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2/10
Relationship Resolution with cardboard story and characters
2 July 2021
Ok, The Edge of Tomorrow mixed with Alien mixed with the original The Thing From Another World.(1951) and the series FRINGE (A direct rip off of some Fringe segments.) with a script so out of WOKEness that outside of the decent CGI, a total waste of time. We've seen it all before but done better with a more compelling storyline.

I salute Amazon for actually producing a movie and it must have been expensive but it meanders through relationship resolutions to the point that one wonders how any of this movie could have come out positive.

Now, this isn't the production team behind Mrs. Maisel which was not only a major effort but well acted and also looked at relationships but that was kind of the intent. This did none of that.

Amazon, hire some decent writers with less of an axe to grind than the ability to write compelling dialog. This movie had none.
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A Rough Draft (2018)
10/10
Oh, those wily Russians.
24 June 2019
Warning: Spoilers
Watch the movie first if you don't want to be sullied by another's opinion.

Back in the good old days of the Soviet Empire, artists could only show dissent through their art. It was disguised to be acceptable but it was there. "Chernovik" is the same in current cinematic form. It is a complete and total condemnation of Soviet (or any form) of Socialism (Communism). It is simply a gigantic metaphor for life inside the PARTY and outside viewed from someone who has never been inside. In a funny way, the movie kind of resembles another fantasy movie about the wonderful benefits of being "inside" when one is outside: "El Norte."

When one is "chosen" (Not in the Chaim Potok way.) all things are possible but these benefits come with a price: The system must be sustained or it will perish. How is that done in the movie? Through water. Chosen ones are called Functionaries and while they have seemingly limitless power and benefit, it comes with the price of being a petty bureaucrat with some essential function. If they stray too far from their primary function, they must have water or they start dissolving. As it works out, the people inside, Functionaries, are subject to the same kind of totalitarian rule as are the people outside except that they have more things available.

In the movie, the access to more "stuff" is carried out by new Functionaries discovering that anything they wish is theirs. Our hero has the job of a customs official and he must live in a tower and create new worlds for other functionaries to visit. Every so often, a Functionaries' place of work is inspected by other Functionary bureaucrats to make sure all is in order. Early on, our hero is told there are only two avenues: Power and a woman. Our poor unfortunate has fallen in love with a woman who in real life has rejected him pretty soundly. But populating his fantasy into being chosen, this woman keeps popping up and he has decided to help her escape her dilemma and finally capture her heart. She is his Lara in Pasternak's tale. But here she is any number of different embodiments.

I watched it with my wife, and when I explained what was going on, she looked at me like a poodle looks at a wristwatch (No, I'm not calling my wife a poodle or a dog. She had no concept of what I was describing and I thought the poodle telling time by looking at a wristwatch was appropriate. Dogs, according to the latest research, have no sense of time.) But she was befuddled by the movie as, I am sure, are many other people.

This movie is not simple fantasy set in the backdrop of Red Square. It is a cutting sardonic look at life under totalitarian rule as seen by the average person. It is one of the best condemnations of single party rule and the excess of government. Even those who think they have it made "inside the system" are simply slaves to the same system enslaving those outside. It's kind of "Brazil on steroids." WOW.
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5/10
Who's Idea Was It To Turn This Into "Special Ninja Warriors?" We already have Special Olympics.
6 June 2019
Based on the Japanese version of obstacle TV, ANW has turned from a physical challenge into a constant display of people using skills to overcome some kind of physical or mental life obstacle. I don't think this is the intent of obstacle courses in general. We have the Olympic games where athletes compete and we have Special Olympics but somehow, ANW has managed to confuse the two in the hopes that these will bring ratings. So if a person is competing for their own challenge, which should be enough given the difficulty of these courses, it's only valid if it is viewed as some kind of selfless act for some cause.

So why not take the gloves off and take this to what may be the ultimate conclusion: Politics. The show can only highlight athletes running who think President Trump should be thrown out of office or that AOC really, really, really needs support because she so. . . so. . . photogenic, charming and just plain stupid. But hey, she won a seat in congress and her causes could be made into backstories at least as compelling as those currently shown.

I wish ANW would dump the stories designed to show how "special" are the competitors because they either represent some disability or cause. It's bad TV but reminds me of another dip into the needy and that was a show called "Queen For A Day" where contestants were lifted out of near poverty by ever so wonderful sponsors and given a new life. The back stories belittle the achievements of the athletes.
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Game of Thrones (2011–2019)
5/10
What the Hell happened?
14 May 2019
Warning: Spoilers
Final Episode:

If these producers and their production team is going to take on Star Wars for Disney, expect hope filled promos and absolutely saccharin fulfillment. After Jon Snow kills off Daenerys at the simple behest of Tyrion and the dragon burns the evil throne, I had had enough. The dragon took out it's angst by burning a chair? Pleeeeeease! These writers and producers should be fined and jailed for misappropriation of creativity under the guise of story telling. JRR must be fuming as are all who followed what turned out to be a mass of misdirection, bad writing and sophomoric plot lines that mostly went nowhere.

