XFLRWF Reviews

Frost/Nixon (2008)

What makes life worth living is purpose

[10/10 · 11 December 2008]

Historical characters and events are often tricky to put on film. The audience must distinguish if the story and characters are accurate portrayals or biased ones based on the director's opinion. In "Frost/Nixon" (adapted from Peter Morgan's play of the same name), director Ron Howard delivers a brilliant account of the infamous interview between former United States President Richard Nixon and television host David Frost. This could not have been done without the marvelous performances by Frank Langella and Michael Sheen. This combination of talent draws in the audience to feel every aspect of this historical account.

On August 9, 1974, Richard Nixon (Frank Langella) resigned as President of the United States of America. On the other side of the world in Australia, television host David Frost (Michael Sheen) watches as the President makes his dramatic exit from the White House. Ever ambitious, Frost decides to interview Nixon as he feels it will be a huge ratings grabber. Nixon sees it as a chance to redeem himself in the public spotlight. But when these two gladiators of the debate collide, in the end there can be only one winner.

In a subject matter such as this, it is easy to paint Nixon as an evil villain. Instead, Ron Howard does a great job of producing screenwriter Peter Morgan's unbiased telling of this time in history. Howard and Morgan create a witty game of cat and mouse between Frost and Nixon. Both figures think they can best the other in order to increase their own gain. Howard shows the trials and struggles of both sides as they plan their attack and feel the pressure of making the interview a success. Morgan creates an intellectual no hold barred fight to the death between the two men and shows they are more alike than they realize. Frost and Nixon simply want what any forgotten celebrity wants: another chance at the spotlight.

Frank Langella and Michael Sheen reprise their roles as Nixon and Frost respectively from their London play. Langella is wonderful as the ex-president. He does not play the role comically or outrageously. In his performance, Langella brings out the fighting, never-say-die aura out of Nixon that is almost admirable. He loves challenges, loves to fight, and is quite a skilled debater. Conversely, Langella also shows Nixon as a man beaten down by the sting of Watergate. And yet, he still thinks he can redeem himself. He carries himself in a slouchy posture and is slow moving. Langella shows that this is a man clearly burdened by guilt but cannot bring himself to admit he was wrong about anything. Michael Sheen is equally talented as David Frost. Sheen also shows Frost's longing for a return to American success. The opposite of Nixon, Frost hides his problems with charming smile and attitude that Sheen captures perfectly. He never lets on how bad things may with the production and is always eager to reassure his co-workers of the success. Sheen's best work is his reactions to whatever Nixon throws at him. The sheer look of disbelief and terror in what he has gotten himself into as he delves deeper into the project is remarkable.

In a movie such as this, there are no heroes and villains in the traditional sense. Howard and Morgan show that these are simply two men fighting for what could be the death of their careers. They simply want their success back and will do whatever they feel is necessary to attain it. Langella and Frost deliver gifted performances and are joined by the supporting talents of Kevin Bacon, Sam Rockwell, and Toby Keith. "Frost/Nixon" is not about clearing anyone's name or getting the truth. It is simply about the question: "What would you do to get your spotlight back?"

FROST/NIXON Grade: A

Indiana Jones and the Kingdom of the Crystal Skull (2008)

No years or mileage can slow down Jones

[8/10 · 25 May 2008]

Death-defying escapes, high impact action, and that familiar fedora are back in "Indiana Jones and the Kingdom of the Crystal Skull." The creative and imaginative team of George Lucas and Steven Spielberg deliver another epic adventure of the infamous, globe-trotting archaeologist that is sure to win over fans of the series and gain a new generation of Indy followers. After a near 20 year absence, Harrison Ford returns in the role of Dr. Jones and proves that neither the years nor the mileage slow him down. Adding their own flair to the series' historic aura are Shia LaBeouf and Cate Blanchett as Indy's newest sidekick and nemesis, John Hurt, and Karen Allen. The old school and new blood mix create a high adrenaline ride that takes your breath away.

The year is 1957. America is in the middle of the Cold War and Dr. Indiana Jones (Harrison Ford) is kidnapped to a military base to find a hidden artifact by Russian scientist Irina Spalko (Cate Blanchett). After making his traditional daring escape, Jones makes his way back to his university where he encounters greaser Mutt Willaims (Shia LaBeouf). Williams informs Indy that an old colleague (John Hurt) of his has been missing while trying to find the treasure of the crystal skull. While trying to dodge Communists, booby traps, and other hazards that are just a typical day at the office for Jones, Indy must find his friend and return the crystal skull to its proper place.

Spielberg has never lost his touch for storytelling and action sequences and "Crystal Skull" is no different. He draws in the audience completely by fully capturing every breath-taking stunt and hard-hitting fight while giving the audience just enough time to catch their breath. It is in Spielberg's willingness to not hold anything back that is one component that makes "Crystal Skull" successful. His close-ups of every Indy exploit and thoughtful moment make the audience feel they are right along side on this latest adventure. Indy aficionados will also note Spielberg's similar camera styles that he has used introduce scenes in the previous Indy films.

As most fans of the series know, Indiana Jones was one of the ideas conceived by George Lucas as homage to the Saturday matinée movie serials he saw as a child. (The other was some space movie that has also done well.) In "Crystal Skull", Lucas and screenwriters David Koepp and Jeff Nathanson take the vision to new heights. They trio is keenly aware of what the audience wants and expects from an Indiana Jones film and delivers that on all levels. They fill in the audience on the gap between finding the Holy Grail to 1957 and throw in a fantastic plot that Lucas' must have dreamt of since he was a boy watching the serials. Some fans may find the story a bit too eccentric, even for Jones. But the Indy has been fighting the unbelievable for years. Unlike James Bond and other indestructible cinematic characters, Indiana Jones does and has aged. One of the writers' great achievements is aging Indy in mind and body but keeping him young in spirit.

From the moment we see the shadow of Indiana Jones donning the fedora; we immediately wait on the presence of Harrison Ford. Ford has not lost a step in playing the iconic character. He is as smart and witty as he has ever been as Jones and can still throw a mean punch. But Ford also knows that the character has aged too and portrays Indy as tough but also reflective on what he has missed in life. In his scenes with Shia LaBeouf's Mutt Williams, Ford has taken on the father figure role. But while older than his counterpart, he still has a thing or two to teach him. Like many actors who have reprised roles, Ford fits into Indy like an old pair of shoes. Shia LeBeouf adds a tough and comic side in his performance as Mutt Willaims. For the role, LeBeouf seems to have really studied up on 1950's biker movies. He is the quintessential greaser: constantly concerned about combing his hair and riding his motorcycle. And yet, he is smart enough to not overplay that characteristic. LaBeouf knows when to play it up for laughs and when to do the role seriously. LaBeouf and Ford share great chemistry in their student/teacher relationship. It is in this relationship that LaBeouf resembles a younger Indy: headstrong and always ready for a fight. Cate Blanchett is absolutely cold and evil as the villainous Irina Spalko. She plays the role as an absolutely no-nonsense soldier who will kill anyone to get her way. Blanchett's ruthlessness is felt in every scene she occupies and really goes out of her way to make herself a hated villainess. John Hurt and Karen Allen lend their talents in their limited yet effective roles. As the mad Professor Oxley, Hurt really plays his insanity to the hilt. Allen and Ford pick up their banter right where they left off that it doesn't seem any time has passed between finding the Ark of the Covenant and the current hunt for the crystal skull.

"Crystal Skull" does not disappoint in delivering what Indy fans have waited so long for. It has great loads of action and terrific performances. The story does have some incredible elements but lest we forget, the series has always focused on the unusual and bizarre. Indy fans and action lovers in general will have experienced a roller coaster after viewing this film. Nazis, death cults, not even time can stop the force that is Indiana Jones.

Grade: A-

3:10 to Yuma (2007)

"Every way of man is right in his own eyes"

[10/10 · 17 September 2007]

Ah, the Western. The mere mention of that genre evokes thoughts of heroic sheriffs, quick-drawing gunslingers, and villainous outlaws. That is the traditional version. James Mangold's remake of "3:10 to Yuma" delivers a Western that is not merely a shoot 'em up but also a great study of its characters. It is Mangold's masterful storytelling and direction that draws in the audience more deeply into the story and characters. This is accompanied by the fantastic performances of Russell Crowe and Christian Bale who prove that heroes and villains have more underlying reasons for their actions than simply money or vengeance.

Former Civil War soldier Dan Evans (Christian Bale) is a down-on-his-luck farmer. He has only one leg, his children don't respect him, and he is heavily in debt. While rounding up his cattle, he comes across notorious outlaw Ben Wade (Russell Crowe) who has just finished his latest holdup. Their destinies intertwine in the local saloon where Evans volunteers to accompany a posse to ensure Wade gets on the 3:10 train to Yuma where he'll be sent to prison and hanged. The group must survive the vicious loyalty Wade's men have for their leader and other vigilantes looking for vengeance against the outlaw if they are going to make their goal.

The film would have been ordinary and average if it not for the masterful storytelling ability of James Mangold. When he introduces the characters, Evans is shown trying to live a just life and do things the right way whereas Wade is carefree and cavalier about his life. It is a great dichotomy of the honest man who struggles through life and the evil man who breaks the rules and lives free and easy. Mangold's timing is perfect in setting up the characters before he connects their fates. There is an imagery of a split screen and the audience experiences everything happening all at once. Mangold's ability to draw in the audience makes them feel as they were right in the picture. This is especially true in his slow close-ups during Evans' and Wade's different monologues. The delivery by the actors is flawless but it is through Mangold that movie goers really feel the experience. His direction makes the audience feel they are being addressed rather than the supporting actors.

The terrific screenplay of Halsted Welles, Michael Brandt, and Derek Hass is adapted by Elmore Leonard's short story. Welles, Brandt, and Haas create multidimensional heroes and villains and show the grey areas between black and white. The trio dedicates equal time in introducing Evans and Wade before tying their fates. They have a great sense for how much to divulge to the audience before bringing the hero and villain together. The team also brings out the unique characteristics of Evans and Wade and supplies them with thought-provoking ideas about the thin line between right and wrong.

Without a doubt, this is one of Russell Crowe's best performances a he fits so smoothly into the role of outlaw Ben Wade. Crowe does not play Wade as the typical heartless gunslinger that would shoot a man just for being looked at funny. Rather, he is cool-headed and only kills for survival. This is best viewed by reading Crowe's eyes as he moves an entire scene with a simple look. Crowe has a lot of fun with his character's malevolent ways that there is a charisma about Wade that almost makes you cheer him on. Crowe's performance radiates is so well done that audiences have to remind themselves that he is a murderer and a thief. Christian Bale is also outstanding as the long suffering Dan Evans. As with Crowe, he tells his life story with his eyes. Whereas Wade's are shown to be carefree and hopeful, Bale shows Evans' beaten down and ravaged by all he has suffered. Bale is so talented in his role that he truly makes the audience feel his pain and need to do the right thing. He creates the kind of character who becomes a hero not because he wants to but because nobody else can. The film is also filled with several superb supporting roles such as Peter Fonda as bounty hunter Byron McElroy, Ben Foster as Wade's second-in-command Charlie Prince, and Logan Lerman as Evans' son William. Each actor brings something to story and plot no matter how small the role may be. Fonda shows he still has something to offer as the relentless McElroy. But it is the performances of Foster and Lerman that have the most depth. Foster plays Prince as quite the opposite of Wade. He is quick to shoot first and ask questions later before shooting again. But as Foster shows, Prince is not an ordinary sidekick. He has a deep devotion to his leader that Foster brings out in moments of fury and dedication. Lerman's role as William Evans has the most depth and transition of character and it is a task that is expertly handled. As William, Lerman exhibits the rebelliousness attitude that is common among teenagers. But like his father, it is his need to do the right thing that drives him. Lerman uses this to show William's transformation from irritable boy to courageous man.

"3:10 to Yuma" has all the elements of a perfect film. It has a great cast, terrific story, and a director with an eye for action. In a summer where special effects are king, "Yuma" offers action and humanity. It truly fires off all the right shots.

GRADE: A+

Superbad (2007)

Put a little McLovin in your heart

[8/10 · 21 August 2007]

From "Porky's" to "American Pie", many comedies have been made about high schoolers attempting to lose their virginity before college. "Superbad" is the latest entry to throw its hat into this genre. This screamingly hilarious film is the latest hit from the team that has delivered "The 40 Year-Old Virgin" and "Knocked Up." As with their predecessors, Seth Rogen and Evan Goldberg concoct a script that is crude and over-the-top. But it also has heart. The talent and chemistry of stars Michael Cera, Jonah Hill, and new comer Christopher Mintz-Plasse make the characters entertaining and relatable to Joe Average movie-goer.

