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Reviews
L.A. Confidential (1997)
Bad cops Bad cops! What you gonna do??
Good cop? Bad cop? Initially; the only good man of the law is Lt. Ed Auxley (Guy Pierce); but we are treated to an assorted cast of characters from the violent anti-woman beater Bud White (Crowe), superstar turned demoted officer Jack Vencence (Spacey) and there's always the senior and commanding James Cromwell who initially acts as a father figure to Guy Pierce. Every element has its exposition and its payoffs; and even good Lt. Auxley is unable to resist temptation in one scene.
The movie is shot exquisitely c/o Dante Spinotti but minimalistically and without over-the-top visuals that you find in Depalma; all the players in the ensemble never fail including the seductive performance that earned Kim Basinger her Oscar; which surprisingly is devoid of overwrought and unnecessary hysterics that appeal to many nerds of "heavy drama." In the end there is a team-up with whom you will discover to be the 2 main characters of this drama; one of which indeed makes a choice that James Cromwell quizzes him about early on. That; and the resolution of the story has its irony and is slightly comical when there are certain things that indeed have to be kept... confidential.
P.S. The score has Jerry Goldsmith written all over it; what movie scored by the man doesn't? But amazingly it works. Bravo to Curtis Hanson and crew!
Prison Break (2005)
has potential.
I take it that fans all over orgasmically rave about this show, because of the testosterone pumping tension inside a jailhouse. While that much is what viewers will be immersed in, there's also the storyline of political conspiracy; and it is typified by the archetypal men in black who work for uncle sam... Robin Tunney is as beautiful as she is diligent in her character of Veronica Donovan, the woman who sacrifices her engagement to help Lincoln Burrows, portrayed with much genuineness by Dominic Purcell. The nastiest villains ever, an interesting cast of anti-heroes from love-wrecked Latinos, to tough guys who are out to help because they must make a bargain but perhaps also countered by a sympathetic father-figure in Stacy Keach as Warden Pope. Serials like these are also appealing because once you get involved, you'd care about the outcome of the characters that have hooked you. Episode 7 yet, and counting.
Amazing Grace (2006)
meditation and action
An insightful autobiography of the idealist William Wilberforce in his mission to abolish the British trans-Atlantic slave trade.
The film opens with Wilberforce's sudden phase of enlightenment, and how he makes the resolve that he can forward his political agendas and act on his faith at the same time, and the conflicting introspections of his character as it takes place.
The film is saturated with the dynamics of Wilberforce's campaign, his inner circle and it depicts some of the atrocities to the slaves, but it does so more psychologically and hypothetically. None of it is graphic at all.
House M.D. (2004)
you cant always get what you want?
For all the high faluting medical jargon people complain about, how could anyone not be entertained and charmed by House's witty banter?
"It wouldn't hurt you to be wrong you know."
House: "You don't care about these people?"
I've seen 3 episodes of the first season so far, I wonder how the rest of the series goes without tiring the formula of solving a peculiar medical case each episode. Think of it as a whodunnit towards the antagonists to the health of each patient. And each patient has their own individual story to tell too. Despite House's smugness, in the end he, and his team of doctors are responsible for the restoration given in each new case. The first episode, directed by Bryan Singer (Apt Pupil, the Usual Suspects) had some really eerie scenes and shots, but just as funny as the rest of the 2 others I've seen.
A History of Violence (2005)
Jesus, Ritchie.
The title and the foreshadowings make the secrets of this movie a little obvious. But we do care about the outcome; because the exposition keeps us involved, and tension, emotion and conflict build-up after the first violent confrontation of Tom Stall. I don't think the sex scenes were gratuitous, but they were nothing less than aggressive, so are the action scenes, with very graphic violence - and nothing hinders their artistic integrity because Cronenberg doesn't resort to fancy cuts or close ups. Otherwise, this is a slow moving but riveting drama about a man who deals with the past that has come to overtake him and his integrity as a man of family and virtue.
