on Mr. Perry this time. The movie actually wasn’t half bad…which also means it was only half good. LOL.
One positive thing about the movie was that it starred Angela Basset (Akeelah and the Bee), with whom you can never go wrong. My only criticism (if you could call it that) of her is the same one I had of Forrest Whitaker in Vantage Point, which is that sometimes they come across as being bigger than their roles. In Meet the Browns Bassett portrays Brenda, a financially strapped single mom living in Chicago with her three children. Her eldest son is an aspiring professional basketball player (Lance Gross), and she is challenged with keeping him off the streets after he tries to hustle to provide money for the family when Brenda loses her job. Yeah, that part is a bit cliché, but okay – I can deal with that. I’m sure it’s not too far from a lot of people’s reality, especially in urban areas across the U.S. Rick Fox is a basketball coach named Harry who takes an interest in Brenda’s son. Brenda is naturally wary of him, as she’s been burnt by every man in her life, from her son’s father to her own father, whom she never knew. Again, this is familiar territory; we know how it’ll end. Boy meets girl. Girl disses boy. Boy wins girl in the end….yaaay! Can I go home now? Seriously, I don’t mind if I know how a movie will end up, at least let me have fun getting there. To Perry’s credit, Meet the Browns is funny. A large portion of the movie takes place in Georgia, where Brenda travels when she finds out that her father has passed away. As the title suggests, she meets her relatives for the first time, and this is where the comedic action takes place. Perry does a good job of balancing drama with humor, and he does allow Bassett to show her skills…my only negative observation is the writing. In some places the script is very contrived. I know that’s the nature of the movies, in some respects, but come on. For example, Harry just so happens to be from the same small Georgia town as Brenda’s family, and they meet up there. What??? Yeah RIGHT! They met in the large metropolis of Chicago, yet they both have roots in some podunk Georgia town and reconnect there. I mean, it’s not even like its Atlanta or something, which would still be implausible but a little more believable. They both are from a one horse town…just not buying it. Another thing I don’t care for is Madea, but that’s just me. “Her” appearance was really unnecessary and not all that funny. It was just an excuse for Perry to show up in his own movie. Don’t worry TP, we know it’s your movie – your name always precedes the title.
In sum, as with all of Perry’s movies, either you like ‘em or you don’t. Simple as that. Nothing I’ve said here will persuade or dissuade you from seeing it. So, have at it! :-)
One positive thing about the movie was that it starred Angela Basset (Akeelah and the Bee), with whom you can never go wrong. My only criticism (if you could call it that) of her is the same one I had of Forrest Whitaker in Vantage Point, which is that sometimes they come across as being bigger than their roles. In Meet the Browns Bassett portrays Brenda, a financially strapped single mom living in Chicago with her three children. Her eldest son is an aspiring professional basketball player (Lance Gross), and she is challenged with keeping him off the streets after he tries to hustle to provide money for the family when Brenda loses her job. Yeah, that part is a bit cliché, but okay – I can deal with that. I’m sure it’s not too far from a lot of people’s reality, especially in urban areas across the U.S. Rick Fox is a basketball coach named Harry who takes an interest in Brenda’s son. Brenda is naturally wary of him, as she’s been burnt by every man in her life, from her son’s father to her own father, whom she never knew. Again, this is familiar territory; we know how it’ll end. Boy meets girl. Girl disses boy. Boy wins girl in the end….yaaay! Can I go home now? Seriously, I don’t mind if I know how a movie will end up, at least let me have fun getting there. To Perry’s credit, Meet the Browns is funny. A large portion of the movie takes place in Georgia, where Brenda travels when she finds out that her father has passed away. As the title suggests, she meets her relatives for the first time, and this is where the comedic action takes place. Perry does a good job of balancing drama with humor, and he does allow Bassett to show her skills…my only negative observation is the writing. In some places the script is very contrived. I know that’s the nature of the movies, in some respects, but come on. For example, Harry just so happens to be from the same small Georgia town as Brenda’s family, and they meet up there. What??? Yeah RIGHT! They met in the large metropolis of Chicago, yet they both have roots in some podunk Georgia town and reconnect there. I mean, it’s not even like its Atlanta or something, which would still be implausible but a little more believable. They both are from a one horse town…just not buying it. Another thing I don’t care for is Madea, but that’s just me. “Her” appearance was really unnecessary and not all that funny. It was just an excuse for Perry to show up in his own movie. Don’t worry TP, we know it’s your movie – your name always precedes the title.