Evan (Michael Cera) and Seth (Jonah Hill) have been best friends for life. Weeks away from separating for college, they seek to hook up with their two dream girls: Becca and Jules (Martha MacIsaac, Emma Stone). As they plan to participate in one of the year's last parties, they must enlist the help of their friend Fogell (Christopher Mintz-Passe) and his newly acquired fake I.D. to buy alcohol. But the road to the Promised Land is filled with buffoonish cops, drunken strangers, and debauched parties. Evan, Seth, and Fogell must conquer these obstacles before they can reach their dates.

Greg Mottola has a good eye in capturing comedy. He does not just point the camera while the actors do their thing. He focuses on the whole setting because that is where most of the jokes are played. This is evident right from the opening scene between Seth and Evan's mom. Mottola also is expert in catching the reactions of the characters. Every awkward rambling and shocked expression adds to the comedic effect of the jokes. Mottola's direction ensures that not only will the fans see the joke but feel it as well.

In a genre such as this, it is difficult to keep coming up with more outlandish circumstances and humor. Rogen and Goldberg more than meet that challenge. Right off the bat, they throw in outrageous jokes that are akin to this form of comedy. Physical humor is also prevalent in the movie by the all the accidents that befall Seth. Fans will be grateful to know that the writers' creation of McLovin is played out prevalently throughout the film. The jokes that stem from that character are practically worth the price of admission. Another great feature that they kept from "The 40 Year-Old Virgin" and "Knocked Up" is to give the script heart. True, the film comprises of many jokes you wouldn't tell you mother. But the ending point is not always the raunchy objective of just getting laid.

Michael Cera and Jonah Hill have great chemistry as Evan and Seth. They compliment each other so well that it is easy to believe that they are best friends. Tapping into his George Michael days on "Arrested Development", Cera is a natural in playing his character's awkwardness and nervousness. Though there are times when it feels Cera is almost rehashing his television character, he also makes Evan a more headstrong and more determined character. He is quick with the comebacks and speaks more freely than audiences have been used to. It is a refreshing change and one that Cera fits in very easily. Hill also steps out of his range of the nervous, uncomfortable nerd and plays Seth as more crude and hilarious than we've seen him before. Hill is not only quicker with the delivery but also endures the brunt of the physical humor. Like Cera, he also seems at ease with the new character and style and could parlay this into a great comedic success. But the show stealer is the man who will forever be dubbed McLovin: Christopher Mintz-Plasse. Mintz-Plasse seems to have the most fun with the role and just ran with the name and character. For his first time on screen, Mintz-Plasse shows excellent comedic chops. Not only does he play up the clumsy teen role but also ad-libs brilliantly in his fake persona. Mintz-Plasse is smart enough to not overplay the character but feeds off of the reactions and lines of the cast. The great talent of these gentlemen also makes the audience want to cheer them on as they pursue their goal. They draw in the audience to feel their dilemmas and triumphs that they really become sympathetic characters rather than just horny nerds. Also look out for a terrific comedic performance by Seth Rogen and Bill Hader as bumbling police officers who encounter the soon-to be-famous McLovin.

"Superbad" is a can't-miss humor fest. It is so uproariously funny that it has to be seen a second time just to hear the jokes you might have laughed over the first time. Along with the script, the cast is the best decision for the film. The chemistry is so in sync that it is possible to believe that Cera, Hill, and Mintz-Plasse have known each other for years. The female leads of Martha MacIsaac and Emma Stone play the more straight characters but are also not made overly attractive so as to make Cera's and Hill's pursuits unbelievable. "Superbad" is simply comedic gold that will put a little McLovin in your heart.

SPECIAL OBSERVATIONS BY DORKUS MALORKUS GRADE: B+

The Condemned (2007)

The Condemned is the audience

[3/10 · 1 May 2007]

It is natural to expect that a product of WWE Films would be hard-hitting and action packed. But when the audience cannot properly see and enjoy the action, the end result is disappointing. WWE Film's latest production, "The Condemned", offers bountiful opportunities for action fans to satisfy their hunger. But due to the poor directorial work, it becomes a tease. Even the star power and fan following of the film's lead (former WWE wrestler Steve Austin) was not enough could not save this debacle. "The Condemned" is one big mess that leaves the audience wondering what was the crime they committed to deserve this sentence.

On a remote South Pacific island, television producer Ian Breckel (Robert Mammone) has bought 10 death row prisoners for his own deadly game of Survivor. The convicts will fight to the death until there is only one winner who will gain their freedom. Breckel plans on broadcasting the carnage over the Internet in hopes of gaining huge profits for himself. Among the prisoners are the mysterious Jack Conrad (Steve Austin) and the homicidal Ewan McStarley (Vinny Jones). The game is now on for what is literally the fight of their lives.

Scott Wiper's direction is the biggest downfall to what could have been a great action movie. With quick cuts accompanied by hard rock, Wiper seems to be directing a music video more than a feature film. He does not let the audience fully benefit and appreciate the prisoners fighting one-on-one. Instead of using a wide shot to show the convicts going at it, Wiper opts to use close-ups of the actors who are dishing out the punishment. This severely takes away from the concept of the story and the film. The basis is to show what murderous felons would do when placed on in a life or death situation. By reducing the visual effectiveness, the point becomes moot. When the actors are not moving, Wiper's direction gets better. He does to a well enough job in showing the more brutal crimes such as rape without having to show the actual deed. The implication itself does more for the audience than the filming ever could.

The weak direction is accompanied by an equally weak script by Wiper and Rob Hedden. The story begins decently with the battle of wills between convicts. It is when the story turns into a forced morality tale that it falls apart and makes the audience hang their heads and groan. Throughout the duration of the film, the story becomes filled with the standard counterpoint arguments, e.g., the convicts are human beings, violence is simply entertainment, etc. These arguments would have made a more profound impact if they could not have been seen a mile away. If the script makes it known that these prisoners are hardened and remorseless criminals, what is the purpose of having empathy for them? The point of "violence is entertainment" is a dispute against the film itself. Wiper and Hedden seem to saying that it is wrong for the audience to be watching this brutal film they have created.

Even with a role that seems tailor-made for Steve Austin, he is not able reach the full potential of the character. Again, this is more due to the poor script and directional planning. As Jack Conrad, Austin is supposed to be an ass-kicking, take-no-prisoners badass. But he is hardly involved in any conflicts until the nearly the end of the film. Throughout the majority of the movie, Austin is forced to play Conrad as a sympathizer for the prisoners and the hardships they have endured. It is a major letdown for any fan of the superstar or action movies. Contrary, Vinny Jones has more action sequences and more chances to engage his character of Ewan McStarley. Jones really plays McStarley to the full tilt as a ruthless, unconscionable madman. He masterminds most of the killings and does all the combats that audiences were expecting from Austin. Audiences will be more excited to see Jones on the screen because they will know that something will go down. One can also see that Vinny Jones seems to be having more fun with his character than the rest of the cast because he has something useful to do.

Even by action movie standards, "The Condemned" has all the lucidity of a drug addict telling stories to school children. It enjoys brief moments of high points and adrenaline but has too many gaps between the action sequences and the story. The direction is just too poor and the script is too rushed for the movie to be fully enjoyable. The only condemned are those who bought a ticket for this movie. Yours truly is guilty as charged.

GRADE: D+

Grindhouse (2007)

Double Feature! Double Action! Double Cheese!

[8/10 · 28 March 2007]

Bad editing. Cheesy dialogue. Gratuitous violence. Missing reels. These elements are hardly found in a major Hollywood blockbuster. But they are the elements that make up "Grindhouse", the new double feature film from maverick directors Robert Rodriguez and Quentin Tarantino. Grindhouse-genre movies are cheaply made films that often contain gargantuan amounts of violence and sex with acting that most likely won't win an Oscar. In Rodriguez's "Planet Terror" and Tarantino's "Death Proof", the directors utilize all the components of their beloved genre and turn it into an in-your-face, never-back-down, thrill ride. In the hands of Rodriguez and Tarantino, even something made to horrible can turn out good.

In "Planet Terror", a military general (Bruce Willis) attempts to buy a new form of biological weapons. After the deal goes sour, the scientist (Naveen Andrews) releases the disease that turns anyone who comes into contact with it a zombie. A small band of survivors including trucker El Wray (Freddy Rodriguez) and go-go dancer Cherry Darling (Rose McGowan), fight through the night to get back to the military base where the antidote lies. If they don't get there in time the world is doomed.

"Death Proof" introduces us to Stuntman Mike (Kurt Russell), a psychotic driver who hunts down innocent women and kills them with his protective car. His latest target: a group of vacationing movie crew workers (Rosario Dawson, Zoe Bell, Tracie Thomas, Mary Elizabeth Winstead). Stalking his prey, Stuntman Mike attacks with relentless aggression. But in these girls, he may have met his match.

"Planet Terror" is Rodriguez's most full force film to date. Once the action starts, he never backs down. Each scene is filled with traditional grindhouse over-the-top explosions and gore. Audiences will experience every head explosion, every open head wound, and every gunshot wound. One of the main points of a grindhouse movie is its grainy quality and bad editing effects. Rodriguez uses these effects brilliantly to achieve the grindhouse feel. The film if filled with scratchy sequences and "missing reels" that cut off at just the wrong time. (Yes, the wrong time.) Rodriguez gives the audience exactly what they would expect from such a film and delivers perfectly.

Tarantino tries his hand at a new brand of action: the car chase. The director excitingly captures every angle of this sequence. He shows the extreme fear of the victims being perused, the sick excitement of Stuntman Mike, and the high velocity impact of the crashes. Though he does incorporate the grindhouse devices, he doesn't quite accomplish it as well as Rodriguez. "Death Proof" is not as grainy as "Planet Terror" but is still provides plenty of over-the-top action. Fans of the Tarantino dialogue may also be disappointed to find there are not any profound thoughts on hamburgers or comics in this film. The director's script gives more a little more background to the characters than "Planet Terror" but does not seem to move fast enough for this style of film.

While the cast may not win Oscars for their performances, they do the job well for this style of film. As El Wray Freddy Rodriguez plays the B-movie action hero to the tilt. He has great delivery on his quips and comebacks while slicing up zombies at the same time. Rodriguez also possesses the heroic scowl. This feature gives him the ideal look of an action hero and he does not let it up throughout the film. Rose McGowan is very good as Cherry Darling. With the limited storyline, she does pulls off the polarity of a troubled soul and combative heroine. Like Rodriguez, she can also pull off the quips but tells her story with her eyes rather than a scowl. Kurt Russell is a terrific mix of smooth customer and evil hilarity. He can turn on the charm and pick up women before immediately shifting gears to a homicidal maniac. Like his "Planet Terror" counterparts, Russell's facial features tell a story. He has great maniacal smile that shows he likes killing for no other reason than the pure pleasure of it. Though the women perform well enough in "Death Proof", it is a very daring stunt performance by Zoe Bell steals the show. Tarantino keeps the camera on her always to show this authenticity and audiences will be glued to their seats in anticipation.

Will "Gridhouse" bring back the return of the genre? It doesn't seem too likely. The continual choppiness effect can get annoying if this were to continue long-term. However, the directors do deliver what they promise: tremendous amounts of hardcore violence with a side order of sleaze. They go out of their way to bring back the experience of the grindhouse movies they grew up with and introduce the genre to a new generation of movie-goers. This includes the fake trailers from Rob Zombie and Eli Roth who also don't hold back anything in their contributions. The grindhouse genre may not continue but Rodriguez and Tarantino (as always) have left their mark in the field.

GRINDHOUSE: B+

Separately: PLANET TERROR: A-, DEATH PROOF: B+

300 (2006)

"300" Brings Old World to New Light

[9/10 · 12 March 2007]

The thunderous sound you hear is not the film's booming soundtrack. It is the sound of 300 Spartan soldiers marching forward to do or die for their country. This inspiring image is just a small sample of the visual feast that director Zack Snyder presents in "300." The film, based on Frank Miller's graphic novel, details the battle of Thermopylae in which 300 Spartans warriors stood against over 100,000 soldiers of the Persian army. Snyder's vision is brought to life by the talented cast led by Gerard Butler. The cast does not merely bring out the viciousness of the soldiers but the nobleness and dignity of fighting for and defending one's country.

