After much fanfare, negative publicity, and overall inundation with all things Cruise, M:I3 hits theaters. This latest installment in the franchise is directed by J.J. Abrams, the man responsible for the television tales of super-spy Sydney Bristow on Alias.
Abrams reportedly wanted to focus more on character development and less on stunts and gadgetry in this one. Mission: Accomplished. In MI:3 Tom Cruise (War of the Worlds, Collateral) returns as Ethan Hunt, only now he is semi-retired from the covert IMF agency. Hunt has a pretty fiancee' Julia and anticipates a low-key future and normal existence. Of course it's never that easy in the movies. Hunt is sucked into a recovery mission involving a former protege Agent Lindsey Ferris, played by Keri Russell (Felicity). When Ferris is compromised the stage is set for Hunt and his team (Ving Rhames of Baby Boy, Jonathan Rhys Meyers of Match Point, and newcomer Maggie Q) to take action against the requisite villain Owen Davian, played by the fabulous Phillip Seymour Hoffman (The 25th Hour, Capote). Davian is part of some nefarious scheme involving a mysterious "rabbit's foot," which is apparently some chemical component to a nuclear weapon or whatever. Basically it's just some bad $hit. What it is exactly doesn't matter, but Hunt must get the rabbit's foot to stop Davian.
Despite Tom Cruise's recent reputation as a nutjob, I will still go see his movies, if they look good. I've been a fan since Top Gun, and I actually think he is underrated as an actor. Having said that, I will admit that he is not the same guy I liked so much in the past. Watching him on the screen I was reminded that this is "Crazy Cruise," and I found myself thinking of Katie Holmes and Scientology. These are the thoughts that will keep some people out of the theater, but at the end of the day it is what it is: Tom Cruise doing his thing. You get what you expect and you get what you pay for: lots of action and a pretty good storyline. Corny one-liners aside, it was a good flick and hopefully a preview of Hollywood's summer blockbusters to come.
Sunday, May 07, 2006
Sunday, April 23, 2006
The Sentinel
Michael Douglas (The Game, A Perfect Murder) returns to the silver screen alongside Kiefer Sutherland (most recently of 24), Kim Basinger (L.A. Confidential), and Eva Longoria (Desperate Housewives) in her big screen debut. This political thriller is set in D.C., offering a glimpse inside the elite world of the Secret Service.
Douglas is Pete Garrison, a seasoned agent assigned to protect the First Family. Kiefer Sutherland plays David Breckenridge, a former protege of Garrison, and Longoria is the rookie who was trained by Garrison and now works under Breckenridge. There is an inside plot to assassinate the President and Garrison is being framed. He must save the Prez, find the mole, and clear his name while eluding the Agency. One part cat and mouse, one part political intrigue, The Sentinel, is entertaining and suspenseful. The early part of the movie offers an interesting look at the intricacies of protecting the President on a daily basis. The President and First Lady (Basinger) have their every move shadowed and their schedules are meticulously planned. The agents seem to possess the unyielding loyalty required to sacrifice their lives without a moment's hesitation, and it's kinda cool to get a behind the scenes look at the whole thing, although I'm not sure the depiction is totally accurate.
Without revealing too much, I'll say that this is vintage Michael Douglas. The man has a knack for playing the guy who always gets in trouble behind a woman. See Disclosure, Fatal Attraction, and Basic Instinct for evidence of him letting his johnson get him in hot water.
The one crticism I have of The Sentinel is that the identity of the mole is not quite as mysterious as it could have been. There have been some outstanding political thrillers set in D.C. over the years like the classic No Way Out (Kevin Costner, Gene Hackman) and Suspect (Dennis Quaid, Cher). The Sentinel is not on the same level as these two, but it's a pretty solid movie and worth a look.
Douglas is Pete Garrison, a seasoned agent assigned to protect the First Family. Kiefer Sutherland plays David Breckenridge, a former protege of Garrison, and Longoria is the rookie who was trained by Garrison and now works under Breckenridge. There is an inside plot to assassinate the President and Garrison is being framed. He must save the Prez, find the mole, and clear his name while eluding the Agency. One part cat and mouse, one part political intrigue, The Sentinel, is entertaining and suspenseful. The early part of the movie offers an interesting look at the intricacies of protecting the President on a daily basis. The President and First Lady (Basinger) have their every move shadowed and their schedules are meticulously planned. The agents seem to possess the unyielding loyalty required to sacrifice their lives without a moment's hesitation, and it's kinda cool to get a behind the scenes look at the whole thing, although I'm not sure the depiction is totally accurate.
Without revealing too much, I'll say that this is vintage Michael Douglas. The man has a knack for playing the guy who always gets in trouble behind a woman. See Disclosure, Fatal Attraction, and Basic Instinct for evidence of him letting his johnson get him in hot water.
The one crticism I have of The Sentinel is that the identity of the mole is not quite as mysterious as it could have been. There have been some outstanding political thrillers set in D.C. over the years like the classic No Way Out (Kevin Costner, Gene Hackman) and Suspect (Dennis Quaid, Cher). The Sentinel is not on the same level as these two, but it's a pretty solid movie and worth a look.
Saturday, April 08, 2006
Lucky Number Slevin
Hell yeah. This is my kinda movie. Slick, cool, and complicated with a twist. Fast-paced and violent, Lucky Number Slevin features clever dialogue (sans one offensive religious reference) and a charismatic ensemble cast. The rundown: Josh Hartnett (Hollywood Homicide, O) is our wrong place, wrong time title character Slevin. This guy is anything BUT lucky. Bruce Willis (Sin City) is an emotionless assassin. Morgan Freeman (Million Dollar Baby) is "The Boss." Ben Kingsley (Sexy Beast) is "the Rabbi." Lucy Liu (Domino) is sweet on Slevin. Let me set it up real quick for ya. Slevin is going through a shitty little phase of his life, so he goes to visit his buddy Nick for some R&R. When he arrives at Nick's place he discovers he's not there. The next thing he knows two goons show up to collect on a debt that Nick owes. They think that Slevin is Nick (since he's in Nick's apartment) and cannot be convinced otherwise. Slevin would show them some ID if he had it, but he was mugged shortly after arriving in the city and doesn't have his wallet. Didn't I tell you this guy was unlucky? Slevin finds himself up shit's creek with a boat and no paddle after The Boss proposes a most unappealing way to settle the debt that Nick owes. Confused? Good. It may seem like I've told you too much about the movie, but trust: I did not spoil it for you. This movie twists and turns like you wouldn't believe.
Lucky Number Slevin has the coolness of a Tarantino flick mixed with the pacing of a Guy Ritchie (Snatch) film. I was about a half-step behind the entire time, but I figured out most of the twists right before they happened. The commercials depict Slevin as slick and funny, and it is-- but it is also darkly violent. The transition of Hartnett's character is something to behold. I imagine that the critics may not like how the movie switches gears, but I thought it was great. One minute I think it's clever and funny, the next minute they go and get all Usual Suspects on me. Shit was ill, check it out.
