The Departed is a movie-lover’s wet dream. It was impossible for this film to be anything less than fantastic, and I think it’s an instant classic. The cast is absolutely stellar, reading like a virtual who’s who of Hollywood. You’ve got Martin Sheen (Apocalypse Now, The West Wing), Mark Wahlberg (Four Brothers), and Alec Baldwin (Malice, Glengarry Glen Ross)…and that’s just the supporting cast. Any one of these actors could carry a movie on his own, but perhaps the most important name attached to The Departed is that of its legendary director, Martin Scorsese. Scorsese is responsible for some of the greatest movies of the last 30 years, and it ought to be a crime that he hasn’t won an Academy Award yet. Goodfellas, Casino, Taxi Driver, Raging Bull…I dare say that the man is at least partly responsible for making Robert Deniro one of the finest American actors of our time. I think you get the idea.
The Departed’s premise is an enticing one: the Irish Mafia, led by boss Frank Costello (Jack Nicholson of Batman, As Good As It Gets) has placed a mole in the Massachusetts State Police Department. Conversely, the police have one of their own deep undercover in Costello’s organization. Matt Damon (The Bourne Identity, The Talented Mr. Ripley) plays Colin Sullivan, Costello’s unofficially adopted son, and Leonardo DiCaprio (The Aviator, The Basketball Diaries) stars as Billy Costigan, the undercover officer. I still think that Matt Damon is rather underrated, but hopefully that’s a notion that can be dispelled permanently. He lends his character a charming craftiness, giving Sullivan a resourceful arrogance that permeates the film. DiCaprio is simply masterful in his portrayal of Costigan as tortured but courageous. His character must reveal and exploit his own weaknesses in an attempt to curry Costello’s trust. Costigan is sympathetic without being weak, fearful without seeming cowardly. Nicholson is tailor-made for his role as ruthless mobster, and he does it as only he can do it. He’s got the eyebrows raised in his trademark sneer, and he has the same demented look he wore in The Shining. The Departed is also cleverly-written, with lots of salty dialogue and ‘F-bombs’ aplenty. I loved it! By the way, I think Mark Wahlberg has replaced Vin Diesel as the #2 bad ass MF in the movies. Of course Samuel L. Jackson is #1, but I digress. Bottom line: The Departed is a must-see movie, and easily the best of ’06 so far.
Sunday, October 15, 2006
Tuesday, October 10, 2006
Little Miss Sunshine
Unlike most comedies, Little Miss Sunshine teaches a lesson, albeit an unintentional one. This movie is as much about family as it is about laughs. It follows the Hoover clan in its trek across country to enter its littlest member in a beauty pageant. Mom (Toni Collette of In Her Shoes) and Dad (Greg Kinnear of As Good As It Gets) are in charge of this lovingly dysfunctional bunch, which includes Grandpa, Uncle Frank (the always hilarious Steve Carrell of The 40-Year Old Virgin), son Dwayne, and the aforementioned Olive. Wanna know how messed up this family is? Dad is a washed-up motivational speaker, Frank just attempted suicide, Dwayne hasn't uttered a word in months, and Grandpa is a cokehead. Oh yeah, let the good times roll. Yet somehow it works, because when the chips are down the Hoover family is there for one another - reminding us that you can't pick your family, but that's probably what makes them so special. Little Miss Sunshine might be the funniest movie of the year, because the laughs aren't cheap, they're heartfelt. There are no sight gags, no gross-out humor...just a touchingly funny portrayal of a family that isn't so strange after all.
Monday, September 11, 2006
Hollywoodland
I enjoyed this noir movie. With a dash of mystery and plenty of old-Hollywood glamour and sophistication, Hollwoodland harkens back to an era where actors and actresses were icons. The women were beautiful, the men were handsome, and a cigarette dangled elegantly from every pair of lips. Much like L.A. Confidential, Hollywoodland depicts 1950s Los Angeles as an alluring but dangerous place.
The movie is based on the life and brief career of George Reeves, the actor who portrayed Superman in the original television series. Ben Affleck (Paycheck, Pearl Harbor) plays Reeves, a charming, charismatic, and naively sincere actor looking to branch out from the character of Superman. As you know, Reeves allegedly committed suicide. The movie explores a variety of competing theories as to Reeves’ cause of death. The story is really told through the perspective of Louis Simo (Adrien Brody of The Jacket), a seedy private investigator looking for a quick buck by selling a sensational cover-up story to the newspapers. While investigating Reeves’ death, Simo realizes that there are many people who had a motive to bump him off, including his mistress Toni Mannix (Diane Lane of Unfaithful), his bitchy fiancée, and the husband of his mistress--the powerful head of MGM studios.