The country of Sparta is protected by the most skilled and trained warriors of the ancient world. When the self proclaimed god-king Xerxes (Rodrigo Santoro) leads his Persian army to conquer the world, he wants Sparta to submit an offering as a symbol of allegiance. Valuing the importance that they are a free nation, King Leonidas (Gerard Butler) leads 300 of his best soldiers to battle against Xerxes' massive army. With the odds tremendously stacked against Sparta, the soldiers fearlessly fight against Xerxes' tyranny for their home and country.

Snyder has a wonderful gift of storytelling. He gives the audience all they can handle and does not hold anything back to show the gore or ferocity of the battles. By capturing many of the battle moments in slow motion, Snyder gives the audience the full strength of each kill, each swing of the sword, and each throw of the spear. Another strong point of Snyder's direction is his choice of a dark colored background for much of the film's settings. This assists with setting the mood and tone of an early time in human history and furthers the ominous task at hand for the Spartans. After showing the tremendous battles, Snyder lets the audience catch their breath by reminding us there is a side plot on the homeland. However, when that story comes back into play, the audience is caught off guard as that plot is practically forgotten. In this one weak spot, Snyder would have served well to integrate the two plots better rather than going 90% battle and switching to 10% story.

Gerard Butler is great as King Leonidas. He is not simply a barbaric, warrior-king. Instead, Butler presents him as loving, thoughtful, and patriotic. He shows the complexity of Leonidas when wrestles with the decision of fighting an impossible situation. Although Leonidas is a skilled warrior, he does not go to war simply because he wants to fight. He fights because he is protecting his country from a force that is threatening his land and his people. In battle, Butler shows the other side of Leonidas: ferocious, cunning, and merciless. Butler attacks his enemies with such fervor that there is little wonder why his men follow him. He instills in his men a pride that he feels of himself and Sparta that they are willing to die for their country and their leader. He does not need to say much to motivate his men as his actions are more forceful. Rodrigo Santoro really brings out the arrogance and ego in Xerxes. As Xerxes, he portrays the conviction that he is a god that it is almost believable that Santoro thinks this of himself. Santoro accomplishes this in the way he carries himself and the words he chooses to describe his actions. He feels he is kind and benevolent and it would be wise to surrender than battle a god. As Queen Gorgo, Lena Headey does not simply sit at home worrying when her husband will return. Headey is just as headstrong as her husband and her convictions are just as tough. What she lacks in physicality, she more than makes up for with his shrewdness and intelligence. The film is also backed by a great supporting cast including Dominic West, David Wenham, and Andrew Tiernan. Whether narrator, soldier, or villain, each actor leaves an impact with their limited role on the screen.

Pure and simple, "300" is a sumptuous visual feast. Director Snyder throws in everything that an audience could possibly handle and leaves them wanting more. The writing trio of Snyder, Kurt Johnstad, and Michael Gordon supply a very straightforward script. They stick mainly to the battle sequences and do not rely on unnecessary clichés of motivational speeches. "300" is backed by an incredible cast who bring the fantastic old world to new light. By the film's end, the booming you hear will not be the soldiers marching but of your own heart pounding.

GRADE:A-

Pan's Labyrinth (2006)

Guillermo's Fairy Tale

[9/10 · 3 January 2007]

Jaw-dropping effects and masterful storytelling barely scratch the surface to describe Guillermo Del Toro's latest masterpiece, "Pan's Labyrinth." With his unique and creative eye, the director's passion in this fairy tale story comes through on the screen and right into the audience's minds. These attributes are accompanied by the fantastic performances of the cast that include Ivana Baquero, Sergi Lopez, and Doug Jones to name a few. While fairy tales are traditionally meant for young children, "Pan's Labyrinth" unleashes the imaginations of adult audiences and if only for a brief moment, lets them believe in the fantasy.

During the Spanish Civil War, young Ofelia (Ivana Baquero) and her pregnant mother (Ariadna Gil) move into a military base with her army captain step-father (Sergi Lopez). As the war progresses, Ofelia encounters fairies who lead her to the faun Pan (Doug Jones). Pan believes Ofelia to be the soul carrier of a fairy princess who had died long ago. But in order to prove herself, she must complete three challenges. Before the next full moon, Ofelia must complete the challenges or her destiny is to stay in the earthly realm.

Presenting the two different worlds of the fantasy and the reality is a task that writer and director Del Toro accomplishes perfectly. He not only shows the harsh and brutal effect that war can have on people but he equally parallels it with Ofelia's trials. Whatever situation Ofelia and her family endure, she faces a similar issue in her task. Del Toro's decision to have the film in Spanish and subtitled also adds to the authenticity of the era. Del Toro's use of darker backgrounds compliments mood of the film. This is not a happy time for Spain nor Ofelia as each is going through huge changes. Del Toro uses these dark settings to show the unhappiness and fear both are enduring. The darkness also adds to the mysterious nature of the fantasy realm.

Del Toro's script shows he is as great a writer as he is a director is come up with such a fantastic story. Creating the film's story counterparts is not an easy task as Del Toro shows his research to the time period to coincide with his own ideas and legend. His personal Grimm Fairy Tale has characters that are very well developed and intriguing. His version of Pan is a great resemblance to the mythological character and the monsters Ofelia encounters show the ever-working imagination of the director.

As Ofelia, Ivana Baquero does a terrific job of bringing the character to life. We feel her pain and uncertainty of having to move to a strange new place and the excitement that she may be able to change it. Baquero's best performance comes from when she tries to comfort her mother. The innocence she brings into Ofelia and the love she has for those she cares for will touch the hearts of the audience. Rivaling Baquero's innocence is the cruel and brutal performance of Sergi Lopez as her step-father Captain Vidal. Lopez doesn't make the character merciless without cause. Instead, he delves into the prideful nature of the soldier. He is malicious because he feels he has an obligation to his country and to his family's honor to hold down his territory. One of Lopez's best characteristics in playing the Captain is his eyes. With a simple movement, audiences can actually see the wheels turning in his head as he plans the next move. Doug Jones' Pan is one of the more diverse characters. Throughout the film, one can not really be certain what his intentions are for Ofelia. The ambiguity is one of Jones' best traits. One minute he would be telling Ofelia her destiny, the next he would chastise her to forget the whole quest. Jones also realizes to play Pan more aged. He is not the happily, skipping through the forest Pan but rather a more learned faun with centuries of knowledge.

As the saying goes, "this is not your mother's fairy tale." Del Toro has tailored this tale for adult audiences and to let their imaginations run with it. His double storytelling ability and creative characters make this a thoughtful and thoroughly enjoyable film. The talented cast breathes life into Del Toro's characters and will make them iconic for years to come. Again, these talents just scratch the surface of the brilliance of the film. "Pan's Labyrinth" will leave audiences in awe and wonder and may just reignite the child essence in others.

Casino Royale (2006)

"Royale" Wins the Pot

[10/10 · 19 November 2006]

"Bond. James Bond." The man behind the infamous quote returns to his roots in the latest 007 adventure, "Casino Royale." The film features Bond in his most raw form: edgier, wittier, and even colder than audiences have seen in the spy's previous adventures. Daniel Craig, the newest man to drive the Aston Martin, pulls off the role with expertise. His performance is true to the feel of the original novel and will have doubters quickly retracting their reservations. Craig is accompanied by a talented cast including Eva Green, Mads Mikkelsen, and the returning Judi Dench as M. Under the direction of Martin Campbell, "Casino Royale" is an explosive hit that will evoke the devotion from traditional Bond aficionados and bring on a new generation of fans.

Newly appointed Double-0 agent James Bond (Daniel Craig) is on a mission to track down a terrorist funding organization. His search leads him to a criminal mastermind and expert gambler named Le Chiffre (Mads Mikkelsen). Le Chiffre is looking to increase his funds by playing in a high stakes Poker game. Aided by Treasury Agent Vesper Lynd (Eva Green), Bond is recruited to play against Le Chiffre and bankrupt the organization. Should he lose, however, he will have personally aided in financing terrorism.

As he did with "Goldeneye", former Bond director Martin Campbell returns to bring new life and new attitude to the franchise. He keeps a fast pacing of the film and manages to capture all the action without missing a beat. He is keen to show the audience Bond's close calls while also leaving other details to their collective imagination. But Campbell does not simply rely on explosions and car chases for excitement. This is best shown in the Poker game that Bond and Le Chiffre are involved in. With his brilliant camera style, Campbell captures the tenseness of the situation. Audiences will be able to imagine themselves not only inside the poker room but at the very table of the contest.

Also returning for another Bond run are screenwriters Neal Purvis and Robert Wade whom are joined by veteran writer/director Paul Haggis. A better trio could not have been chosen to tackle the challenge of adapting the first Ian Fleming novel of 007. They stay true to the basic and most important fundamentals of the book while also adapting plot elements for the modern audience, i.e., changing the card game from baccarat to poker. Being a prequel, the screenwriters are also aware to make James Bond at his most basic form. He is not the quite the man with infinite charm and sophistication and tackles situations more with his wits than with gadgetry.

After months of speculation and distrust among fans as to whether or not he would be a suitable Bond, Daniel Craig's performance silences those doubts. As Bond on his first mission, Craig is more cold, calculating, and even egotistical than audiences have seen. He will complete the task regardless of what rules he has to break or who must be sacrificed. Craig demonstrates this through his encounters with M on and off the job. Acting out Bond in the original stage, Craig walks the fine line between being charming and arrogant. On the one hand he could be buttering up a woman and then suddenly turn the tables to feed his own ego. Craig also displays plenty of the Bond wit and humor that fans have come to expect and enjoy. But again, one has to define whether it is being funny or being self-centered. Eva Green becomes the latest Bond girl with her role as Vesper Lynd. Typical of most Bond girls, Green is a good mix of beauty and the not-so-damsel-in-distress. An antithesis of her literary character, Green portrays Lynd as very headstrong and almost a female reflection to the young Bond. For every snide remark and quick quip, Green matches in return. But Green does not make Lynd as cold or uncaring as Bond. She does an excellent job is showing the emotional and mental strain that becomes involved with the field work. Mads Mikkelsen is a great persona of Le Chiffre. He always carries an aura of self-confidence on-screen that if Bond were a villain it would be Le Chiffre. Mikkelsen's portrayal is just as cold, manipulative, and egotistical as Craig makes Bond out to be. An added bonus from Mikkelsen is something that has not been seen in many Bond villains: fear. Mikkelsen is not the typical Bond villain who is out to rule the world for himself. Rather he is an employee playing with his employers' money. Mikkelsen shows this knowledge throughout the film and an understanding of the consequences should he fail. Judi Dench is more involved in her return as M. She shows the frustration of having to deal with the brash, young Bond but also an almost motherly compassion for the trials he has to go through. One can tell that she wants her latest recruit to succeed but is unsure if he has the stability for the job.

"Casino Royale" will most certainly entertain Bond fans and movie-goers alike. Daniel Craig's portrayal of 007 is a refreshing change to the smooth customer fans have become accustomed to and will reinvent 007 to a new legion of fans. The incredible cast combined with the brilliant direction of Martin Campbell and fantastic screen writing guarantees "Casino Royale" will down as one of the top Bond films of all time. Mr. Fleming, you would be proud.

Grade: A+

The Black Dahlia (2006)

Avoid at all costs! Stick with LA Confidential

[1/10 · 21 September 2006]

Richly confusing and far too drawn aptly describes Brian De Palma's latest film, "The Black Dahlia." Based upon James Ellroy's novel, the film runs all over the place as it attempts to tackle too many plot twists and characters. This convoluted situation only adds confusion to the audience and leaves them feeling only indifferent when the finale is revealed. Even with the acting talents of Josh Hartnett, Hilary Swank, and Aaron Eckhart, the film is hardly worth watching. The cast does admirable jobs with their roles in capturing the feel and attitude of the 1940's era. However, even they cannot fix this mixed-up mess of movie.

On January 15, 1947 in Los Angeles a young woman named Elizabeth Short (Mia Kirshner) is found murdered in field. Her face had been sliced and her body cut in half. Among the policemen to arrive at the scene are hero cops Dwight "Bucky" Bleichert (Josh Hartnett) and Lee Blanchard (Aaron Eckhart). Together, the partners attempt to unravel the mystery behind the gruesome crime and untangle the web of deceit that is covering up the murderer.

Brian De Palma's stylistic direction fits very well with this noir genre. With an often glossy look and character close-ups, he presents the feel of an old-time detective film. De Palma's pacing of the film, however, is incredibly slow. There are just too many characters, flashbacks, and turnarounds to have the film make sense. The film jumps around so much that it is easy to get lost in the story. There are far too many false endings that by the time the climax is reached, there is little reason to care about the murder or the conclusion at all. Had De Palma sped up the character developments, the pacing of the film could have been sped up and easier to enjoy.