In sum, as with all of Perry’s movies, either you like ‘em or you don’t. Simple as that. Nothing I’ve said here will persuade or dissuade you from seeing it. So, have at it! :-)
Saturday, March 15, 2008
Semi-Pro
Will Ferrell (Anchorman, Blades of Glory) is back with his unique brand of foolishness for Semi-Pro, the story of the fictional Flint Tropics, a rag tag ABA team with hopes of joining the NBA. What can I say about this movie? Any comedy set in 1976 is already halfway there with the silliness factor. I love the seventies though, I wish I was more than a gleam in my parents' eye back then. Anyway, Ferrell stars as Jackie Moon, a player for the Tropics and also the owner. The Tropics are pretty pitiful, with the exception of Coffee Black, played by Andre 3000 (Idlewild). Attendance is sparse, and the Tropics really just serve as a means by which Jackie can make money and have fun. All that changes when the Tropics have a chance to be absorbed by the NBA in the ABA-NBA merger of '76. If the Tropics can finish in the top 4 of the ABA standings, they will be absorbed. Now Jackie decides to ratchet up the intensity and effort to vy for the last NBA slot. He brings in additional talent in the form of Monix, played by Woody Harrelson (No Country for Old Men). Monix revamps the team while Jackie increases attendance through ridiculous stunts, like bear wrestling and free corndog night. LOL.
Ok, enough of the plot, because this is really all about watching Will Ferrell act like a fool, something he is very adept at doing. Jackie is a pretty funny character. In addition to owning the Tropics, he also had a number one hit called "Love Me Sexy," which plays during the opening credits. HEE LARRY OUS. Semi-Pro is better than I thought it'd be. Will Ferrell movies are hit or miss - for example, I didn't enjoy Blades of Glory that much. Semi-Pro isn't an instant classic, but it's certainly funny and worth checking out if you're a fan of Ferrell.
Ok, enough of the plot, because this is really all about watching Will Ferrell act like a fool, something he is very adept at doing. Jackie is a pretty funny character. In addition to owning the Tropics, he also had a number one hit called "Love Me Sexy," which plays during the opening credits. HEE LARRY OUS. Semi-Pro is better than I thought it'd be. Will Ferrell movies are hit or miss - for example, I didn't enjoy Blades of Glory that much. Semi-Pro isn't an instant classic, but it's certainly funny and worth checking out if you're a fan of Ferrell.
Monday, March 10, 2008
The Wire
WARNING: MAD SPOILERS
As you know, I don't often write about tv shows, but it's the end of an era, so I have to do it. Wipe your eyes, for The Wire must now bid us adieu.
For 5 seasons we've watched cops, various kingpins and minor players, and a host of politicians take us away to another world, one that is foreign yet familar. Foreign because most of us will never live a life as dangerous or volatile as the characters on The Wire, but familar because Baltimore could be Anycity, USA. Creator David Simon has left a masterpiece that will be remembered as one of the best and most underrated series of the 21st century. What I've always found most intriguing about The Wire is that it consistently challenged our notions of good and evil. The portrayal of that complexity of human nature is what made it such a compelling series. People are not black and white, the world is not black and white. The Wire lived in that gray area between those two shades. Whether it was the depiction of Omar as some twisted, ghetto Robin Hood, or McNulty as a good cop with nasty habits -- The Wire always left me with something to think about, and quite often left me reeling.
The series finale last night was a befitting end to a great series. While not perfect, it was a good resolution to the conflicts we've seen arise in this final season. I will assume all of those reading this review are familiar with the series, so the background info I provide will be sparse, if any.
McNulty and Freamon: They manage to avoid any real trouble for the homeless killer clusterfuck. They get booted from the department, which sucks b/c these two are literally Baltimore's finest. It's a small price to pay though, when you think about them avoiding jail time, which was a real possibility. Wasn't it a little convenient that a copycat killer struck at the right time, allowing Carcetti and co. to wrap up the situation nicely? What would they have done if that hadn't happened, was the homeless killer going to just disappear, never to be heard from again? I guess it doesn't matter. I'll cut David Simon some slack on that one. I think it's plausible that the two of them got away with it, because Carcetti's ass was in a sling, so the whole thing had to be quieted, fast.