Adrien Brody is very convincing in his role, as Simo’s quest for the truth begins to erode his life. Diane Lane is good in just about anything she does, and she plays Toni with just the right amount of love, lust and venom. Now for Ben Affleck. I noticed that the commercials for Hollywoodland fail to mention his name in connection with the movie. Three years ago he would have received top billing. Now he’s relegated to third place, billed behind Brody and Lane. Just an observation. I think Affleck did a good job in the role. Say what you will, but he’s charming, tall, and handsome if nothing else. He doesn’t do it for me, but he’s got the movie star thing going, and I think that star quality serves him well, especially in the scene where he first meets Toni. He’s the boy toy to her seductive older woman, and it works well. Hollywoodland is a lot of things rolled into one: drama, mystery, and most importantly: a sad commentary on the ruthlessness of an industry that thrives on the believability of facades and lies. You’ll leave with the same unanswered questions you had at the beginning, but I guess that’s the point.
The movie is based on the life and brief career of George Reeves, the actor who portrayed Superman in the original television series. Ben Affleck (Paycheck, Pearl Harbor) plays Reeves, a charming, charismatic, and naively sincere actor looking to branch out from the character of Superman. As you know, Reeves allegedly committed suicide. The movie explores a variety of competing theories as to Reeves’ cause of death. The story is really told through the perspective of Louis Simo (Adrien Brody of The Jacket), a seedy private investigator looking for a quick buck by selling a sensational cover-up story to the newspapers. While investigating Reeves’ death, Simo realizes that there are many people who had a motive to bump him off, including his mistress Toni Mannix (Diane Lane of Unfaithful), his bitchy fiancée, and the husband of his mistress--the powerful head of MGM studios.
Adrien Brody is very convincing in his role, as Simo’s quest for the truth begins to erode his life. Diane Lane is good in just about anything she does, and she plays Toni with just the right amount of love, lust and venom. Now for Ben Affleck. I noticed that the commercials for Hollywoodland fail to mention his name in connection with the movie. Three years ago he would have received top billing. Now he’s relegated to third place, billed behind Brody and Lane. Just an observation. I think Affleck did a good job in the role. Say what you will, but he’s charming, tall, and handsome if nothing else. He doesn’t do it for me, but he’s got the movie star thing going, and I think that star quality serves him well, especially in the scene where he first meets Toni. He’s the boy toy to her seductive older woman, and it works well. Hollywoodland is a lot of things rolled into one: drama, mystery, and most importantly: a sad commentary on the ruthlessness of an industry that thrives on the believability of facades and lies. You’ll leave with the same unanswered questions you had at the beginning, but I guess that’s the point.
Monday, September 04, 2006
Crank
Absolute garbage. That's all I can say. Despite starring the super-sexy Jason Statham (The Transporter), the only man ever to look good with a bald spot, Crank was just terrible. The movie's creators seemed to have done a wholesale ripoff of director Tony Scott's (Domino)movie-making style, with much less success.
Statham stars as Chev Chelios, a hitman with one hour to live. He's been injected with a poisonous concoction that inhibits his body's ability to produce adrenaline. He must do any and everything possible to boost his adrenaline, because [paraphrase] "if he stops, he's dead." Okay, I know the plot sounds like it has the potential to make for a good movie, but it's just an excuse to watch Chelios run around half-cocked on a revenge mission. Don't get me wrong, Crank has its perversely entertaining moments. He snorts coke, chops off a guy's hand, and literally screws his girlfriend (Amy Smart of Road Trip, The Butterfly Effect) in the middle of Chinatown, all to increase his adrenaline. This movie was just terrible. I didn't expect much to begin with, but it was worse than I ever imagined. The teenage boys who sat in front of me in the theater thought it was great, but if you don't fall into the 16-19 male demographic, I suggest you take a pass on Crank. It was an hour and a half of my life I can never get back.
Statham stars as Chev Chelios, a hitman with one hour to live. He's been injected with a poisonous concoction that inhibits his body's ability to produce adrenaline. He must do any and everything possible to boost his adrenaline, because [paraphrase] "if he stops, he's dead." Okay, I know the plot sounds like it has the potential to make for a good movie, but it's just an excuse to watch Chelios run around half-cocked on a revenge mission. Don't get me wrong, Crank has its perversely entertaining moments. He snorts coke, chops off a guy's hand, and literally screws his girlfriend (Amy Smart of Road Trip, The Butterfly Effect) in the middle of Chinatown, all to increase his adrenaline. This movie was just terrible. I didn't expect much to begin with, but it was worse than I ever imagined. The teenage boys who sat in front of me in the theater thought it was great, but if you don't fall into the 16-19 male demographic, I suggest you take a pass on Crank. It was an hour and a half of my life I can never get back.