Lucky Number Slevin has the coolness of a Tarantino flick mixed with the pacing of a Guy Ritchie (Snatch) film. I was about a half-step behind the entire time, but I figured out most of the twists right before they happened. The commercials depict Slevin as slick and funny, and it is-- but it is also darkly violent. The transition of Hartnett's character is something to behold. I imagine that the critics may not like how the movie switches gears, but I thought it was great. One minute I think it's clever and funny, the next minute they go and get all Usual Suspects on me. Shit was ill, check it out.
V for Vendetta
Brilliant. This was a fantastic movie. I was somewhat reluctant to see it…it looked a little Zorro-ish or whatever, but boy was I wrong. Vendetta stars Natalie Portman (Golden State, Closer) and Hugo Weaving (The Matrix) as the masked vigilante/freedom-fighter "V." It was written by The Wachowski Brothers, the ingenious duo responsible for The Matrix trilogy.
V for Vendetta weaves a complicated Orwellian tale, borrowing intermittently from the overall themes and concepts of 1984. Set in the near future in England, the movie paints a frightening picture of a country controlled by a fascist chancellor. Art and music are not permitted. Citizens are monitored and speech is controlled. The government was empowered after a series of deadly plagues killed thousands of citizens and the powers-that-be produced a cure, at a cost. The cost is freedom. It is against this bleak backdrop that our hero V emerges, determined to awaken the people from their slumber. Natalie Portman stars as Evey, a young woman with a revolutionary spirit who is inadvertently sucked into V's world. Portman is a truly wonderful actress, and is nothing short of excellent, as usual. Weaving is similarly great, which is no small feat considering we never see his face.
Vendetta is not the first film to address conspiracy theories and police states, and I imagine that it won't be the last. What makes Vendetta provocative is the realism that is conveyed, thanks to an intricate script and stunning visual effects. It examines unbridled thirst for power, apathy, courage, and the driving forces behind human nature and complacency. A "thinking man's" popcorn flick, Vendetta is not for everyone; however, if you have an open mind I think you'll enjoy.
V for Vendetta weaves a complicated Orwellian tale, borrowing intermittently from the overall themes and concepts of 1984. Set in the near future in England, the movie paints a frightening picture of a country controlled by a fascist chancellor. Art and music are not permitted. Citizens are monitored and speech is controlled. The government was empowered after a series of deadly plagues killed thousands of citizens and the powers-that-be produced a cure, at a cost. The cost is freedom. It is against this bleak backdrop that our hero V emerges, determined to awaken the people from their slumber. Natalie Portman stars as Evey, a young woman with a revolutionary spirit who is inadvertently sucked into V's world. Portman is a truly wonderful actress, and is nothing short of excellent, as usual. Weaving is similarly great, which is no small feat considering we never see his face.
Vendetta is not the first film to address conspiracy theories and police states, and I imagine that it won't be the last. What makes Vendetta provocative is the realism that is conveyed, thanks to an intricate script and stunning visual effects. It examines unbridled thirst for power, apathy, courage, and the driving forces behind human nature and complacency. A "thinking man's" popcorn flick, Vendetta is not for everyone; however, if you have an open mind I think you'll enjoy.
Saturday, April 01, 2006
ATL
I need to release my inner teenager, the one that urges me go see movies like ATL and You Got Served. I entered the theater feeling slightly embarrassed that I was probably one of the oldest people there, at the ripe age of 26. Oh well, at least I didn't go alone, I drug two other old souls with me.
Loosely based on the adolescent experiences of music producer Dallas Austin, ATL tells the story of four high school friends and the ups and downs they endure as they prepare to enter adulthood. Rapper T.I. stars as Rashad, leader of the pack and level-headed mentor to a cute knucklehead little brother Anton, played by Diana Ross' youngest son, Evan Ross Naess. "Brooklyn" can't keep a job, "Esquire" is the college-bound member of the crew, and Teddy (Jason Weaver of Drumline) is a perpetual senior whose true age is a mystery. Rounding out the cast is Mykelti Williamson (Forrest Gump, Waiting to Exhale) as Rashad and Anton's uncle and caregiver, "New New," the sassy object of Rashad's affection, and Big Boi (one half of Outkast) as Marcus, flossy drug dealer. The city of Atlanta is practically a character as well, because first time director Chris Robinson captures its culture and residents so vividly.
ATL is a difficult movie to critique...I think it should be credited for a somewhat positive depiction of black life, despite the fact that Anton's character is tempted by the criminal lifestyle. The negative aspects of the movie are tempered by Rashad's integrity and sense of responsibility to his brother, and also by the light-heartedness we see in the boys' interaction with each other. At times the movie treads on clichéd ground with familiar themes of remaining true to oneself and the conflict between Rashad and New New, but I enjoyed it despite these shortcomings.
Every rapper thinks he can act nowadays, but T.I. and Big Boi are decent enough. T.I. actually brings a certain endearing sincerity to his role. However, there is room enough for only one toothpick in my life, and Pharrell already has that spot, sorry T.I. Pardon me for getting off track for a second, but T.I. is so skinny this dude actually manages to make a wife beater look baggy. It looked like a friggin' basketball jersey on him!
I'll try to help you make up your mind about going to see this one. Did you see Roll Bounce? What about You Got Served? If so, chances are you'll like ATL. If the thought of either of these movies made you throw up in your mouth a little, then maybe you should take a pass. ATL has more substance than Roll Bounce if you can get past the surface comparisons, but that's hard to do if you aren't inclined to see it in the first place. Give it a shot.
Loosely based on the adolescent experiences of music producer Dallas Austin, ATL tells the story of four high school friends and the ups and downs they endure as they prepare to enter adulthood. Rapper T.I. stars as Rashad, leader of the pack and level-headed mentor to a cute knucklehead little brother Anton, played by Diana Ross' youngest son, Evan Ross Naess. "Brooklyn" can't keep a job, "Esquire" is the college-bound member of the crew, and Teddy (Jason Weaver of Drumline) is a perpetual senior whose true age is a mystery. Rounding out the cast is Mykelti Williamson (Forrest Gump, Waiting to Exhale) as Rashad and Anton's uncle and caregiver, "New New," the sassy object of Rashad's affection, and Big Boi (one half of Outkast) as Marcus, flossy drug dealer. The city of Atlanta is practically a character as well, because first time director Chris Robinson captures its culture and residents so vividly.
ATL is a difficult movie to critique...I think it should be credited for a somewhat positive depiction of black life, despite the fact that Anton's character is tempted by the criminal lifestyle. The negative aspects of the movie are tempered by Rashad's integrity and sense of responsibility to his brother, and also by the light-heartedness we see in the boys' interaction with each other. At times the movie treads on clichéd ground with familiar themes of remaining true to oneself and the conflict between Rashad and New New, but I enjoyed it despite these shortcomings.
