ttornak Reviews

Due Date (2010)

A new kind of comedy ?

[3/10 · 13 March 2011]

**** Plenty of possible spoilers ***

This movie can't complain that it's actors were on the sloppy side. RDJ and ZG were at their best and were just about the only thing watchable in this movie.

It looks like the movie was made for teenagers, cue loud rock music after every scene. If you make a movie about a road trip you have to find a way to make up for a lot of downtime, but the way Todd Phillips handles this is just sloppy. They feel more like interruptions (buy the soundtrack !) than transitions. Apart from the one where they drive stoned we don't get to see anything worthwhile or funny.

Funny in this movie is a strange business. It's mean spirited on about every level.

On one hand we have a jerk. I'm sorry but there's hardly another way to describe RDJ's Peter Highman. This character would rather die or find another way to get home than accept Ethan's invitation. There might be something called love but Peter hasn't got a clue about that so his eagerness to be at the bedside of his wife as she's delivering the next Highman seems out of place. Hitting an obnoxious kid can be done funny, but here it isn't. He despises the mother, so he insults the kids and when they react badly he hits one of them in the stomach. There's a difference in pushing a kid in the water because you hate kids or people in general and harassing them because they're all white/black/whatever trash to you.

Ethan's a basket case. He has no clue on how to behave himself and is clearly mentally challenged. Laughing at stupid people doing silly things has been done ever since the first joke was invented. But Ethan's character is just sad. He seemed to have lost the only one that cared for him in this world and has no idea on how to interact with other people or defend himself. If watching someone loosing his dignity and being destroyed by others is funny, they might as well start putting seats in the local psychiatric hospital.

I'm not even going to describe the inconsistencies and the loose ends here, as this movie doesn't care and neither do I. I do hope to see both actors again, in a better movie.

In the Name of the Father (1993)

Looking back

[7/10 · 2 May 2010]

When you are faced with enough material to make a mini-series and try to put it in a 2-hour film you have to make choices.

Neither the British nor the IRA are depicted with any depth, the target is to establish both Gerry as a bit of a goofy, likable character and his father, an intelligent but downtrodden figure. Rock, humor and great lines complete the package.

The better part of this movie depicts the relationship between Gerry and Guiseppe Conlon and true to life, never receives closing. Sheridan seems to realize this and gives the relationship time to grow naturally without forcing anything. A few lapses into sentimentality could be avoided but are successfully countered with humor.

Since 1994 when I first saw the movie, the world, including Ireland has moved on. Some points this movie makes stand, others do not. In any case, I loved seeing it again.

Deception (2008)

Lazy job

[3/10 · 2 May 2010]

How can you mess up a paint by the numbers job ? From the introduction onward your left asking yourself questions, like "why are these two talking anyway ?", "Why is an accountant living in a dump ?" and oh dear... does he really have to wear glasses ? You can feel the movie trying to stretch your imagination to make room for it's stereotypes and plot holes.

After this a few scantily dressed women have sex with the accountant but movie refuses to become interesting as all the encounters are flat and after an 45 minutes you are still waiting for something to happen.

Fortunately Jackman comes to rescue by playing the villain for a bit and finally the movie groans onwards. Michelle Williams gets some screen time but plays like 3 different, unrelated plot devices (sorry, characters) and the movie goes nowhere slowly.

In the end, Jackman was good, Ewan was Ewan and the ending scenes reminded me it's beautiful weather outside and I could be sitting outside with some friends having a cold beer. Good advice.

The Green Mile (1999)

Disney does death penalty

[5/10 · 7 February 2009]

It's hard NOT to like the green mile. It's like kicking a sweet puppy.

The actors are fine, with great performances, the locations are well done, good camera-work and the movie doesn't get (too) boring. If you have half a heart, you will care for the characters and although I cringed a bit at the depiction of another "simple black man", you can't accuse the movie of racism, not after they show his lawyer. Overall a nice movie, but...

Amongst other things, the movie expects you to believe in miracles, not just one, a bucket load of them.

Goody prison wardens and goody prison guards. The guards are all the same, full of mercy and the nicest guys in town. I was half expecting a song and dance act of the guards down the aisle with the prisoners joining in and the mouse doing pirouettes in front of them.