5/5
Ghost Whisperer (2005)
season 3 tentative thoughts
I've seen the first 5 episodes now of season 3. Although the show has its pitfalls in its episodic nature (its a good thing, since many of those said episodes can stand alone), somehow the writers manage to cram in new novelties in plot devices or the intricacies of guest characters, dead or alive. Somehow I found the vague nature of "the grand plan" that was foreshadowed at the end of season 1 and 2 rather annoying; but let me just say I really really loved the 5th episode of the new season, all the players, JLH, David conrad and camryn manheim are excellent, and always worthy of Stanislavsky. jay mohr, not as good, but good for comic relief nonetheless, and the beautiful amy acker in episode 5 has a past that connects with melinda and her father. nuff said, i can't wait to see where season 3 goes and i hope the underlying story arc that connected to the previous seasons isn't just an arbitrary contrivance.
Nancy Drew (2007)
You're not like the other girls.
Despite some surprisingly positive reviews about NANCY DREW the movie, I went into it expecting another trite, teenage film that lacked tang, substance and everything unworthy save for an attractive young star for the title character. Indeed, its shortcoming of some on the nose dialogue and mediocre acting is what we get early on, but there's an awkwardness in this movie where its charm and comedy come from.
Save for the contemporary songs, the labrosone-dominated soundtrack in itself can remind me of some of the film noir that's shown on late night TNT. No, I haven't seen The Maltese Falcon, I confess but speaking of noir; Nancy Drew The Movie puts just the right amount of it seasoned with a touch of the Nancy Drew-esquire creepiness that seems to be the flavor of the old mystery novels; none of the film's comedy or vivaciousness overtake that, in fact the 2 elements wonderfully complement each other. I had a problem with how Ned Nickerson fit into the story, there's just not enough foreshadowing or foundation for us to feel the length of the relationship Nancy had with him; much more defined than that was how the writers didn't want Chief McGinnis to be a bully. When Corky comes in, it would seem as though you were rooting for him; Corky by the way is one of the characters who contributes most of the wit and laugh out loud moments, there's something very amusing about a 12 year old boy coming on to a 15 or 16 year old girl.
It can be as latent or as bold as you want it to be, but within the film are questions of common courtesy, how means and ends should be studied independently, how rambunctiousness in fashion doesn't necessarily become a victor most of the time; and maybe us, the audience and Bruce Willis discovering that the Miranda amendment was mandated in 1966 and you cannot shoot a movie set in the 50's where a character can swaggeringly recite that line.
I only just found out that the director had Emma Roberts undergo etiquette training to emphasize the daintiness and sophistication of the character, indeed she has that charm to make it worthwhile.
Butch Cassidy and the Sundance Kid (1969)
El dinero no es nuestros!
An amazing Western treat that has a plethora of its own iconic trailer moments and overflow of punchlines. The charm of Butch Cassidy and the Sundance Kid lie in the chemistry between Newman and Redford, 2 bandits whose caustic wit and blunt humor are the lifeblood of this classic. A lot of what contributes to the elegance of this film is the touch of styling that director George Roy Hill brings into it, from the use of sepia tones in the opening sequences, the still montages done to Burt Bacharach and of course the way William Goldman just reiterates it in the narrative and puts it plain that this is a story about 2 men running from the law, trying to make their way, and before (SPOILERS) they eventually go down in a blaze of glory, the final lines of dialogue prove that their company and aspiration may have been worth it all.
El dinero no es nuestros!
"What are you doing?" "Stealing your woman."
Butch Cassidy and the Sundance Kid is instantly making it into my top 10.
5/5
24: Day 5: 7:00 a.m.-8:00 a.m. (2006)
Echo - Bravo - Charlie!
Another long day! This is the second season I've devoted watching in the series that I have now become a fan of. As presumably by tradition, the early episodes are the most explosive and nailbiting. My favorites particularly were the hostage crisis, everyone's dilemma in the Sunshine Hills Mall situation, and the assassination attempt on the Russian president's motorcade. I don't even need to get into how worthy of Stanislavsky everyone was, but I'd like to give my hats off for a perfect choice in casting for Sean Astin who plays the moody and antagonistic bureaucrat in the first 11 or so episodes.
- As I have been told by someone, the first story arc is resolved in the 15th or 16th hour of the day (consequently being the 15th/16th episode).
- And after that is resolved, the suspense doesn't ebb in any way as our heroes uncover shocking revelations and must resolve the collateral damage of the day's events in the chill of night. It goes without saying that some of the explosiveness of the early hours of the day are not around, but you nevertheless enjoy seeing the characters undertake their tasks covertly.