The Illusionist
It was a pleasure to watch this enchanting movie, starring Ed Norton (The 25th Hour, The Italian Job) as an early 20th century magician. Norton plays Eisenheim, a quietly charming stage entertainer. His sold out performances feature a mix of both standard slight of hand tricks and supernatural feats. The story opens with a glimpse into Eisenheim's childhood and the forbidden friendship he shares with Sophie (Jessica Biel of Stealth), a member of the royal family. When the two are forced apart as teenagers, Eisenheim flees and travels the world, perfecting his craft. He returns to his home of Vienna 15 years later and is reunited with his lost love at one of his performances. Sophie is planning to marry the Prince, but must confront the feelings she never stopped harboring for Eishenheim. The Prince is ruthless, and the two lovers must devise a plan for Sophie to escape his violent grasp.
One part love story, one part murder mystery, The Illusionist is a captivating movie that shouldn't disappoint. It is clever and well-acted, with very good performances from Norton, Biel, and Paul Giamatti (Sideways, Lady in the Water) as an intelligent but conflicted police chief. Definitely not your run-of-the-mill movie, and worth a look.
One part love story, one part murder mystery, The Illusionist is a captivating movie that shouldn't disappoint. It is clever and well-acted, with very good performances from Norton, Biel, and Paul Giamatti (Sideways, Lady in the Water) as an intelligent but conflicted police chief. Definitely not your run-of-the-mill movie, and worth a look.
Saturday, August 26, 2006
Idlewild
I don’t know how to begin to describe Idlewild, which stars Andre’ “3000” Benjamin (Four Brothers) and Antwan “Big Boi” Patton (ATL) of Outkast. Set during Prohibition, the movie spins the tale of Percival (Benjamin) and Rooster (Patton), two childhood friends who have matured into a hustler/musician and a piano player, respectively. Written and directed by novice filmmaker Bryan Barber, Idlewild has its moments of amateurism, but remains a lovely, endearing and truly special movie throughout. This is due in large part to the performances of Andre, Big Boi, and newcomer Paula Patton, who stars as the beguiling Angel Davenport, a singer who casts a love spell on Percival.
The plot centers on Rooster’s troubles running a popular jook joint/speakeasy while juggling his family responsibilities. Meanwhile, Percival yearns to escape his demanding father, a mortician for whom he works when not playing the piano at the club. Problems arise when Rooster becomes indebted to a local thug and bootlegger, played by the ubiquitous Terrence Howard (Crash, Get Rich or Die Tryin’). Here I must give a word about the amazing visuals. Director Bryan Barber is most well-known for music videos, and it shows. He is masterful at creating the musical performances, as well as using song to stir emotion and create mood. This is particularly evident in the love scene shared by Percival and Angel. It is viscerally beautiful: understated yet passionate. Idlewild has an avant-garde flair that will be lost on some people, which is unfortunate. I think the movie’s minor flaws, such as its occasional predictability – are outweighed by the truly unique and creative storytelling approach. Again, the performances are wonderful. I think we expect this from Andre’, but Big Boi is almost a scene stealer, in my opinion. Andre got the meatier scenes, but I appreciated the subtle authenticity of Big Boi’s portrayal of Rooster. They both push the envelope creatively, and are one of the few groups in hip hop that have transcended the game and are truly making art. Okay, enough of my rambling, I think you get the message. Idlewild is not a movie, it’s a film – and there is a difference. It should be appreciated on the big screen. Check it out.
The plot centers on Rooster’s troubles running a popular jook joint/speakeasy while juggling his family responsibilities. Meanwhile, Percival yearns to escape his demanding father, a mortician for whom he works when not playing the piano at the club. Problems arise when Rooster becomes indebted to a local thug and bootlegger, played by the ubiquitous Terrence Howard (Crash, Get Rich or Die Tryin’). Here I must give a word about the amazing visuals. Director Bryan Barber is most well-known for music videos, and it shows. He is masterful at creating the musical performances, as well as using song to stir emotion and create mood. This is particularly evident in the love scene shared by Percival and Angel. It is viscerally beautiful: understated yet passionate. Idlewild has an avant-garde flair that will be lost on some people, which is unfortunate. I think the movie’s minor flaws, such as its occasional predictability – are outweighed by the truly unique and creative storytelling approach. Again, the performances are wonderful. I think we expect this from Andre’, but Big Boi is almost a scene stealer, in my opinion. Andre got the meatier scenes, but I appreciated the subtle authenticity of Big Boi’s portrayal of Rooster. They both push the envelope creatively, and are one of the few groups in hip hop that have transcended the game and are truly making art. Okay, enough of my rambling, I think you get the message. Idlewild is not a movie, it’s a film – and there is a difference. It should be appreciated on the big screen. Check it out.
