This was very interesting at first - there was humor and silliness in every episode, but as it went along, the humor vanished, until it just became stupid. Obviously they're thinking of a second season, but if one does come out, I won't bother with it - they really disappointed me at the end. A family of shinobi (ninja) who are basically in retirement - but the various members of the family can't help but use their skills in everyday life, even if it's just shoplifting. But then their rivals, the Fuma clan, are discovered to be still alive, the ones responsible for the death of elder brother Gaku. It goes downhill from there - the Fuma are supposed to be the true evil, led by someone who comes back from the dead, but instead spouts adages and cheap philosophy. Gaku kills the Fuma head, which should have led him coming back to his family, but no - they're saving that for the sequel. Of all of the characters I wanted to see dead, Ayame is the main one - I really wanted to see someone shove a sword through her ugly face. This started out well, but ended poorly... no thanks.
Reviews
19 Reviews
Barbie
(I) (2023)
Funny as all hell, and thought provoking as well
20 January 2024
Warning: Spoilers
Both "Barbie" and "Oppenheimer" (yes, 'Barbenheimer') were playing at the local theater for a loooong time last year - for a small theater, they get the first-run films. I wanted to see "Oppenheimer" because I like Nolan's work, but I couldn't sit for 3 1/4 hours in a theater; and I had no interest in "Barbie". But then the reviews started coming out, so I asked for both movies (in Blu-Ray) from family for Christmas, and I got them. I watched "Barbie" first, and started laughing my ass off almost immediately - there are several 'steals' in the movie, referencing other movies, and the opening (from "2001: A Space Odessy") was the first (others include "West Side Story" and "Monthy Python and the Holy Grail"), and I started laughing out loud... not good when other people in the house are trying to sleep. The tagline is exact: "She's everything, he's just Ken"... in Barbieland, she has it all, while Ken is just Ken, mainly interested in 'beach' (and the line 'beach off' is funny). It's a female dominated society, where Ken is just Ken, not even welcome at Girl's Night... but then Barbie has to travel to the real world (the whole travel method is silly and so Mattel), where the roles are reversed, which gets Ken thinking. He gets back to Barbieland first, and implements what he's found to turn it into a male oriented domain (cowboys, horses and trucks, no surprise... the movie goes for a lot of stereotypes, while at the same time slapping them down). Mattel wants to 'cure' Stereotypical Barbie by putting her in a box... wow; shut her off and turn her into a typical female from the 50's. Will Ferrell has fun as the President of Mattel, with his pink drumsticks (never explained - I guess I didn't get that joke). The old woman on the bench... that was a good scene. The Kens fighting on the beach, the one Ken trying to give mouth-to-mouth to his horsey... plenty of scenes that are silly. In the end, it returns to the status quo - the Kens had their shot at changing things, but end up going back to their usual roles, which is the main theme of the movie, people getting trapped in their 'given' place in society, no hope for change. Near the end, when the Barbies 'deprogram' each other and President Barbie (Issa Rae) shouts out "mother f***ers" (bleeped, with the Mattel logo over her words) was startling, but at the same time, on point for the movie. Yeah, it's a movie about societal change, and expected gender roles, but it's done with so much humor and irony that it's fun. The fact that what people do (or feel) in the real world when playing with their Barbies isn't a new idea, but it's done well here. Margot Robbie (she's usually good) and Ryan Gosling (I've never liked him, but he does a good job in this) carry the film, but there are plenty of other good roles in this. Rhea Perlman as Ruth Handler, the woman who invented Barbie, and various other known names. If you sit there and coldly analyze it, yes, it can seem preachy... but it's preaching to the choir in most cases, and it's done with humor (and some pathos); definitely worth watching again.
The Adam Project
(2022)
Cute, quirky, fun (even if it is a time travel movie)
8 November 2022
Warning: Spoilers
Any movie that starts with the song 'Gimme Some Lovin' by The Spencer Davis Group is bound to grab my attention (I grew up with that) - the fact that it stars Ryan Reynolds, Zoe Saldana, and Jennifer Garner, and to a slightly lesser extent, Mark Ruffalo and Catherine Keener, is good. And heck, who *wouldn't* go back in time to rescue Zoe Saldana? Okay, it's a time travel movie - let's not get into that, because there are 20 million different opinions on it; forget that, and just focus on the movie. Reynolds, Saldana, Garner, Ruffalo, and even Walker Scobell put in good performances; Keener is a little weak. The CGI / effects are good, the action is pretty decent. The fact that the action and the pacing don't slow or bog down are also good pluses. A couple of scenes were a little weak, but overall, it was enjoyable, and like a western, you want to root for the hero. It's good, but not spectacular, and something I don't mind watching again; it is (oh, that hated phrase), a 'feel good' movie. The soundtrack also has some beauties in it - not only The Spencer Davis Group, but also Boston with 'Foreplay/Long Time', Pete Townsend, and Led Zep. The scene where adult Adam talks to his mother in the past (in the bar)... that could have been so incredibly sappy, but wasn't. But yeah, young Adam has a mouth on him, and you just want to hold him under until the bubbles stop, but Scobell does a good job. Saldana and Reynolds fighting side-by-side... definitely nice. A couple of the characters (such as Christos) are a little too one-dimensional, but overall it works, and it's fun.
Guardians of the Galaxy
(2014)
Much more than what I expected
14 December 2021
Warning: Spoilers
In terms of the Marvel comics (I read them in the 60s, 70s and early 80s), this one didn't even come close to most popular or most known, such as The Avengers or The Fantastic Four (comics, not movies) - 'Guardians' was way down the list along with 'What If?' and 'Strange Tales'. So when it first came out, I ignored it - I've never read any of the comics for this series, though I know some of the characters (such as Drax) from crossovers. But when Doritos ran a promotion for 'Guardians 2' with Zoe Saldana (as Gamora), I got curious - I've always liked her. I borrowed the DVD from the library, and I was hooked ('Guardians 2', on the other hand... a waste of space).
The main thing I like about it is the fact that it doesn't take itself seriously, unlike the other MCU (and non-MCU Marvel, though 'Deadpool' is an exception to many rules) movies, and it was fun, sometimes without even trying to be. On the other hand, it contains all of the usual elements such as friendship, desperate odds, a fight you can't hope to win, a group of misfits... but it does it better than other movies. There is some wooden acting from secondary characters, but the primaries are right on the money, and they make their journey to their group bond enjoyable. F/X and CGI are right on the money, and while costuming sticks to the usual leather (when did that become a big thing?), the sets are interesting and inclusive, with a few hidden gems if you look hard enough. Pacing is good - there aren't any slow moments in this (the dance-off between Quill and Ronan is a little awkward until you realize what's happening), and the soundtrack just adds to the fun. The final confrontation between Ronan and the Guardians... that couldn't have gone any other way, and you're rooting for the home team the entire time. Also interesting is the fact that until 'Deadpool', this movie had more swearing in it than anything else in the Marvel movie history, and it still holds the record for most deaths in any Marvel movie. And I will say that this movie has one of my top 10 all-time movie quotes in it - "You said it yourself, b*tch, we're the Guardians of the Galaxy".
How much do I like it? Let's put it this way - I've got it on BluRay rather than DVD (oddly enough, DVD is the biggest seller for superhero and sci-fi movies, despite the fact that they benefit more from the higher quality of BluRay and 4K), and I probably watch it 2 or 3 times a year... more than movies that I'd rate a perfect 10 (such as 'The Imitation Game'), but that's a different genre. Overall? I've probably seen it 5 or 6 times since I first got it, and it's still fun and engaging... that's what any movie needs to be.