- The final episode, I thought would end tragically without denouement but that is probably because I underestimated the hero Jack Bauer's craftiness and sleight of hand. Knowing the cliffhanger ending, and what follows in Season 6, it may sadden people to witness how tragic the character of Bauer actually is. And while it is no secret that the villains are taken to justice, some key story arcs are still left open ended, finishing Day 5 and Day 6 of the series, I can't wait to see where the writers will take Jack Bauer and company... and country in the following seasons.
24, Season 5 is 5/5.
Evan Almighty (2007)
Act of Random Kindness!
- It took me awhile to realize, but while this one has almost nothing to do with the first film, Steve Carrell as Evan Baxter is actually Jim Carrey's colleague in the predecessor.
- I'd like to say Ditto... or Amen to those who branded the comedy of this film mediocre compared to Bruce Almighty.
- But the thing is as banal or preposterous as the premise of these films may be, they provide ground for illustrating some solid, God-oriented themes that we can all relate to. No, some Catholics or fundamentalists may consider this heresy, there's nothing "Christological" about it, but especially with the first film, I found that the themes addressed were also answers to some questions about The Big Guy Up There.
- I don't know if this film has a subtle political message, but the God-oriented message, as in the first film is defined well enough to be understood. Mediocre or average performances by all except for Freeman, who always has the charisma as a screen actor, and in this case he musters all that effortlessly, Stanislavsky-lessly to play the Creator and John Goodman makes an OK villain too.
3/5
The Bourne Ultimatum (2007)
Extreme Ways are Bourne Again!
What cumulative set of infidelities are now committed against Ludlum's books now that the movie series has come full circle? I suppose it doesn't matter. I don't think setting a story around present day would have warranted a premise where they could include Carlos the Jackal and the original era that concerned the novels. Nonetheless the Bourne trilogy films will remain to be one of the most solid action-thrillers around.
Except that the later 2 films have the fault and problem of dense camera-work, where you can't appreciate the action fully most of the time! Ultimatum has a lot of its moments. Most memorable are Bourne guiding the targeted journalist with his superskills and wit in intelligence and evasion, or the rooftop jumping sequences that ends in a brawl with Desh (?) the assassin. As in Ludlum books, even outside the Bourne series, a trademark of characters is hand-to-hand grappling and disarming, much of these are used in Ultimatum and we become habitutated to them, but nonetheless we can not be in awe with much of the action because of Greengrass's decisions in cinematography.
Like the previous 3 films, Ultimatum not only features an exceptional script, but some of the best acting in an act-tion film, the woman Pamela Landy switches roles to being Bourne's protector as her role as antagonist was absolved and is replaced by David Strathairn. Those who have seen the 2nd film by the way will appreciate how parts of it were INTEGRATED into Ultimatum, such as the last scene of Supremacy, which turns out to be one of the major turning points in this film after all!
If the sins of Greengrass on camera-work can be redeemed, perhaps it is with the final scenes, the last shot that perfectly adds a sense of cohesion, closure and symmetry as it is a visual parallel to the opening of IDENTITY, if you watch the film you'll know what I mean when I say it harbingers Bourne's very essence as a trapped and tragic character, and after Nikki Parson's character smiles and Moby's song plays - the visuals shift to symbolizing Bourne's freedom from it all at last. (?)
4/5, because of very good direction, script, acting and I guess the lousy photography won't be so scathing after all because of those good points.
Extreme Ways are gone at last!!!
Notorious (1946)
I wish to talk to you!
There was something very minimalistic about this film as it started out.
But as the story progressed, especially in the 1 hour mark, Hitchcock performs his usual sleight of hand as a filmmaker. From the best stylized POV shots, to the foreground shot of the evil coffee cup that you see in many film-making textbooks today.
But all throughout the film is a study of subjectivity vs. objectivity in storytelling, most of the time we are privvy to what goes on in our hero, and especially our anti-heroine Bergman's mind, but then that privy-ness of information is then passed on to our antagonists - yet audiences still in the know. And that is where the suspense comes from.
Grant is as suave as always. This is definitely better than To Catch a Thief, but I am having trouble deciding whether I should rank it above North By Northwest (which had better storytelling, imho).
NOTORIOUS is all about subtletly, in suspense, in exposition, despite the presence of Hitchcock's cinematic wizardry in it. The ending has one of the most quiet yet intense scenes where our 2 main characters come to terms and realizations. And despite the darker tone this one has over "Northwest" or even "Rear Window", I'm glad it doesn't end morbidly like Psycho or Vertigo. Spoilers for those films there.