Josh Friedman's adaptation of James Ellroy's novel focuses more on the characteristics and internal trials of Bleichert and Blanchard than it does on the Dahlia herself. This is was good strategy that went too far. Friedman is writer who loves to build up his characters but doesn't know exactly when to stop and begin the implementation of the story. More time is established learning about the people involved than is focused on the case. When the action or breaks in the case come about, it comes and goes with a lull feeling. As with De Palma's direction, there is simply apathy when the conclusion comes to pass.

Despite the technical shortcomings of "Dahlia", Josh Hartnett does a great job of carrying this film. Hartnett plays the role with fierce heroism but also gifted at capturing Bleichert's internal struggles of guilt. While he is a good cop who is extremely dedicated to his work, he also struggles with the decision to sleep with his partner's girlfriend. One of Hartnett's best traits is being able to read his facial features. Through Hartnett's expressions, one can almost read his mind to foreshadow events before he does. In contrast to Bleichert, Lee Blanchard is a more troubled soul whom Eckhart plays to a T. Eckahart shows Blanchard's equal dedication but has darker skeletons in his closet. This contrast is best shown during the Dahlia case as Eckhart exemplifies frantic behavior and short temperament as he obsesses over its resolution. Mia Kirshner's role of Elizabeth Short is limited to a series of screen tests viewed by the investigating police. While her performance does little to shed light on the real life Short, Kirshner does portray her as a sad and tragic figure. She had the dream to make it big in Hollywood but could never quite reach it. With limited knowledge of her character, Kirshner does bring out the sympathetic qualities of the girl and showed that she did whatever she could to make it big. It was a tragic death for her tragic life. Of all the characters, Scarlett Johannson's role as Blanchard's girlfriend, Kay Lake, is the least developed as the typical cop's girlfriend role. But Johannson does well enough with what she is given. She shows love and concern for her man and yet also fights her feelings for his partner. Johansson carries her part out on the emotional level but there is little for her to go on her performance. Hilary Swank's performance as socialite Madeline Linscott is chillingly beautiful. Swank plays the enigmatic temptress with a charm that could drain a cobra of its venom. Her ambiguity about which side she is on is the most enjoyable quality of the film. On the one hand, you want to sympathize with her troubles and then flip the coin and you would be left guessing again. Swank's performance breathes the last breath into an otherwise dying film.

With advertisements playing this film up to be the next "L.A. Confidential", it falls short tremendously. The film would have been just as big a disappointment had it not been built to follow its predecessor's footsteps. De Palma seems to want too much to happen in such a short span of time that he simply threw in everything to see what would stick. But it is just a big mess where nothing makes enough sense to make the audience care. The acting talents of the cast are unfortunately cannot save this debacle. For a better detective story, stick with "L.A. Confidential."

Grade: D+

Invincible (2006)

"Invincible" is inspring!

[9/10 · 26 August 2006]

When a true life sports movie is done well, it will make you cheer on the subjected team or individual despite the known outcome. With "Invincible", Disney scores yet another winner that makes you applaud for Mark Wahlberg's portrayal of Philadelphia Eagle's longshot Vince Papale. The stellar supporting cast that includes Greg Kinnear and Elizabeth Banks only further rallies the audience's support for Papale to succeed. The excellent work of the cast not withstanding, it is the direction of Ericson Core that the story really takes shape. Core's guidance shows the hard times that befall the City of Brotherly Love and the inspiration and jubilance of their hometown boy's success. In Rocky-esquire style, "Invincible" triumphs over the typical underdog formula with rousing cheers and inspiration.

In 1976, the Philadelphia Eagles restructured the team by placing UCLA Coach Dick Vermeil (Greg Kinnear) as their new head coach. Vermeil announces that the Eagles will be holding open tryouts to find new players who want to join the team. Among them is 30-year-old bartender Vince Papale (Mark Wahlberg). Encouraged by his friends, Papale goes to the tryouts and is the only person to make the initial draft. With the weight of an entire city on his shoulders, Papale struggles with personal and profession obstacles to achieve his dream.

"Invincible" marks Core's cinematic directorial debut and he triumphs as great as his subject matter. Core's story-telling ability keeps the audience informed and entertained while covering several areas in the film. He does not simply cover Papale's rise to the pros but also shows the desperation and despair of a city rattled by unemployment and layoffs. Core's depiction of the city mirrors the events that exist in Papale's own life. When the people are unemployed and down on their luck, Papale is undergoing his personal doubts of professionalism and hardship. When Papale succeeds, the city brightens up in accomplishment. Core shows that the success is not only about one man but of the entire city.

Brad Gann's script is formulaic in the "rise-from-nothing" story. We know that Papale comes from the bottom of the barrel and will rise to meet his goal. Gann's character development of Papale, however, is the most thriving part of the script. He does not write Papale as superhuman by simply defying the odds. Instead, Papale is an average human being. He doubts he can make the team, he has trouble paying the rent, he has relationship problems, etc. As we see each of these struggles, we can relate to them and it is in those human traits that we want for Papale to succeed. Gann's character analysis of the former Eagle is what wins over the audience.

Mark Wahlberg gives one of his most inspiring performances as Vince Papale. His greatest ability comes in capturing the emotion in Papale's personal feelings and often without saying anything. Even when Papale makes the draft, Wahlberg shows the doubt and anxiety the player must have experienced. It is clearly read in his face that he knows he is going up against professionals and that he may very well be in over his head. The determination Wahlberg shows that he wants to win not only for himself but also for his family and friends who have supported and stood with him. As the regular Joe who just wants to play football, Wahlberg taps into that essence to better identify with the audience. Greg Kinnear's performance as Dick Vermeil shares many of the same characteristics as Whalberg's Papale. As he is also a new addition to the franchise, Kinnear exhibits the coach's anxieties and doubts that he truly belongs in the big leagues and the pressure he is under to turn the team around. He is constantly studying plays and questioning if he made the right decision for the team. Through this dedication, Kinnear brings out the heart of the man that also wants to win for the fans and not just for him. In many sports films, the female lead is often cast as the woman who stands behind her man. As Papale's love interest Janet, the talented Elizabeth Banks is unfortunately little more than that. Banks brings out the supportive quality of Janet as she wishes him luck and sends him care packages. However, she is not much more than one of Papale's friends and cheerleaders.

Through the double helping of motivation by Wahlberg and Kinnear, "Invincible" ranks as another great film to instigate people to not give up on their dreams. Director Core shows that these individuals are everyday people. They do have personal difficulties and yet they can make their dreams come true. The film may not make you feel invincible but it will make you inspired.

Grade: B+

Snakes on a Plane (2006)

"Snakes" does not want to shed B-movie skin

[7/10 · 21 August 2006]

Samuel L. Jackson reportedly took on the starring role of "Snakes on a Plane" based solely on his liking of the movie's title. Audiences who watch the film with the same intentions will be pleasantly surprised by this heart-jumping thriller. Yes, it is a B-movie and follows the B-movie formula. But it performs with every intention of being one and makes no apologies. The cast and crew have fun with the material and the result is a successfully entertaining film.

While riding his dirt bike through the back trails of Hawaii, surfer Sean Jones (Nathan Phillips) witnesses the brutal murder of a prosecutor by crime boss Eddie Kim (Byron Lawson). Rescued by FBI agent Neville Flynn (Samuel L. Jackson), Jones embarks to Los Angeles to testify against Kim. Kim discovers the flight Jones is on and loads the plane with hundreds of poisonous snakes in order to make sure the plane and passengers never reach their destination. In a frightening game of survival, agent Flynn must protect Jones and maintain order of the passengers before every one of them goes down in the ocean.

One of director David R. Ellis' unique camera methods is to show the scenery from the snakes' perspective. Whenever the snakes are slithering through the plane, Ellis utilizes a night vision technique. The scare tactic works well in demonstrating that snakes can attack anywhere and the passengers cannot completely escape them. Ellis also makes use the fact that the creatures he's working with can lash out anywhere and employs quick cuts to further exhibit their ferocity in the grisly (and sometimes humorous) deaths scenes that befall the passengers.

What is a B-movie without a B-movie script. Screenwriters John Heffernan and Scott Guttierrez utilize this opportunity to the full tilt. In the first place, their main villain, Eddie Kim, hardly has any screen time. He is only shown in the opening moments of the movie and then giving the order to load the snakes. The writers may as well have cut the fat and simply have talked about Eddie Kim and his heinous crimes. Some other characters that are given more screen time seemed to be written in order to add exemplary bravery or become just another victim for the snakes. The trait of convenience is also very apparent. Whenever a specific tool or some other requirement is needed, it just happens to be available in a flash. Other predictabilities occur as the script follows the classic B-movie formula: if you have sex, you die; the biggest jerk in the film dies, etc.

Playing a tough guy with attitude is nothing new to Samuel L. Jackson. While Jackson still plays Flynn as a take-charge agent, the twist is that he is thrown into a situation that he has never encountered before. Jackson does well to show the dichotomy of the personalities. When faced with the crowd, Jackson sports the tough guy persona in order to relieve the passengers' fears. When he is by himself or with a confidant, his uncertainty is brought forth. Yet to successfully tackle the role of Neville Flynn, there is no better choice than Jackson. He knew what was required of the role in this particular film and plays it to the tilt. Supporting roles include Nathan Phillips as Sean Jones, Julianna Marguiles as flight attendant Claire Miller, and Rachel Blanchard as socialite Mercedes. As the lead flight attendant, Marguiles goes through several emotions and personas from having to deal with different types of passengers. She is comforting to the scared children, upset with uncooperative passengers, and tough as Flynn's right hand woman. Outside of Marguiles, the other actors don't have much to work with. They either help out in the situation or become scared and hysterical. Phillips and Blanchard go through the typical behavioral transformation. Whereas Phillips starts off as uncourageous and Blanchard is spoiled, they become heroic and caring by the film's end.

With its blatant goofy title and intentions, "Snakes on a Plane" still manages to extract some genuine frights out of the audience. David Ellis' direction captures the snakes' attacks and the gruesome deaths that are the result. The cast does a credible job with the material presented. But for all its flaws, "Snakes" does the job of entertaining the audience. One way or another, you will laugh or be frightened.

VERDICT: 7.5/10

Miami Vice (2006)

"Miami" has no heat

[4/10 · 30 July 2006]

Michael Mann is usually known for presenting a story with an intricate combination of action and drama. However in Mann's latest film, "Miami Vice", the film gets so caught up in details that there is barely enough material to make the audience care about the conclusion. Mann's script flounders all over the place that instead of advancing the plot or build the characters the writers preferred to throw in generic filler material. The talent in the cast could not even save "Vice." Farrell and Foxx do hit the mark as tough guys but one gets the feeling they wanted to get the film over with as much as the audience.

While on an undercover case, Detectives James "Sonny" Crockett (Colin Farrell) and Ricardo Tubbs (Jamie Foxx) get a call from one of their informants who is in deep trouble with a drug sting gone wrong. Sensing a mole in their ranks, the FBI recruits the duo to infiltrate the drug ring and discover who the snitch is. Playing an elaborate cat-and-mouse game with the ring's top enforcer (John Ortiz), the detectives must be careful to not only protect themselves but also their loved ones. One of them must also be alert of what is the true goal of the operation.

Mann's direction starts off on the right foot. He is in tune to get the details of the opening bust and introduce characters to the audience. But once Crockett and Tubbs enter the drug ring, Mann seems lost as to where he should take the film. Instead of enlarging the plot or delving more into the characters, he opts to fill in screen time with repetitive love scenes and landscape shots which greatly slow down the pacing of the film. Mann seems to recognize this as he wrote in the gun battles for the final thirty minutes of the movie. These sequences wake the audience from their slumber as Mann does not skimp on the accuracy and bloodshed. But by waiting so long for the payoff, it hardly seems worth the effort.

For their roles as tough guy cops, Farrell and Foxx are on target. But for the most part, that is all they are limited to. Each actor makes their character no-nonsense aces on the job but a bit more human when they are off the clock. Even with Farrell dropping his accent throughout the film, he does try to expand Crockett's character with what he is given. We get to see not only his dedication to his job but the age-old confliction of choosing the job or the girl. Had Foxx not been written with a girlfriend, his performance would have been equally wooden. With the added incentive of having someone he cares about being in potential harm, Foxx adds more personality than just being the tough guy. Additional supporting roles are Chinese actress Gong Li as Isabella and John Ortiz as the Jose Yero. Li does well in her role in presenting a good dichotomy between the hard-edged business woman with a twist in her conscience when she falls for Crockett. Ortiz's psychotic Yero is a great contrast to the heroics of Farrell and Foxx. He presents a real twisted nature that is key to the character without going overboard or campy. Yero leaves his malevolence up to the audience's imagination rather than going to extremes to prove his point.