The main thing I like about it is the fact that it doesn't take itself seriously, unlike the other MCU (and non-MCU Marvel, though 'Deadpool' is an exception to many rules) movies, and it was fun, sometimes without even trying to be. On the other hand, it contains all of the usual elements such as friendship, desperate odds, a fight you can't hope to win, a group of misfits... but it does it better than other movies. There is some wooden acting from secondary characters, but the primaries are right on the money, and they make their journey to their group bond enjoyable. F/X and CGI are right on the money, and while costuming sticks to the usual leather (when did that become a big thing?), the sets are interesting and inclusive, with a few hidden gems if you look hard enough. Pacing is good - there aren't any slow moments in this (the dance-off between Quill and Ronan is a little awkward until you realize what's happening), and the soundtrack just adds to the fun. The final confrontation between Ronan and the Guardians... that couldn't have gone any other way, and you're rooting for the home team the entire time. Also interesting is the fact that until 'Deadpool', this movie had more swearing in it than anything else in the Marvel movie history, and it still holds the record for most deaths in any Marvel movie. And I will say that this movie has one of my top 10 all-time movie quotes in it - "You said it yourself, b*tch, we're the Guardians of the Galaxy".
How much do I like it? Let's put it this way - I've got it on BluRay rather than DVD (oddly enough, DVD is the biggest seller for superhero and sci-fi movies, despite the fact that they benefit more from the higher quality of BluRay and 4K), and I probably watch it 2 or 3 times a year... more than movies that I'd rate a perfect 10 (such as 'The Imitation Game'), but that's a different genre. Overall? I've probably seen it 5 or 6 times since I first got it, and it's still fun and engaging... that's what any movie needs to be.
Leaving L.A.
(1997)
A jumping-off point for many
30 March 2011
When you look at the cast list for this show, and realize what most of them have become, you have to wonder just what the heck ABC was doing when they canceled it. Hilary Swank - won two Oscars, has been in several monster movies. Christopher Meloni - star of "Law & Order: SVU". Melina Kanakaredes - star of "Providence" and "CSI: NY". Ron Rifkin - star of "Alias" and "Brothers & Sisters". Lorraine Toussaint - has been in numerous huge series, including "CSI:" and "Ugly Betty". Anne Haney - "Chicago Hope", "Dharma & Greg" and others.
But forget all of that - this was a good show. A little quirky, yes, but good. A ton of shows out there that show cops (or scientists) solving crimes. Quite a few shows dealing with the coroner's office (think "Quincy"). But this was one of the few shows showing the entire process, and what happens during it all.
Even better, this show had heart - the characters were easy to relate to, even if a few of them were just a bit odd. Just as nicely, the characters meshed - they worked well together, and they played off of each other well.
This was a fun show, but they never gave it a chance.
But forget all of that - this was a good show. A little quirky, yes, but good. A ton of shows out there that show cops (or scientists) solving crimes. Quite a few shows dealing with the coroner's office (think "Quincy"). But this was one of the few shows showing the entire process, and what happens during it all.
Even better, this show had heart - the characters were easy to relate to, even if a few of them were just a bit odd. Just as nicely, the characters meshed - they worked well together, and they played off of each other well.
This was a fun show, but they never gave it a chance.
3 Weeks to Daytona
(2011)
A racing movie about people and their dreams
27 March 2011
Warning: Spoilers
There are a few spoilers here and there in this review - read at your own risk.
Scott Cohen plays Chuck Weber, who's day job is driving an airport limo, but his real passion is driving race cars... unfortunately, he hasn't won a race in 20 years. Jorja Fox plays Cheryl, Chuck's crew chief and girlfriend - by day she works in a machining plant turning out doodads, but her real dream is to open a speed shop (a race car repair shop). Neither of them have much money, and if Chuck keeps losing races they're not going to make any.
My original interest in this movie was Jorja Fox, but after seeing it (at a private screening in New York in March of 2011), I'd want to see it again even if she wasn't in it. The movie moves along smoothly, with no wasted scenes or nonsense moments; every scene tells part of the story.
While the background of the movie is B-circuit NASCAR, it's about the people and their dreams, especially Chuck. As you might expect, Jorja Fox does a magnificent job in this film, really getting into character as she usually does. She shows (and goes through) a wide range of emotions, from joy to sadness, laughter to tears, anger and complacency. Chuck and Cheryl have a solid, comfortable relationship, based on their mutual interests, and they get along well enough that she took him in when he got divorced several years ago and his wife threw him out. At the very end, Chuck and Cheryl kiss, and it's better than any other kiss we've seen from her. Cheryl believes in Chuck enough that she bets on his races, despite his losing ways.
The scene where Chuck and Cheryl tear around a dirt parking lot in the limo (carving out a heart with the tires) was priceless, and very enjoyable. Talk about taking a girl out for a drive...
Just about everyone does a good job in this; perhaps the weakest portrayal was the guy who played Steve, Chuck's rival at the limo company - he was more caricature than character, but it still worked out well. For whatever reason, the character just didn't gel for me, even though I've met people like that in real life. Chuck's boss at the limo company was also a little weak, but his character was very understandable. Everyone else is dead on target and nicely believable, with some interesting bits of pathos and humanity. Rip Torn is spot on as Sal, the curmudgeon owner of the Speedbowl race track, and Scott Cohen is exactly what you'd expect from the role, fitting into it quite nicely.
There's no trouble figuring out motivations in this movie, even with the secondary characters - most of them are in it for the money and are tired of Chuck's losing ways; the characters are laid out well. There's no mystery to the movie, but there doesn't need to be - it's fun.
Several comical scenes in this that got a laugh out of the audience, especially the one where Cheryl uses a car jack to prop up Chuck's sagging recliner. There were a few scenes that got winces out of the audience as well, especially those showing Chuck dealing with his son, "Worm" - he's not much of a father, though everything eventually works out. The various furniture commercials with Rob (played by John Viener) are a comedic riot; Rob as Bogie or as Dr. Strangelove...
This is a small, independent film which uses a lot of actual locations, giving it an air of realism and personality. It is well-written, acted, and directed - everything you expect a good movie to be.
All in all this is an enjoyable movie if you're a NASCAR fan, a Scott Cohen fan, a Jorja Fox fan, or a Rip Torn fan - or if you just like people movies. Overall, I'd rate it an 8 out of 10, and it's something I'd definitely recommend to people. I definitely want to get this when it comes out on DVD. It's full of energy and is just all-around fun; I never once felt the urge to look at my watch or squirm in my seat.
Scott Cohen plays Chuck Weber, who's day job is driving an airport limo, but his real passion is driving race cars... unfortunately, he hasn't won a race in 20 years. Jorja Fox plays Cheryl, Chuck's crew chief and girlfriend - by day she works in a machining plant turning out doodads, but her real dream is to open a speed shop (a race car repair shop). Neither of them have much money, and if Chuck keeps losing races they're not going to make any.
My original interest in this movie was Jorja Fox, but after seeing it (at a private screening in New York in March of 2011), I'd want to see it again even if she wasn't in it. The movie moves along smoothly, with no wasted scenes or nonsense moments; every scene tells part of the story.
While the background of the movie is B-circuit NASCAR, it's about the people and their dreams, especially Chuck. As you might expect, Jorja Fox does a magnificent job in this film, really getting into character as she usually does. She shows (and goes through) a wide range of emotions, from joy to sadness, laughter to tears, anger and complacency. Chuck and Cheryl have a solid, comfortable relationship, based on their mutual interests, and they get along well enough that she took him in when he got divorced several years ago and his wife threw him out. At the very end, Chuck and Cheryl kiss, and it's better than any other kiss we've seen from her. Cheryl believes in Chuck enough that she bets on his races, despite his losing ways.
The scene where Chuck and Cheryl tear around a dirt parking lot in the limo (carving out a heart with the tires) was priceless, and very enjoyable. Talk about taking a girl out for a drive...
Just about everyone does a good job in this; perhaps the weakest portrayal was the guy who played Steve, Chuck's rival at the limo company - he was more caricature than character, but it still worked out well. For whatever reason, the character just didn't gel for me, even though I've met people like that in real life. Chuck's boss at the limo company was also a little weak, but his character was very understandable. Everyone else is dead on target and nicely believable, with some interesting bits of pathos and humanity. Rip Torn is spot on as Sal, the curmudgeon owner of the Speedbowl race track, and Scott Cohen is exactly what you'd expect from the role, fitting into it quite nicely.