Every rapper thinks he can act nowadays, but T.I. and Big Boi are decent enough. T.I. actually brings a certain endearing sincerity to his role. However, there is room enough for only one toothpick in my life, and Pharrell already has that spot, sorry T.I. Pardon me for getting off track for a second, but T.I. is so skinny this dude actually manages to make a wife beater look baggy. It looked like a friggin' basketball jersey on him!
I'll try to help you make up your mind about going to see this one. Did you see Roll Bounce? What about You Got Served? If so, chances are you'll like ATL. If the thought of either of these movies made you throw up in your mouth a little, then maybe you should take a pass. ATL has more substance than Roll Bounce if you can get past the surface comparisons, but that's hard to do if you aren't inclined to see it in the first place. Give it a shot.
Sunday, March 26, 2006
Inside Man
Spike Lee's (25th Hour, She Hate Me) latest joint is a caper flick starring the always charismatic Denzel Washington (Out of Time), Clive Owen (most recently of Derailed), and Jodie Foster (Flightplan). This movie was a pleasure, obviously. It's a no-brainer, a recipe for a hit: add Academy Award winners Washington and Foster, pour in a little Spike Lee, and stir. Voila.
The movie opens with Owen's character explaining the bank heist that has presumably landed him in jail. We know that he executed the robbery, and we know where it took place. The story attempts to explain how and ultimately why it happened. The obvious motive is money, but the film takes an interesting turn when it appears that the events taking place inside the bank may not have anything to do with theft at all.
Regarding the performances, Washington can do no wrong, and neither can Foster, so you won't find any criticism of them here. As long as they have a decent script to work with, they can act circles around almost anyone. Neither of them will be adding another Oscar to their mantle with this movie, but that's not the point. Inside Man is clever and entertaining throughout, and Spike gets the most out of everyone. It was particularly nice to see Foster on screen in a departure from her recent pattern of freaked-out hero mom roles (Flightplan and Panic Room).
I'm also glad that Spike Lee, in my opinion, cannot be pigeon-holed as a director. Yes, he is THE premier black filmmaker of our era, and has been a pioneer in portraying the black experience—but Lee has demonstrated that he can tell ANY story, not just those involving African-American themes. He first showed the ability to branch out with Summer of Sam, which featured an entirely white cast, and also with 2002's 25th Hour, one of my absolute favorites. In sum, Inside Man does not take the caper flick to a whole new level, but it's a nice addition to the genre and well worth seeing.
The movie opens with Owen's character explaining the bank heist that has presumably landed him in jail. We know that he executed the robbery, and we know where it took place. The story attempts to explain how and ultimately why it happened. The obvious motive is money, but the film takes an interesting turn when it appears that the events taking place inside the bank may not have anything to do with theft at all.
Regarding the performances, Washington can do no wrong, and neither can Foster, so you won't find any criticism of them here. As long as they have a decent script to work with, they can act circles around almost anyone. Neither of them will be adding another Oscar to their mantle with this movie, but that's not the point. Inside Man is clever and entertaining throughout, and Spike gets the most out of everyone. It was particularly nice to see Foster on screen in a departure from her recent pattern of freaked-out hero mom roles (Flightplan and Panic Room).
I'm also glad that Spike Lee, in my opinion, cannot be pigeon-holed as a director. Yes, he is THE premier black filmmaker of our era, and has been a pioneer in portraying the black experience—but Lee has demonstrated that he can tell ANY story, not just those involving African-American themes. He first showed the ability to branch out with Summer of Sam, which featured an entirely white cast, and also with 2002's 25th Hour, one of my absolute favorites. In sum, Inside Man does not take the caper flick to a whole new level, but it's a nice addition to the genre and well worth seeing.
Sunday, March 05, 2006
Dave Chapelle's Block Party
Dave Chapelle brings us documentary footage from his summer 2004 block party in Brooklyn, New York. There isn't much to analyze about this movie, because it is what it is: Dave's favorite artists assembled together in the name of good old-fashioned REAL music. I think it's cool that Dave documented the concert/party because it shows that the music he appreciates is a reflection of what he believes in: an expression of truth at all costs. We know Dave is a straight shooter and that he pulls no punches, and this is mirrored by the musical company he keeps: Dead Prez, Common, Jill Scott, Badu, etc. We also see how Chapelle is a man of the people, both black and white. The concert was a soulful celebration of real music and black culture and quite simply just a dope-ass show. I love watching us do our thing, I wish I could've been at the show, it looks like it was epic for the Fugees alone. Even though Chapelle has a huge following on Comedy Central, I don't expect this movie to be a commercial success because it's not Dave doing comedy, it's about the music and Dave giving back to the people. Everybody can't get with that. If you liked Jay-Z's Fade to Black, you definitely should show Chapelle some love because Block Party is much better.
16 Blocks
Bruce Willis (most recently of Sin City) and Mos Def (The Hitchhiker's Guide to the Galaxy) star in this action thriller about a cop who must transport a witness 16 blocks to the courthouse so that he may testify against corrupt NYC police officers. The only problem is that New York's finest are determined to make sure Eddie (Mos Def) never reaches his destination.
I believe the premise of this movie is an exciting one, and I also enjoy Willis and Mos as talented actors. However, I don't think this movie is great. We as viewers know pretty early on what this movie is going to be about. The problem for me was that despite a good plot, I don't think the movie did an effective job of sustaining suspense and maintaing a tense, edge-of-your-seat feeling. A good example of a movie that pulled this off successfully was Speed. I know I reached back a little bit with that one, but Speed managed to do what 16 Blocks could not: introduce a great dilemma in the beginning but keep the audience entrenched in the movie the whole time. It just didn't deliver for me: overall a fairly decent movie but nothing spectacular. Mos Def is a charming and appealing renaissance man, and I am a fan of his acting and music; HOWEVER, he had the most annoying voice in this movie!! Oh my God, it was so irksome. I didn't like it at all and it took me a while to ignore it. There were also some plot holes that I don't feel like getting into, chalk it up to poor writing. All of Bruce Willis' Die Hard movies put this one to shame, and Mos Def's charm couldn't save his performance. Not a bad movie, but by no means is this a "must see."
I believe the premise of this movie is an exciting one, and I also enjoy Willis and Mos as talented actors. However, I don't think this movie is great. We as viewers know pretty early on what this movie is going to be about. The problem for me was that despite a good plot, I don't think the movie did an effective job of sustaining suspense and maintaing a tense, edge-of-your-seat feeling. A good example of a movie that pulled this off successfully was Speed. I know I reached back a little bit with that one, but Speed managed to do what 16 Blocks could not: introduce a great dilemma in the beginning but keep the audience entrenched in the movie the whole time. It just didn't deliver for me: overall a fairly decent movie but nothing spectacular. Mos Def is a charming and appealing renaissance man, and I am a fan of his acting and music; HOWEVER, he had the most annoying voice in this movie!! Oh my God, it was so irksome. I didn't like it at all and it took me a while to ignore it. There were also some plot holes that I don't feel like getting into, chalk it up to poor writing. All of Bruce Willis' Die Hard movies put this one to shame, and Mos Def's charm couldn't save his performance. Not a bad movie, but by no means is this a "must see."