The main problem with "Miami Vice" is that it lacks direction. Mann seems to want it to want to be action movie, however, when there is nothing going on he doesn't seem to know what to do. There are spectacular action sequences in the end but only if you can stand sitting through two hours of repetitiveness. The characters are not properly built up and the plot feels more forced than thought out. Fans would be better off catching the television show for entertainment.

4.0/10

Superman Returns (2006)

Triumphant return for Superman

[10/10 · 29 June 2006]

From the opening notes of John Williams' infamous score, "Superman Returns" send chills up the spine as it prepares the audience for breath-taking action that will take them on the flight of their lives. Bryan Singer's latest helm of the Superman series is an ideal mix of pulse- racing effects and brilliant storytelling while also paying homage to the original film. Superb casting choices are made in Brandon Routh, Kate Bosworth, and Kevin Spacey. Each actor breathes a new and different life into their iconic characters and makes them their own. "Superman Returns" will not only leave audiences cheering but also reminds us of why we love the heroic Man of Steel.

Upon learning that scientists may have discovered remnants of the planet Krypton, Superman (Brandon Routh) leaves Earth in hopes of discovering some trace of his home world. After a five year absence, he returns to discover that the world survived well enough without him. But certain events in his life such as his love for new mom Lois Lane (Kate Bosworth) and his dedication to being the world's savior have remained ever constant. With a renewed vigor, Superman returns to fight injustice and his arch-enemy, Lex Luthor's (Kevin Spacey), latest maniacal scheme of sinking the land on Earth.

Bryan Singer brings his masterful story-telling skills to Superman's latest adventure. His innovative direction and style in capturing Superman's heroics and powers is a visual feast that makes the audience hungry for more. Whether Superman is saving airplanes or utilizing his super-senses, Singer brings the audience in to feel and see what the Man of Steel is experiencing. Throughout the film, one could feel that Singer knows what the audience expects and gives it to them without a corny line or clichéd plot twist. His use of foreshadowing and imagery are the key components to reel in the audience and keeps them entranced throughout the film. Singer also contributed to the story with fellow "X2" writers Michael Dougherty and Dan Harris. The script also pays tribute to the initial film and invents a unique plot for Superman to conquer. The writing trio completes the often difficult task of presenting a story in an action movie rather than a constant demolition derby.

With the burden and expectation of playing a universal personality, Brandon Routh is the perfect lead to fill the late Christopher Reeve's shoes. His combination of Clark Kent's awkward mannerisms and Superman's dedication to his duty make him a spot-on match of the hero. In an ironic way, Routh humanizes Superman more with the utilization of his superpowers. When Routh demonstrates the super-hearing, one can sense the character's bind at listening to all the problems of the world and having to determine which is the most crucial. Kate Bosworth modernizes Lois Lane by making her more independent. She makes Lois more strong-willed and determined than ever to be a great journalist and not just Superman's press agent. And yet, there is a sense of betrayal from Lois that emits from Bosworth when Superman left. But she cannot fight her feelings for her former crush and Bosworth does a talented job of fighting to decide between her new life and her old emotions. A bit underused in the film is Kevin Spacey as Lex Luthor. Spacey first plays the criminal mastermind as more sly and underhanded who is more calm and collected about his plans. It is not until he is confronted by Superman that his rage is unleashed and we see the real hatred Luthor has for Superman. Spacey's wiliness of the role brings out the best in Luthor and creates the ultimate counter to Superman's heroism.

After almost 20 years, "Superman Returns" brings back the comic hero with a full force. The creative direction of Bryan Singer brings spectacular new visuals and exploits to the screen. The talented ensemble breathes new life into the heroes and villains we have loved and hated. "Superman Returns" is also triumphant in renewing the feelings of why we love and admire the hero. All these elements will have audiences returning for more.

GRADE: SOLID A

X-Men: The Last Stand (2006)

X3:X-hilirating, X-citing- X-Cellent

[9/10 · 29 May 2006]

Whereas the third installment of the "X-Men" series could have been exhausting, exasperating, and expired, it is exhilarating, extraordinary, and just plain excellent. Following in the tradition of its predecessors, "X-Men: The Last Stand" is full of action-packed sequences displaying the fantastic powers of the hero and villain mutants while also promoting the issue of tolerance of people with differences. Taking over the directorial reigns of Bryan Singer, Brett Ratner significantly makes his mark in the series with his own vision of the comic and does not disappoint fans looking for an adrenaline rush. The familiar cast of Hugh Jackman, Halle Berry, Patrick Stewart, and Ian McKellen reprise their roles as the popular mutants and help bring the film into an exciting new chapter.

In the years following the last X-Men story, an antidote has been developed in which mutants would have their mutation genes reversed and they would be able to live as normal human beings. Mutant rebellion leader, Magneto (Ian McKellen), sees the vaccine more as a threat against mutants than a cure. Raising up an army, Magneto intends to fight the cure and homo spines to the end. It will be up to Professor Xavier's (Patrick Stewart) X-Men (Hugh Jackman, Halle Berry, Shawn Ashmore) to stop him and the powerful weapon he possesses in Jean Grey (Famke Janssen).

Brett Ratner is no stranger to grand-scale action pictures having overseen such box office hits as the "Red Dragon" movies and the "Rush Hour" movies. One of the challenges Ratner overcomes is combining an intricate comic book storyline while maintaining the audience's attention with explosive action. Ratner not only manages to portray the mutant rebellion plot but also the underlining story involving Jean Grey and her abilities. With each storyline, he shows the characters' powers so as to draw in the audience with story and effects. Ratner throws everything into this comic book picture: huge explosions, one-on-one showdowns, and a terrific display of mutant powers. Ratner takes many of the mutants' abilities to another level and captures their destructiveness and power with precision.

In "Last Stand," audiences are privileged to see further character development in Hugh Jackman's Wolverine and Halle Berry's Storm. Jackman shows the loner is still coping with the frustrations of doing things his own way without teammates. But Jackman now shows Wolverine's softening a bit as he settles into the role of a father-figure to the gifted students and an even deeper love for Jean Grey. But when it comes time for battle, Jackman unleashes the ferocity that fans have come to know and expect from the hero. Berry also settles into a more defined leadership role and becomes a new voice of reason and action for the team. Audiences will notice the change in her attitude as she gathers to the troops to fight and becomes even more of a defender for mutant rights. Patrick Stewart and Ian McKellen are always impeccable in their respective roles as Charles Xavier and Magneto. Stewart is the ever-hopeful guardian of the school and his students who only wants to help build a bridge of understanding between humans and mutants. His desire to help and the warmth of his cause is felt whenever he is on screen. This is countered by McKellen's anger and hatred for humans. His urgency to fight and bring down humanity is never forgotten. Whenever McKellen is on screen, his eyes will tell the whole story behind his reasoning and his actions. Among the new characters debuting are Kelsey Grammar as the wise mutant diplomat Hank "Beast" McCoy and Vinnie Jones as Juggernaut. Grammar's intellectual style brings out Beast's wisdom and character and becomes a great example in the debate of becoming human or staying mutant. Jones' physique and persona is perfect for Juggernaut's pure destructive force.

Should "Last Stand" prove to be the final chapter of the "X-Men" series, it is very well done. Ratner does a great job of tying up the loose ends while also leaving a ray of hope (which fans need to stick around after the credits to find out). Audiences will not be disappointed in display of powers and the action sequences that derive from them. As with any comic book movie, comic fans may dispute the accuracy of the story. However, if one goes for a good fantasy film with imaginative style, this will give you your money's worth.

Grade: A-

Find Me Guilty (2006)

Verdict: ENTERTAINING

[9/10 · 22 March 2006]

In many Mafia movies, the courtroom is merely a backdrop in which we see the main character cut his teeth in the criminal world. A quick shot of the defendant at the defendant desk and the judge rapping the gavel and the picture moves on. In Sidney Lumet's "Find Me Guilty", the courtroom is where the action takes place, not the streets. Lumet captures the longest running Mafia trial in Unites States history with precision while also moving the story along to hold the audiences' attention. It is through the charismatic and charming performance by Vin Diesel as "gagster" Jackie DiNorscio, however, that film is brought to life. With this performance, Diesel proves he is indeed an actor who can rise beyond his usual action tough guy role. Accompanied by a talented supporting cast and a smart script, the film is guilty of being entertaining.

In 1987, the city of New York tries 20 members of the Lucchese crime family. Among the defendants is Giacomo "Jackie D" DiNorscio (Vin Diesel) who is already serving a 30-year sentence for a narcotics charge. Fed up with the ineptitude of his attorney, DiNorscio decides to defend himself in the trial. Utilizing his wise-cracking attitude and street smarts, DiNorscio aggravates lead prosecutor Sean Kierney (Linus Roache), surprises head defense attorney Ben Klandis (Peter Dinklage), and captivates the jury. With his undying loyalty to his family and his refusal to testify against them, DiNorscio attempts to free not only himself but his fellow mobsters.

Sidney Lumet is meticulous about pacing the film. He is wise not linger too often on a dramatic moment so as not to bore the audience but he also does not allow jokes to play themselves out. Instead of focusing on the usual circus a trial of this nature becomes, Lumet focuses on the characters involved and how they are affected throughout the ordeal. Through his direction, we witness and feel the strain of the prosecutors to win and the nervous tension among the defendants. Lumet takes the audience for a ride simply by showing what the characters are enduring. In lieu of fancy camera angles and dramatic music, Lumet allows his actors to tell the story.

Vin Diesel does a 180 turn of the heroic tough guy in his performance as Jackie D. He is witty and charismatic that one feels he is not only attempting to win over the jury but the audience as well. Diesel's portrayal of self-professed "gagster" is so charming that audience has to remind themselves that Jackie D is still a criminal underneath the "nice guy" exterior. But Diesel is not merely fun and games. In his closing argument where he pleads to the jury to let the burden fall on him, the audience really feels the love and loyalty Jackie has for his family. With this role, Diesel proves he does not have to blow up cars in order to make a successful picture. Accompanying Diesel is Linus Roache as Prosecutor Sean Kierney. Roache plays Kierney as a win-at-all-costs attorney hell-bent on sending the Lucchese family to prison. Roache portrays the anxiety and dedication Kierney has to this case that audience can almost see the ulcers building inside him. But despite being the "good guy", audiences will still want to see lovable Jackie D beat the rap from the uptight prosecutor. Another scene stealer is Peter Dinklage as criminal attorney Ben Klandis. Dinklage is articulate and intelligent as Klandis. He presents his clients' case without needing to resort to shouting or being over dramatic. He simply shows the errors made by the agents and witnesses. Klandis also shows caring and respect for Jackie and is smooth in that character transition. He does not think it wise that DiNorscio defend himself but (like the audience) grows think he'll be able to handle it. Other supporting characters to look out for are Ron Silver as Judge Finestein and Raul Esparza as Tony Campagna, Jackie D's cousin. Like Klandis, Silver also receives Jackie from inept hood to clever human being. As Judge Finestein, Silver is like a parent. He warns and punishes Jackie when he goes too far but shows he is can be fair if DiNorscio plays by the rules. Esparza is just great as DiNorscio's drug-addicted cousin. Esparza captures the nervous ticks and mannerisms to a perfect form that one would almost believe he was a drug pusher for years.

Through the expert directing and even more talented cast, "Find Me Guilty" is an absolutely enjoyable film. The only minor weakness comes from the screenplay. Although solid for the most part, the story should have gone into a bit more explanation on the legal jargon of the case. But that weakness is quickly forgotten by talent of the cast and crew. Lumet's directing keep s the audience involved in the trial while ably trimming down the fat. The actors make the film worth watching with their strong performances and characters. Audiences may be found guilty or rooting for the bad guy but if you knew Jackie D, you would be too.

GRADE: B+

King Kong (2005)

KONG! "Nuff Said!