Here are a couple of glaring examples: Arya Stark is on a mission to kill the queen. Plot line forgotten. Jon Snow is really a Targarian. Plot line forgotten. Bram, who can't be a ruler because he's the 3-eyed crow and can see everything, suddenly becomes the ruler because he can't have kids? Plot line forgotten and twisted to get an ending that didn't lead people to expect anything more. There are other Starks but Sansa is queen of the north? Horrible outcome. Arya goes on an adventure to the West just because no one has ever gone there before? In Westros, the world must be as flat as the flat-earther's say it is because one would suspect she's going to fall off the edge. What happened to the Citadel? They were the only guys to get it right: They had been there for thousands of years and had survived the Ice Walkers before. Why would Samwell ever think the world would end if they didn't do something? Indeed, the Ice Walkers went down rather easily at the hands of a young girl who had a great character stripped from her by absolutely stupid, egotistical producers and writers who were looking to get out of this thing while leaving the prospects for spin-offs. What a colossal joke on what could have been a real theatrical and artistic statement.

The show ends with Jon going off with the Wildlings who he had befriended and saved for the most part, from the Ice Walkers. Here's how the show should have ended:

Sansa Stark heads north with soldiers she brought. Arya killed Daenarys and is exiled so she is sent to the West where supposedly boogy-men and monsters exist. Jon goes back to the wreck of Ft. Black, discovers it's a total mess and heads off with the Wildlings.

Then Tyrion and the others sit down at a boring meeting and try to figure out how to rebuild Kings Landing and manage crops, what's left of the military and how to run the day-in-day-out operations of a large society of people interdependent on each other. Somebody is going to have to clean up and get rid of all the bodies and restore a semblance of sanity so people can repopulate. Food has to come from somewhere and it's important to get those brothels going again. That would have been fitting. Forty-five minutes of a tedious business meeting to cap off two seasons where no creativity took place and where producers and writers were so out of their league that a 13-year old middle school student could have done better.

I'm going to take a segue here to the battle with the Ice Walkers. Here is the beginning of the battle. Daenarys has allowed the Dothraki (sp) to be in the front lines. They are going to charge at the Army of the Dead estimated to be some 500K strong. Nobody thinks to have any kind of strategy. They rush off into battle with creatures who can't be killed and if they get killed themselves, come back as soldiers in the Dead Army. So let them rush headlong into the fight as if this is going to accomplish the ultimate goal of getting the Ice Walker King in front of Bram who is bait that the Ice Walker King can't resist because he touched him once?

The only thing affirmed by this battle and many of the others fought was the absolute superiority of Air Power agains light infantry of any kind. Overall, whoever stages those battles should be fined for misrepresentation of skill.

Penultimate Episode:

I don't have any idea what the writers and producers were thinking. It must have been something like this: "Hey, we've made a lot of money so far so let's pull the plug on any creative idea or concept of conflict resolution, pocket our cash and get out of Dodge before the stupid audience figures out that we are totally ripping them off.

Somehow, the creative side of this series managed to take a compelling story with some minor episodic flaws that left me groaning and turned the series into a woman's year memorial into how insipid are men around powerful women.

This series has turned into a colossal joke and parody of itself. One striking moment had Brothers fighting it out similar to the light saber scenes from "Revenge of the Sith."

They somehow managed to turn one of the more compelling female roles, that of Arya Stark into a weak screaming little girl faced with her own mortality. Gone is the revenge-seeking heroine who slayed the Ice Walker King and Walter Frey and all his kind and survived the ego-bruising initiation into the so-called "league" of assassins and who survived endless situations that would have driven most people mad, like loosing her sight and the beheading of her own father. Now we find that the creative non-geniuses in charge of character development have managed to stick her into the Devolvement machine from "Mario Bros." and eliminate all her life experience and reduce her to a sniveling little girl running for her life. It's not only bad conceptually but insulting.

Forget that there is not one whit of military strategy that could win any battle and people survive in situations they shouldn't. Jaime should have died several times and dead come back to life in Westros but that's episodic TV. It's medieval "Supernatural" in the foolish plot contrivances. But that can be forgiven.

What can't be forgiven is turning a good, compelling story into a "Dungeons and Dragons" remake without the humor of the original. I watched with some degree of expectation that the developers of such characters as Samwell and the Lanisters could resolve the potential final battles with some degree of sophistication. But, alas, they didn't and they have played a colossal joke on a pretty devoted audience.