There's no trouble figuring out motivations in this movie, even with the secondary characters - most of them are in it for the money and are tired of Chuck's losing ways; the characters are laid out well. There's no mystery to the movie, but there doesn't need to be - it's fun.
Several comical scenes in this that got a laugh out of the audience, especially the one where Cheryl uses a car jack to prop up Chuck's sagging recliner. There were a few scenes that got winces out of the audience as well, especially those showing Chuck dealing with his son, "Worm" - he's not much of a father, though everything eventually works out. The various furniture commercials with Rob (played by John Viener) are a comedic riot; Rob as Bogie or as Dr. Strangelove...
This is a small, independent film which uses a lot of actual locations, giving it an air of realism and personality. It is well-written, acted, and directed - everything you expect a good movie to be.
All in all this is an enjoyable movie if you're a NASCAR fan, a Scott Cohen fan, a Jorja Fox fan, or a Rip Torn fan - or if you just like people movies. Overall, I'd rate it an 8 out of 10, and it's something I'd definitely recommend to people. I definitely want to get this when it comes out on DVD. It's full of energy and is just all-around fun; I never once felt the urge to look at my watch or squirm in my seat.
Brotherhood of the Wolf
(2001)
The Beast is within all of us...
10 October 2003
Warning: Spoilers
WARNING: there will be spoilers in the following commentary - if you have not seen this movie and you don't want to know what happens, don't read any further.
That having been said...
This movie is not for everyone. You need to have a taste for the unusual; you need to understand satire. If you are halfway intelligent, if you like action and can tolerate subtitles, if you enjoy something a bit different, then you will probably like this.
Oddly enough, the two best roles in this movie belong to bit players... 'Sylvia' (the Italian whore), played by model/actress Monica Bellucci, and 'La Bavarde' (the crazy witch woman), played by Virginie Darmon. Both of them bring a bit of reality to their roles... Bellucci as the aloof whore who may not be who she seems, and Darmon, whose character has a taste for blood and violence - almost obsessive... violence appears to turn her on. Not bad for someone who has absolutely no spoken lines in this...
One of the best lines in the movie (keeping in mind that it is mostly satire) comes at the end... "The world that created the Beast is no more" - yet in view of everything that happens, it couldn't be further from the truth. It's even quite true today; the world that created the Beast is far from dead.
The cinematography in this is quite good... there's the one scene where the body of the nude whore (Bellucci) blends into a view of the snow covered mountains which is quite good, but the shots of the countryside are also well done, as are the various angles on the old buildings, and even the action sequences. Regardless of anything else, the movie is very well filmed.
One odd point... if you understand French, then you'll notice parts where what the actors speak is not quite the same as what shows up in the subtitles; to be expected, since no language translates well into another. Even cuter, though, is the fact that some of the 'mistranslations' of the movie have been fixed on the DVD... only to have some other errors occur.
There are various influences at work in this movie, but one of the most obvious is "The Matrix"... "The Brotherhood of the Wolf" (Les Pacte des Loups) came out about a year after "The Matrix", and it shows in the slow motion sequences during the action, the freeze-frames at moments of suspense. But this movie owes itself also to almost any horror movie where the horror is more guessed at than shown... there are only a few times where you actually *see* the 'Beast', and the violence and bloodshed is all of human origin.
This movie encompasses quite a few different genres... it's action, it's martial arts, it's historical, it's revolutionary, it's historical, it's a romance, it's a mystery, it's incest, it's political commentary, it's satire... they've blended all of these themes quite well. Unfortunately, a lot of people probably won't like it, if only for the fact that it's in French with subtitles (as released in the U.S.)
1700's France... the revolution isn't upon them yet, and royalty still rules the land - but here and there are pockets of peasant resistance, and a priest with more than a touch of religious mania feeds on that, recruiting certain peasants (and local officials) to his cause, to 'reform' France and bring it back in line with the Word of God... as he sees it.
Enter Chevalier (Knight) Gregoire de Fronsac (Simon le Bihan), the King's naturalist... and free-thinker. Through his travels - and that of, shall I say it? His faithful Indian companion - we learn exactly what has been happening in rural France, and the attitudes of the locals, who may be more than what they seem.
From there we are introduced to the various locals, and get a taste of the ideals - and social divisions - in old France... while not stated in so many words, the rebellion against the King has begun, which we discover at the end. It's a tale of mystery and history, secrets which aren't handed down, horrors committed by locals that remain local.
Okay, so even if there were American Indians in France, I doubt they knew martial arts. 'Mani' (played by Mark Dacascos, a martial arts expert who was actually born in Hawaii) is hunter and hunted, and though not stated in so many words in the movie, it's obvious that his 'totem' is the Wolf. Naming the ship at the end 'Frere Loup' (Brother Wolf) is a nice touch. Still, the martial arts action in this is but a side-show, a means to an end... the true story is the hunt for the truth.
The various attitudes in the movie - some more seen than shown - tell us of the period in which it appears... there are those who consider themselves the rulers of the land, and those who would prefer not to be ruled. Rebellion towards the morés and interests of the times - as well as the nobility's hopes to surpress rebellion and keep their stranglehold - are shown quite well, more in actions than words. In fact, it's never really stated in the movie that 'this is the way things should be done', but it's obvious nevertheless. Watching Fronsac circumvent - and sometimes outright deny - those 'rules' in his search for the truth is interesting... and so cute to see how naïve a 'man of the world' can be. In the end, you really have to wonder who has really won... sure, the 'Beast' is dead, and so are most of those responsible for it - but what has it really achieved?
Okay, so this movie isn't for everyone... you'd have to see it for yourself. But it is fun, which is all you can really ask of a movie.
That having been said...
This movie is not for everyone. You need to have a taste for the unusual; you need to understand satire. If you are halfway intelligent, if you like action and can tolerate subtitles, if you enjoy something a bit different, then you will probably like this.
Oddly enough, the two best roles in this movie belong to bit players... 'Sylvia' (the Italian whore), played by model/actress Monica Bellucci, and 'La Bavarde' (the crazy witch woman), played by Virginie Darmon. Both of them bring a bit of reality to their roles... Bellucci as the aloof whore who may not be who she seems, and Darmon, whose character has a taste for blood and violence - almost obsessive... violence appears to turn her on. Not bad for someone who has absolutely no spoken lines in this...
One of the best lines in the movie (keeping in mind that it is mostly satire) comes at the end... "The world that created the Beast is no more" - yet in view of everything that happens, it couldn't be further from the truth. It's even quite true today; the world that created the Beast is far from dead.
The cinematography in this is quite good... there's the one scene where the body of the nude whore (Bellucci) blends into a view of the snow covered mountains which is quite good, but the shots of the countryside are also well done, as are the various angles on the old buildings, and even the action sequences. Regardless of anything else, the movie is very well filmed.
One odd point... if you understand French, then you'll notice parts where what the actors speak is not quite the same as what shows up in the subtitles; to be expected, since no language translates well into another. Even cuter, though, is the fact that some of the 'mistranslations' of the movie have been fixed on the DVD... only to have some other errors occur.
There are various influences at work in this movie, but one of the most obvious is "The Matrix"... "The Brotherhood of the Wolf" (Les Pacte des Loups) came out about a year after "The Matrix", and it shows in the slow motion sequences during the action, the freeze-frames at moments of suspense. But this movie owes itself also to almost any horror movie where the horror is more guessed at than shown... there are only a few times where you actually *see* the 'Beast', and the violence and bloodshed is all of human origin.
This movie encompasses quite a few different genres... it's action, it's martial arts, it's historical, it's revolutionary, it's historical, it's a romance, it's a mystery, it's incest, it's political commentary, it's satire... they've blended all of these themes quite well. Unfortunately, a lot of people probably won't like it, if only for the fact that it's in French with subtitles (as released in the U.S.)