The Night Listener
This was a weird little movie. Robin Williams (Good Will Hunting) stars as Gabriel Noone, a late-night talk show host who befriends a young writer named Pete Logand (Rory Culkin), via telephone. Pete has written a book about the abuse he suffered at the hands of his caregivers. That same abuse resulted in him becoming infected with AIDS. Gabriel is first introduced to the boy by his publisher, and he also has conversations with the boy’s adoptive mother Donna, played by Toni Collette (In Her Shoes, The Sixth Sense). Eventually, Gabriel and Pete make plans to finally meet. Shit gets creepy when Gabriel starts to suspect that Pete and Donna are the same person, after detecting similarities in their voices. Add to this the fact that no one has ever seen mother and son in person together, and you have a regular little mystery. This movie is inspired by a true story, so I guess we can assume that nutjobs like Donna exist in the real world. Are you confused yet? Don’t worry, it’s not that complicated – it’s also not that rewarding of an ending either. I started this review thinking I would mildly recommend The Night Listener, but on second thought, I’d have to say it’s a bit too strange to spend your money on. Wait for it on cable, at least you won’t be disappointed. Don’t get me wrong, I think Toni Collette can act her ass off, and Robin Williams is fantastic also – but this movie was just okay, despite its intriguing plot. Next!
Wednesday, August 23, 2006
Danity Kane
Okay, I'm not mad at these girls at all. Their album is good! They aren't setting the world on fire or changing the game -- their self-titled debut is just some good ole R&B. They're more pop than soul (duh) but the production is crisp and they ride the tracks nicely. This is probably the only Bad Boy album purchase your girl will be making for a while. I don't mess with Young Joc, and as for Cassie? I'm embarassed I have two of her songs on my I-pod as it as -- there's no way I can buy the entire album. I hope this chick doesn't make a dime. Oh wait, this is supposed to be a Danity Kane review. Like I was saying - I would cop this if I were you. You can just put this shit on in your car and ride out. If your musical tastes run toward the more sophisticated and meaningful, just consider Danity Kane a guilty pleasure. We're all entitled to a few of those every now and then.
Friday, August 04, 2006
Miami Vice
This is probably the sexiest movie I've seen in a while. Jamie Foxx (Ray, Jarhead) and Colin Farrell (Phone Booth, Alexander) star as the infamous Crockett and Tubbs, two undercover vice detectives originally played by Don Johnson and Philip Michael Thomas in the 80's tv series. Director Michael Mann (Collateral) was responsible for the series, so I guess it was only natural for him to direct the movie. The tv show became popular for its hot locale and even hotter storylines. I was a kid back then, but even I knew about Miami Vice.
Having said all that, I'm sure the move has a built-in fan base of late thirty and early forty-somethings who remember firsthand the decade of excess and indulgence that was the 1980's. The big screen adaptation of the series is very dark, both literally and figuratively. Filmed in high-definition, the movie is gritty and realistic. As a viewer, you feel like you are watching video footage of events that actually happened. The city of Miami is a character in and of itself, and frankly it is breathtaking. Deep blue water, purple and pink skies, and lush palm trees serve as a backdrop, but not in a cheesy commercialized way. It looks authentic and will make you want to book a plane ticket tomorrow.
The movie throws us right in the mix: there are no opening credits, no corny theme music, nothing but Crockett and Tubbs immediately. These are two cops who immerse themselves in the underworld. There are no laughs and jokes, no witty banter a la Martin Lawrence and Will Smith in Bad Boys. Shit's real in the field of Miami and Crockett and Tubbs don't crack a smile once. The storyline intially involves the pair going undercover (of course) to find out about a gang of white supremacists, but ends up touching on Miami's drug world (of course again). From what I understand, drugs were a recurring theme of the original tv series. Foxx and Farrell are compelling and completely believable in their roles. They are cooler than a polar bear's toenails. There's one part where Crockett drives a speedboat to Havana for mojitos as if he's hopping in the car to run to the grocery store for orange juice. Sick. My only complaint with the movie is that there was NO character development. It was just like BAM, here's the movie. Here's a day in the life of Crockett and Tubbs. It was like a two hour episode of the tv show with an 'R' rating. That may or may not be a problem for some people, but it's just my opinion/observation. At two hours and twenty-five minutes, it's also a wee bit long. Once again, I was accompanied by a date who dozed off and started to snore. Where do I find these guys? I digress. Bottom line: Miami Vice is a cool way to spend a hot summer night. Meow.
Having said all that, I'm sure the move has a built-in fan base of late thirty and early forty-somethings who remember firsthand the decade of excess and indulgence that was the 1980's. The big screen adaptation of the series is very dark, both literally and figuratively. Filmed in high-definition, the movie is gritty and realistic. As a viewer, you feel like you are watching video footage of events that actually happened. The city of Miami is a character in and of itself, and frankly it is breathtaking. Deep blue water, purple and pink skies, and lush palm trees serve as a backdrop, but not in a cheesy commercialized way. It looks authentic and will make you want to book a plane ticket tomorrow.