Scott Templeton and The Baltimore Sun: What a fucking worm. I wanted him to get exposed for the sniveling fraud that he was. Why didn't Gus give all the evidence he had on Scott to the other editors? Maybe he thought it would fall on deaf ears, but why get his buddy to compile it in the first place? Perhaps he wanted it as an insurance policy of some sort. I thought The Sun angle was a great one, showing how the important news is neglected, or misinterpreted if it's reported at all.
Carcetti & Co.: Well, I thought Carcetti was alright at first. I thought he was idealistic and well-intentioned, but I should have remembered back to when he was nailing his campaign manager that he was a sleaze. Believe it or not, I think less of him for "juking" the crime stats than I do for covering up the homeless killer fiasco. I can understand making an unethical choice when your back's up against the wall, but why'd he have to fudge the numbers too? He's just like everyone else, which brings me to another theme running through The Wire: INEVITABILITY. Was it inevitable that Carcetti would get dirty? In a way, yes. More on inevitablility later.
Kima: I'm done with ole girl. Nothing anyone can tell me can justify her snitching, and I've heard a few explanations. No, I'm not buying it. McNulty and Freamon could have gone to JAIL. And I'm not buying that she's such a straight arrow (no pun intended) that she just couldn't sleep at night while good cops were investigating a phony killer. So fucking what, big deal. There have been plenty of shady goings on within the department to which she turned a blind eye ("Hamsterdam," anyone?), but now she has to blow the whistle?? No, she violated, plain and simple. Freamon and McNulty were very kind to forgive her betrayal.
Marlo: I hate him. He has no respect. No respect for Prop Joe, no respect for anything. He's unrefined and unlikable. He is no Stringer either, did you see him at that swanky affair with his lawyer? He looked like a fish out of water. Couldn't someone have popped him in the head like Cheese or Omar? He's one lucky MF. Oh, and I don't believe that the Greeks would be so willing to start doing business with Slim Charles and the rest of the co-op. They needed a lot of nudging to do business with Marlo, so I'm not buying that they would hop right in with some new players. I know money talks and bullshit walks, but I don't think it's about the money with them. Remember how they insisted that Marlo bring them "clean" money? I doubt some individuals who are that particular would be amenable to a new situation. Oh well, small point.
Michael: Omar 2.0. The biggest parallel I see between the two is that they both lived by a unique code of ethics, both willing to murder - but only if the unlucky victim is "deserving." I would even venture that Michael admired Omar's principles. Omar never gave it to somebody who didn't have it coming, and I think Michael is the same way. He always questioned his orders, always asked why. Again I ask, was it inevitable that Michael ended up this way? I say yes, it was written. Another victim of circumstance.
Dookie: This is maybe the saddest part of the finale. The inevitability of Dookie's descent, his transformation into Bubbles 2.0. Again, The Wire makes you uncomfortable with its harsh realism. Dookie was a good kid. He was looking for work. He wasn't cut out to be a corner boy. He came from a shitty home and had no one. INEVITABLE.
Bubbles: I have to end on a good note. There has to be balance between tragedy and triumph, and it was good to see Bubbs come out on top. He was always a good-hearted person. He wasn't just a fiend looking for a fix, he was a layered individual, as were almost all of The Wire characters. I'll tell you, it is a testament to the quality of a show when ALL of the characters are so incredibly nuanced. Simply brilliant.
Damn I love this show, and it will be missed. It never received the critical acclaim it deserved, and I can't figure out why. It gave you everything you wanted: the joy and pain, highs and lows, and it endeared you to the so-called villain because it always portrayed the human element. I had the pleasure of discussing the series on a radio show, and I think it is ripe for dissection. The Wire not only entertained - it educated and it inspired. The end of an era.
As you know, I don't often write about tv shows, but it's the end of an era, so I have to do it. Wipe your eyes, for The Wire must now bid us adieu.
For 5 seasons we've watched cops, various kingpins and minor players, and a host of politicians take us away to another world, one that is foreign yet familar. Foreign because most of us will never live a life as dangerous or volatile as the characters on The Wire, but familar because Baltimore could be Anycity, USA. Creator David Simon has left a masterpiece that will be remembered as one of the best and most underrated series of the 21st century. What I've always found most intriguing about The Wire is that it consistently challenged our notions of good and evil. The portrayal of that complexity of human nature is what made it such a compelling series. People are not black and white, the world is not black and white. The Wire lived in that gray area between those two shades. Whether it was the depiction of Omar as some twisted, ghetto Robin Hood, or McNulty as a good cop with nasty habits -- The Wire always left me with something to think about, and quite often left me reeling.