1700's France... the revolution isn't upon them yet, and royalty still rules the land - but here and there are pockets of peasant resistance, and a priest with more than a touch of religious mania feeds on that, recruiting certain peasants (and local officials) to his cause, to 'reform' France and bring it back in line with the Word of God... as he sees it.
Enter Chevalier (Knight) Gregoire de Fronsac (Simon le Bihan), the King's naturalist... and free-thinker. Through his travels - and that of, shall I say it? His faithful Indian companion - we learn exactly what has been happening in rural France, and the attitudes of the locals, who may be more than what they seem.
From there we are introduced to the various locals, and get a taste of the ideals - and social divisions - in old France... while not stated in so many words, the rebellion against the King has begun, which we discover at the end. It's a tale of mystery and history, secrets which aren't handed down, horrors committed by locals that remain local.
Okay, so even if there were American Indians in France, I doubt they knew martial arts. 'Mani' (played by Mark Dacascos, a martial arts expert who was actually born in Hawaii) is hunter and hunted, and though not stated in so many words in the movie, it's obvious that his 'totem' is the Wolf. Naming the ship at the end 'Frere Loup' (Brother Wolf) is a nice touch. Still, the martial arts action in this is but a side-show, a means to an end... the true story is the hunt for the truth.
The various attitudes in the movie - some more seen than shown - tell us of the period in which it appears... there are those who consider themselves the rulers of the land, and those who would prefer not to be ruled. Rebellion towards the morés and interests of the times - as well as the nobility's hopes to surpress rebellion and keep their stranglehold - are shown quite well, more in actions than words. In fact, it's never really stated in the movie that 'this is the way things should be done', but it's obvious nevertheless. Watching Fronsac circumvent - and sometimes outright deny - those 'rules' in his search for the truth is interesting... and so cute to see how naïve a 'man of the world' can be. In the end, you really have to wonder who has really won... sure, the 'Beast' is dead, and so are most of those responsible for it - but what has it really achieved?
Okay, so this movie isn't for everyone... you'd have to see it for yourself. But it is fun, which is all you can really ask of a movie.
The Lost Boys
(1987)
Party until you're dead... then continue.
3 October 2003
Director Joel Schumacher started out as a set decorator in Hollywood, and it shows... check out any of his movies, and you'll see sets and locations which are very nicely done. All the right touches are in there, which is probably why Warner Bros. loves him so much.
Unfortunately, he's not much of a director. He quite often fails to get anything resembling the best out of his actors or script, and has a tendency to ramble on, taking meaningless side trips through his own form of reality.
Thankfully, this movie is a rare exception.
Hollywood has been doing vampire movies for about as long as film has existed, and the stories have gotten quite old... most modern day vampire movies, in fact, don't even follow the 'rules' of vampires.
"The Lost Boys" does stick to traditional vampire lore (for the most part), but it adds its own modern twist: most vampires you see wear the standard evening dress, sleep in coffins, linger in old mansions... this movie shows you what it's like to be a young, hip vampire. Why change your habits and lifestyle just because you're Undead?
The performances are nothing spectacular, though they are interesting... and the movie is short enough that it never gets boring. The camera work is decent enough, if nothing special. The soundtrack is good, but doesn't match the modern radio / music video soundtracks of recent years. The special effects are mostly not there... camera tracking takes the place of flight, with a few prosthetics and some heavy makeup completing the list of anything fancy.
But none of that really matters.
It's often said, but just let yourself go when you watch this movie... you don't have to get so totally into it that you believe every word and gesture, but just sit back and relax - enjoy it for what it is.
Some of the performances are so dead serious that they almost verge on satire, while with others you can see them having fun with their roles. Which is probably a good reason to make a movie in the first place... if you can't have fun with a character, why bother?
As of 2003 this movie is 16 years old, but it has aged well. A bit cute to see some of the stars in it, and compare them to where they are now... Kiefer Sutherland, for instance. Compare him to 'David' in this movie, and 'Jack' in the Fox series "24". Or Jamie Gertz, or Dianne Wiest, or Edward Herrmann. Just seeing these folks in their 'younger' days can be fun... but that's not the reason to watch the movie.
It's not scary, it's not really tension filled, it's not riveting. But it is fun. Sleep all day, party all night... never grow old, never die. This movie is a good - if somewhat mindless - look at what 'California vampires' would be like, what eternal youth can really be.
Unfortunately, he's not much of a director. He quite often fails to get anything resembling the best out of his actors or script, and has a tendency to ramble on, taking meaningless side trips through his own form of reality.
Thankfully, this movie is a rare exception.
Hollywood has been doing vampire movies for about as long as film has existed, and the stories have gotten quite old... most modern day vampire movies, in fact, don't even follow the 'rules' of vampires.
"The Lost Boys" does stick to traditional vampire lore (for the most part), but it adds its own modern twist: most vampires you see wear the standard evening dress, sleep in coffins, linger in old mansions... this movie shows you what it's like to be a young, hip vampire. Why change your habits and lifestyle just because you're Undead?
The performances are nothing spectacular, though they are interesting... and the movie is short enough that it never gets boring. The camera work is decent enough, if nothing special. The soundtrack is good, but doesn't match the modern radio / music video soundtracks of recent years. The special effects are mostly not there... camera tracking takes the place of flight, with a few prosthetics and some heavy makeup completing the list of anything fancy.
But none of that really matters.
It's often said, but just let yourself go when you watch this movie... you don't have to get so totally into it that you believe every word and gesture, but just sit back and relax - enjoy it for what it is.
Some of the performances are so dead serious that they almost verge on satire, while with others you can see them having fun with their roles. Which is probably a good reason to make a movie in the first place... if you can't have fun with a character, why bother?
As of 2003 this movie is 16 years old, but it has aged well. A bit cute to see some of the stars in it, and compare them to where they are now... Kiefer Sutherland, for instance. Compare him to 'David' in this movie, and 'Jack' in the Fox series "24". Or Jamie Gertz, or Dianne Wiest, or Edward Herrmann. Just seeing these folks in their 'younger' days can be fun... but that's not the reason to watch the movie.
It's not scary, it's not really tension filled, it's not riveting. But it is fun. Sleep all day, party all night... never grow old, never die. This movie is a good - if somewhat mindless - look at what 'California vampires' would be like, what eternal youth can really be.
Contact
(1997)
Thank God for 18 hours of static.
1 October 2003
This is one of those movies which work on so many levels... let's take the Hollywood level first.
Jodie Foster does an *excellent* job as 'Ellie Arroway'... but she isn't alone in her excellence. James Woods plays the consummate a**hole, a role he plays quite well - in fact, there are points in this movie when you just feel the urge to yell at the screen, most of it unprintable. Matthew McConaughey does quite a good job, and his character is right on the mark... supportive and disbelieving at the same time. Each of them plays their roles in a way that is entirely believable... yet at the same time you want to question the role (not the actor, but the character). Skerrit also does a good job, limited though it is. They are believable *as the characters*... which is exactly what a movie is supposed to do.
The camera work and the F/X are almost unbelievable... they are absolutely spectacular. While at one and the same time they portray the realities of life on Earth (the various satellite arrays, everyday rooms, council chambers), they also portray the wonders of the universe. One day we actually make it out there... only to find that Hollywood has beaten us to the point. Yet the Hollywood F/X don't leave us lost in a realm of... F/X; we can look at this (the star journeys, the systems, the arrays), and it looks real; or at least, real enough to be totally believable, which is the whole point of Hollywood.
Yet as with any good movie, the special effects play second fiddle to the actors and the characters they play. You can have absolutely amazing F/X, and yet have a bland and boring movie (such as "Star Trek: The Motion Picture"). Here, the special effects - as beautiful as they are - definitely play second fiddle to the actors and their characters.
With all of this, we can't forget the man behind the camera... Robert Zemeckis. He's brought us such slapstick broadsides as "Ghostbusters", but at the heart he is a filmmaker, a true director (not that "Ghostbusters" was false), and this movie shows it - he does an astonishing job, getting astounding performances out of his cast.