I rate this five starts because before these last two seasons, a pretty good story was unfolding and that kept me and a lot of people watching. All I can ask is: "What the hell happened?"
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1/10
It's The Parallel Universe of The Women
6 February 2018
Warning: Spoilers
Semi-Spoiler Alert:

Another stranded in space movie with less than cardboard characters, no action, a foolish plot that is so PC it makes "Gravity" seem profound. Don't waste your time.

J.J. Abrams has proven he is a one-trick pony and it's boring and trite.
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The Whispers (2015)
4/10
Just what we need: More government
3 June 2015
I'ma gonna give this a 4 because it is atmospheric. Like the children-oriented "Torchwood" episode, it uses innocence to the point of stupidity. Innocent isn't stupid and these kids are just plain stupid. . . and spoiled. If these kids are the offspring of government workers, our whole system is a giant failure. Kids learn right from wrong early on. Six year-olds, even psychotic ones, don;t develop antisocial behavior from nothing. There would be traits in evidence long before six. Trauma might scare kids but it doesn't make them idiots.

Why does everyone have to work for government? Have we become a society so enthralled with government and clandestine organizations that every movie or new show has to have government as the thing of which the whole series revolves? Why try to make unimaginative government drones into super-intelligent people with ever so cosmic problems?

What has TV become, but one big advertisement for government? All the cop shows, all the plot shows, all the not shows.

What "Whispers" shows is that you can't have a good idea without government. What a total crock. What ever happened to imagination? Let's have more shows where super cops come back from the future. Let's have more shows where the lone-wolf government malcontent fixes everything, (In reality, he/she is fired and haunts the unemployment lines.) Let's have more shows that portray government as an out of control organization of do-gooders intent on imposing their myopic world view on everyone else, But it all works out in the end because "We are/used to be America."

Oh, and let's find an appropriate social cause to give the show some heart. What'll it be this week: Spousal abuse? Drugs? Alcohol? Gambling? Faithfulness? Unspeakable crimes? Handicapped chidden? Homelessness? The lack of sensitivity of the rich? Race? Transgender issues? ("It's just impossible to find an aline for my 6'3" frame. I'll just have to miss the dinner.") The plight of Muslims in a Christian oriented nation? Go ahead, pick one and within the week, you will see it on your favorite show.

You think TV is free? Think again. We're being propagandized to whatever cause is being highlighted. In the end, we're being hosed.
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Lucy (I) (2014)
3/10
Lucy, Lucy. It's me Desi, I'm home.
19 August 2014
Warning: Spoilers
Spoiler Alert: Enjoy the movie first if you don't want to have your IQ increased by another's opinion.

Sometime back, there was a movie called Push about people with paranormal powers and gangs and government plots and whatever. Directed by Paul McGuigan, it attempted to mix Asian shoot-em-ups with Xmen enabled folks. It kind of worked and it kinda didn't.

I can't figure out for the live of me what is up with Johannson. I have to laud her for taking roles that aren't designed to favor any acting skill but then, maybe she only has a pretty face. Maybe disembodied is what she really likes to play but she can't find a good zombie vehicle,

This movie, like "Transcendence" tries to be a thinking man's film directed by Jackie Chan. The Chinese/Korean or amorphous Asian gang runs around popping caps with alarming disregard for anybody stopping them. OK, the French are a bunch of frog-eating pussies but they're just not as feckless as presented in this movie. French soldiers have been heroic and French angst is legendary.

This kind of movie would have worked better without the Asian gang and some real thoughtful examination from so called scholars who are about as inquisitive as a mosh pit participant. Luc Beeson is a talented director but none of that was on display here. This is comic book action, plot and dialog with a storyline that could have been really soul searching but since there are no souls, why search?

The scene where Lucy outlines the meaning of life and the unity of the universe is so badly acted that even Morgan Freeman's prodigious acting skills couldn't save the scene. WTF? Time, which doesn't really exist is the only thing that exists? Puleeeze! What universe are we living in? Oh wait, it's comics without the Valkyrie-like breastplate but with the terrors of a big brain. It's "Donovans Brain" or "The Brain From Planet Arous" but a brain inside of a delectable package. The brain is not all disembodied and yucky.

According to this movie, we only use 10% of our brain but if, by magic, we could access say 20% we could stop being Muggles. At 30% we could make other people act like puppets without strings. At 40% would could move inanimate objects around with ease.

But how to we get that brain working? Superspeed that is the same color as the crack cooked in Breaking Bad. The evil cartel has somehow got a bunch of this evil stuff and turns our hapless Lucy into a drug mule by sewing a packet of this super stuff into her body. Then one of the thugs decides it's a good idea to kick her in the stomach when she won't give him a blow job. The bag bursts and Lucy survives a massive drug overdose to become the smartest little hottie who can't drive since Cherry 2000. Oh wait, Lucy can't drive but in a nod to French director Claude Lalouch who hooked a camera onto a Ferrari and had a buddy, who happened to be a formula 1 driver, race at 140+ though the streets of Paris, she jumps behind the wheel and drives like a pro. And why does she do this? She does this because they are late. Oh My. The rabbit will not be the last.