Saturday, February 25, 2006
Running Scared
I LOVED this movie, I don't care what anyone has to say about it. Much like last year's Domino- which I also really liked despite its horrible reviews - Running Scared is a hectic and harrowing tale, spilling out on the screen like a stream of consciousness. With frenetic pacing and an erratic storyline, I hated to leave for the bathroom for fear I would miss something critical. Blasted apple martinis.
Paul Walker stars as Joey Gazelle, a low-level mob guy who has the task of disposing of dirty guns. When one such piece gets away from him before he has the chance to dump it, Joey has to track it down before his bosses and/or the cops find it. Who has the gun? It was last in the hands of Oleg (Cameron Bright of Birth), the next door neighbor and best friend of his young son Nicky. Running Scared lives up to its title as Walker frantically combs the city for the burner. It passes hands from one low-life to another, and Joey always seems to be one step behind. The story takes an interesting turn when his wife goes on a chase of her own to retrieve Oleg, who is on the run for reasons I won't reveal so I don't spoil it for you. What makes this flick interesting is the atmosphere, cinematography, and the performances. The director makes use of slow-mo shots, reverse techniques and interesting camera angles. The film is visually appealing, starkly colored with lots of washed-out imagery. Now, for the performances: Paul Walker might be my new obsession. His Jersey accent was great and I was surprised he was able to ditch his natural surfer-boy intonation. He showed some grit, which I believe is a departure from his more recent roles. Plus I aint gonna lie…he is hella sexy. He's hot! I tried to save that for the end so it won't seem like that's the real reason why I liked this movie, but I have to put it out there. Paul, I aint mad at 'cha. Now as for this kid actor Cameron Bright, he is kinda deep. I've only seen him in one other movie, 2004's Birth, and he was good in that one also, although it was a bit disturbing. This kid takes on some heavy roles and I give him credit for it. He's no Haley Joel Osment or Dakota Fanning but hey, he's good. If you liked Domino or you dig Tarantino, I think you'll like Running Scared. One thing's for certain: you won't be bored.
Paul Walker stars as Joey Gazelle, a low-level mob guy who has the task of disposing of dirty guns. When one such piece gets away from him before he has the chance to dump it, Joey has to track it down before his bosses and/or the cops find it. Who has the gun? It was last in the hands of Oleg (Cameron Bright of Birth), the next door neighbor and best friend of his young son Nicky. Running Scared lives up to its title as Walker frantically combs the city for the burner. It passes hands from one low-life to another, and Joey always seems to be one step behind. The story takes an interesting turn when his wife goes on a chase of her own to retrieve Oleg, who is on the run for reasons I won't reveal so I don't spoil it for you. What makes this flick interesting is the atmosphere, cinematography, and the performances. The director makes use of slow-mo shots, reverse techniques and interesting camera angles. The film is visually appealing, starkly colored with lots of washed-out imagery. Now, for the performances: Paul Walker might be my new obsession. His Jersey accent was great and I was surprised he was able to ditch his natural surfer-boy intonation. He showed some grit, which I believe is a departure from his more recent roles. Plus I aint gonna lie…he is hella sexy. He's hot! I tried to save that for the end so it won't seem like that's the real reason why I liked this movie, but I have to put it out there. Paul, I aint mad at 'cha. Now as for this kid actor Cameron Bright, he is kinda deep. I've only seen him in one other movie, 2004's Birth, and he was good in that one also, although it was a bit disturbing. This kid takes on some heavy roles and I give him credit for it. He's no Haley Joel Osment or Dakota Fanning but hey, he's good. If you liked Domino or you dig Tarantino, I think you'll like Running Scared. One thing's for certain: you won't be bored.
Friday, February 24, 2006
Freedomland
You can always count on Samuel L. Jackson for some hilarious profanity-laden quotes. He doesn't disappoint in Freedomland, but the movie is otherwise unmemorable. Guess what profane gem Sam Jack drops on us this time? He actually calls a guy "brotherfucker!" Get it? Instead of mother...ok, enough.
Freedomland begins on a night in the summer of 1999 in inner-city New Jersey. Brenda Martin, played by Julianne Moore (Hannibal, The Forgotten) has been carjacked by the omnipresent criminally-inclined young black male, with her 4 year old son still in the backseat. The largely white police department of the neighboring suburb of Gannon begin their shakedown of the neighborhood project where Brenda works as a teacher. Sam Jack plays Lorenzo Council, a badass (big surprise) cop who knows the projects and its residents intimately. The first half hour of the movie is great: the pacing is taut and the racial tension is palpable. Jackson is commanding in the role and his character is tough but tender. However, the project atmosphere is quickly exhausted and goes from tense to tiring.
Moore is a talented actress, but I personally found her character to become more annoying and less sympathetic as the story unfolded. She is essentially a bird-brained basketcase for the entire movie. When she goes to the hospital after the jacking she doesn't even say immediately that her son was still in the backseat of the car. I guess she's supposed to be in shock, but that just doesn't fly with me. Also, she has this gross lip-licking thing that she does. Ugh.
This movie had the potential to be really good, but ends up being tiring and unremarkable. There are solid performances from Jackson and Edie Falco (The Sopranos) as a missing children's crusader -- but Freedomland ultimately fizzles.
Freedomland begins on a night in the summer of 1999 in inner-city New Jersey. Brenda Martin, played by Julianne Moore (Hannibal, The Forgotten) has been carjacked by the omnipresent criminally-inclined young black male, with her 4 year old son still in the backseat. The largely white police department of the neighboring suburb of Gannon begin their shakedown of the neighborhood project where Brenda works as a teacher. Sam Jack plays Lorenzo Council, a badass (big surprise) cop who knows the projects and its residents intimately. The first half hour of the movie is great: the pacing is taut and the racial tension is palpable. Jackson is commanding in the role and his character is tough but tender. However, the project atmosphere is quickly exhausted and goes from tense to tiring.
Moore is a talented actress, but I personally found her character to become more annoying and less sympathetic as the story unfolded. She is essentially a bird-brained basketcase for the entire movie. When she goes to the hospital after the jacking she doesn't even say immediately that her son was still in the backseat of the car. I guess she's supposed to be in shock, but that just doesn't fly with me. Also, she has this gross lip-licking thing that she does. Ugh.
This movie had the potential to be really good, but ends up being tiring and unremarkable. There are solid performances from Jackson and Edie Falco (The Sopranos) as a missing children's crusader -- but Freedomland ultimately fizzles.
Monday, February 06, 2006
When A Stranger Calls
I can't believe this is the #1 movie in America right now. Wow. I can save you a trip to the theater. Have you seen the commercial? Ok, good. You've seen the movie. That's it, there's nothing more. I'm not exaggerating. I will admit that the director did a good job of building and sustaining tension in a confined space, but after a while it just became boring. I can't find one other remotely redeeming thing to say about this movie. There were no twists. There was no big payoff. You have the obligatory, "what the hell are you doing you stupid ass??" moment, followed by your "don't go in there!" scene. Complete teeny-bopper drivel.