The movie throws us right in the mix: there are no opening credits, no corny theme music, nothing but Crockett and Tubbs immediately. These are two cops who immerse themselves in the underworld. There are no laughs and jokes, no witty banter a la Martin Lawrence and Will Smith in Bad Boys. Shit's real in the field of Miami and Crockett and Tubbs don't crack a smile once. The storyline intially involves the pair going undercover (of course) to find out about a gang of white supremacists, but ends up touching on Miami's drug world (of course again). From what I understand, drugs were a recurring theme of the original tv series. Foxx and Farrell are compelling and completely believable in their roles. They are cooler than a polar bear's toenails. There's one part where Crockett drives a speedboat to Havana for mojitos as if he's hopping in the car to run to the grocery store for orange juice. Sick. My only complaint with the movie is that there was NO character development. It was just like BAM, here's the movie. Here's a day in the life of Crockett and Tubbs. It was like a two hour episode of the tv show with an 'R' rating. That may or may not be a problem for some people, but it's just my opinion/observation. At two hours and twenty-five minutes, it's also a wee bit long. Once again, I was accompanied by a date who dozed off and started to snore. Where do I find these guys? I digress. Bottom line: Miami Vice is a cool way to spend a hot summer night. Meow.
Sunday, July 09, 2006
Meaningless Plug #2
I don't often mention tv shows, but I have to give a quick plug to the best show on the little screen: Entourage. New episodes on HBO every Sunday at 10 p.m. Fuckin' AWESOME. Okay, that's all.
The Devil Wears Prada
I think everyone can enjoy this movie, despite its decidedly female slant. I’m sure that women are the intended audience, but there were plenty of men in the theater, and their laughs rang out the loudest.
The incomparable Meryl Streep (The Manchurian Candidate) stars as type-A super-bitch Miranda Priestly, editor-in-chief of a popular fashion magazine. She changes personal assistants like she changes clothes, because no one has the heart to tolerate such a demanding job. Enter Anne Hathaway (The Princess Diaries) as Andy, a wide-eyed journalist hoping to get her feet wet at the magazine. The only problem is that Andy has no clue about fashion. Her status as fashion victim is a major hindrance in her professional development and a source of resentment from the other chicks at the office. After a makeover, Andy goes from dud to diva and her confidence soars. Now she embraces the fashion world that she used to frown upon as meaningless and superficial. Unfortunately, Andy begins to change internally as well, nearly losing her friends and boyfriend (Adrian Grenier of Entourage) in the process. The Devil Wears Prada is a charming little movie that everyone can enjoy. Now ladies, all you have to do is drag your man to the theater. Just tell him he’ll get to look at Giselle Bundchen (Victoria's Secret supermodel). If the men in my theater were any indication, he’ll enjoy this movie -- even if he won’t admit it!
The incomparable Meryl Streep (The Manchurian Candidate) stars as type-A super-bitch Miranda Priestly, editor-in-chief of a popular fashion magazine. She changes personal assistants like she changes clothes, because no one has the heart to tolerate such a demanding job. Enter Anne Hathaway (The Princess Diaries) as Andy, a wide-eyed journalist hoping to get her feet wet at the magazine. The only problem is that Andy has no clue about fashion. Her status as fashion victim is a major hindrance in her professional development and a source of resentment from the other chicks at the office. After a makeover, Andy goes from dud to diva and her confidence soars. Now she embraces the fashion world that she used to frown upon as meaningless and superficial. Unfortunately, Andy begins to change internally as well, nearly losing her friends and boyfriend (Adrian Grenier of Entourage) in the process. The Devil Wears Prada is a charming little movie that everyone can enjoy. Now ladies, all you have to do is drag your man to the theater. Just tell him he’ll get to look at Giselle Bundchen (Victoria's Secret supermodel). If the men in my theater were any indication, he’ll enjoy this movie -- even if he won’t admit it!
Superman Returns
Newcomer Brandon Routh makes his debut in Superman Returns, directed by Bryan Singer (The Usual Suspects) and co-starring Kate Bosworth (Blue Crush). Routh is fetching in the role, and fills out those famous tights quite nicely. Physical attributes aside, he brings a quiet, contemplative quality to the role. Superman has always been a corny superhero, and there’s only so much that a writer can do to change that perception without completely abandoning character loyalty. Despite the aforementioned constraint, Superman Returns is well-written, and the corny one-liners are kept to a much-appreciated minimum. Kevin Spacey (American Beauty) is featured as our hero’s nemesis, Lex Luthor. Spacey is wonderfully nasty as Luthor, and this movie marks a reunion with Bryan Singer, who directed him in The Usual Suspects. Of course, the action is superb. I especially enjoyed watching Superman stop bullets – even a bullet fired straight into his eyeball crumples like a piece of paper. There’s also a great plot revelation that sets up the inevitable sequel. This movie reminded me that while other superheroes like Batman or Spiderman are a bit cooler than Superman, he’s still the freakin’ man of steel. Superhuman strength tops spider webs and Batman’s utility belt any day. In sum, fine performances + good writing = a very entertaining day at the movies.