The only 2 people in this movie that are "bad" you can only feel sorry for. One is a deranged psycho that doesn't seem to enter sanity or reason for a second, the other is a prison guard that is a little jerk that gets slapped around all the time and even tries to change his ways... then gets his feelings hurt, damn.

The movie is clearly anti-death penalty as I am, but this isn't the way to present the case.

Fried Green Tomatoes (1991)

Charming

[7/10 · 6 February 2009]

Gentle movie that doesn't pretend to be more than it is.

It's storytelling time and this time through the eyes of an optimistic, pepper old lady in a home to her younger friend going through a midlife crisis in the 80's. The movie uses this setup to interrupt the main story and inject a bit of humor.

After the loss of a respectively boyfriend/brother two girls overcome their grieve and become intimate friends. From here on, the story handles topics like wife-beating and racism, friendship/love and family-life in equal measures. The plots trots along well and although it doesn't avoid drama, it never drowns itself in it. The end-result is that when almost at the end drama really hits hard, it makes a lot more impact. But even after that point, the movie seems to flow on gently.

For everyone that was young in the 80/90's the actresses aren't unfamiliar and it's rather a shame they haven't been used more.

Don't expect anything epic or world-shattering, however a movie that runs for 2 hours and never gets dull or too silly or needs sledgehammer plot twists, is a gem in my book.

Sleuth (2007)

Horror Oh the horror

[3/10 · 10 August 2008]

I haven't seen the 1972 classic and I'm not really aching to see it either. This movie had some problems, and for once I don't think it's just me.

Michael Caine is a celebrity sledgehammer actor. I liked him in quite a few movies, but I'll never be able to accuse him for being subtle. He is Angry, Dangerous, Happy, Whatever he is supposed to be. On top of that, the camera made sure that we saw his expression clearly in full close-up, to make sure we really really got it this time. Yude law did OK until he had to play the detective. A character straight out of Monty python that turned into something straight out of the rocky horror picture show.

Kenneth Brannagh, no matter how I like him, doesn't help here either. Apparently he and the camera were completely paralyzed by the admittedly strange environment and zombied their way through the movie.

All this wouldn't be fatal...if the plot didn't set out to torture any braincell trying to watch this. The viewer is cheated twice, slapped around the head with johnny-walker wisdom, has all suspension of disbelief cut out of him and left dead and bleeding. After the movie you haven't got the faintest idea who these 2 people are, they never touch sanity. Everything is a plot device and the writer doesn't even try to disguise it. Your looking at a doll-house in the hands of a teenager thinking he is sssoooo baddd and ccclleeevver.

The good points ? Well, at least Michael Caine decided to try acting again. The first 20 minutes were promising and the music did it's job. And eating half a gallon ice-cream made sure that not too many braincells melted away while watching this postcard from the local loony house.

All the President's Men (1976)

Pen is mightier than the sword

[9/10 · 20 August 2005]

You don't need car chases, blood, extra-terrestrial monsters or 50 twists in the story-line to make a compelling thriller. What you do need is a story, a couple of underdogs with brains and a powerful enemy.

As a non-American things in this political thriller may sometimes be a little hard to follow. The special counselor to the president ? What kind of job is that supposed to be ? Campaign to re-elect the president, what kind of organization is that ? In the hands of a lesser director, this might have easily resulted in a movie that gives the viewer the impression he's lost in a jungle of legal mumbo-jumbo that tries to disguise a paper-thin story. This is not the case here. The script never let these terms get in the way of the story and the pacing is perfect. We're thrown from one step into another without ever feeling lost. The end-result is that you don't get an in-dept review of everything that has happened but you definitely get the story.

The underdogs in this story are the two reporters as well as various people they need whom they need to get their story from. Everyone is scared to go too far. Pure luck, carelessness, tricks of the trade, secrecy, arrogance and regret all play their part in what is essentially a human drama and add to the credibility of the story.

The suspense doesn't come as much from life-threatening situations but follows from a more everyday threat : to loose your job and forget about your career. The pressure is never defined but it is there and affects everybody. The reporters fight time, lies, secrets and the fear of the people they interview. The people involved have to choose between their career, the people they care for and their ideals.

The dialogs are excellent. Every line counts and although this makes for an intensive experience, the quality of the script makes it worthwhile. Hoffman is terrific and Redford plays well, but the supporting cast is equally impressive, from Albert Brooks to Baxter & Collins (Mr. & Ms Sloan), Walden (Segretti) and the bookkeeper. Special mention to Jason Robards who is unforgettable as Ben Bradlee who rightfully got the Oscar for best supporting actor.