Annapolis
Well, I had low expectations for this movie, and I wasn't disappointed. Or I guess you could say I WAS disappointed, because this one was USA Movie of the Week quality. I went for the eye candy (James Franco and Tyrese Gibson), but they weren't quite worth the price of admission.
Franco (Spiderman) stars as Jake Huard, a young man who dreamt of joining the U.S. Naval Academy as a boy. He aspires to surpass the blue collar lifestyle of his father and friends, who build naval ships for the Academy. The only things standing in his way are self-doubt and the character of Lt. Cole, played by Tyrese (Four Brothers). Cole is supposed to be the antagonist, but as a viewer I found myself disliking him because I knew I was supposed to, rather than because he was the bad guy everyone made him out to be. Writer David Collard (Out of Time) simply did a poor job of constructing a compelling story. Everything about the script was corny and underdeveloped, from Huard's silly interactions with love interest Jordana Brewster (The Fast and the Furious) to his relationships with boyhood friends. The only mildly endearing character was "Twins," an overweight but sweet cadet whom Huard befriends at the Academy. Riddled with clichés, Annapolis is one to skip. Skip it at the theater. Skip it at Blockbuster. Skip it on cable. I think my work here is done.
Franco (Spiderman) stars as Jake Huard, a young man who dreamt of joining the U.S. Naval Academy as a boy. He aspires to surpass the blue collar lifestyle of his father and friends, who build naval ships for the Academy. The only things standing in his way are self-doubt and the character of Lt. Cole, played by Tyrese (Four Brothers). Cole is supposed to be the antagonist, but as a viewer I found myself disliking him because I knew I was supposed to, rather than because he was the bad guy everyone made him out to be. Writer David Collard (Out of Time) simply did a poor job of constructing a compelling story. Everything about the script was corny and underdeveloped, from Huard's silly interactions with love interest Jordana Brewster (The Fast and the Furious) to his relationships with boyhood friends. The only mildly endearing character was "Twins," an overweight but sweet cadet whom Huard befriends at the Academy. Riddled with clichés, Annapolis is one to skip. Skip it at the theater. Skip it at Blockbuster. Skip it on cable. I think my work here is done.
Sunday, January 29, 2006
Something New
What a sweet and charming little movie. I guess this one can be classified as a "chick flick," but I hate that term. Think of it as a warm and fuzzy Jungle Fever in reverse. Actually that was a pretty bad analogy, but you get the picture -- this time it's a black woman stepping outside of her comfort zone by dating a white man.
First time director Sanaa Hamri gives us the story of Kenya, a successful, uptight and disappointedly single accountant played by the always lovely Sanaa Lathan (Out of Time). Like many educated black women, Kenya is seeking a man to compliment her ambitious lifestyle, but finds the pickins' to be quite slim. Enter Brian, (played by Simon Baker, most recently of Land of the Dead) a handsome landscaper who "takes hard earth and makes things bloom." Wink, wink, nudge, nudge. There aren't many surprises here, but this one is a winner because it realistically deals with the issues that face an interracial couple without becoming a one-trick pony (like last year's Guess Who). Lathan is dead-on in her portrayal of a sista who "doesn't do dogs, spiders, or hiking." Particularly authentic (in my uninformed opinion) is a scene where Kenya vents about a hard day at work dealing with "the man." Brian asks for one night without a discussion of race and Kenya tells him you don't "get a night off from being black." I thought this was a great scene, because it seems like a real concern that would face a black woman in a relationship with a white man. Kenya has an image of what she considers her "IBM" (ideal black man), but she learns that what you think you want is not always the best thing for you. Sometimes the real gift is not in the package we expected.
Another thing I really liked about the movie is that Kenya is a real sista, she's not a black Barbie wannabe. Brian is comfortable in his own skin as well, he's not some white boy trying to "act black" or fulfill a black girl Jezebel fantasy. These are just two people who have made a connection in a world where true love can be rare. Although Brian is a prize (he paints her toenails for cryin' out loud!), director Hamri does not tout the virtues of white men at the expense of black men. There is no bashing of black men, which I'm sure we can all appreciate. If you're looking for a sweet and refreshing take on the old "boy meets girl" premise, check this one out. Check it out anyway because we need to support a departure from the same old black date flicks that recycle some combination of Gabrielle Union, Morris Chestnutt and Taye Diggs. A white dude providing the diversity and spice, who woulda thunk it??
First time director Sanaa Hamri gives us the story of Kenya, a successful, uptight and disappointedly single accountant played by the always lovely Sanaa Lathan (Out of Time). Like many educated black women, Kenya is seeking a man to compliment her ambitious lifestyle, but finds the pickins' to be quite slim. Enter Brian, (played by Simon Baker, most recently of Land of the Dead) a handsome landscaper who "takes hard earth and makes things bloom." Wink, wink, nudge, nudge. There aren't many surprises here, but this one is a winner because it realistically deals with the issues that face an interracial couple without becoming a one-trick pony (like last year's Guess Who). Lathan is dead-on in her portrayal of a sista who "doesn't do dogs, spiders, or hiking." Particularly authentic (in my uninformed opinion) is a scene where Kenya vents about a hard day at work dealing with "the man." Brian asks for one night without a discussion of race and Kenya tells him you don't "get a night off from being black." I thought this was a great scene, because it seems like a real concern that would face a black woman in a relationship with a white man. Kenya has an image of what she considers her "IBM" (ideal black man), but she learns that what you think you want is not always the best thing for you. Sometimes the real gift is not in the package we expected.
Another thing I really liked about the movie is that Kenya is a real sista, she's not a black Barbie wannabe. Brian is comfortable in his own skin as well, he's not some white boy trying to "act black" or fulfill a black girl Jezebel fantasy. These are just two people who have made a connection in a world where true love can be rare. Although Brian is a prize (he paints her toenails for cryin' out loud!), director Hamri does not tout the virtues of white men at the expense of black men. There is no bashing of black men, which I'm sure we can all appreciate. If you're looking for a sweet and refreshing take on the old "boy meets girl" premise, check this one out. Check it out anyway because we need to support a departure from the same old black date flicks that recycle some combination of Gabrielle Union, Morris Chestnutt and Taye Diggs. A white dude providing the diversity and spice, who woulda thunk it??
Sunday, December 18, 2005
King Kong
Well well. This one has certainly been hyped. For the most part, King Kong lives up to its buzz. Peter Jackson (The Lord of the Rings trilogy) directs this blockbuster starring Jack Black (School of Rock, Shallow Hal), Naomi Watts (The Ring, 21 Grams) and Adrien Brody (most recently of The Jacket). All three do a fine job, though it's hard for me to look at Jack Black without laughing.