OK, enough. In "Under the Skin," a previous non-acting role we at least get to see her nude. Here, we just get to see light come out of her mouth in what must have been a nod to "Coneheads."

Of course, at 100% of brain usage, she disappears and becomes one with everything after letting us know through images that everything happens at the same time and that there is no time which is the unifying factor in the universe according to ever so thoughtful Morgan Freeman.

The movie is lost in itself because neither the writer or director have any idea of the subject matter. It's not even speculative in the Sci-Fi sense and there's absolutely no drama in this drama. It's La Brea tarpitty kind of oozy stuff that supposedly is a new computer and it melts, gosh, everything while Lucy absorbs it all with the aplomb of a supermodel at a Hollywood party: Drunk and stoned but looking great.

M 3 At least the assistant to the Asian gang leader was entertaining. He had more facial expressions than a grueling tournament.
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47 Ronin (2013)
2/10
A Great and Powerful Legend: Ignore The Man Behind the Movie
16 March 2014
Warning: Spoilers
Spoiler Alert: Enjoy the movie first if you don't want to be sullied by another's opinion.

Headline: American movie makers destroy beloved and historically important Japanese legend: Samurai honor and tradition dishonored.

It could have been an interesting movie. I first heard about Ronin and Samurai and the tradition after watching "Seven Samurai" in the early '60s. I was blown away by the story and was unaware that it was a ten-year old movie.

Since then, I have been a fan of Japanese period dramas based around the Samurai tradition. It's hard to go wrong when Japanese mythology is mixed with historical drama. A few years ago, there was a movie set in Europe, called "Ronin" in the movie was a character who was building a diorama of the legend of 47 Ronin. According to the character in the movie the legend was at the core of Japanese militarism.

This movie sets out to give legs to an important tale but is so loaded with mythical elements that the line between fact and fiction doesn't make sense. This movie doesn't either.

Keanu Reeves must have fallen in love with himself after "Matrix." He's so in love with himself that he can cast himself in the middle of a decent historical tale that attempts to highlight many of the reasons that Japanese are and should be proud of their heritage. The Shogun, warlord Samurai/Ronin heritage is profoundly interesting and full of life-affirming lessons. It's a history full of treachery, honor and the power of societal structure. A while back Tom Cruise took a stab at Japanese mythology and history with "The Last Samurai" and I think, overall, it was a better effort.

In this movie, the Japanese aren't capable of understanding the mythical elements around them and must be led by an unlikely half-breed hero who was the lowly result of an English sailor and Japanese prostitute. Is this part of the tale? Nope. The tale does deal with revenge, betrayal and the basic structure of Japanese royal society. And an important tale it is. The 47 Ronin ranks up there with Shakespeare and Donne and Chaucer. In other words, it gibes us a glimpse, through the art of storytelling, into the core beliefs and driving impetus of culture.

In that way, the Reeves character was a total waste of time and energy. Why was the movie given this direction? One remote possibility is that the Japanese are centric people to the point of fascism. There is a reason that Bobby Fisher found sanctuary in Japan after he became a vehement hater of Jews. It's possible that the Reeves character was put into the legend to show that good things can come from insignificant people who are the victims of prejudice. But then, why have the movie in English? The whole period of Western involvement in Japan must be like the blitz was to Londoners: It's just something that's so traumatic that it still reverberates today.

The movie is a mess. The Japanese character actors did a great job and the mythical elements are fun to watch. But it's all so pat and American-movie kitsch that any chance at gravity is lost. Real Samurai would have requested that the producers and principles commit Seppuku. I would sharpen the knives.

M2. The LARPing in "The Knights of Badassdom" was better.
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2/10
Move Over Superheroes: There's a New Kid Off The Block
1 March 2014
Warning: Spoilers
Spoiler Alert: Enjoy the movie first if you don't want to be sullied by another's opinion.

Good talent. Some fine acting but about as compelling as "The Mortal Bones. . ."

Move over Batman and the rest of the Superhero club, three's a new protector in town and yea, he will be vigilant against threats to the status quo.

The Frankenstein monster in I, Frankenstein is based on a graphic novel of, one would assume, a similar story line. It wouldn't work as a graphic novel and it doesn't work as a movie.

Frankenstein is now a superhero defending human and other non-demons? from demons who are all powerful but go down like paper dolls in a forest fire?

Demons are the real villains? Have we as a culture become so bereft that now we have tons of action and destruction yet no police or fire show up? Does this all take place in some alternate reality where there is no daylight and it's forever night? Is there such a preoccupation with SFX that they've almost become a fetish? They are used now like dangling shiny objects meant to distract not edify.