The characters - based on the novel by scientist and philosopher Carl Sagan - are nothing less that miraculous... and oh-so-human. It's a very big round of applause to the various actors that you look at each of the characters and you can see where each one is coming from; whom they are supposed to be - that's what Hollywood is supposed to be like, and so rarely is. There are no fancy aliens in this; everybody is remarkable human. And very nicely done.
A silly note: during the very beginning of the movie, when the camera view pulls out from Earth and into space, it's highly amusing that the words of (former President) Richard Nixon mix and blend with the theme to the "Twilight Zone"...
If you want to get into the metaphysical parts of the movie, it's solely about faith... faith in all its forms. It doesn't matter what you believe - this movie will probably represent your point of view. At the end, in front of the committee, we have one person asking Arroway (Foster) whether they should take everything on faith... which is especially ironic when you remember that one person (played by Jake Busey) has their own form of faith which destroys and kills... which faith do you believe? Or should we believe all of them? What is faith, other than an extreme belief in something which cannot be proven?
In a final note - yes, this movie will make you think (if you have the brains to see outside your own narrow little world)... but in the end, it's the astonishing performances (mainly by Foster, but also by McConnaughey and Woods) that will pull you in.
If you like anything other than hack-n-slash, then I'd highly recommend this movie to you... see it with an open mind, and perhaps it will make you *think*!
If you've got even a little bit of openness in your mind, if you have ever asked "Are we alone in the universe?", then this movie will be quite satisfying... because it doesn't answer any of those questions; instead, it shows you how people - real people - deal with them. Very, very good.
It's a mark of this movie that after watching it on DVD, you don't really care about all of the extras... the interviews, the director's comments - you've just seen the movie, which speaks for itself in every line; why spoil it with something else? But even as I say that, the director's (and others) comments on the second track are nice - hearing what they thought about this and that is a very interesting extra. Still, the movie itself - and Foster's excellent performance - is the real reason for buying this DVD.
Jodie Foster does an *excellent* job as 'Ellie Arroway'... but she isn't alone in her excellence. James Woods plays the consummate a**hole, a role he plays quite well - in fact, there are points in this movie when you just feel the urge to yell at the screen, most of it unprintable. Matthew McConaughey does quite a good job, and his character is right on the mark... supportive and disbelieving at the same time. Each of them plays their roles in a way that is entirely believable... yet at the same time you want to question the role (not the actor, but the character). Skerrit also does a good job, limited though it is. They are believable *as the characters*... which is exactly what a movie is supposed to do.
The camera work and the F/X are almost unbelievable... they are absolutely spectacular. While at one and the same time they portray the realities of life on Earth (the various satellite arrays, everyday rooms, council chambers), they also portray the wonders of the universe. One day we actually make it out there... only to find that Hollywood has beaten us to the point. Yet the Hollywood F/X don't leave us lost in a realm of... F/X; we can look at this (the star journeys, the systems, the arrays), and it looks real; or at least, real enough to be totally believable, which is the whole point of Hollywood.
Yet as with any good movie, the special effects play second fiddle to the actors and the characters they play. You can have absolutely amazing F/X, and yet have a bland and boring movie (such as "Star Trek: The Motion Picture"). Here, the special effects - as beautiful as they are - definitely play second fiddle to the actors and their characters.
With all of this, we can't forget the man behind the camera... Robert Zemeckis. He's brought us such slapstick broadsides as "Ghostbusters", but at the heart he is a filmmaker, a true director (not that "Ghostbusters" was false), and this movie shows it - he does an astonishing job, getting astounding performances out of his cast.
The characters - based on the novel by scientist and philosopher Carl Sagan - are nothing less that miraculous... and oh-so-human. It's a very big round of applause to the various actors that you look at each of the characters and you can see where each one is coming from; whom they are supposed to be - that's what Hollywood is supposed to be like, and so rarely is. There are no fancy aliens in this; everybody is remarkable human. And very nicely done.
A silly note: during the very beginning of the movie, when the camera view pulls out from Earth and into space, it's highly amusing that the words of (former President) Richard Nixon mix and blend with the theme to the "Twilight Zone"...
If you want to get into the metaphysical parts of the movie, it's solely about faith... faith in all its forms. It doesn't matter what you believe - this movie will probably represent your point of view. At the end, in front of the committee, we have one person asking Arroway (Foster) whether they should take everything on faith... which is especially ironic when you remember that one person (played by Jake Busey) has their own form of faith which destroys and kills... which faith do you believe? Or should we believe all of them? What is faith, other than an extreme belief in something which cannot be proven?
In a final note - yes, this movie will make you think (if you have the brains to see outside your own narrow little world)... but in the end, it's the astonishing performances (mainly by Foster, but also by McConnaughey and Woods) that will pull you in.
If you like anything other than hack-n-slash, then I'd highly recommend this movie to you... see it with an open mind, and perhaps it will make you *think*!
If you've got even a little bit of openness in your mind, if you have ever asked "Are we alone in the universe?", then this movie will be quite satisfying... because it doesn't answer any of those questions; instead, it shows you how people - real people - deal with them. Very, very good.
It's a mark of this movie that after watching it on DVD, you don't really care about all of the extras... the interviews, the director's comments - you've just seen the movie, which speaks for itself in every line; why spoil it with something else? But even as I say that, the director's (and others) comments on the second track are nice - hearing what they thought about this and that is a very interesting extra. Still, the movie itself - and Foster's excellent performance - is the real reason for buying this DVD.
Moulin Rouge!
(2001)
This is a musical?
28 October 2002
I have absolutely no idea what everyone saw in this film... this thing was Oscar material?
Okay, Nicole Kidman was good - very good, in fact. She was the only good thing about this movie... and she can indeed sing. She does indeed know how to act... even in an abortion like this.
Ewan MacGregor... he may be the flavor of the year (from "Trainspotting" and "Star Wars: The Phantom Menace"), but he doesn't add anything to this movie - anybody could have filled the role.
As for the rest of the cast... the less said, the better.
Let's talk about the camera work... I'm surprised that more theaters didn't report cases of sea sickness during this movie... while we're all used to (by now) all those hand-held cameras that jump around, this one jumps around so much that you don't even have time to identify the player that it is focused on. It zips all over the place like a demented hedgehog, denying you a point of view to anyone.
Next, the music... musicals are supposed to have music - preferably original music, though theater shows such as "ABBA, the Musical" (or whatever it may be called) rely on previously published tunes - not cheap recordings from an oldies station. If they had actually done full songs, that would have been one thing... but just stealing lines from various pop songs of the last 30 years? Ridiculous. Not only did they use individual lines from pop songs of years gone by, but they used the same durn lines over and over and over again... nauseating.
Nicole Kidman was good... as noted, she was the only saving grace of this movie - but only if you have a really desperate Nicole Kidman fix that you need to feed. She deserves an Oscar just for putting up with this poor plot (so very over-used) and direction. She's good... but this movie isn't. Save your money.
I like musicals (to a certain extent), but I'm durned if I know what this was... 'musical' isn't a term that encompasses this abortion of the film-making world.
Okay, Nicole Kidman was good - very good, in fact. She was the only good thing about this movie... and she can indeed sing. She does indeed know how to act... even in an abortion like this.
Ewan MacGregor... he may be the flavor of the year (from "Trainspotting" and "Star Wars: The Phantom Menace"), but he doesn't add anything to this movie - anybody could have filled the role.
As for the rest of the cast... the less said, the better.
Let's talk about the camera work... I'm surprised that more theaters didn't report cases of sea sickness during this movie... while we're all used to (by now) all those hand-held cameras that jump around, this one jumps around so much that you don't even have time to identify the player that it is focused on. It zips all over the place like a demented hedgehog, denying you a point of view to anyone.