Set in the Depression era, Kong begins with a (presumably) realistic slice of Americana seen through the eyes of filmmaker Carl Denham (Black) and aspiring actress Ann Darrow (Watts). Both need a hit movie: Denham to save his fledgling career and Darrow to simply eat and survive. In search of a fresh face for his latest picture, Denham meets Darrow by chance and she agrees to do the movie. The only catch is that filming will take place in a remote location, accessible only by boat. The cast and crew, including Brody as screenwriter Jack Driscoll, find the island only to discover it inhabitaed by hostile and violent natives. They abduct Darrow and set the stage for the moment we've all been waiting for: the introduction of Kong. The only word to describe the beast is amazing. His expressions are nuanced and human-like, giving a strange quality of depth to the portrayal. Props to the folks at CGI, or whoever made this thing, because it looks real. The interaction between Watts and the beast is really very good, especially given that Watts was probably in front of a green screen during filming. She looks as if she's staring right at the gorilla and into his soul. Their interaction is a strange mix of love, fear, bewilderment and wonder. Kong seems genuinely in love with Ann Darrow, and she appears to have the beauty and gentility required to tame the savage beast.
The special effects are incredible, and there is a particularly long action sequence that lasts 10-15 minutes. No dialouge is necessary because Jackson has the audience riveted with what's taking place on screen. Suffice to say that Kong is one bad MF. One drawback, in my opinion, was that the first part of the movie prior to them arriving on the island was a tad boring. I had a few long blinks. At 3 hours and 7 minutes this movie is long as hell -- and you feel it in the beginning. Bring out the ape already. Overall King Kong was thoroughly entertaining, though I don't think it's good enough to surpass Titanic as the highest grossing movie of all time, as some are suggesting. King Kong: hot monkey love disaster flick with a heart.
Set in the Depression era, Kong begins with a (presumably) realistic slice of Americana seen through the eyes of filmmaker Carl Denham (Black) and aspiring actress Ann Darrow (Watts). Both need a hit movie: Denham to save his fledgling career and Darrow to simply eat and survive. In search of a fresh face for his latest picture, Denham meets Darrow by chance and she agrees to do the movie. The only catch is that filming will take place in a remote location, accessible only by boat. The cast and crew, including Brody as screenwriter Jack Driscoll, find the island only to discover it inhabitaed by hostile and violent natives. They abduct Darrow and set the stage for the moment we've all been waiting for: the introduction of Kong. The only word to describe the beast is amazing. His expressions are nuanced and human-like, giving a strange quality of depth to the portrayal. Props to the folks at CGI, or whoever made this thing, because it looks real. The interaction between Watts and the beast is really very good, especially given that Watts was probably in front of a green screen during filming. She looks as if she's staring right at the gorilla and into his soul. Their interaction is a strange mix of love, fear, bewilderment and wonder. Kong seems genuinely in love with Ann Darrow, and she appears to have the beauty and gentility required to tame the savage beast.
The special effects are incredible, and there is a particularly long action sequence that lasts 10-15 minutes. No dialouge is necessary because Jackson has the audience riveted with what's taking place on screen. Suffice to say that Kong is one bad MF. One drawback, in my opinion, was that the first part of the movie prior to them arriving on the island was a tad boring. I had a few long blinks. At 3 hours and 7 minutes this movie is long as hell -- and you feel it in the beginning. Bring out the ape already. Overall King Kong was thoroughly entertaining, though I don't think it's good enough to surpass Titanic as the highest grossing movie of all time, as some are suggesting. King Kong: hot monkey love disaster flick with a heart.
Monday, December 12, 2005
Aeon Flux
I was looking forward to this one, and I must say that I was mildly disappointed. Charlize Theron (most recently of North Country) stars in the title role, which is based on the early 1990's MTV cartoon of the same name. I watched the cartoon a few times back in the day and it was hella weird.
Theron is not bad as Aeon, my complaint is just that the movie was inexplicably strange and unfulfilling. There is something about it I didn't like, I just can't quite put my finger on it or articulate it. I know this nebulous description is useless in determining whether or not you should check this movie out, but bear with me. The movie is set in the future (of course), where the government is controlled by Trevor Goodchild, a man who is trying to preserve life in the last known society on Earth. You see, a plague has eliminated nearly all of the world's population. The survivors reside in Bregna, a fortified city surrounded by a wall. Aeon is a member of a small rebel faction seeking to overthrow the administration. Goodchild seems to be up to something nefarious, and Aeon is dispatched to assassinate him. When she gets the opportunity to do the deed, she spares him. It seems they have a past connection. The rest of the movie explores the aforementioned connection and the underlying secrets of the Goodchild adminstration.
This movie is not as cool as it looks. There are a few good scenes, but you've seen most of them in the trailer. Aeon is cool, but she does not kick enough ass. The special effects and fight choreography also look cheesy. It's too acrobatic. I've seen more realistic fight scenes from The Bride in Kill Bill, and if you want to go for the implausible but sick, Trinity in The Matrix was better. Sooooo.....if I were you I'd wait until this little number is on DVD.
Theron is not bad as Aeon, my complaint is just that the movie was inexplicably strange and unfulfilling. There is something about it I didn't like, I just can't quite put my finger on it or articulate it. I know this nebulous description is useless in determining whether or not you should check this movie out, but bear with me. The movie is set in the future (of course), where the government is controlled by Trevor Goodchild, a man who is trying to preserve life in the last known society on Earth. You see, a plague has eliminated nearly all of the world's population. The survivors reside in Bregna, a fortified city surrounded by a wall. Aeon is a member of a small rebel faction seeking to overthrow the administration. Goodchild seems to be up to something nefarious, and Aeon is dispatched to assassinate him. When she gets the opportunity to do the deed, she spares him. It seems they have a past connection. The rest of the movie explores the aforementioned connection and the underlying secrets of the Goodchild adminstration.
This movie is not as cool as it looks. There are a few good scenes, but you've seen most of them in the trailer. Aeon is cool, but she does not kick enough ass. The special effects and fight choreography also look cheesy. It's too acrobatic. I've seen more realistic fight scenes from The Bride in Kill Bill, and if you want to go for the implausible but sick, Trinity in The Matrix was better. Sooooo.....if I were you I'd wait until this little number is on DVD.
Sunday, November 13, 2005
Get Rich or Die Tryin'
The s*it was terrible. Period. I will leave a little room for the possibility that my interpretation was skewed by the number of mojitos I drank at the bar before the movie, BUT I'm pretty sure it still sucked. I also went to the bathroom for two minutes, so maybe those were a really good two minutes that would've explained everything...somehow I doubt it. My date was snoring. If you like the straight- to-video rap movies advertised in the Source magazine, maybe Get Rich or Die Tryin' is just the movie for you. There are plenty of good hip-hop influenced movies out there, from Belly to 8 Mile to Hustle & Flow. Get Rich aint one of 'em. There are plenty of talented rappers turned actors, from Will Smith to Ice Cube and even DMX. Fifty aint one of 'em. Actually, his performance was better than I thought it would be and his acting wasn't even the biggest problem with the movie. The movie was just a bunch of random $hit happening. A collection of scenes. Terrence Howard (Crash, Four Brothers) has been in everything this year and the brother is talented, but this was a waste. Joy Bryant (The Skeleton Key, Antwone Fisher) is featured as Fif's girl, so the role was pretty basic. Homeboy from Oz plays the gangster who won't let 50 go straight. OK I'm done really trying to break this movie down like it was something. I didn't like it. Go see it if you want.