Joseph Campbell wrote quite extensively about mythology and while this movie and movies of this ilk rely heavily on mythological elements, there is no myth making or myth-revealing going on here. It is a black and white portrayal of good guys vs bad guys and the good guys win this one while discovering a budding talent in Frankenstein who now must save humanity.

This movie is filled with what could be compelling characters so totally misused that it's a shame. If the director had a vision for this movie and a planned sequel, he screwed it up with this lackluster tale of good/bad. There is simply no mystery in a single frame of this movie that would compel anyone to imagine what a second one might be. Maybe the monster now joins the "occupy" groups and brings down Wall street? Maybe he joins the EPA? Actually to keep in character, he should join and defend the Tea Parties from the evil IRS demons.

M 2 for decent in-character acting,
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10/10
An Ayn Rand, Objectivist Statement About Self-Interest
28 February 2014
Warning: Spoilers
Spoiler Alert: Enjoy the movie first if you don't want to be sullied by another's opinion.

Back in the '80s many people thought HIV and AIDS were the same thing. There was a lot of ignorance on the part of doctors and practitioners alike.

What this movie show and shows well is that ignorance can be overcome. It's easier for a person to be moved than an institution. And it accurately shows how self-interest is a better motivator than restriction. Ayn Rand would have seen this message and understood how self- interest can motivate a person to accomplishments far beyond his or her reach.

But the movie is not an Objectivist propaganda piece nor is it a total condemnation of the medical field. It is a condemnation of how restrictive thinking can harm many more people than it helps and that is the bigger message in this multi-messaged movie.

McConaughey plays Ron Woodruff a real-life character in every sense of the word. He's a hard living, hard drinking rodeo rough-stock rider back before professional bull riding became a popular TV and international sport. There is no way to know how accurate the story is but one suspects that the real Ron embodied many of the most negative qualities of the "redneck" lifestyle including prejudice.

But in a very "Atlas Shrugged" or "Fountainhead" sense, self interest can open a person's eyes and apparently that's what happened to Ron.

McConaughey has taken some pretty gritty roles. His portrayal of Ron closely resembles the character he has created for his character in "True Detective" a cable crime drama. But the grittiness of strip joints, drugs and alcohol don't override the interesting parts of this movie. They are there like a painting may have blue pigment but not be a blue painting. It's there to show where Ron came from. He was medically ignorant and so into self-satisfaction that he never gave a thought to anyone else. There is a moment in the movie when he returns to his single wide only to find "Faggot Blood" pained on his door and every side of the trailer. His still ignorant friends think he must be a "faggot" to contract HIV and AIDS. There is no indication that their opinion was ever changed which shows that self-interest is a greater educational tool than propaganda.

Ron battles everyone but especially the government who through petty functionaries (After all, they are only following orders and the law.) fight ever move assiduously to enforce restrictions that have no purpose other than to line the pockets of established US drug companies. In that sense, the movie is a pot boiler where nobody wins and every success is nothing more than a stop at an oasis during a long desert march.

There are many drugs that are sold internationally that are not approved by the FDA and many that are. A quick scan of TV ads for legal drugs to combat everything from arthritis to high cholesterol gives a list of side effects that are perilous indeed. One wonders. . .

The fight for sick people to injects what the hell they want in the Libertarian sense will go on as long as drug company self interest are heeded above individual self interest.

The "Dallas Buyers Club" is a must see movie. It's at least as good as the Pacino effort "You Don't Know Jack" about another stalwart who is fighting to ease the pain of patients in opposition to the feds.

M 10 The characters are well done all.
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Adult World (2013)
4/10
pOetr y wIthOu t WorDs (NOT)
27 February 2014
Warning: Spoilers
Spoiler Alert: Enjoy the movie first if you don't want to be sullied by another's opinion.

Small movies done on a modest budget are important. There is often an unheard but profund voice being expressed. Take "The Importance of Being a Wallflower" or "Spectacular Now." There are others too.

"Adult World" has all the makings of being one of those movies but it misfires on many levels.

Emma Roberts is a veteran of several films and it must be remembered that she played the current incarnation of Nancy Drew. Her young girl charm actually translates to the screen.

The role of Amy (Roberts) is a transformational one but for all her effort, she never brings that across. Maybe that's what the director wanted: That feeling that everything changes but nothing changes.

Here we have good acting going absolutely nowhere. John Cusack (Rat Billings) played a burned-out, jaded poet with about as much enthusiasm as a meat market produce manager. What a colossal wasted use of talent. One must commend Cusack for getting involved with small films but the sad reality exists that he might not have real chops. Mostly his roles are paper-doll replications of well. . John Cusack. In so many words: who cares? I factually think his sister brings more to the screen. Unfortunately, she's not in the movie.