Tuesday, June 27, 2006
BET Awards Commentary!
Damon Wayans: Was he poppin' pills? He was not funny, at least not intentionally.
Beyonce: She killed it!!! I can't hate at all. She looked good, she and Jay did their thing. She had the all-girl band and they DID that shit. Who's messin' with that? Nobody. In case you missed it: http://www.youtube.com/watch?v=0x4Hh7siItw&search=beyonce%20bet%20performance
TI: What was up with the sound? Why was he performing a capella, was that on purpose? Not very good. Still love you Tip. EDIT: I found out (when Diddy mentioned it) that BET screwed up the sound. I gotta give TI credit for hangin' in there.
Jamie Foxx: Of course I was too distracted by his spit-swapping with Fantasia to pay attention to much else. Did you see it??? I wanted to gouge my eyes out. Fantasia looked country as hell in that unflattering dress. Just a hot ass mess in every conceivable way, and that kiss was gross! There was even a spit string when she pulled away. I think I threw up in my mouth a little bit. Thanks BET, for turning stomachs and dropping jaws everywhere.
Busta Rhymes: Bus-a-bus always brings the energy, and this was the biggest club banger of the year. Everybody came out and ripped it, except for DMX. He performed during the pre-show, but managed to miss the actual award show. How is that possible? Maybe he had some probation terms to comply with somewhere. I don't know what's up with that dude. Eminem was the surprise special guest, and I wanna say that he killed it, but I'd be lying.
Keyshia Cole: I fux w/ Keesh. She does more yelling than singing, but it's all good.
Chris Brown: This little boy will land me in jail. Don't let me get my hands on you Chris! Ok, I feel dirty now.
Prince: Genius. I have got to see this man in concert before I die. EDIT: After watching his performance of "3121," I was less than enthused. I feel so horrible for saying that Prince was anything other than fabulous, but I just wasn't feeling the song.
Chaka Khan: A living legend, a diva, and very deserving of a lifetime achievement award. I love Chaka, respect due. Prince, Stevie, and Chaka performing on stage together: that is real black music, for any of you born after 1983. But Chaka, what were you wearing honey? Nevermind, it was your night. Do yo thang Chaka.
Harry Belafonte: Still a handsome man, in his old age. A true leader, and he had the quote of the night: (paraphrase) "While we're at the party, the enemy is knockin' at the door, and he's not going to wait for us to say 'come in'." Say word.
Beyonce: She killed it!!! I can't hate at all. She looked good, she and Jay did their thing. She had the all-girl band and they DID that shit. Who's messin' with that? Nobody. In case you missed it: http://www.youtube.com/watch?v=0x4Hh7siItw&search=beyonce%20bet%20performance
TI: What was up with the sound? Why was he performing a capella, was that on purpose? Not very good. Still love you Tip. EDIT: I found out (when Diddy mentioned it) that BET screwed up the sound. I gotta give TI credit for hangin' in there.
Jamie Foxx: Of course I was too distracted by his spit-swapping with Fantasia to pay attention to much else. Did you see it??? I wanted to gouge my eyes out. Fantasia looked country as hell in that unflattering dress. Just a hot ass mess in every conceivable way, and that kiss was gross! There was even a spit string when she pulled away. I think I threw up in my mouth a little bit. Thanks BET, for turning stomachs and dropping jaws everywhere.
Busta Rhymes: Bus-a-bus always brings the energy, and this was the biggest club banger of the year. Everybody came out and ripped it, except for DMX. He performed during the pre-show, but managed to miss the actual award show. How is that possible? Maybe he had some probation terms to comply with somewhere. I don't know what's up with that dude. Eminem was the surprise special guest, and I wanna say that he killed it, but I'd be lying.
Keyshia Cole: I fux w/ Keesh. She does more yelling than singing, but it's all good.
Chris Brown: This little boy will land me in jail. Don't let me get my hands on you Chris! Ok, I feel dirty now.
Prince: Genius. I have got to see this man in concert before I die. EDIT: After watching his performance of "3121," I was less than enthused. I feel so horrible for saying that Prince was anything other than fabulous, but I just wasn't feeling the song.
Chaka Khan: A living legend, a diva, and very deserving of a lifetime achievement award. I love Chaka, respect due. Prince, Stevie, and Chaka performing on stage together: that is real black music, for any of you born after 1983. But Chaka, what were you wearing honey? Nevermind, it was your night. Do yo thang Chaka.
Harry Belafonte: Still a handsome man, in his old age. A true leader, and he had the quote of the night: (paraphrase) "While we're at the party, the enemy is knockin' at the door, and he's not going to wait for us to say 'come in'." Say word.