The series finale last night was a befitting end to a great series. While not perfect, it was a good resolution to the conflicts we've seen arise in this final season. I will assume all of those reading this review are familiar with the series, so the background info I provide will be sparse, if any.
McNulty and Freamon: They manage to avoid any real trouble for the homeless killer clusterfuck. They get booted from the department, which sucks b/c these two are literally Baltimore's finest. It's a small price to pay though, when you think about them avoiding jail time, which was a real possibility. Wasn't it a little convenient that a copycat killer struck at the right time, allowing Carcetti and co. to wrap up the situation nicely? What would they have done if that hadn't happened, was the homeless killer going to just disappear, never to be heard from again? I guess it doesn't matter. I'll cut David Simon some slack on that one. I think it's plausible that the two of them got away with it, because Carcetti's ass was in a sling, so the whole thing had to be quieted, fast.
Scott Templeton and The Baltimore Sun: What a fucking worm. I wanted him to get exposed for the sniveling fraud that he was. Why didn't Gus give all the evidence he had on Scott to the other editors? Maybe he thought it would fall on deaf ears, but why get his buddy to compile it in the first place? Perhaps he wanted it as an insurance policy of some sort. I thought The Sun angle was a great one, showing how the important news is neglected, or misinterpreted if it's reported at all.
Carcetti & Co.: Well, I thought Carcetti was alright at first. I thought he was idealistic and well-intentioned, but I should have remembered back to when he was nailing his campaign manager that he was a sleaze. Believe it or not, I think less of him for "juking" the crime stats than I do for covering up the homeless killer fiasco. I can understand making an unethical choice when your back's up against the wall, but why'd he have to fudge the numbers too? He's just like everyone else, which brings me to another theme running through The Wire: INEVITABILITY. Was it inevitable that Carcetti would get dirty? In a way, yes. More on inevitablility later.
Kima: I'm done with ole girl. Nothing anyone can tell me can justify her snitching, and I've heard a few explanations. No, I'm not buying it. McNulty and Freamon could have gone to JAIL. And I'm not buying that she's such a straight arrow (no pun intended) that she just couldn't sleep at night while good cops were investigating a phony killer. So fucking what, big deal. There have been plenty of shady goings on within the department to which she turned a blind eye ("Hamsterdam," anyone?), but now she has to blow the whistle?? No, she violated, plain and simple. Freamon and McNulty were very kind to forgive her betrayal.
Marlo: I hate him. He has no respect. No respect for Prop Joe, no respect for anything. He's unrefined and unlikable. He is no Stringer either, did you see him at that swanky affair with his lawyer? He looked like a fish out of water. Couldn't someone have popped him in the head like Cheese or Omar? He's one lucky MF. Oh, and I don't believe that the Greeks would be so willing to start doing business with Slim Charles and the rest of the co-op. They needed a lot of nudging to do business with Marlo, so I'm not buying that they would hop right in with some new players. I know money talks and bullshit walks, but I don't think it's about the money with them. Remember how they insisted that Marlo bring them "clean" money? I doubt some individuals who are that particular would be amenable to a new situation. Oh well, small point.
Michael: Omar 2.0. The biggest parallel I see between the two is that they both lived by a unique code of ethics, both willing to murder - but only if the unlucky victim is "deserving." I would even venture that Michael admired Omar's principles. Omar never gave it to somebody who didn't have it coming, and I think Michael is the same way. He always questioned his orders, always asked why. Again I ask, was it inevitable that Michael ended up this way? I say yes, it was written. Another victim of circumstance.
Dookie: This is maybe the saddest part of the finale. The inevitability of Dookie's descent, his transformation into Bubbles 2.0. Again, The Wire makes you uncomfortable with its harsh realism. Dookie was a good kid. He was looking for work. He wasn't cut out to be a corner boy. He came from a shitty home and had no one. INEVITABLE.
Bubbles: I have to end on a good note. There has to be balance between tragedy and triumph, and it was good to see Bubbs come out on top. He was always a good-hearted person. He wasn't just a fiend looking for a fix, he was a layered individual, as were almost all of The Wire characters. I'll tell you, it is a testament to the quality of a show when ALL of the characters are so incredibly nuanced. Simply brilliant.