But every role in the movie was done in a low-key manner and maybe the director Scott Coffee couldn't get this brew above tepid. The best scene in the movie is when Amy gets drunk and dresses up like a hooker (Aided by a transvestite) to seduce Rat Billings while spouting ever more trashy lines from porno movies.

Why porno? Because Amy has run away from home and found a job in a porn shop run by two doddering oldsters who still are wrinkly involved with sex. Do her parents even care she has run away? They are such devoted guardians that they giver her one week to straighten up or move out. What kind of tough-love nonsense is that? One week? Their total lack of care is mirrored by the director in making the film.

Back to the scene . . .But Cusack doesn't bite at the chance of deflowering a virgin. I guess burned-out poets or our age are just so moral that the Christian Majority and "Reader's Digest" are the avenues of expression. When I want a burned-out poet, I want Bukowski. Cusack is more like Eddie from "Leave it to Beaver" (1957) He's innocuous and unnecessary. A foil without rapier wit.

This move is so wholesome that if this was the basis of anyone's poetry it would only be suitable for "Brides" magazine.

Even in scenes where there is tension, it is of the playful sort. Nothing is serious. There is absolutely no gravitas.

I came away from the movie thinking that this is the direct result of the lack of arts in schools. People learn the names of poets but never learn how to read.

That's the current plight of America where ignorance and poverty are noble and aspiration and accomplishment are evil.

M 4. Thompson is cute.
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Toys Make Adult Statements To Everyone's Delight
20 February 2014
Warning: Spoilers
Spoiler Alert: Enjoy the movie first if you don't want to be sullied by another's opinion.

Who woulda thunk it. A lego movie? About Legos?

What could be so damn interesting about legos? Like clay in a sculptors hands, everything. This movie has nothing to do with Lego the little brick building toys and kits. This movie is about personal responsibility and self reliance. The movie is anti-government and anti-just about everything else.

In this movie, you can't trust anyone but yourself and you must question every assumption forced down your throat by media and the system behind it.

The antagonist is President Business and some have posited that this means the movie is a diatribe against capitalism. Such is not the case. Is it anti-greed? You bet. Does it ask people in leadership positions to have a conscious? You bet. But it doesn't preach and it doesn't lecture. What it shows is that even a seemingly insignificant worker-cog can have a major impact in places he/she never dreamed. It's "Antz" without Woody's incessant drone.

It gives its message in an almost off handed way through characters becoming aware of incongruous statements issued as part of a larger message in the McLuhan sense.

The "Lego movie" satires the prevalence of pop culture portrayed as a detriment of us all. It spears the lack of inquisitive thinking and introspection so prevalent in the young and fervently taught in schools. It ridicules political figures who spread their lies across the airwaves with seeming impunity. In the end, it's about the relationship of a father and son where the father is all business and the son. . . well a son. It's about understanding your limits and your own delusion and having the courage to step outside of your comfy preconceived ideas and explore a greater world even though there is a KEEP OFF sign posted on the access gate.

The cinematic work is so good that it's easy to forget that this is a movie made from kids toys and like another great satirist of the green sort called Gumby, this movie uses kid's toys to deal with adult concepts in a way that is both disarming and profound. The writing of Art Clokey, done with such wit, is equalled here in many ways.

The South Park duo made a movie called "Team America: World Police" using puppets and they also so satirized modern convention both social and political that it made a great movie. Here we don't have the sexual aspect found in "Team America" but the concepts are none the less adult. Kids might get it and that is a good thing. Adults have become so preoccupied with their own bs that the world passes them by while they firmly have head ensconced in rectum.

I hope that kids take the messages in this movie to heart and instead of becoming a drone follower, step out and make a mark in life. Sometimes its easy to forget that "Keep of the Grass" is just a sign.

M10+
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1/10
The Jackass Kicks and… and .. . Misses By A Longshot!
8 January 2014
Warning: Spoilers
Spoiler Alert: Enjoy the movie first if you don't want to be sullied by another's opinion.

I'm going to throw water on the party here. This movie absolutely stinks. There is nothing funny about any of it. The producers should be arrested for child abuse for making this child actor endure comedy routines that are so stale and unfunny that they amount to abuse.

Maybe if I was a 12 year old retarded, inbred specimen with an IQ registered percentage of the lower 10%, there may be something in this movie I would find funny. But I have a brain and a decent IQ percentage wise. I really tried to enjoy this movie because I think Knoxville has talent but alas nothing works and I mean nothing. This movie is as funny as "Gravity" is profound.

Knoxville as a grumpy old man is no Mathau or Lemon or Art Carney. All played grumpy old men with some flair and comedy. Even Morgan Freeman's effort at playing old were funnier before he was old playing old where there was no comedy only pathos.

There is just nothing here. Even the gags stink and are set up so poorly that there just is no surprise. Maybe all the fun is sitting on the edit room floor. It certainly is not in this movie.