Saturday, November 12, 2005
Derailed
This suspense thriller is an okay addition to the genre, but it's definitely not going to set the world on fire nor the box office. I suspect that moviegoers may want to see Jennifer Aniston (Along Came Polly, Bruce Almighty) shine in her first post-Friends role, so the movie may do well in its first week. After that, I expect it to sink. Who knows, maybe I'll be surprised.
Aniston stars as Lucinda Harris alongside Clive Owen (Sin City, Closer) in this somewhat predictable movie. Owen plays Charles Schine, a married man who encounters Lucinda on a train during his morning commute. She pays his fare when he comes up short, and the "sparks" fly. Except they really don't. But I can tell I'm supposed to think that they are flying. Sorry, Jennifer Aniston is not a knockout, so I'm not buying that she's this head-turner who has all the men on the train breaking their collective necks just to get a peek. Charles is open to the idea of getting to know Lucinda better because his marriage is strained. He and his wife are caring for a diabetic child and have stretched their finances to the limit. Thus the door is open for an affair, and Lucinda strolls right through it. The plot thickens when their seemingly impromptu meeting at a hotel goes violently awry. Suddenly getting busted on a late-night creep session by the wife is the least of Charles' problems. I'll stop right there. The rest of the movie is comprised of Charles trying to get his life back on track.
I dig these kinds of movies, so I figured I'd check it out, despite the fact that I'm not really a Jennifer Aniston fan. She did an okay job, but the role could've been so much more. I can't figure out if it was the writing or just her performance. She didn't do anything really wrong, but she didn't really do anything right either. I will need to see her in something else before I'm convinced that she has any depth or range to speak of. I like Clive Owen, so I think he did a fine job, although nobody will be winning any awards for this one. However, I must say that Vincent Cassel (never heard of him before this) was very good as the villain who terrorizes Owen's character. Xzibit (XXX: State of the Union) and RZA (of Wu-Tang for you non-hip hop heads) are in this too, so that was kinda interesting. X to the Z is a decent actor, although not much was required of him. RZA was sorta cute as the mail guy at Charles' job.
This movie was kinda cheesy. I had to laugh when Charles went to the "hood," and the filmmakers were sure to cue in the "gangsta" rap to make sure the audience knew that Charles was going to encounter some scary ethnic types. If you're a big Aniston fan, you'll probably like this. If you're a fan of really good movies, maybe you better wait for the DVD.
Aniston stars as Lucinda Harris alongside Clive Owen (Sin City, Closer) in this somewhat predictable movie. Owen plays Charles Schine, a married man who encounters Lucinda on a train during his morning commute. She pays his fare when he comes up short, and the "sparks" fly. Except they really don't. But I can tell I'm supposed to think that they are flying. Sorry, Jennifer Aniston is not a knockout, so I'm not buying that she's this head-turner who has all the men on the train breaking their collective necks just to get a peek. Charles is open to the idea of getting to know Lucinda better because his marriage is strained. He and his wife are caring for a diabetic child and have stretched their finances to the limit. Thus the door is open for an affair, and Lucinda strolls right through it. The plot thickens when their seemingly impromptu meeting at a hotel goes violently awry. Suddenly getting busted on a late-night creep session by the wife is the least of Charles' problems. I'll stop right there. The rest of the movie is comprised of Charles trying to get his life back on track.
I dig these kinds of movies, so I figured I'd check it out, despite the fact that I'm not really a Jennifer Aniston fan. She did an okay job, but the role could've been so much more. I can't figure out if it was the writing or just her performance. She didn't do anything really wrong, but she didn't really do anything right either. I will need to see her in something else before I'm convinced that she has any depth or range to speak of. I like Clive Owen, so I think he did a fine job, although nobody will be winning any awards for this one. However, I must say that Vincent Cassel (never heard of him before this) was very good as the villain who terrorizes Owen's character. Xzibit (XXX: State of the Union) and RZA (of Wu-Tang for you non-hip hop heads) are in this too, so that was kinda interesting. X to the Z is a decent actor, although not much was required of him. RZA was sorta cute as the mail guy at Charles' job.
This movie was kinda cheesy. I had to laugh when Charles went to the "hood," and the filmmakers were sure to cue in the "gangsta" rap to make sure the audience knew that Charles was going to encounter some scary ethnic types. If you're a big Aniston fan, you'll probably like this. If you're a fan of really good movies, maybe you better wait for the DVD.
Wednesday, November 09, 2005
Check for this TV Show: Criminal Minds
This show is great. I don't really get into the new dramas the networks unleash on us every Fall, but Criminal Minds is like a mini-movie each week. Like Law & Order, CSI, and other prime time crime dramas, Criminal Minds is self-contained and doesn't require that you watch each episode, so jump in any week. The premise: a group of FBI profilers solve sadistic and heinous crimes through careful deconstruction of the victims' lives. This show isn't exactly breaking new ground in terms of the profiler plot, but it is uniquely entertaining in its darkness. It's like a psychological thriller done for the small screen, and each week the case is just as chilling as the last. CBS has definitely become the network for crime/mystery dramas and features the best: Cold Case, all of the CSIs, and Without a Trace. If you're not doing anything else, Criminal Minds is definitely worth a look. Wednesdays 9 PM EST on CBS. Starring: Mandy Patinkin (Dead Like Me) and Shemar Moore (Diary of a Mad Black Woman, The Brothers).
Sunday, November 06, 2005
Jarhead
I was really looking forward to this movie, and I was not disappointed. Jarhead features a stellar cast in both starring and supporting roles. Jake Gyllenhaal (Donnie Darko, The Day After Tomorrow) stars as 20 year old Anthony Swofford, a real-life Marine who served in Desert Storm. The movie tells of his personal experiences dealing with the boredom, uncertainty, anxiety and disappointment that may come with military service.
Set in 1989(?), Jarhead paints a truly realistic portrait of Marine life, from the hazing rituals to the Marine vernacular. Anyone who knows a Marine or is a Marine themselves can see that director Sam Mendes (Road to Perdition, American Beauty) did his homework. I guess it's pretty easy to convey the authenticity since the movie is not fictionalized, although I assume some artistic liberties were taken. FYI, a "jarhead" is another name for a Marine and the name comes from the standard haircut which makes the Marine's head look like a jar.