"All the President's Men" applauds the people that value the truth and gives the viewer an idea of what investigative journalism should be. But more importantly, it shows the power of words and knowledge and gives you a hint about the relationship between the press and the government.

Based on historical facts, some aspects of the movie may seem dated, but the execution is perfect and the message still stands. An important classic : I gave it 9

Taxi Driver (1976)

Man or monster

[10/10 · 19 August 2005]

*** Spoilers ***

Travis has left the army, honorable discharge. The army has made a man out of him and now he's free to live his life in the pursuit of his own happiness. It turns into a nightmare.

His isolation is complete. His pride makes it impossible to return to his parents and his less than basic understanding of human interaction makes him an absolute outsider.

At work, colleagues are cordial but distant and there is no family, friends or love for him. Unfortunately, Travis, though uneducated and lacking in understanding the problem, is not stupid. He understands what's happening and starts to see society as the enemy. Society is a hostile environment that wants him out and threats him like a monster.

Travis personalization of one man against the world starts to turn ugly when he sees the 'filth' on the street. His job takes him to the less than savory nightlife on the streets. He really resents this. Why can hookers, drug-addicts, sellers and the 'scum' have a life, be part of it, while he can't ?

When hope turns up into the form of Betsy and is subsequently drown by his misunderstanding/self-destructive nature, the descend into madness quickens. Yet, he needs to fabricate a reason and killing Palantine (for the treason of Betsy) or the rescue of a clearly underage hooker Iris) will do.

After the inevitable violence, the ending is one of the best I've ever encountered. It can be taken two ways. It could be Travis' last moments of hope in which he believes he's made a hero for cleaning up the filth, forgives Betsy and receives thanks for giving Iris a better future. But likewise, it could be that Travis actually survived and this would make the ending a warning and a ironic look at society, itself a disturbed creature.

Schrader, Scorsese and Deniro at the top of their power, supported by a brilliant score from Bernard Hermann. The whole movie is shot from Travis point of view and Deniro carries the picture effortlessly. Betsy and Iris both do what they're expected to do but cameo's of Harris as Palantine and Brooks as Betsy's coworker also deserve a mention. The only ones that seem a bit intrusive are Boyle and Keitel. But there's really nothing to complain about.

Important, better than perfect (which only means there's nothing wrong with it). If you care about people, there's nothing trite or repulsive in here. Nevertheless, shocking and disturbing, certainly if you look at the time it was made, it hasn't lost it's value.

One of the three movies I gave a 10.

Neon Genesis Evangelion (1995–1996)

More than a feeling

[31 July 2005]

I'm not an anime fan. I tried this because of the reviews it gathered and after watching this I checked out other anime-titles. I couldn't have been more disappointed. No other anime even tried to approach the quality of this series.

The series start off simple enough. A boy is 'chosen' to fight big monsters in a robot. However, the monsters seem to be less important than the troubles the people face fighting them.

Although Shinji is no coward by any standard, he's a very troubled person. He hates himself and his father. He needs people around him but they are a constant source of pain. He's a loner, but he doesn't like it much.

Not a single major character is one-dimensional. Rei is a bit of an enigma, but you could imagine how this very intelligent girl would develop into someone resembling Ritsuko. Asuka is the brass, loud and overconfident girl who's smarter than she appears. Misato seems to be an emotional shut-in but she tries to enjoy life to the fullest. Ritsuko seems perfect at first, an intelligent career woman who's reliable and self-sufficient. And definitely last is Gendo, the commander : cold and focused, dealing with the threat as well as the constant verbal attacks of the Seele-members. Any major character could be analyzed as they grow throughout the series.

The first 15 episodes could be considered semi-light fare. Enjoyable and although there are several hints dropped along the way, nothing really gets out of hand too far. The series grow however, and after the 15th episode, the masks are taken off one by one, and it's not a pretty sight.

By the end of it all, the series have asked immortal questions like what are we, why are we here and is life worth all the pain that goes with it. For once these questions don't sound trite as the characters have a very good reason for asking.

Disturbing through the fate and behaviour of it's protagonists, stripping away all illusions about what men are and the horrors we are capable of, the series still manage to retain sympathy for it's characters and a spark of hope for mankind.