[9/10 · 20 December 2005]

Remaking a popular Hollywood movie is always tricky business. The plot is very well known which can away the surprise factor and expectations to achieve its predecessor's greatness are enormously high. Peter Jackson surpasses all these obstacles and more with his remake of "King Kong." The film roars onto the screen with spectacular action and touching humanity. Jackson does not only create the lost world and creatures in which Kong lives but he also skillfully captures the turbulent time of the Depression Era. Adding to the skillful direction is the wonderful acting talents Jack Black, Naomi Watts, and Adrian Brody. Each actor takes the time to develop their character and sells their performances to audience while at the same time selling it to their on-screen counterparts. These creative elements produce a tender love story wrapped in a blanket of action and suspense.

In the midst of the 1930's Depression, filmmaker Carl Denham (Jack Black) is on the verge of bankruptcy and yet is determined to make his masterpiece action movie. "Borrowing" the writing talent of playwright Jack Driscoll and the acting and beauty of Ann Darrow (Naomi Watts), Denham embarks to an uncharted island to film his vision. What the three of them will find is adventure of gargantuan portion…for the price of admission ticket.

Peter Jackson's imagination and attention to detail comes across gloriously on screen. His direction captures Kong not only at his most violent but also at his most primitive. When Kong is at peace, he is foremost a monkey. Jackson focuses special attention to this fact as he captures Kong's facial expressions and animal actions with such clarity that it would make National Geographic jealous. Jackson not only creates Kong in all his ape glory but also draws the audience into the underneath love story between beauty and the beast. He shows that underneath all of Kong's hair and muscle beats the heart of a gentle soul who only wants to be loved. This by no means takes away from the tremendous action and battle scenes that are synonymous with Jackson's direction. The triumph is how well Jackson mixes all these elements together that you will not be able to take your eyes off the screen.

The writing trio who gave us the "Lord of the Rings" trilogy delivers another astounding epic filled with conflict and passion. Adapting from the original Kong story by Edgar Wallace and Merian C. Cooper, Fran Walsh, Phillippa Boyens, and Peter Jackson create an action movie with a love story twist. The film is packed with fighting and heroics while also paying attention to the attraction between Kong and Ann. The impressive feat by the writers is making a three hour film entertaining by not only mixing the elements of love, action, and suspense but also establishing the personalities and motivation of the characters. The writers do not simply throw the audience into the world of Kong without first making audiences understand who the characters are and the reasons for their voyage.

Leading the way on the fantastic voyage is Jack Black as Carl Denham. Black is great as the conman director who will do absolutely anything to get his film made. He is conniving, manipulative and deceitful and Black carries these characteristics not only on-screen but to the audience as well. Many times during the film, Black seems to be speaking more to the audience than he is to his co-stars when he is selling his ideas and his plan. Black's natural showmanship and charisma makes him the perfect fit for this role. Naomi Watts is talented as she is enchanting as Ann Darrow. As vaudevillian Darrow, Watts outdoes herself with comedy pratfalls and juggling acts that would rival Charlie Chaplin. Watts' talent extends beyond comedy in this role. She also makes the audience feel her fear when she first encounters the gigantic Kong and the love and sympathy when she realizes the gentleness underneath. It is through Watts' compassion for Kong that the audience also sees past the giant ape's destructive nature and into the heart of the beast. Adrian Brody is the "other man" in the love triangle with Kong and Darrow. In action-packed movie, Brody plays Driscoll as what he is: a playwright. He is not a hero but a man who is simply trying to rescue his girl. Brody transmits his love throughout the film in the way looks at Watts and his desire to do the impossible to rescue her. Brody knows the limitations of his character but plays the passions to the full tilt.

Jackson's "King Kong" is not the typical monster movie that is hell bent on causing destruction and killing for pleasure. Jackson goes out of his way to tell the age old story of beauty and the beast and he accomplishes it with supreme genius. Nothing in this film is taken for granted. Character and motive are established so as to make the audience understand the purpose of the voyage and the explanation of their events. The movie delivers well on Kong himself. The giant ape is shown prominently throughout the film and is never hidden or teased to be viewing. Peter Jackson succeeded magnificently in tackling the challenge of recreating "King Kong"; a feat as big as the beast himself.

Grade: A

Walk the Line (2005)

Walk the Line glows like a ring of fire

[8/10 · 26 November 2005]

Powerfully emotional and musically triumphant, "Walk the Line" lives up to its title in presenting the turbulent life of music legend Johnny Cash. Director James Mangold does not simply capture Cash's life but also expertly shows the emotional hell and physical pain he endured on the road and at home. Mangold's direction succeeds especially well in laying out the love story between Cash and his wife, June. To say the portrayals of the Cashes by Joaquin Phoenix and Reese Witherspoon are well done would be an understatement. The actors pull off such a brilliant performance that it is a mirror image of the singing duo. Even to those who are not fan's of Cash's music, "Walk the Line" will make you a fan of his life.

Johnny Cash (Joaquin Phoenix) had a troubled childhood growing up in Arkansas. His family was poor and his father (Robert Patrick) always looked down upon him. His solace lied in music taught to him by his mother. While working as a salesman, Cash comes across a record company who offers his band a tryout. Impressed with Cash's new style of music and lyrics, the producer places Cash on tour with big names such as Elvis and Jerry Lee Lewis. While on tour, Cash meets singer June Carter (Reese Witherspoon) whom he relentlessly attempts to woo for many years. The riggers of the tour also take a tremendous toll on Cash as he succumbs to the rock star lifestyle and suffers the consequences of those actions. When Cash hits bottom, only he has the capability to clean himself up to get his career and his life back on track.

James Mangold's direction is a wonderful tool is telling Johnny Cash's life story. His style provides a foreshadowing of future events and yet does not give away any of the story. Mangold's camera work and use of lighting are essential in capturing the mood of the setting and Cash's emotions. The devices also come into play in camouflaging Phoenix into Cash. Mangold's increase of lighting and turbulent camera movement illustrates Cash's troubled mind and anger and the emotion emits through the screen. Through these devices, the audience is able o better understand Cash's state of mind and his own rationalities for his actions.

Mangold along with screenwriter Gill Dennis create a great adaptation to the life of Johnny Cash. Basing their story from two of Cash's autobiographies, they achieve an admirable feat by not simply focusing the terrible things Cash did and experienced. Throughout the film, Mangold and Dennis manage to alive keep the flirting and love that flows between Cash and Carter. No matter the depth of the trouble Cash finds himself in, Carter is always by his side and the theme is never forgotten.

Portraying a musical icon with the charisma and talent of Johnny Cash cannot be a mere impression of the man. It is in this truth that the Man in Black made the perfect choice in selecting Joaquin Phoenix for the role. Phoenix excels in not only capturing the mannerisms and personality of the legend but also succeeds in playing guitar and singing as Cash did. While Phoenix does slip a few instances with his vocals, he more than makes up for it with his acting ability. This comes into play throughout the film as Phoenix has to carry on a wide range of emotions: anger with his father, love for June Carter, and the heartbreak of disappointment. Reese Witherspoon is equally amazing in challenging the persona of June Carter Cash. Witherspoon achieves her own singing and musical performances that rivals and at times surpasses her co-star. As June Carter, Witherspoon emits a different kind of pain. Whereas Johnny Cash did not care what people thought of him, Carter endured criticism for her personal life decisions. Witherspoon's portrayal makes her a very sympathetic character that the audience will rally behind and support. In a not to be forgotten supporting role is Ginnifer Goodwin as Cash's first wife, Vivian. Goodwin makes Vivian an equally sympathetic character who loves her husband and wants him to be home with the family. Goodwin depicts Vivian well as a devoted wife who stood by her husband as best she could through everything they both endured. Audiences will feel her love and devotion to stand by her man despite his rock star lifestyle and Goodwin's execution of the role keeps Vivian in the minds of audiences throughout Cash's ordeals.

Mangold's direction and imagination combined with the outstanding performances of the cast bring the legend of Johnny Cash to fulfillment. Fans of Cash will be proud of the film and new comers will want to know more about the Man in Black. The film does not pull any punches in telling Cash's life story. It tells all aspects of his life and shows that even a legend can pick himself up when he is down. "Walk the Line" is what Johnny Cash lived by and encourages us to do the same.

Grade: A-

Corpse Bride (2005)

Honeymoon for "Corpse Bride"

[8/10 · 17 September 2005]

Hello all. I had the privilege to catch an advance screening of "Corpse Bride" today so here's my take on it.

Presenting subjects which are typically dark and frightening and show them in a positive light has long been a trademark of Tim Burton. In the director's latest film, "Corpse Bride", Burton spins death and murder into a charming musical about the power of love. Burton applies the same technique as with his last stop-motion picture, "The Nightmare Before Christmas, but with a more fluid and smoother effect. Lead by the vocal talents of Johnny Depp and Helena Bonham Carter, "Corpse Bride" is a terrific achievement of film-making.

On the day of their wedding rehearsal, arranged lovers Victor (Johnny Depp) and Victoria (Emily Watson) run into a complication with the ceremony: Victor cannot remember his vows. While practicing in the forest, Victor mistakenly places the ring on the finger of a dead woman (Helena Bonham Carter) and is immediately married to his new bride, Emily. While Victor searches for a way out of the underworld and back to Victoria, he learns of the devious plot of how Emily was murdered and experiences the beauty and charm that still resides in her. Victor must decide whom he loves more: his bride-to-be or his corpse bride.

Tim Burton and Mike Johnson create a contrasting yet complementing world. The background and setting for the living is dark and cloudy. This is matched by the dark clothing, mundane lifestyle, and pale complexion of the citizens. Characters who are more full of life and color occupy the underworld, a location that is supposed to be bleak and gloomy. The stop-motion animation style is accomplishedly used to bring these objects to life. They never fail to capture emotion nor are they afraid to be as outrageous as they can with the characters' design and movements. This is best illustrated when the directors capture an elaborate song and dance number detailing Emily's demise.

The screenplay penned by John August, Pamela Pettler, and Caroline Thompson feels targeted for younger members of the PG audience. There are many puns is regards to death, e.g., "dead right", and the end is predictable thanks in part to an obvious foreshadowing detail. But that is not to say the film is a failure. The writers do a great job with tackling the morbid topic of death and turning it into a love story.

Whenever there is a Tim Burton film, Johnny Depp will usually be leading the charge. "Corpse Bride" is one of those instances. Johnny Depp and Helena Bonham Carter lead a talented cast of actors in providing the vocals to their characters. Depp gives Victor the frightened, insecure persona that befits the young man who is unsure of just about everything in life. Emily Watson does the perfect counterpart for Victoria. She is more confidant and less shy than her groom-to-be and she brings out the more attractive qualities of Victor. Carter provides Emily with a loving and caring demeanor. She genuinely cares for and loves Victor and she will do anything to make him see that. Even more skillful is her ability to bring out Emily's sadness. Audiences will feel her pain when she cries and the emptiness she feels when all she needs is love. The supporting actors are also expertly cast including Christopher Lee, Albert Finney, and Michael Gough. Each performer's voice brings out the ideal quality and trait of their character that one can imagine them performing the role in the flesh.

The title of "Corpse Bride" almost gives the wrong impression about the film. The movie is a love story albeit with a darkened twist. It is not meant to be frightening but rather it shows a peaceful and romantic co-existence between the living and the dead. Audiences will be fascinated with the seamless quality of the animation and the vocal talents that give the characters life. For "Corpse Bride", the honeymoon is about to begin.

CORPSE BRIDE Starring: Johnny Depp, Helen Bonham Carter, Emily Watson

Grade: A-

Honeymoon for "Corpse Bride" 8/16/05 (released 8/23/05)

Collateral (2004)

`Collateral' made back with interest

[8/10 · 7 August 2004]

Philosophical yet cold like an assassin's bullet is the stimulating combination that comprises Michael Mann's latest film, `Collateral'. The movie is not merely a shoot‘em up thriller but is also provocative in its endeavor to define the value of humanity. The thought-provoking screenplay is combined with brilliant camera direction and a gifted cast. These collective talents draw in the audience to allow them to experience every sense and emotion from the characters. `Collateral' is not only entertaining eye-candy but also presents audiences with a new perspective on the value of human life.

For 12 long years, Max (Jamie Foxx) has been driving taxis all over Los Angeles. During those 12 years, Max dreams of a new life where he runs his own exciting limousine company with a high list clientele. His dream is interrupted after picking up his newest customer: a hitman named Vincent (Tom Cruise) who has his own terms on the value of human life. Vincent forces Max to take him to his targets for evening or else lose his own life in the process. Caught in a no-win situation, Max must decide which is more valuable: his life or the lives Vincent will cancel out?