NOTORIOUS is 5/5 in my book.
The Simpsons Movie (2007)
Spider-Pig.
I was wondering why this movie also has it's groups of nay-sayers and bashers. Maybe it was because the humor was too vile, but it couldn't be called lesser than such in the series.
- I liked the father-son tension between Bart and Homer and how Bart did sink so low as to turn to Flanders.
- I also liked Hans Zimmer's score, I was sure I knew the film was scored by someone I knew and in some of it's nail-biting moments, you know the music is done by one of today's top thriller movie composers. Though let's not forget about his syrrupy melody in Brooks's AS GOOD AS IT GETS.
- Far from being something that's subliminally preachy in tone, the film's own cynicism overrides it, I guess we can interpret it as something that just wants to depict the lunacy and impulsiveness of Uncle Sam.
It's not as impressive as I expected to be but it has enough laughs that if you don't catch it in theatres, it's worth a rental on a rainy day at least.
3/5.
Apt Pupil (1998)
Berlin! Berlin!
You know what? I actually enjoyed this much more than The Usual Suspects, probably because I predicted the twist ending to that one just by knowing there was a twist.
- But just in my opinion, Apt Pupil showcases Bryan Singer's skills as a suspense director a lot more. Probably because it ranges from outright thriller/drama to a little bit of horrorfest. After all it is based on a King novella.
- The man whom Singer would eventually use as Magneto 2 years after 1998? He was brilliant! I think I've never seen Sir Ian McKellen play anyone other than a Briton. Maybe Magneto was a German/Jew but I'm sure Gandalf was definitely English... but McKellen portrays Herr Dussander that would make Stanislavsky himself speechless.
- Another thing interesting to note is the recurring theme of overpowering and blackmail. First the boy does it, and later on Dussander manages to protect himself, and the final scene, which I don't intend to discuss here ends this re occurring theme in a confrontation between 2 characters of the film.
- Take note of the symbolism, it can be as subtle or as blatant as you interpret it, but smashing a dove with a basketball or intensely enjoying a movie about a cat bullying a shrunken man? You be the judge of how to look at those things, but I assure you it's easier to understand that pretentious David Lynch or Kubrick stuff.
I've always known Singer to be a fine craftsman in film art, be it his suspense thrillers, or comicbook movie adaptations, and he even made the right choices in his 2006 revival movie. Speaking of which, I really liked some of the montages or the integration of that German song in the film, which is also played in the end during the film's final shot. I'm also glad Singer is returning to his roots in suspense as I see here in IMDb some of his upcoming movies in his directorial credits list.
I give APT PUPIL a 4/5
Next (2007)
sleight of hand.
I approached this movie with much trepidation and reservations. But it turns out it has the promise I thought it would have and also its downfalls that I was apprehensive about. Firstly, this is one of the best paced action/sci fi movies seen recently. And I think I'll add it to my book of favorite Philip K. Dick adaptations. MINORITY REPORT being my favorite. I also liked IMPOSTOR, anyway, what's refreshing is to see the strength and optimism of Cage's character. Sure being a martyr or an underdog has its appeal to all of us, but the quick-mindedness, clairvoyance and decisiveness of this film's hero is one of it's plusses.
One of my gripes is Jessica Biel's extremely wooden acting, and it will probably make it in my top 3 worst performances in a motion picture ever. The plot and formula of the feds enlisting the aid of Mr. Every-Day-Guy is indeed tired, but as a magician myself I was also very pleased to see the downplayed, but fairly discernible theme of charlatans pretending to be real magicians, and real magicians who do have that extra ounce of psychic power besides there chicanery; but ultimately disclaim it. The magic/perfforming artist aspect was very well integrated into the plot, though I found some moments where he had to use sleight of hand and pop-philosophical poetry to woo Jessica Biel.
All in all, the story moves forward as it should, pacing properly handled, what happens NEXT... doesn't always follow. And the exploitation of his powers is one of this popcorn flick's strongest points.