Sunday, June 25, 2006
Click
This was not quite what I expected. I don't expect to shed tears at an Adam Sandler movie. Maybe my hormones were in overdrive, but Click was surprisingly sweet.
Adam Sandler (The Longest Yard) plays Michael, an overworked but well-meaning architect who routinely neglects his wife and two small children in favor of his career. The title refers to Michael's use of a "universal" remote that actually controls his universe. He discovers the remote in the "Beyond" section of Bed, Bath and Beyond, courtesy of Christopher Walken (Suicide Kings) as a quirky employee named Morty. Soon Michael can fast forward through arguments with his wife Donna (Kate Beckinsdale of Underworld), annoying family dinners, and even through sex, although I'm not quite sure why he wants to do that. Michael's initial discovery and use of the remote allows for some cool special effects, as he can view any moment from his life, even conception. In this respect, Click is like one part Bruce Almighty, one part Eternal Sunshine of the Spotless Mind.
The remote has a "memory" feature, and it begins to fast forward through entire chunks of time. Michael realizes that it's the little moments in life that really matter -- not the big promotion and accompanying salary. Click is very funny, because its premise allows for many easy jokes, i.e. slow-mo shots of the female neighbor jogging in a sports bra, and Michael using the pause button to smack around his defenseless boss (David Hasselhoff, Baywatch). We know it's going to be funny, but I was pleasantly surprised at how touching this move was. There are some truly heartfelt scenes that show Michael's life slipping away as his children's lives become a blur. So yes, I can admit that I cried at an Adam Sandler movie. It had something for everyone. All in all, Click was a very good movie in what has thus far been a disappointing summer movie season (I expect Superman Returns to change that). For an example of a movie to avoid like the bird flu, look no further than the review below.
Adam Sandler (The Longest Yard) plays Michael, an overworked but well-meaning architect who routinely neglects his wife and two small children in favor of his career. The title refers to Michael's use of a "universal" remote that actually controls his universe. He discovers the remote in the "Beyond" section of Bed, Bath and Beyond, courtesy of Christopher Walken (Suicide Kings) as a quirky employee named Morty. Soon Michael can fast forward through arguments with his wife Donna (Kate Beckinsdale of Underworld), annoying family dinners, and even through sex, although I'm not quite sure why he wants to do that. Michael's initial discovery and use of the remote allows for some cool special effects, as he can view any moment from his life, even conception. In this respect, Click is like one part Bruce Almighty, one part Eternal Sunshine of the Spotless Mind.
The remote has a "memory" feature, and it begins to fast forward through entire chunks of time. Michael realizes that it's the little moments in life that really matter -- not the big promotion and accompanying salary. Click is very funny, because its premise allows for many easy jokes, i.e. slow-mo shots of the female neighbor jogging in a sports bra, and Michael using the pause button to smack around his defenseless boss (David Hasselhoff, Baywatch). We know it's going to be funny, but I was pleasantly surprised at how touching this move was. There are some truly heartfelt scenes that show Michael's life slipping away as his children's lives become a blur. So yes, I can admit that I cried at an Adam Sandler movie. It had something for everyone. All in all, Click was a very good movie in what has thus far been a disappointing summer movie season (I expect Superman Returns to change that). For an example of a movie to avoid like the bird flu, look no further than the review below.
Waist Deep
Ok, y'all know that when a movie sucks, I don't mince words, I get right to it. Chocolate boy wonder (Tyrese Gibson, Four Brothers) cannot save this poorly-written ridiculous movie about a father trying to rescue his kidnapped son. We've seen countless variations of this hackneyed plot before, but I was willing to go along for the ride. Soon, I found myself waist deep in the biggest pile of crap to hit the screen since When A Stranger Calls.