Damn I love this show, and it will be missed. It never received the critical acclaim it deserved, and I can't figure out why. It gave you everything you wanted: the joy and pain, highs and lows, and it endeared you to the so-called villain because it always portrayed the human element. I had the pleasure of discussing the series on a radio show, and I think it is ripe for dissection. The Wire not only entertained - it educated and it inspired. The end of an era.
Saturday, March 08, 2008
The Bank Job
The heist/caper genre is usually a reliable one. I’m always entertained by the new methods Hollywood comes up with to tell the familiar tale of a band of misfits with their eyes on a seemingly unattainable prize. Whether it’s the clever approach of the robbery in Inside Man, the intricacies of the Ocean’s Eleven plot, or the innovative swipe in The Thomas Crown Affair, I love watching the so-called “bad” guys pull it off. If you’ve seen one caper, have you seen them all? I don’t think so.
The Bank Job’s title is straight to the point. Quite simply, a small band of crooks is planning to rob a bank vault. Leading the crew is Terry (Jason Statham, Crank), a small-time body shop owner desperate to get out of debt. The robbery idea was hatched by Martine Love, an old acquaintance who resurfaces with the plan. Terry rounds up a few more people, and the gang is in place. Problems arise when it appears that Martine’s motives for the job aren’t just to get rich. It seems she’s after the contents of one particular safe deposit box, and may have jeopardized the crew and pissed off the wrong London thugs in the process. What made this movie so fun was that the crew was getting it from all angles: dodging crooked cops, the British government, and the local hoods. Pretty cool, and it’s all based on a true story, which lends a certain air of realness to all the unbelievable predicaments in which they find themselves. Set in 1971, the movie touches on the Black power movement abroad, and Black militancy, as one of the vault’s boxes contains incriminating photos taken by a Black militant who is using them as leverage against the British government. Sounds farfetched, but apparently it’s true!
I like Jason Statham because he’s one of those ruggedly handsome actors that appeals to men and women equally. He’s attractive but not soft. This is probably the most acting I’ve seen him do, as he’s usually kicking ass all over the place. He didn’t resort to fisticuffs until the movie’s final act, but I knew it was coming eventually. The Bank Job is one of those fast-paced mile-a-minute movies that assaults your senses and keeps you fixated the entire time. I mean, it starts with a threesome for crying out loud. I’m like okaaaaaay, I’m here with my mom. LOL. Anyway, I really dug it, it reminded me of Snatch or Lock, Stock and Two Smokin’ Barrels. You won’t be disappointed if you’re a fan of the genre. Even if you’re not, who doesn’t like a good caper flick?
The Bank Job’s title is straight to the point. Quite simply, a small band of crooks is planning to rob a bank vault. Leading the crew is Terry (Jason Statham, Crank), a small-time body shop owner desperate to get out of debt. The robbery idea was hatched by Martine Love, an old acquaintance who resurfaces with the plan. Terry rounds up a few more people, and the gang is in place. Problems arise when it appears that Martine’s motives for the job aren’t just to get rich. It seems she’s after the contents of one particular safe deposit box, and may have jeopardized the crew and pissed off the wrong London thugs in the process. What made this movie so fun was that the crew was getting it from all angles: dodging crooked cops, the British government, and the local hoods. Pretty cool, and it’s all based on a true story, which lends a certain air of realness to all the unbelievable predicaments in which they find themselves. Set in 1971, the movie touches on the Black power movement abroad, and Black militancy, as one of the vault’s boxes contains incriminating photos taken by a Black militant who is using them as leverage against the British government. Sounds farfetched, but apparently it’s true!
I like Jason Statham because he’s one of those ruggedly handsome actors that appeals to men and women equally. He’s attractive but not soft. This is probably the most acting I’ve seen him do, as he’s usually kicking ass all over the place. He didn’t resort to fisticuffs until the movie’s final act, but I knew it was coming eventually. The Bank Job is one of those fast-paced mile-a-minute movies that assaults your senses and keeps you fixated the entire time. I mean, it starts with a threesome for crying out loud. I’m like okaaaaaay, I’m here with my mom. LOL. Anyway, I really dug it, it reminded me of Snatch or Lock, Stock and Two Smokin’ Barrels. You won’t be disappointed if you’re a fan of the genre. Even if you’re not, who doesn’t like a good caper flick?
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