Gyllenhaal has really grown on me. Swofford is wide-eyed but gutsy, and never tries to be something he isn't. He misses his girlfriend and wonders if "Jody" is keeping her company. He's proud to serve his country and is a good marine, but like a lot of Marines, his grip on sanity is a bit loose. His experiences in Desert Storm show the pointlessness of his purpose….he is a sniper who never even gets to fire his gun. I could feel his boredom and desire for some "action" in the desert. How does one "fight" in a war as a sniper and never fire his gun?? Particularly effective was a scene between Gyllenhall and Peter Sarsgaard (Flightplan, Shattered Glass) as they return from a mission to find that the war is over. The other members of their troop are partying, drinking, celebrating and dancing around a fire, happy to be returning home after months in the sweltering heat. Their euphoria and wild abandonment contrast sharply with Gyllenhaal and Sarsgaards's crestfallen faces. They should be happy, the war is over and we won! They can go home now. However, the unspoken question is "what was the point?" What did I do, why was I here?" And to top it off…I never even fired my weapon! This feeling dissipates as Sarsgaard's character tells Swofford to fire his weapon now. A great scene follows where Swofford fires his weapon in the air and sets off a chain reaction. Men. Gotta love 'em. They're so beastly and cute.
Anyway, suffice to say this movie was highly entertaining and gave a different account of the military. There are many great war movies out there (Full Metal Jacket, Born on the Fourth of July), but this one (I think) is the first one to capture the mundane aspects and real day to day experiences of a soldier who didn't see much combat. Gyllenhaal was simply great and Peter Sarsgaard is a supremely underrated actor. This man should be a bigger star than he is. Jamie Foxx as Staff Sargeant Sykes is also great. Foxx doesn't even seem like he was ever a stand-up comedian, this man is a real actor who can hang with anyone on the big screen. The cinematography and imagery were also beautiful. There's a scene where Foxx and Gyllenhall are shown in silouhette against the backdrop of a red and orange sky as oil fires burn in the distance. Good stuff. I put Jarhead in my top 3 of the year, behind Crash and ahead of Sin City. Check it out.
Set in 1989(?), Jarhead paints a truly realistic portrait of Marine life, from the hazing rituals to the Marine vernacular. Anyone who knows a Marine or is a Marine themselves can see that director Sam Mendes (Road to Perdition, American Beauty) did his homework. I guess it's pretty easy to convey the authenticity since the movie is not fictionalized, although I assume some artistic liberties were taken. FYI, a "jarhead" is another name for a Marine and the name comes from the standard haircut which makes the Marine's head look like a jar.
Gyllenhaal has really grown on me. Swofford is wide-eyed but gutsy, and never tries to be something he isn't. He misses his girlfriend and wonders if "Jody" is keeping her company. He's proud to serve his country and is a good marine, but like a lot of Marines, his grip on sanity is a bit loose. His experiences in Desert Storm show the pointlessness of his purpose….he is a sniper who never even gets to fire his gun. I could feel his boredom and desire for some "action" in the desert. How does one "fight" in a war as a sniper and never fire his gun?? Particularly effective was a scene between Gyllenhall and Peter Sarsgaard (Flightplan, Shattered Glass) as they return from a mission to find that the war is over. The other members of their troop are partying, drinking, celebrating and dancing around a fire, happy to be returning home after months in the sweltering heat. Their euphoria and wild abandonment contrast sharply with Gyllenhaal and Sarsgaards's crestfallen faces. They should be happy, the war is over and we won! They can go home now. However, the unspoken question is "what was the point?" What did I do, why was I here?" And to top it off…I never even fired my weapon! This feeling dissipates as Sarsgaard's character tells Swofford to fire his weapon now. A great scene follows where Swofford fires his weapon in the air and sets off a chain reaction. Men. Gotta love 'em. They're so beastly and cute.
Anyway, suffice to say this movie was highly entertaining and gave a different account of the military. There are many great war movies out there (Full Metal Jacket, Born on the Fourth of July), but this one (I think) is the first one to capture the mundane aspects and real day to day experiences of a soldier who didn't see much combat. Gyllenhaal was simply great and Peter Sarsgaard is a supremely underrated actor. This man should be a bigger star than he is. Jamie Foxx as Staff Sargeant Sykes is also great. Foxx doesn't even seem like he was ever a stand-up comedian, this man is a real actor who can hang with anyone on the big screen. The cinematography and imagery were also beautiful. There's a scene where Foxx and Gyllenhall are shown in silouhette against the backdrop of a red and orange sky as oil fires burn in the distance. Good stuff. I put Jarhead in my top 3 of the year, behind Crash and ahead of Sin City. Check it out.
Sunday, October 23, 2005
Domino
Yo, this movie was all over the place. Frenetic and stylish, director Tony Scott (Man on Fire, Enemy of the State) brings us the real life (sort of) tale of Domino Harvey, a former model and bounty hunter. Keira Knightley (Pirates of the Caribbean) stars in the title role, accompanied by a hodgepodge of other actors ranging from Mickey Rourke (Sin City) as sidekick/mentor to Lucy Liu (Charlie's Angels) as an FBI interrogator.
The story begins at the end and is interspersed with flashbacks throughout. The basic plot is that Domino, Choco (Edgar Ramirez) and Ed (Rourke) must retrieve 10 million dollars that was stolen from the owner of the Stratosphere casino in Vegas. Everything else that happens in the movie varies from comic (a Jerry Springer clip) to violent (can we say missing limb?) to erotic (impromptu lap dance). Was Tony Scott on acid when he made this? The lighting is stark and there are a million flashbacks – some as far back as Domino's childhood – some as recent as two years ago. Domino has been soundly trashed by the critics, and I can see why. The story has some pretty absurd elements towards the end, but I also think the writing is very smart in other places. Domino can be described as all of the following: Action, Crime Drama, and Biopic. The movie was scattered and random as hell but I thought it was pretty kick ass and entertaining. It's a little sad that the real life Domino died about a month before the movie's release, but we do get to see her for a second at the very end. This movie was cool and different: violent, funny, provocative and a bit trashy. Knightley seemed to relish the role and it comes across on screen. The humanity of the character is never lost. Domino: sloppy mess but a fun ride.
The story begins at the end and is interspersed with flashbacks throughout. The basic plot is that Domino, Choco (Edgar Ramirez) and Ed (Rourke) must retrieve 10 million dollars that was stolen from the owner of the Stratosphere casino in Vegas. Everything else that happens in the movie varies from comic (a Jerry Springer clip) to violent (can we say missing limb?) to erotic (impromptu lap dance). Was Tony Scott on acid when he made this? The lighting is stark and there are a million flashbacks – some as far back as Domino's childhood – some as recent as two years ago. Domino has been soundly trashed by the critics, and I can see why. The story has some pretty absurd elements towards the end, but I also think the writing is very smart in other places. Domino can be described as all of the following: Action, Crime Drama, and Biopic. The movie was scattered and random as hell but I thought it was pretty kick ass and entertaining. It's a little sad that the real life Domino died about a month before the movie's release, but we do get to see her for a second at the very end. This movie was cool and different: violent, funny, provocative and a bit trashy. Knightley seemed to relish the role and it comes across on screen. The humanity of the character is never lost. Domino: sloppy mess but a fun ride.
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