Next, the music... musicals are supposed to have music - preferably original music, though theater shows such as "ABBA, the Musical" (or whatever it may be called) rely on previously published tunes - not cheap recordings from an oldies station. If they had actually done full songs, that would have been one thing... but just stealing lines from various pop songs of the last 30 years? Ridiculous. Not only did they use individual lines from pop songs of years gone by, but they used the same durn lines over and over and over again... nauseating.
Nicole Kidman was good... as noted, she was the only saving grace of this movie - but only if you have a really desperate Nicole Kidman fix that you need to feed. She deserves an Oscar just for putting up with this poor plot (so very over-used) and direction. She's good... but this movie isn't. Save your money.
I like musicals (to a certain extent), but I'm durned if I know what this was... 'musical' isn't a term that encompasses this abortion of the film-making world.
Brotherhood of the Wolf
(2001)
Is it Man or Beast?
1 April 2002
To say too much would be to give the whole thing away - but even if you know what is going to happen, it's worth watching at least once.
During the early 1700's, a Beast was ravaging the rural countryside of France. The King - all this takes place during a time when the love of the monarchy is decidedly fading - sends a 'naturalist' and his faithful Indian sidekick (sorry, couldn't resist) to find out more about the Beast, and possibly stop it.
Immediately as the movie opens you're treated to horror that happens offscreen - usually the best type, as "Alien" showed us. Slightly different views of the French countryside lead to the arrival - during a storm, of course - of de Fronsac (the King's naturalist) and his Indian companion. Since "The Matrix" (and later "Crouching Tiger, Hidden Dragon"), more movies of all stripes are throwing in flying martial arts fight scenes... and "Brotherhood of the Wolf" is no different.
The fights are well done, with only a slight bit of jerky camera movement at times.
The lighting in the movie is intense, done in a 'natural' style (torches, firelight, hazy sunlight, pouring rain) which goes well with the movie. The period costumes are well done, but we've seen all that before.
The plot is fairly basic, but it does throw in several twists... some of which you won't believe even when you see them. The acting is also fairly basic, but done well enough where it doesn't detract from the movie.
Most of the actors are French, so most American audiences won't recognize them... the only face I recognized was "Sylvia", the Italian prostitute who has a mystic side to her, but I couldn't remember her name until the end credits - Monica Bellucci, an Italian actress and model.
The horror in the movie is for the most part understated... and it works quite well that way. Just when you're sure what the Beast *isn't*, something happens to change your mind... and they do it subtly enough that you don't really care.
If you're looking for a period piece full of boring royal dinners, with noblemen standing around looking bored, then don't bother with this movie. If you're looking for something that will entertain you - and perhaps make you jump a bit - then go ahead and check this one out. If you speak French it's even better, but the subtitles are done well enough that they don't distract from the movie.
I'll give this one a solid 8 out of 10... one I'll definitely look for on video (or even better, DVD)
During the early 1700's, a Beast was ravaging the rural countryside of France. The King - all this takes place during a time when the love of the monarchy is decidedly fading - sends a 'naturalist' and his faithful Indian sidekick (sorry, couldn't resist) to find out more about the Beast, and possibly stop it.
Immediately as the movie opens you're treated to horror that happens offscreen - usually the best type, as "Alien" showed us. Slightly different views of the French countryside lead to the arrival - during a storm, of course - of de Fronsac (the King's naturalist) and his Indian companion. Since "The Matrix" (and later "Crouching Tiger, Hidden Dragon"), more movies of all stripes are throwing in flying martial arts fight scenes... and "Brotherhood of the Wolf" is no different.
The fights are well done, with only a slight bit of jerky camera movement at times.
The lighting in the movie is intense, done in a 'natural' style (torches, firelight, hazy sunlight, pouring rain) which goes well with the movie. The period costumes are well done, but we've seen all that before.
The plot is fairly basic, but it does throw in several twists... some of which you won't believe even when you see them. The acting is also fairly basic, but done well enough where it doesn't detract from the movie.
Most of the actors are French, so most American audiences won't recognize them... the only face I recognized was "Sylvia", the Italian prostitute who has a mystic side to her, but I couldn't remember her name until the end credits - Monica Bellucci, an Italian actress and model.
The horror in the movie is for the most part understated... and it works quite well that way. Just when you're sure what the Beast *isn't*, something happens to change your mind... and they do it subtly enough that you don't really care.
If you're looking for a period piece full of boring royal dinners, with noblemen standing around looking bored, then don't bother with this movie. If you're looking for something that will entertain you - and perhaps make you jump a bit - then go ahead and check this one out. If you speak French it's even better, but the subtitles are done well enough that they don't distract from the movie.
I'll give this one a solid 8 out of 10... one I'll definitely look for on video (or even better, DVD)
Army of Darkness
(1992)
The Deadites want to kick some Ash!
22 August 2000
This is the third movie in director Sam Raimi's "Evil Dead" series, and it's definitely the funniest. "The Evil Dead" was pure horror, while "Evil Dead 2" mellowed out somewhat. "Army of Darkness"... okay, sure - it's still horror; anything with an army of the dead is going to have horror. But it's funny horror... 'Fake Shemps' (the Three Stooges routine with the skeletons in the graveyard and later with the Deadites), Ash's inability to remember the phrase 'Klaatu Barada Niktu' (from the movie "The Day the Earth Stood Still"), his parody of the sword-wielding hero (chainsaws, anyone?), a double-barrel shotgun that fires four times without reloading, Sheila the Ash-kisser... even the Deadites themselves are funny.
The acting is a little wooden in spots - Bruce Campbell has said that he's gotten better with every movie he's done (and he has), but this is one of his early ones. The stop-motion skeletons are stiff and jerky, but they're supposed to be... that's also part of the fun. Some of the other F/X aren't as smooth as they could be, but they're easily survivable... you don't go to a movie just for the F/X anyway. Makeup is a little patchy in spots, but that's also something that doesn't detract from the movie.
The plot is nothing new - ye olde 'reluctant (and somewhat inept) hero who eventually saves the day'. Yet in Raimi's hands, it hits new heights of silliness. Raimi has also gotten better with every movie he's done, but there are still a few spots in this where it doesn't flow quite that smoothly. Even so, there's never really a dull moment.
For any of you wondering, that really is director Sam Raimi's car that Ash uses... according to reviewer/author/actor Bill Warren (he's known Sam Raimi for almost 20 years now), Raimi uses (or used) that Olds in every movie he did in the beginning - which means that it got seriously banged up on the set. Everything you see in the trunk of the car - including the chemistry textbook - are really what Sam Raimi has in the trunk of his car... there are no product placements here. Another Raimi touch are the 'Fake Shemps' (you have to be a Three Stooges fan to get that reference)... yet another is having his brother(s) - such as Ted Raimi - in the movie, even if they're uncredited.
Humor and horror might seem to be an odd mix, but it works out well - I'd recommend this movie to anyone who enjoys the Three Stooges and slapstick, or any Mel Brooks movie. In terms of acting and plot, I give it a 7... in terms of humor, I give it a 9 - for an average of 8, which is a heck of a lot better than a lot of stuff coming out of Hollywood these days.
The acting is a little wooden in spots - Bruce Campbell has said that he's gotten better with every movie he's done (and he has), but this is one of his early ones. The stop-motion skeletons are stiff and jerky, but they're supposed to be... that's also part of the fun. Some of the other F/X aren't as smooth as they could be, but they're easily survivable... you don't go to a movie just for the F/X anyway. Makeup is a little patchy in spots, but that's also something that doesn't detract from the movie.
The plot is nothing new - ye olde 'reluctant (and somewhat inept) hero who eventually saves the day'. Yet in Raimi's hands, it hits new heights of silliness. Raimi has also gotten better with every movie he's done, but there are still a few spots in this where it doesn't flow quite that smoothly. Even so, there's never really a dull moment.