Co-starring with Tyrese is Meagan Good (You Got Served, Biker Boyz) as Coco, a wrong-place, wrong-time witness to the kidnapping. Remember Martin Lawrence's t.v. show? Well, Tyrese actually plays a security guard named Otis...nevermind. This movie was so stupid that I'm actually going to do something I never do, which is reveal a big part of the movie. I have to do this to prove a point to demonstrate the suckage of this movie. If you don't want me to give anything away, stop reading now. Do you remember Thelma & Louise, when Geena Davis and Susan Sarandon drive off the cliff, committing suicide in order to evade the police? Ok, now imagine that they reappear, unscratched and alive. That's what the hell Tyrese does in this movie. The absurdity of it all made me laugh out loud. The numbskulls in the theater actually applauded at the end!! WTF? The only clapping I would've done would have been as a show of gratitude that it was finally over. Eye candy be damned, please do not get waist deep in this garbage. As a matter of fact, the only good thing about my movie-going experience was that I got to see the trailer for Outkast's movie Idlewild. Check it out here: http://movies.yahoo.com/feature/idlewild.html
Co-starring with Tyrese is Meagan Good (You Got Served, Biker Boyz) as Coco, a wrong-place, wrong-time witness to the kidnapping. Remember Martin Lawrence's t.v. show? Well, Tyrese actually plays a security guard named Otis...nevermind. This movie was so stupid that I'm actually going to do something I never do, which is reveal a big part of the movie. I have to do this to prove a point to demonstrate the suckage of this movie. If you don't want me to give anything away, stop reading now. Do you remember Thelma & Louise, when Geena Davis and Susan Sarandon drive off the cliff, committing suicide in order to evade the police? Ok, now imagine that they reappear, unscratched and alive. That's what the hell Tyrese does in this movie. The absurdity of it all made me laugh out loud. The numbskulls in the theater actually applauded at the end!! WTF? The only clapping I would've done would have been as a show of gratitude that it was finally over. Eye candy be damned, please do not get waist deep in this garbage. As a matter of fact, the only good thing about my movie-going experience was that I got to see the trailer for Outkast's movie Idlewild. Check it out here: http://movies.yahoo.com/feature/idlewild.html
Monday, June 05, 2006
X-Men: The Last Stand
There were three summer movie trailers I saw at the beginning of this year that gave me chills: M:I3, Miami Vice, and X-Men: The Last Stand. So far I'm 2 for 3. Needless to say, I was really looking forward to the latest installment in this franchise, and I was not disappointed. Director Brett Ratner (the Rush Hour movies) did a masterful job of creating a bleak sense of finality.
All of our heroes return, with the exception of Famke Janssen as Jean Grey. This time she is re-incarnated as the Phoenix, Jean's power-hungry altar ego. The plot involves a mutant "cure,"a drug that will restore mutants to homo-sapien status. The X-Men must appeal to Jean/Phoenix and stop the government from using the cure as a weapon. Meanwhile, Magneto (Ian McKellan, Apt Pupil) has his own designs for the cure, and he has attempted to harness the immeasurable power of Phoenix to assist him.
Here's what I liked: Phoenix. She was awesome. Evil, but awesome. She is basically the most powerful mutant ever. More powerful than Professor Xavier, Magneto, you name it. She gets a taste of unbridled power, and the consequences are tragic for the X-Men. Can Jean Grey be saved, or is she lost forever? Like its predecessor, The Last Stand addresses our notions of normalcy, tolerance, and acceptance. In a great scene Storm (Halle Berry, most recently of Catwoman) questions the need for a cure. Nothing is wrong with being a mutant, she asserts. Easy for you to say, says the Beast (Kelsey Grammer of Frasier). Storm is beautiful. Beast is....well, a beast for cryin' out loud. A hairy blue beast. The majority has margianalized the mutants to such an extent that they assume the mutants would jump at the chance to become "normal." It's interesting to see which of the X-Men have accepted their existence, and those who would change it, if given the opportunity. Psychological aspects aside, The Last Stand is an all-around great flick. I cannot understand why some critics disliked it. Oh well. To each their own, but take my word for it: a deep, darkly entertaining movie. I'd say it's the best of the summer, so far.
All of our heroes return, with the exception of Famke Janssen as Jean Grey. This time she is re-incarnated as the Phoenix, Jean's power-hungry altar ego. The plot involves a mutant "cure,"a drug that will restore mutants to homo-sapien status. The X-Men must appeal to Jean/Phoenix and stop the government from using the cure as a weapon. Meanwhile, Magneto (Ian McKellan, Apt Pupil) has his own designs for the cure, and he has attempted to harness the immeasurable power of Phoenix to assist him.
Here's what I liked: Phoenix. She was awesome. Evil, but awesome. She is basically the most powerful mutant ever. More powerful than Professor Xavier, Magneto, you name it. She gets a taste of unbridled power, and the consequences are tragic for the X-Men. Can Jean Grey be saved, or is she lost forever? Like its predecessor, The Last Stand addresses our notions of normalcy, tolerance, and acceptance. In a great scene Storm (Halle Berry, most recently of Catwoman) questions the need for a cure. Nothing is wrong with being a mutant, she asserts. Easy for you to say, says the Beast (Kelsey Grammer of Frasier). Storm is beautiful. Beast is....well, a beast for cryin' out loud. A hairy blue beast. The majority has margianalized the mutants to such an extent that they assume the mutants would jump at the chance to become "normal." It's interesting to see which of the X-Men have accepted their existence, and those who would change it, if given the opportunity. Psychological aspects aside, The Last Stand is an all-around great flick. I cannot understand why some critics disliked it. Oh well. To each their own, but take my word for it: a deep, darkly entertaining movie. I'd say it's the best of the summer, so far.
Sunday, May 07, 2006
Mission: Impossible III
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.
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, 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.
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