M 0 It's really a zero. It really is. Really.
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6/10
Scorsese should have been given credit for this movie.
7 January 2014
Warning: Spoilers
Spoiler Alert: Enjoy the movie first if you don't want to be sullied by another's opinion

Best theft award: David O Russell

This is a Scorsese knockoff. "Goodfellas" it ain't but the references are so obvious that it bears mentioning. It's sad too because this script could have stood on it's own. Pity the poor director who has to steal so obviously. Maybe only De Palmas use of Hitchcock imagery is as obvious as this movie look and feel.

The movie is quite boring for the most part with one exception (Maybe two.)

Best character and best acting: Jennifer Lawrence..

Jennifer Lawerence delivers. She is fantastic and develops a character that is at the same time repulsive and fascinating. After all, you have to survive and she has created a character that is survival at its finest. As wooden as she was in "hunger games," she's mercurial here. She shows aspects of the character that are often diametrically opposed and yet she pulls it off.

Amy Adams gets the side boob award. Good acting though and very believable. She should probably get the best supporting role for playing a lovable whore who never has sex.

Christian Bale gets and award for the actor who most looks like the Grossman character Tom Cruise created in "Tropic Thunder" This was a wasted role as was his low-life adventure "Out Of The Furnace."

Best award for cardboard characters first developed by Martin Scorsese: The rest of the crew. What a waste.

M6 Just for JenLo. She's a marvel and fun to watch.. This is real acting without petulant poses.
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Lone Survivor (2013)
5/10
Jingoism Never Had A Finer Hour
31 December 2013
Warning: Spoilers
Spoiler Alert. Enjoy the movie first if you don't want to be sullied by another's opinion.

This movie is based on a book of the same title by Marcus Luttrell and assistance by Patrick Robinson. The screenplay was written by the director Peter Berg. Of all the people listed as being involved with the book or the movie, only Luttrell has any experience with special operations. That said:

Like all efforts to depict the "reality" of warfare or war fighting operations, a lot of romanticism is involved. Also besides the base story, writers and directors try to make statements using the situation of the book or movie as a backdrop to the message they want to convey. In this effort, the message is obvious: In a war of insurgents, it's difficult to tell friend from foe and allegiances crop up in the most unlikely places.

The plot is simple: Four Navy Seals are sent on a mission to "scout" the whereabouts of a Taliban leader and take him out, call in air support or call for air support and a Quick Reaction Force (QRF.) Their job is to terminate the chief but as life can be a series of mishaps, so can well planned operations. There is a scene where the new guy is hazed. He has to do that crazy dance from "Napoleon dynamite." That dance has become a "right of passage" kind of event. Here, it didn't fit but may have been factual. Hazing is common when new people are brought into existing structures. Spec Ops teams are tight. I never witnessed anything like this but times have changed. Mostly it was a test of drinking ability not dancing.

From the appearance of the planning in the movie and the book, this was not a well planned op. Problems arose and these lead one to believe that the unit involved operated with such a high level of confidence and hubris that simple precautions went out the window. It's the kind of thinking that led to the mess at Benghazi.

There is a long history of special operations recon protocol. There have been hundreds of books written about "how to" do it and "how not" to do it. These guys, unfortunately appeared to take whole chapters from the "How Not" to do it book.

Communications broke down even before the mission made contact with the objective. There was no backup comm plan other than open or unrestricted satellite (SAT) phones that would not have been part of the TOE of the unit.

But there are other problems, the whole way they moved in the daytime might make for a good movie but if the team operated as they did by walking ridges, often allowing themselves to be profiled against a bright blue sky, not using any of the natural cover the AO afforded and not having any map or satellite photo of the AO and surrounding territory so if things went bad, they would have a way out, no medical supplies and not enough water to sustain a team member who became exhausted due to any number of factors.

This is supposed to be a story, in part, about the brave US soldiers prevailing against a larger number force of insurgents led by a really nasty guy who we want for any number of reasons. They make a heroic stand but this is no Alamo where a stand was are based on principles. But bravery is interesting. Is a soldier brave who enters into a conflict with overwhelming technological superiority? Is the fighter brave who wears no armor, has limited ammunition and training, marginal communications and even less medical support?

What constitutes bravery? In this movie, the bravest role is that played by the villager who helps Luttrell, the lone SEAL survivor after a Taliban attack on the team, avoid the Taliban. In the film, his whole village is threatened with destruction if he does not hand over Luttrell. His defiance was a real act of bravery if indeed it played out as depicted. But again, an opportunity missed in the search for that "atta boy" attitude that so permeated "Rescue Dawn."

Now it might seem that the Seal team members were brave and they certainly displayed heroics. SEALs are highly trained, professional soldiers. They are some of the best soldiers in the world. This type of operation is their bread and butter. But nothing they do as part of their job is as brave as the villager who defied the Taliban to give aid and comfort to the enemy.