3/5. or B-
The Devil Wears Prada (2006)
you still owe me for harry potter
did anybody else get the notion that Meryl Streep somewhat resembles Glenn Close as Cruella Devil in this movie? I loved it! I expected just another good for a rainy day and TV dinner sort of romcom or girly flick. Well, it is, more of the latter than the former. But it's also a story of exploration and search. Anne Hathaway, besides being an attractive heroine for the role executes her hapless, impulsive, "people-pleaser, 24-7" personality convincingly. I don't even need to mention that I forgot I was watching Meryl Streep in the supposed title role or as the film's 'villainess'.
With some quite moments here and there, and 'aha!' moments experienced by Andrea (Hathaway), and gladly - since this is a movie about exploration and searching for what you really want it is virtually devoid of voice overs that have to bombard you. The scenes just move the story forward, and that's all that counts. Of course the outcome is predictable if you follow stories with this formula, nonetheless I give it a 4/5.
Which reminds me, now I better get a rip off manuscript of Harry Potter and the Deathly Hallows. Can you get that for me??
Harry Potter and the Order of the Phoenix (2007)
the abridged version.
Dan Brown once said that if movies were to be too faithful to their material we'd be having 7 - 10 hour feature films. Hardly something that anyone might want to go through in a sitting. But what is the remedy? This is where Harry Potter and the Order of the Phoenix or perhaps some of the previous films and moreso, other adaptations fall short. While in direction, atmospherics and cinematography it has a lot of moments to boast, the pacing is left uneven and the rhythm of the film would seem rather episodic. Add to that the little slack they cut for those who have not read the book, since I have read Phoenix and even Half-Blood Prince already, I can wink at the same people who have also read them - but the choppy flow of the story is something that is bothersome even to those who understand how the motion picture medium MUST be abridged to have the true 'show don't tell' essence of cinema rather than the comprehensive introspection of a novel.
Ralph Fiennes was as menacing as he should have been as the antagonist, though underused in my opinion, I suppose I wouldn't want to get habituated to his villainy too soon that he would no longer feel a thread if given much much more screen time. The rest of the players performances range from good to average, and the ending doesn't quite capture the same melancholy and tragedy in the end of the book. On the plus side there were issues and conflicts that were absolved from needing to be in the film such as the relationship of Harry Potter and his foster parents. Cutting some things short also means loosening the weight of emotional gravitas the novel has, and for this maybe audiences can breathe more. But it makes the film's depth, if any seem shallow-er.
3/5
Live Free or Die Hard (2007)
1-800 henchman.
Was there too much pomp in LIVE FREE OR DIE HARD? There was bombast aplenty, but you can never say "too much" when you speak of a DH film or it's pedigree. What makes this work isn't Stanislavsky or any AMPAS-worthy moment. It's simply the John McClane-ian wit we are all accustomed to from the first film, and perhaps the other 2 sequels. And you get a feel of that same character when McClane is thrown into his same old, same old once again. The cheesy punchlines, the self-psyching soliloquy when he's about to do something that's a "very bad idea". Et cetera.
What almost feels like a fascinating juxtapousition is the contrast between the modern day sophistication of the cyber terrorists, and the gritty chaos out in the streets that are a consequence of their villainy. Felt by McClane and the millions who become undersiege.
May I also say Mary Winstead was very well cast, she may be an unlikeable character, but she has Bonnie Bedelia's eyes. (McClane's wife in the first 2 movies), and while there are some references to McClane's backstory and familial affairs, they don't intrude into this being a very entertaining stand-alone action film. I especially liked the dialogue in the car about what the consequences are of being a "hero", though On the Nose type of dialogue, it worked nonetheless and I felt an iota of genuine emotion. Possibly also because of the gloomy color scheme of that little reflective sequence.
This has plenty of its moments, the first steps of taking America hostage, the eery montage of U.S. Presidents used by the terrorists to broadcast their message, the fight scene with Maggie Q. And I guess 9mm cartridges don't do tissue damage all that much, but only do so after penetrating and obstacle - which might cause it's velocity to drop and thereby destroy what is next to it. Just see the movie to find out what I mean. It's the Yipee Kye Aye part. Live Free or Die Hard works for me.
9/10
24: Day 6: 5:00 a.m.-6:00 a.m. (2007)
Season 6 Review
Wow. It's been a long day. Or a long viewing of 24, 45 minute episodes that virtually reflect an hour in real time. The drama of retrieving the nuclear weapons and apprehending the men responsible lasted for about 18 episodes, and within it are intrigue, debates about diplomacy vs. war and some of these which lead to treason and attempted assassination. Among one of the more interesting character arcs are that of Tom Lennox, and his eventual resolve with Karen Hayes. And perhaps the initially antagonistic Mike Doyle and his tension with Nadia Yassir, which also gets its own resolve in the later part.