Michael Mann's direction does not miss a beat in drawing in the audience to Max's dilemma and is key to bringing about Vincent's ideology. Mann skillfully captures Max's fear and desperation to save the targets from Vincent that the audience almost feels they are in each setting. The audience can clearly see each expression and each shot fired. They will feel the coldness that emits from Vincent and the fear of each victim. Mann's citywide shots of Los Angeles also put into perspective Vincent's view on humanity: in a city with such an immense population, would anyone really miss a five people?

Stuart Beattie pens a screenplay that is humorous and thought provoking. Despite being characters from different spectrums, the `Pirates of the Caribbean' co-writer creates great chemistry with an `everyman' hero and a villain who is colder than the other side of the pillow. Max is the run-of-the-mill working class Joe who dreams of a better life. He knows what he wants but has difficulty reaching that goal. It is the mixture of Vincent's mercilessness attitude that Max is given the incentive to stop making excuses and make something of himself. Vincent, however, sees humans as just objects over-populating the world. If he should get rid of a few, who would miss them? It is Vincent's way of thinking that is the essential message of the film and lets the audience ponder the importance of human existence.

Foxx and Cruise both play characters that are opposite from the roles audiences are usually accustomed to seeing them. Foxx is not his usual silly self and it is a change that he plays quite well. Foxx's portrayal of Max is a character audiences can readily connect with. His best renderings come from capturing the working class dreamer's emotions and feelings. Foxx brings out Max's desires, fears, and self doubts that all people have experienced in their lifetime that it is almost as if they were watching their best friend on the screen. Max is not a superhero or a daring police officer and yet Foxx brings out the heroism in the character. Audiences will cheer for Max not only because he is human but also because he can be super-human. Cruise also switches gears from hero to ice cold villain. As Vincent, Cruise plays a hitman who is both heartless and deep thinking. Cruise's portrayal of Vincent is just a man doing his job. He doesn't see any right or wrong to killing people; it is just a way to make a living. Cruise's philosophical feature of the character are explained in this manner: if there are over a billion people in the world you don't know, what is the difference to getting rid of a few of them? Cruise carries out this attitude so well that fans would almost believe he truly felt this way. Despite being the villain, Cruise can still emit self-confidence and a cool attitude in the character that fills up each scene.

What makes `Collateral' great is that it is not a single-themed movie. One the one hand, it is an action movie with gun battles and fights expertly caught by Michael Mann's direction. There is also the underlying message brought out by Stuart Beattie's screenplay that looks at the value and importance of human life. Jamie Foxx and Tom Cruise both pull off wonderful performances by tackling new challenges. Theatergoers will not regret watching this film and their expectations will be paid in full.

Grade: A- Starring: Tom Cruise, Jamie Foxx

Kill Bill: Vol. 2 (2004)

Tarantino's Martial Arts Masterpiece

[9/10 · 21 April 2004]

With the brilliance of a gleaming samurai sword, `Kill Bill: Vol. 2' shines as an outstanding conclusion to its 2003 predecessor. The second part in the revenge epic from writer/director Quentin Tarantino takes a breather from the stunning, over-the-top action sequences of Vol. 1 to focus on the origins and backgrounds of the characters. This does not by any means take away from the film's greatness or viewing satisfaction. Audiences and fans are still treated with a clever script filled with sharp, philosophical dialogue complete with powerful and emotional acting that is common in Tarantino's movies. Having left his trademarks all over `Kill Bill: Vol.1', Tarantino finally completes his tribute to his adored martial arts genre in his own captivating style.

Four years after she was unmercifully beaten and left for dead by her former assassin cohorts, the Bride AKA Black Mamba (Uma Thurman) returns to the United States to finish her quest for vengeance. Wanting to leave her old life behind her and settle into motherhood, Black Mamba was busy with her wedding rehearsal. Unable to let her enter her new life, Mamba's former boss and beau, Bill (David Carradine) orders her execution by the Deadly Viper Assassination Squad (Michael Madsen, Daryl Hannah, Lucy Liu, Vivica A. Fox). Following her recovery, Black Mamba sliced and killed her way down her hit list while encountering near-death circumstances and vicious villains. When Black Mamba's journey ends, she must not only face her old master but also the ace up his sleeve.

Director Tarantino incorporates the same ingenious and unique filmmaking style that he carried out in `Vol.: 1.' This fact comes as treat for the patient movie fans that have waited for the film's continuation. Utilizing his trademark jumps between time and space, Tarantino employs this skill with even more precision. Each time jump ties in directly with the scene that it jumped from in the present time. This direction gives the audience a better understanding of how and why the heroine arrives at each of her circumstances. Lighting also plays an important role in the film. Tarantino's use of light (and sometimes lack thereof) is a key factor to capturing the characters' emotion in several scenes. The lighting provides the audience with a better tool to comprehend a character's thoughts and feelings and gives the audience a special viewing experience.

The collaborated script of Tarantino and Thurman contains even more concepts from martial arts cinema and are incorporated with Tarantino's amusing views on life. Whereas the first film focused on incredible sword fights and eye-popping effects, `Kill Bill: Vol. 2' is more character driven while still containing a good amount of fighting and swordplay. It is in `Vol. 2' that we learn more of how the characters came by their skills and the relationship between Bill and Black Mamba. A beautifully done scene in which Carradine entices Thurman with his flute playing while regaling her with a tale about his former teacher not only integrates the kung-fu style of filmmaking but also explains the closeness once shared between the couple. The exceptionally hardcore Tarantino aficionados will particularly love the director's comic book explanation on humanity and finding oneself.

Uma Thurman continues her Oscar worthy performance as Black Mamba. In the role, Thurman plays not only an expert killer but also a human being. Thurman's character is not the typical heroine who is infallible and unfeeling. Rather, she has fears when she is beaten and feelings of both love and regret on her quest. Thurman's portrayal is so powerful that passion of her performance is emitted through the screen. The audience can sense her every thought and feeling as she struggles through dire circumstances and the elation of her victories. David Carradine is the perfect mix of coolness and ruthlessness as Bill. In `Vol. 1', Carradine's voice carried out his performance. In `Vol. 2', the audience gets the privilege of seeing how acting matches the action. Carradine's rendering of Bill is not that of a callous fiend who kills without any remorse or logic. Instead, his actions are from the knowledge and acceptance of who and what he is. Carradine performance of this realization is done in such a matter-of-fact manner that one would almost believe Carradine was speaking of himself. Carradine also pulls are rare feat by evoking a small piece of understanding and sympathy for the criminal. This is accomplished through the terrific on-screen chemistry between Carradine and Thurman. Carradine brings about the sincere love Bill has for Black Mamba that it makes the shooting seem more as a crime of passion than a crime of hate. Equally impressive are the supporting roles of Daryl Hannah and Michael Madsen as Elle Driver and Budd respectively. Hannah is deliciously evil as Driver. A complete 180 from the beauty roles she is known for playing, Hannah's Driver is out for herself and will crush anyone who gets in her way. Her performance as the deadly killer is a villain colder than the other side of the pillow. Hannah plays the role with such ability that she rivals many femme fatale roles. In a similar 180 move, Madsen's Budd is not the sadistic, torture-loving villain that the actor has been known to play. Rather, Madsen portrays Budd as a down-on-his-luck con who is always looking for a quick buck. Although the character is not extremely vicious or confident, Madsen still manages to exert his own charisma into making Budd a worthy character.

`Kill Bill: Vol. 2' has all the action and witticisms that movie goers loved from `Vol. 1.' Tarantino's unique eye and camera direction gives the film life and the incredible acting talents of his cast bring the screenplay into being. Tarantino's kung-fu masterpiece is so incredibly well done that it almost seems a shame that the film was cut in two. But each volume is a work of art. Tarantino's tribute will not only stand as one the greatest and meticulous films ever made but may just secure a place for the maverick director in the kung-fu hall of fame.

The Passion of the Christ (2004)

Gibson's passionate gift

[10/10 · 29 February 2004]

Powerfully emotional and spiritually uplifting only begins to describe Mel Gibson's latest feature, `The Passion of the Christ.' The film is also a multi-dimensional masterpiece focusing on family and love and not just on the beatings and the crucifixion. The controversial movie, which depicts Christ's last hours on earth, is not the average biopic of Jesus healing the sick and preaching sermons. Rather, it is an explicit, in-depth look at the punishment and suffering Christ endured for the sins of mankind. Gibson's interpretation of the Gospel is vividly presented through creative camera shots and a commanding performance by the cast.

The high priests of Jerusalem, who decree Jesus' claim to being the Messiah as blasphemy, pay Judas (Luca Lionello) 30 pieces of silver to lead them to Jesus and have Him arrested. In these last hours prior to His known execution, Jesus (Jim Caviezel) prays to God that the Almighty's will be done. Jesus is arrested, flogged, and brought before Pontius Pilate (Hristo Shopov) for judgment. Unwilling to condemn a man he deems innocent but also wanting to avoid an uprising, Pilate hands Jesus over to the people who demand that He be crucified for His heresy. Jesus undergoes extreme torture and ultimately crucifixion for the sins of the word as it is stated in the Bible.

After almost ten years since directing the Academy award-winning `Braveheart', director Mel Gibson goes behind the camera once again and delivers another beautiful epic with `The Passion of the Christ.' Gibson's omnipresent eye brings the audience into every aspect of the trial and punishment of Jesus. This attention to detail, however, serves as a blessing and curse; particularly when the director focuses on the crucifixion. Gibson's does not hide the viciousness of the penalty from the audience and draws them in to feel Christ's pain. Not withstanding the brutality that is portrayed in the film, Gibson also tugs at the hearts of theatre patrons by capturing the love between mother and son in Mary and Jesus. Gibson's directorial skill not only creates a strong emotional response within the audience but also brings them in to experience the events of Christ.

Many films have been made which detail the life of Jesus but none with the care and precision that Mel Gibson put into `The Passion of the Christ'. Taken almost directly from the Biblical books of Matthew, Mark, Luke, and John, Gibson co-wrote his interpretation of the Gospels with television and film writer Benedict Fitzgerald. The script, originally written in English, was translated into Latin and Aramaic through the help of Jesuit priest Bill Fulco, S.J. As such, the film is done in Aramaic and Latin with English subtitles. The translation is a key element as without it, the film may very well have lost its emotionally stirring edge. When the characters speak and converse in the ancient languages, they pull the audience into the realism of the time. The translation makes each speech more forceful and moving as evident when Caviezel as Jesus preaches and prays in the ancient tongue. Moviegoers can sense as if they are right beside Jesus and He is speaking directly to them.

No matter the size of the role, each actor delivers a phenomenal performance. Jim Caviezel's portrayal of Christ is done with a more humanistic nature that is rarely seen in other representations of the character. Caviezel plays Jesus not as a god but as a man. He is a human being scared of the burden He must bear and the forthcoming punishments He will soon receive. Caviezel's talents are especially shown during the flogging and crucifixion scenes. The audience feels the pain exhibited by Caviezel as his body is continually beaten. Caviezel goes to extremes and delivers a heart wrenching performance that entrances audiences and may just reaffirm the faith of others. Maia Morgenstern plays Mary as a follower of Christ but who is first and foremost a mother. She will pick him up if He falls down and stands by Him devotedly throughout his ordeal. Morgenstern reveals Mary as a loving mother who is rightfully distressed with the torment that her firstborn undergoes and yet she must stand by and allow God's will to be done. This love and pain is expertly played by Morgenstern and will touch the hearts of moviegoers. The outstanding supporting roles belong to Hristo Shopov as Pilate, Rosalinda Celentano as Satan, and Monica Bellucci as Mary Magdalene. Shopov's Pilate is seen as a man struggling to keep order within his region. He does not see any reason to condemn Jesus but does what he must do to prevent any uprisings. Shopov's portrayal of Pilate is also done with the same humanity that Caviezel does with Jesus. Shopov's Pilate is not a man who readily sentences Jesus to die but a leader who labors with the decision of sentencing an innocent man or allow for mob rule. A female Satan is rarely played and is excellently done by Celentano. Appearing at all the key moments of Christ's trials, Celentano continually mocks Jesus and dares Him to give up the cross and often without saying a word. Her facial expressions and taunts at Jesus emit an evil feeling throughout the film. Bellucci does not have many lines in her role as Mary Magdalene. However, she hardly needs any words to bring about the caring and love from her character. Bellucci portrays Magdalene as a committed follower of Jesus and a source of comfort to His mother. All this is achieved through her actions. Bellucci's Magdalene is a woman who lets her deeds speak for themselves.