The series are not perfect. There's some fan-service,corny moments and situations that don't seem logical, especially in the first part of the series. But the many layers and genuine characters more than make up for it. In this case, the endresult outweigh the sum of it's part tremendously.

There are 101 reasons why the series have become how they are now. Production problems (time and money), Hidalgo's personal situation, the fans, the critics and so on. You can find socio-economic, theological and psychological analysis of this work. All very well written, interesting and equally valid. Whatever interests you, this series can make you think and hopefully feel.

I've only given 3 movies a 10. This is one of them. The rating is for the series+the movie. Powerful and unique.

Alien (1979)

We live as we dream, alone

[8/10 · 30 July 2005]

*** SPOILERS ****

As in the original novel by Joseph Conrad ("NOSTROMO"), this classic movie illustrates the consequences of corporate greed in which human lives are of no consequence. This premise nor the story are very original, however the execution is almost perfect.

We start by seeing the ship "Nostromo" gliding through the cosmos, comfortable and steady. Later we'll see that image back and could be forgiven to think of it as an iron coffin. Hard, rectangular and final.

When we switch to the view inside the ship, the movie scores it's first major point. Gone are the metallic and plastic oddities from earlier sf-movies. Instead, we get a realistic or at least believable interior. The bridge looks like the cockpit from a large airliner with multiple seats, the corridors like the interior of a ultra-modern hospital. All of it has been used, there's nothing alien or 'plastic' about it.

All of this makes that the outstanding out-worldly design of the alien ship by H. R. Geiger is even more imposing. Circular and without a clear definition of what place is what. Even with the extra guest, you could imagine Dallas and Lambert being relieved to be back "home" after their disastrous visit.

The second point on which this movie scores is the characters. There's no search for one-liners here and everyone (even Ripley) has its minor faults. Everybody just does his/her job. They don't get too personal, they're at work, not at home. And yet all characters tell us something about the world outside of the "Nostromo". The news isn't that good. Not much has changed and reading between the lines you can hear each characters point of view.

As with the environment, the characters seem very natural and quite complex (except for the somewhat enthusiastic Kane), but this is understandable. To go into detail on all of them would take up a couple of pages. When one of them dies, it's not just a pawn that's been taken away, but a human being. The relations between the remaining members change.

Compared with later movies violence and gore aren't predominant in this movie. Instead there's fear. The alien is unknown, it behaves like nothing we know and it could strike wherever and whenever. And the director uses all the tricks he knows to keep the tension up. Just a few examples :

Brett taking the skin and realizing what he's holding. Dallas'crawl through the vent-duct. The countdown, copied a hundred times, never done better (I've never heard someone curse more convincingly than Ripley in the smoke-filled corridor) And my favorite : Ripley searching for the obligatory cat in the cockpit. In that scene, everything, even the music wants to fool you. I think Hitchcock would be pleased.

On top of all this, the cast without any exception (a rare occasion) do sterling work. To single out any of them would be wrong.

Do I still need to say I like this movie ? Thought not. I gave it 8 for being a true classic in it's field.

2001: A Space Odyssey (1968)

A symphony

[10/10 · 11 July 2005]

I saw 2001 for the first time at the age of 11, and quit some time after the docking sequence. It was slow, didn't make any sense, lacked any form of action (dramatically or otherwise) and I couldn't relate to the characters. There wasn't even a single good line in sight.

I gave it another chance at the age of 18 and this time I was ready for it. It showed me that time could be just as impressive as the vastness of the universe. It told me about the nature of humans and life, about what is history and therefore, what is not. At the same time, it celebrated and mocked human intelligence and science.

But mostly, it made me realize humans are part of this universe. There's no clear division between us humans, what we call nature and the universe. Fairly basic, I admit, but everyday news often leads you to belief differently.

For the first time I watched a movie that wasn't about the plight of individuals or groups of people, but about the human race.

This must be one of the most pretentious movies and to succeed in such an enterprise is beyond comprehension. If compared with music, it didn't behave like a rock-song, but a symphony which has many layers and ways to appreciate it. And like a true classic, it stands alone.

Are there any mistakes ? Not a real mistake, but something that could have been done differently. The 'trip' bowman takes to his final destination seems very sixties-like, but that's about all I could find.

Only 3 movies received a 10 from me, this is one of them and without any doubt the most important.