While the remaining episodes may seem a little forced just to occupy the entirety of the 24 hour day-span they still managed to keep their cliffhangers coming and bring back the amazingly infectious villain James Cromwell back into the storyline. I look forward to perhaps seeing the previous seasons, I am intrigued about what history Jack Bauer has with Wayne Palmer, and moreso his relationship with Audrey Raines. Someone, whom we unfortunately do not get MUCH out of this season.
I am both jaded and exhilirated from this 24 episode ride.
5/5
The Island (2005)
What's the court of law?
While I may not feel guilt about wanting to see this film perhaps to feed on my lasciviousness for the Danish mammaries and rear end of Scarlett Johansson, as a thinking person I felt apprehensive having to entertain watching a Michael Bay film. A man known to be a confector of action films with so much pomp and zero gravitas.
At trailer's glance you can perhaps learn to slacken off on that notion. The Island has one of sci-fi's best and most thought provoking themes in the area of Bio-ethics. And perhaps how high society and the men in power would take advantage and go as far as disregarding the sacredness of human life.
The film, as many say starts out at a rather slow pace, but that's because - unlike for the stupid man many of us Michael Bay make him out to be, it turns out he gives room for exposition and establishing certain elements. But at 0:45:00 in its duration, the film picks up speed and never lets up, but at the same time never compromises the theme it explores about the powers of a Utopian institution looking for 2 people on the run. In all fairness, yes I do find too much bombast in the way Michael Bay directs, and perhaps the word minimalism doesn't apply to him at all - but if you come up with a decent high concept plot and marry it with that regalia of nonstop action, you get something highly watchable and riveting, such as this film.
It's nice to see Sean Bean play an "intellectual villain" rather than a terrorist or someone associated with the mafia. Buscemi is as usual. McGregor? Yes his acting falters in and every time he tries to sell being an "American" character - but when he uses his Scottish accent later in the film for reasons you just have to watch this for, the acting improves and any faults heretofore can be overlooked. It's also interesting that they incorporated a real commercial for a Calvin Klein perfume with Scarlett Johansson in it, into the movie.
If you've bumped into Michael Bay's pompous Bad Boys 2, or films with unnecessarily effusive histrionics as Pearl Harbor or Armageddon, that is OK, because The Island has all these in them that can absolve you of some biases and just enjoy the ride, genuinely this time.
7/10
Intensity (1997)
China? So has this gone international
What on earth were people complaining of the ending about? In the 3 hour made for TV flick INTENSITY, the finale and some details of it deviate from the novel but it doesn't mean it is absent of denouement. It has about the same sensitive and emotional resolve that the book gives to its heroine Chyna Shepherd, portrayed perfectly by Molly Parker. Based on reviews I would have thought that the movie would fade to black pointlessly after the final confrontation. But gladly it doesn't and it nicely pays off and brings to a close all the backstory that is skillfully juxtapoused in between scenes of this thrillful suspenser.
There are even some interesting new elements added such as that of the good African American sheriff. And even the old lady. I cracked up during their interaction and the sheriff says, "China? Has this become international already?"
Perhaps they use it to fill the gap of more introspective scenes in the book where mental soliloquy can't possibly be translated into cinematic form without being perverse.
What makes this better than the common B-Movie thriller that we get a plethora of in Cinemax is the backstory involved of the movie's heroine. Or should we call her super heroine. All of that laid down from the novel of Dean Koontz. Maybe I comment on this positively because of my bias for the author who has given me so much awe and wonderment in fiction, but maybe I do because I am genuinely pleased by the way this was slapped into celluloid.
I also notice that the writers manage to slip in the little subliminal reference of why the villain is afraid of the stars or the shining sun. In the novel it was only in prose, but gladly in the film Chyna notices it and sounds off much to the perturbance of the villain, so masterfully portrayed by John McGinley with furious gusto.
I can only hope that the many beautiful pieces of literature from Dean Koontz can be adapted in motion picture form as decently as INTENSITY. I hear the same positiveness for SOLE SURVIVOR, which I also hope to bump into later on. Not particularly excited about THE HUSBAND, but as I write this I am anxious for next year's Sam Raimi produced THE TAKING. I can only hope such infidelities and deviations that take place will be inconsequential, just as the liberties taken from the book in INTENSITY are to me.