For any of you wondering, that really is director Sam Raimi's car that Ash uses... according to reviewer/author/actor Bill Warren (he's known Sam Raimi for almost 20 years now), Raimi uses (or used) that Olds in every movie he did in the beginning - which means that it got seriously banged up on the set. Everything you see in the trunk of the car - including the chemistry textbook - are really what Sam Raimi has in the trunk of his car... there are no product placements here. Another Raimi touch are the 'Fake Shemps' (you have to be a Three Stooges fan to get that reference)... yet another is having his brother(s) - such as Ted Raimi - in the movie, even if they're uncredited.
Humor and horror might seem to be an odd mix, but it works out well - I'd recommend this movie to anyone who enjoys the Three Stooges and slapstick, or any Mel Brooks movie. In terms of acting and plot, I give it a 7... in terms of humor, I give it a 9 - for an average of 8, which is a heck of a lot better than a lot of stuff coming out of Hollywood these days.
The Birdcage
(1996)
Gay Paree visits south Florida.
17 July 2000
A lot of American remakes of European movies don't make it... they lose something in the translation. Not this one.
A remake of "La Cage Au Folles" (literally, "The Birdcage"), this film combines humor, chemistry, acting and plot.
Williams and Lane work perfectly together, bringing a chemistry to the screen that you'd expect of an actor and his leading lady... er, nevermind.
Except for one spot - Williams doing his strange dance routines - the humor isn't forced, but flows freely. Comedic timing is wonderfully implemented, and none of the characters is played over the top for laughs... though they get plenty.
Azaria really steals the show as the very strange houseboy, and even Flockhart seems human. It is, in fact, the straight man - played by Hackman - that seems just a bit overdone... everyone else blends perfectly.
I suppose you could actually call this a romantic comedy...
A remake of "La Cage Au Folles" (literally, "The Birdcage"), this film combines humor, chemistry, acting and plot.
Williams and Lane work perfectly together, bringing a chemistry to the screen that you'd expect of an actor and his leading lady... er, nevermind.
Except for one spot - Williams doing his strange dance routines - the humor isn't forced, but flows freely. Comedic timing is wonderfully implemented, and none of the characters is played over the top for laughs... though they get plenty.
Azaria really steals the show as the very strange houseboy, and even Flockhart seems human. It is, in fact, the straight man - played by Hackman - that seems just a bit overdone... everyone else blends perfectly.
I suppose you could actually call this a romantic comedy...
Batman Forever
(1995)
The beginning of the end of Batman.
16 July 2000
The first half hour is pretty bad... it goes downhill from there.
The casting, while not that bad, could have been better. The acting is forced. The directing...
Joel Schumacher isn't really a director - he is (literally) a set decorator, which is why Warner Bros. loves him so much... he makes the sets look good.
There's too much of a reliance upon special effects in the movie, and not enough on plot and character... this is an unfortunate Hollywood mistake, where they believe that for some odd reason, F/X do more for a movie than plot and character ever will. F/X can *enhance* a movie when it has good plot, story, and characters... but F/X alone cannot make a good movie.
Camera work in this is poor - odd angles, dark shots. Poor scripting - character's lines sound like they're being read right off the page, not acted.
Carrey and O'Donnell are probably the two best parts in this movie... both Kilmer and Jones come across as very wooden, very stiff... uninteresting. Kidman's character is a complete waste of space - she doesn't really do anything in the film.
Of the four modern Batman movies to date, this one is the worst.
The casting, while not that bad, could have been better. The acting is forced. The directing...
Joel Schumacher isn't really a director - he is (literally) a set decorator, which is why Warner Bros. loves him so much... he makes the sets look good.
There's too much of a reliance upon special effects in the movie, and not enough on plot and character... this is an unfortunate Hollywood mistake, where they believe that for some odd reason, F/X do more for a movie than plot and character ever will. F/X can *enhance* a movie when it has good plot, story, and characters... but F/X alone cannot make a good movie.
Camera work in this is poor - odd angles, dark shots. Poor scripting - character's lines sound like they're being read right off the page, not acted.
Carrey and O'Donnell are probably the two best parts in this movie... both Kilmer and Jones come across as very wooden, very stiff... uninteresting. Kidman's character is a complete waste of space - she doesn't really do anything in the film.
Of the four modern Batman movies to date, this one is the worst.
Chicken Run
(2000)
Eggcellent Summer Movie!
2 July 2000
If you don't laugh at all during this movie, then you're probably dead from the neck up.
Too many puns and jokes to count. "Steals" from quite a few different movies, and even a few TV shows. Nick Park - who has brought us all of those wonderful "Wallace & Gromit" movies - turns his hand to American film making, with an American star... and is very successful. You won't stop laughing from beginning to end... even the names of some of the characters are funny.
A wonderful job of claymation, you'll have to see this one more than once just to get all the jokes, and to concentrate on all the details.
Incredible fun for all ages.
Too many puns and jokes to count. "Steals" from quite a few different movies, and even a few TV shows. Nick Park - who has brought us all of those wonderful "Wallace & Gromit" movies - turns his hand to American film making, with an American star... and is very successful. You won't stop laughing from beginning to end... even the names of some of the characters are funny.
A wonderful job of claymation, you'll have to see this one more than once just to get all the jokes, and to concentrate on all the details.
Incredible fun for all ages.
The Matrix
(1999)
Your Mind is all in Reality is all in your Mind.
20 March 2000
Warning: Spoilers
Science fiction movies have taken their next great step forwards.
It's just as much a horror movie as it is science fiction... but it's horror that's much different from the usual hack 'n slash.
Great performances, great script, great plot. From the moment the movie begins until the very end, you're going to wonder what is real and what is not... which is the whole intent.
The visual effects are stunning, and while the plot is nothing original, "The Matrix" takes it to the next level. If you didn't see it in the theater then the video isn't going to do it complete justice - I'd advise you to see it on DVD if possible, on widescreen tape if not... you'll want to get the full effect.
Considering the plot and the theme of the movie, it's pure poetry that one of the groups on the soundtrack is Rage Against The Machine (they also did a song for "The Crow")... and the rest of the soundtrack is just as good. (Okay, if your usual tastes are The Carpenters or Beethoven then you probably won't be interested in the soundtrack)
Wonderful performances by everyone involved, especially Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, and Joe Pantoliano. The cast blends well, and they're all believeable.
*************** SPOILER WARNING *************** *************************************************
The only thing that would have made this 100% freaky instead of just 99% would be if, at the end on the ship, Neo had reached up and unplugged himself from the Matrix.
Once you realize that as the Matrix is all in your mind, then you realize that anything at all is possible... 'regular' people will be able to morph just as the Sentinels do, (I presume the name "Sentinel" is a nod towards the X-Men... one 'future history' of that comic has people enslaved in camps, with giant robot Sentinels tracking down and taking out any rebels) and that nothing is impossible - being able to fly is merely one way that reality has no hold.
One thing that bothered me slightly is the fact that the Sentinel program calling itself "Agent Smith" showed emotion... that's a glandular response not possible in a program. On the other hand, emotional reactions can be programmed in... anything can be.
What is reality? Whatever you want it to be. Read through the Trivia section for this movie and you'll see a whole bunch of Christian references, with "The One" as Jesus Christ, the Savior. You could also say that when Neo realizes what it all is, that he has acheived a state of nirvana, and is "one with everything" (hold the onions)... at that point, he *is* the Matrix, and the Matrix is him.
Enough philosophy. You either enjoyed this movie or you didn't - and if you did enjoy it, you probably think it's one of the best around... because this movie has power. It doesn't force anything down your throat, but lets you discover it for yourself - and you'll probably enjoy that immensely.
It's just as much a horror movie as it is science fiction... but it's horror that's much different from the usual hack 'n slash.
Great performances, great script, great plot. From the moment the movie begins until the very end, you're going to wonder what is real and what is not... which is the whole intent.
The visual effects are stunning, and while the plot is nothing original, "The Matrix" takes it to the next level. If you didn't see it in the theater then the video isn't going to do it complete justice - I'd advise you to see it on DVD if possible, on widescreen tape if not... you'll want to get the full effect.