Gibson's film, though marred by controversy, is powerful and touching. The film does not set out to put blame on anyone but rather to deliver and portray the Biblical message of why Jesus died on the cross. The graphic nature of the film does not make it a family movie nor is it for the weak of heart. But the film is as emotional as it is graphic and those who will have the benefit of watching this great epic will be moved to tears. As with the `The 10 Commandments' and `Ben-Hur', `The Passion of the Christ' is a Biblical epic that will surely be remembered for years to come.

Kill Bill: Vol. 1 (2003)

Tarantino's tribute fits the `Bill'

[9/10 · 31 October 2003]

Over the top and outrageous has always been a characteristic of director Quentin Tarantino. And in his latest film, `Kill Bill: Vol. 1', the filmmaker doesn't merely leave this trademark all over the screen, but all over the floor and every square inch of the settings. Tarantino, who is best known for his witty dialogue and pop culture references, relies more on the action to do the talking in his latest feature. The director's tribute to the kung-fu genre packs a powerful punch that not only leaves audiences with their jaws dropping but has them begging for more.

On a warm Texas afternoon, a pregnant young bride known only as Black Mamba (Uma Thurman) is about to leave her old life as a mercenary. The ceremony is cut short when she is brutally beaten by her old cohorts, The Deadly Viper Assassination Squad (Vivica A. Fox, Darryl Hannah, Lucy Liu, Michael Madsen). The bride is left for dead after the final blow delivered by her former boss, Bill (David Carradine). Alive but in a coma, woman awakes four years later from her ordeal. With the memories of her beating replaying in her mind, she sets out in search of the Squad and vengeance.

Director Quentin Tarantino makes a triumphant return after a six-year hiatus. In `Kill Bill: Vol. 1', Tarantino presents his own unique style of martial art filmmaking. A well-known trademark of Tarantino's films is the jump between times in telling the story. The director utilizes this signature with great effect in revealing the past of the bride and the Viper Squad. A great addition to the story telling is the incorporation of Japanese anime to introduce Lucy Liu's character, O-Ren Ishii. The transformation from reality to animation gives the audience a break as well so as not to overexpose the physical fighting. The cartoonish action does not by any means take away from the effect of the film. Rather, it serves as a different vehicle for the fighting and narration. With all the different camera tricks and storytelling techniques, fans will appreciate how the director never fails to capture a blood spurting chop or action packed sequence.

Tarantino co-wrote the screenplay with lead actress Uma Thurman. Their combined talents deliver a smart and hard-hitting film from start to finish. The first volume is built on heart pumping fight scenes. Each fight not only knocks moviegoers back into their seats but will also stun them with the aftermath effects. The writing duo not only pens the fight scenes that are true to form of the kung-fu genre but the dialogue as well. But that is not to say that the film lacks punchy dialogue that fans have come to enjoy from Tarantino's scripts. One such example fans will undoubtedly appreciate is the comedic discussion between the sushi chef (guest star Sonny Chiba) and his partner as they discuss who is in fact in charge of the restaurant.

Actors rarely put on a bad performance in Tarantino movies. Many seem to connect with the director's vision of the character and play it to a T. `Kill Bill: Vol. 1' follows in this great tradition. Uma Thurman is absolutely terrific as Black Mamba/The Bride. She plays the character with such great emotion that audiences feel her fear, her sadness, and her thirst for revenge. Even more impressive is the extensive amount of work and training that went into for the role. Thurman executes each fight with mastery that rivals many of today's action films. Her technique and skill would make one believe that she had been studying martial arts and sword fighting for years. Equally talented in her role is Lucy Liu as O-ren Ishii AKA Cottenmouth. Liu emits an aura of fear and sympathy. Her portrayal is so well done that audiences will sympathize with Ishii's traumatic childhood one moment and just as quickly become enthralled with her ruthless tactics. Liu is also very experienced with the sword but it is her acting ability that will grab audiences and make them cringe should they meet such a character. Although playing the title character, David Carradine does not make a facial on-screen appearance. However, his presence is felt. With a sly evilness in his voice Carradine provides a truly sadistic villain. Even without seeing him, audiences can still picture the sadistic persona who would beat a pregnant woman unconscious and unleash a merciless horde of assassins.

Although `Kill Bill: Vol. 1' is not for the weak of heart, it is still an excellent piece of filmmaking. All the right tools are involved: superb acting, brilliant directing, and an expertly crafted soundtrack. Fans will leave the theatre with their hearts racing and a longing for the immediate release of `Kill Bill: Vol. 2.' Tarantino's contribution to his beloved kung-fu genre will surely be remembered for years to come.

Grade: A

Hulk (2003)

Hulk Runs Wild!

[8/10 · 3 July 2003]

Incredible! The word synonymous with the legendary angry green giant known as the Hulk also describes the latest Marvel Comic theatrical release of the same name. The infamous comic tells the story of Dr. Bruce Banner. A brilliant scientist who when he loses his temper transforms into the property-destroying green colossus. Following in the recent string of comic hits such as, ¡§Spider-Man¡¨ and ¡§X-Men¡¨, ¡§The Hulk¡¨ continues the trend with outstanding action sequences accompanied by a great script.

Bruce Banner (Eric Bana) is a scientist who studies the effects of gamma radiation UC Berkley. All his life, Bruce has suppressed his emotions. He does not become easily angered nor does he lash out at anyone. He does, however, have horrible nightmares that leave him waking up in a cold sweat. His partner and ex-girlfriend, Betty Ross (Jennifer Connolly), is his constant supporter, helping him through his difficulties. While repairing a gamma-emitting machine one day, Bruce¡¦s assistant accidentally activates the machine to go off. Shielding his assistant, Banner takes the full force of the radiation. Suddenly, Banner feels stronger and healthier than he¡¦s ever felt in his life. But his new health comes with a terrible side effect. When he becomes enraged, he transforms into the enormous, destructive Hulk. Banner now struggles to subdue the beast within, a battle that the new night janitor (Nick Nolte) may hold the key to winning.

The marvelous partnership of director Ang Lee (Crouching Tiger, Hidden Dragon) and screenwriters John Turman (Time Killer) and James Schamus (Ice Storm) give ¡§The Hulk¡¨ life unique from a typical comic book movie. The masterful direction of Ang Lee is practically enough of a reason to see the film. One of Lee¡¦s unique methods of storytelling in ¡§The Hulk¡¨ is his prodigious use of the split-level screen. This allows the audience to view every possible angle in the scene and to further advance the story. The split-level angles also give the film a more ¡§comic book¡¨ feel. Just as there are multiple scenes illustrated in the graphic stories, they are also presented in ¡§Hulk.¡¨ Lee¡¦s direction does not limit patrons to simple one-dimensional point-of-view. Rather, it allows the viewers the take in the whole picture. While some purists may argue with the film¡¦s version of the Hulk¡¦s origin, Turman and Schamus regardless present a very enjoyable story. The writing duo does not simply pen a script about a man who turns into the beast when he becomes enraged. Rather, they focus on the more underlying factors of Banner¡¦s anger. Why has he suppressed his emotions? How has it affected his life? Will he ever be able to control it? However, Turman and Schamus have not written a mere psychological evaluation. The movie tells a good tale and is packed with stunning action sequences that comic fans have come to expect from Marvel. Turman and Schamus bring the best of both sides to the screen.

Eric Bana sells the role Dr. Bruce Banner. More concentrated on his work than anything else, he does not let relationship break-ups or other matters steer him off track. Bana keeps his character¡¦s emotions in check. While he may be angry at someone, he never lashes out at them. While the film¡¦s Bruce Banner is perhaps a bit more brave than his comic book counterpart, Bana¡¦s portrayal of Banner is just right to the contrast of his angry alter ego. Jennifer Connolly¡¦s Betty Ross is almost a scene-stealer of the movie. As Betty, Connolly is the everlasting crutch for Bruce. She is always there for him and is his calmer whenever he feels stressed. It is Connolly who brings the emotion of the film. Her faithfulness to Bruce and her desire to protect him from himself comes through in her performance for it is Betty who can still see the man behind the Hulk. Audiences can feel her sincerity and grief as she struggles to help her ill-fated friend. Nick Nolte delivers with the mystery and aura that emits from his character. No one knows where the recluse janitor came from or what ulterior intentions he has planned at the institution. Nolte¡¦s performance of the mystery man evokes both compassion and hatred. Whereas one moment it may appear he is helping Banner with his research, the next scene he may appear to sabotage it.

¡§The Hulk¡¨ is a terrific movie and has all the elements to make it remembered for years to come. Not only are there eye-pleasing effects but a good story, remarkable score, and superb directing accompany it. Moviegoers and Hulk fans will appreciate Ang Lee¡¦s comic-like directing and the great performance by the cast. ¡§The Hulk¡¨ is not to be missed in theatres for patrons will well receive their money¡¦s worth. ¡§The Hulk¡¨ is simply: Incredible!

Grade: A-

Bruce Almighty (2003)

God doth have a sense of humor

[24 June 2003]

Whether or not a person believes in God, most people have thought they could make things better if they ran the world. Some would end world hunger, some would make world peace, and other would just fix the problems in their own lives. But few people would ever consider the burden and awesome responsibility of the universe's most absolute power. How would prayers be answered? How would you handle disasters and riots? What would you do if someone did not believe in you? `Bruce Almighty' presents a view of what would happen if a man's will were done. Bruce Nolan (Jim Carrey) is a field reporter for the local Buffalo, NY news station. Tired of doing human-interest stories, being passed over for promotions, and the overall course his life has taken, he calls out God (Morgan Freeman) and claims he can make things better if he ran the world. God hears Bruce's challenge and offers him the chance to prove it. The Almighty departs for a vacation and endows Bruce with all his powers. Bruce now has the opportunity to demonstrate what kind of God he can be. The only provisions are that Bruce cannot tell anyone he is God and he cannot interfere with anyone's free will. `Bruce Almighty' is wonderfully done by the talents of creative director Tom Shadyac (Liar, Liar, Patch Adams) and the humorous story by screenwriter Steve Koren (Night at the `Roxbury) and television writer Mark O'Keefe (Late Show with David Letterman). Shadyac's direction plays a key role to this visually comedic movie. Not solely relying on his performers, he also implements several sight gags. Shadyac's eye for comedy comes through when he shows how Bruce organizes his prayer requests, how Bruce dispenses justice, and even when Bruce gets a cup of coffee. The script is also well written by the comedic duo of Koren and O'Keefe. The movie is not only funny but it also looks at the seriousness of what it really means to be God. Koren and O'Keefe examine how would an average Joe handle the millions of daily prayer requests, would that person abuse his power, and would he ever give up the job. Don't get me wrong, this is not a movie to would take your children to see to teach them religion. It is filled with teen and adult humor that fans have come to expect from this genre. Koren and O'Keefe not only manage to keep the theatre laughing but give God a human face. Jim Carrey gives another great performance as Bruce Nolan. Known for his way out antics and facial expressions, Carrey combines those talents with a genuine acting ability that sells his performance. Carrey is very much the common man in his role as Bruce. He is frustrated with the morning traffic, he wants more in life, and he wants God to make it happen. Most audiences can identify with his aggravation because most have been where Bruce has been. But Carrey is also a hilarious man-God when he rules the world. He has fun with his powers while making sure the best things work out for him. Carrey delivers just the right mix of comedy with a touch of the Spirit. Morgan Freeman and Jennifer Aniston are also enjoyable in their roles as God and Bruce's girlfriend, Grace, respectively. Freeman plays God with a humanistic yet sympathetic quality. He not only offers Bruce the chance to take his job, but also is ready to help him out when he runs into trouble or needs advice. Freeman's portrayal is also what one would expect out of God: warm, endearing, and forgiving. Aniston's screen time is somewhat limited in the film. Her performance of Grace is the typical stand-by-your-man girlfriend. She loves Bruce and will stick with him no matter how much of a jerk he can be. The role is generic but Aniston plays well with what she's dealt. Perhaps the scene-stealer of the film is the sidesplitting job done by the Daily Show's Steve Carell. Carell plays Bruce's main antagonist, Evan Baxter. Baxter and Nolan's on-going feud sets the stage for very funny on-air showdown in which Carell's performance will have audiences wiping their eyes from laughter. `Bruce Almighty' is no doubt entertaining and humorous. The movie has all the combinations to make it a success and audiences looking for a good laugh will not be disappointed. While the movie may be more popular with the teen crowd, adults may also enjoy the film as well. This is not a Jim Carrey comedy where he talks from his rear but a comedy that also examines a serious nature of life and show's Carrey has evolved as an actor. But let us hope for Jim's case, God doth have a sense of humor.

Grade: B