5/5
Derren Brown: The Gathering (2005)
Shepherd's Bush Green.
You can't afford to watch just snippets of this in Youtube. Unlike most of his mind stunts in "Trick of the Mind", the show is designed to run as a cohesive whole. Derren Brown truly understands and incorporates the element of narrative in each of his routines. What will at first seem like a rather unimpressive "betcha" that nonetheless gets an applause anyway escalates into a psychological feat that eventually deserves that applause. E.g. the opening number the shape and country prediction; and the memory feat. And what I mean by narrative cohesion is the way almost everything is interconnected as they should be.
Just watch all of this, everything including the ending, you'll also know why they were "blindly" taken to their location as this top notch show of mentalism has a surprise twist.
The only thing is, one can wonder where or if he genuinely uses NLP and suggestion as opposed to "straight mentalism". And was that loud bang used as an anchor? Who cares. Just get Derren Brown: The Gathering! A+
24 (2001)
You will die for nothing.
24 Season6, E1 I am not a resident viewer of the series in fact the episode 1, in my 4 episode season 6 DVD is what I have watched and what I will comment on.
Even apart from the rest of what I must watch, the groundwork laid on this episode is more than sufficient and satisfying. There is much filibustering, and also debates on national security and some human rights that must be violated or lifted in it's name. As one character said, "This is neither right nor wrong, it is our only option." I also like the hand-held, or quasi-hand-held if they used steadicam effect to create disorientation, an effect that can be abused but is otherwised used to great effect here. Though the split screens and constant updating of the "time and hour" can be a little too overwrought to me. All players are great, and maybe only in this part - but I can also see some noteworthy minimalistic acting by Sutherland, of a man who would willingly give his life.
This episode has much to offer in the tradition of anticipation, and knowing certain things before some characters do... but it's a little obvious that Jack Bauer won't die at least in episode 1 of year 6. Despite that, the storytellers perform an excusable patronizing of us to otherwise make us think that he will bite the dust.
There's also the theme of racial prejudice and paranoia very well played out here.
I hope I can finish year 6, and perhaps get into the previous seasons that I missed.
5/5
Indiana Jones and the Last Crusade (1989)
I prefer the Austrian way.
"I prefer the Austrian way." In reference to something in the film, that is one of the best one-liners ever put on film.
Indiana Jones and the Last Crusade does match up to the original, Raiders of the Lost Ark, (I've seen all 3, but only the first is one I've seen many times to remember, and this is my 2nd viewing of this film, though equivalent to a first time as I've forgotten many details). But one problem I have with Last Crusade is the mythos and esoterica surrounding the "Holy Grail" seem to be a bit too campy for my taste. I just never imagined a Christian artifact giving immortality at least not in This Life.
However, the film works because the characters are never flat, as with virtually all Spielberg, this is probably the Indy film that explores his recurring exploration of the theme of father-son relationships, and is done so here much more blatantly.
Last Crusade has one of the most absurdly preposterous, yet entertaining slapstick action sequences, the "rotating wall" sequence, and even the little bit where Indy bumps into Hitler and has to pretend the precious diary is a mere book he wants der Fuhrer to autograph is sure to give audiences nervous laughter. Very nervous laughter, I'm sure.
Spielberg has always been a creator of - besides his heavy epic films; highly watchable, wholesome, low faluting entertainment that no one has to feel guilty for being pleased about.
5/5
Kinsey (2004)
Love can not be measured.
The storification of Alfred Kinsey's autobiography is one of the best put on film. But also one of the most clichéd, anyone keen can see how his life will reach its ultimate peakedness, and then - at some point, or towards the end point dive towards a steady decline. Neeson and Linney are excellent players, noteworthy too is John Lithgow as Kinsey's bigot fundamentalist of a father - whom, as most proper stories and films would depict has a little secret that he shares with Neeson in one scene of the film. Towards the third Act, things go for an almost total downslope that you doubt on what note will this film end. It does have some, if little redemption to it as it closes - and perhaps a little regression on Kinsey's roots as one captivated by biology, with allusions here and there to sex, and liberation nonetheless.
I found this to be way better than Y Tu Mama Tambien. 4/5