Considering the plot and the theme of the movie, it's pure poetry that one of the groups on the soundtrack is Rage Against The Machine (they also did a song for "The Crow")... and the rest of the soundtrack is just as good. (Okay, if your usual tastes are The Carpenters or Beethoven then you probably won't be interested in the soundtrack)
Wonderful performances by everyone involved, especially Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, and Joe Pantoliano. The cast blends well, and they're all believeable.
*************** SPOILER WARNING *************** *************************************************
The only thing that would have made this 100% freaky instead of just 99% would be if, at the end on the ship, Neo had reached up and unplugged himself from the Matrix.
Once you realize that as the Matrix is all in your mind, then you realize that anything at all is possible... 'regular' people will be able to morph just as the Sentinels do, (I presume the name "Sentinel" is a nod towards the X-Men... one 'future history' of that comic has people enslaved in camps, with giant robot Sentinels tracking down and taking out any rebels) and that nothing is impossible - being able to fly is merely one way that reality has no hold.
One thing that bothered me slightly is the fact that the Sentinel program calling itself "Agent Smith" showed emotion... that's a glandular response not possible in a program. On the other hand, emotional reactions can be programmed in... anything can be.
What is reality? Whatever you want it to be. Read through the Trivia section for this movie and you'll see a whole bunch of Christian references, with "The One" as Jesus Christ, the Savior. You could also say that when Neo realizes what it all is, that he has acheived a state of nirvana, and is "one with everything" (hold the onions)... at that point, he *is* the Matrix, and the Matrix is him.
Enough philosophy. You either enjoyed this movie or you didn't - and if you did enjoy it, you probably think it's one of the best around... because this movie has power. It doesn't force anything down your throat, but lets you discover it for yourself - and you'll probably enjoy that immensely.
Mystery Men
(1999)
You might not walk out of the theater, but I hope you didn't pay full price.
19 March 2000
The best scene in the movie, unfortunately, is when "Invisible Boy" and "Mr Spleen" (why didn't they just call him "Fartman"?) are standing guard outside Cassanova Frankenstein's mansion, and a skunk wanders out and starts humping Mr Spleen's leg.
Other than that it's pretty much downhill.
There are some enjoyable moments, but they don't last long and nothing else hangs together. Director Kinka Usher should have stayed with music videos - if this movie had been a 5 minute infomercial, then it might have succeeded... but at almost two hours it just manages to bore you to death.
In this movie, Usher showcases the idiotic school of "look what I can do with a camera!", with a lot of absolutely-in-your-face shots (is anybody interested in counting nose hairs?), and camera-on-the-ground-and-aimed-up shots. At least the camera doesn't jerk around in short choppy movements ("Homicide", anyone?), but that's about all that can be said for it.
Most of the performances are dull and bland. Kinnear usually has a comic presence, but in this one he's about as funny as a brick. Lena Olin is completely wasted in this film - all of her lines can fit on to a single page. Geoffrey Rush tries, but he can't do the monomaniacal supervillain, not with this material. Only Garofalo and Reubens seemed to actually be able to do anything with the script such as it is... but for the most part the script is just a bunch of thrown-together moments that don't coalese into anything coherent and lifelike. As for Wes Studi... that's the kind of character you thought only existed in a bad movie - oh, wait, here we are.
The F/X are nothing fancy, and for the most part look like they were thrown in at the last minute. They're not even consistent.
Costuming is actually fairly decent... the wannabe heroes *look* like wannabe heroes - until they get into their new fancy costumes near the end, when they look like rejects from a KISS concert.
The music is immediately forgettable... yet this is the kind of movie which cries out for a killer soundtrack.
Take any superhero movie you've ever scene, mix together the bad and the indifferent material, and throw it into a "wannabes need to save the day" plot and you've got "Mystery Men". You might not walk out of the theater, but I hope you didn't pay full price.
Other than that it's pretty much downhill.
There are some enjoyable moments, but they don't last long and nothing else hangs together. Director Kinka Usher should have stayed with music videos - if this movie had been a 5 minute infomercial, then it might have succeeded... but at almost two hours it just manages to bore you to death.
In this movie, Usher showcases the idiotic school of "look what I can do with a camera!", with a lot of absolutely-in-your-face shots (is anybody interested in counting nose hairs?), and camera-on-the-ground-and-aimed-up shots. At least the camera doesn't jerk around in short choppy movements ("Homicide", anyone?), but that's about all that can be said for it.
Most of the performances are dull and bland. Kinnear usually has a comic presence, but in this one he's about as funny as a brick. Lena Olin is completely wasted in this film - all of her lines can fit on to a single page. Geoffrey Rush tries, but he can't do the monomaniacal supervillain, not with this material. Only Garofalo and Reubens seemed to actually be able to do anything with the script such as it is... but for the most part the script is just a bunch of thrown-together moments that don't coalese into anything coherent and lifelike. As for Wes Studi... that's the kind of character you thought only existed in a bad movie - oh, wait, here we are.
The F/X are nothing fancy, and for the most part look like they were thrown in at the last minute. They're not even consistent.
Costuming is actually fairly decent... the wannabe heroes *look* like wannabe heroes - until they get into their new fancy costumes near the end, when they look like rejects from a KISS concert.
The music is immediately forgettable... yet this is the kind of movie which cries out for a killer soundtrack.
Take any superhero movie you've ever scene, mix together the bad and the indifferent material, and throw it into a "wannabes need to save the day" plot and you've got "Mystery Men". You might not walk out of the theater, but I hope you didn't pay full price.
American Beauty
(1999)
Good, but weird.
7 November 1999
A good movie, but a weird one. Spacey does his usual good job, this time as a man with a mid-life crisis. Good plot, with everything following logically from one part to the next. Some things aren't explained, but most of the movie is through his eyes - he won't know everything, so why should we? Good job by most of the folks involved (especially Benning, Bentley, and Birch), good smooth editing, nice choice of music. The use of the roses (American Beauty is, of course, a type of rose) is an interesting touch, and it adds to the weirdness.
It's a good movie about growing up and growing old, but it also does a good job at showing how people get their first impressions of somebody or something, and the strange states of mind that humans are capable of.
It's a good movie about growing up and growing old, but it also does a good job at showing how people get their first impressions of somebody or something, and the strange states of mind that humans are capable of.
Martial Law
(1998–2000)
Worth watching for Sammo's martial arts; good comedy as well as drama.
29 December 1998
"Martial Law" is your standard cop show in one way - the actual "cop stuff" is the usual nonsense you can see anywhere on TV, the "same old same old" which makes real cops wince. What makes this show worth watching is the incredible martial arts prowess of the cast - especially Sammo Hung. Just like Jackie Chan and Chow Yun-Fat, Sammo trained at the Peking Opera School, which makes for a unique - and often funny - style of martial arts. The entire cast works well together, and they can all actually *act* - unlike a certain 'Texas Ranger' who comes on after this show. Lots of comedy in this show - they don't (usually) go for the cheap "Chinaman in America" jokes, and they actually seem to remember what they've done from one show to the next. All of the martial arts used on the set are real - Sammo, obviously, is an expert, and Louis Mandylor ("Louis") is trained in "muy thai" (Thai kickboxing), while Tammy Lauren ("Dana") is a black belt in Karate [I haven't heard a real reason for her departure], and Kellu Hu ("Grace / Pei Pei") is a brown belt in Karate. Tom Wright ("Lt. Winship") is a former stuntman, and does his own stunts in the show as well. And, just as with Jackie Chan's movies, at the end of every episode they have a brief "outtakes" section, showing some of the goofs that occured during the filming of the episode.
Good acting, decent plots, and plenty of kick-butt action, as well as many comedic moments (Sammo playing "Smoke On The Water" on the guitar...) make this a show to watch.
Good acting, decent plots, and plenty of kick-butt action, as well as many comedic moments (Sammo playing "Smoke On The Water" on the guitar...) make this a show to watch.
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