This whole defiant line could have been used to make this an important movie but while it is touched on, it's more of an opportunity missed and that is a huge miss. Yes the story of the Seal team is compelling but so was "Bravo Two Zero" about the British SAS team that suffered a similar fate of a botched operation except they were captured and tortured.

As far as action, the movie holds your attention but with each compounding mistake one finds a lot of head slapping. Acting was fine with no "American" standing out. Of note is Rohand Chand who played the son of the Afghan who stood up to the Tals. There was more expression in his face and body language than most of the rest of the actors in the movie.

M5. Is it really what happened? Probably not but Paladin Press publishes hundred of books in this kind of genre. There is a market for unrestricted jingoism.
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10/10
See This Movie!
30 December 2013
Warning: Spoilers
Spoiler Alert: Enjoy the movie first fig you don't want to be sullied by another's opinion.

Supposedly there are some scenes in this movie that are not factual but it makes no difference. Emma Thompson as Mrs. Travers, author of Mary Poppins, is a once in a lifetime role. She's believable, mercurial and develops the character in such a professional way that her performance is seamless. The last time an actress did so well with a character was Meryl Streep's portrayal of Julia Child. Work like Thompson's make sitting though "Percy Jackson" and "Gravity" worth the wait.

This movie is simply great. The script is enlightening with just enough inside baseball to satisfy the cognizant without offending those who miss the jokes. John Lee Hancock's direction of all the principals was masterful. The movie felt like 1960's LA and both costuming and production design were excellent.

Hanks is Hanks. It hard for him to clam a role. But compared to Thompson, he's a little wooden. Even in scenes where he was trying to convince Travers to come back to LA after she had bolted back to England over script conflicts and trust him with the movie there was a lack of sincerity. Hanks missed the boat. Also, Disney, for all his flaws, had a spark and childlike enthusiasm. Hanks missed both or possibly just didn't deliver them in a way that would communicate.

The Sherman brothers were cartoonish dull but that's to be expected. They played well and were believable. Bradly Whitford as DaGradi was a standout. His frustrations and his overcoming of the same was a real high point. It was fun to watch him work through a bunch of conflicting emotions to "sell" musical concepts to Travers.

This is more than a story about the making of a movie. It is the story of a woman dealing with real-life demons and overcoming the same. Bullock tried this in "Gravity" with no success. Here Thompson delivers in a way that brings a tear to all but the most cynical and unfeeling. Her scene during the premiere reminds one of Glenn Closes makeup removal scene in "Dangerous Liaisons." This is powerful, meaningful acting that is a delight to see. If only there were more roles written for mature actresses we might be in for some real treats.

Paul Giamatti stayed in character as Traver's driver and his story about a crippled daughter was delivered with confidence and structure. It was believable. But he has long since proved a talented actor capable of any number of roles. Disney's secretaries both delivered stellar performances. They deadpanned through scenes and added just the right amount of secretarial oversight and tension.

M10. If you see nothing else, see this movie!
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3/10
As Tedious as a Bureaucracy: British Style
30 December 2013
Warning: Spoilers
Spoiler Alert: Enjoy the movie first if you do't want to be sullied by another's opinion.

Just how much corruption is in the British intelligence services and just how contrived can a plot be before one says: "Huh?"

Plots and subplots are so thin that what looked to be a really good spy/thriller in the style of Grisham turns out to be an exercise in obviousness. One thing about British artists is that they must really hate the political system they live under. This is echoed by films, plays, art and music. Corruption must be so rampant that it spills over and taints everything in British life.

In Closed Circuit, we have a group of MI5 agents operating like the CIA and executive branch operated during Iran/Contra. In other words, they became drug dealers. We had a trial were it was all exposed but none suffered except very low level operators. The same idea is done in Britain except it's heroin instead of cocaine. Actually the British Isles have the highest rate of heroin addiction in the world based on population. So it is topical but hardly done in a way that lets viewers know there is real problem.

In this movie, responsibility for actions are buried by the principals in the movie. Among them are Jim Broadbent who can turn any role into a tour de force of characterization. Unfortunately, the rest of the cast so underplays their parts that they are as dull as British civil servants. Oh wait, they are playing British civil servants. Imagine the Kismet.

The movie has a couple of moments but overall it's contrived with no resolution. This was a decent script and with a little editing and some avid direction could have been turned into a top rate thriller. As it is, Closed Circuit is an exercise in bureaucratic tedium. Hardly entertaining and barely a pot boiler.

M3. Broadbent was at least entertaining.
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9/10
Finally, a Thoughtful Movie That's Human
21 December 2013
Warning: Spoilers
Spoiler Alert: Enjoy the movie first if you don't want to be sullied by another's opinion

This movie shows what a good director can do with good actors and a good script. This movie is better than good. It's thoughtful, provocative and paced just about right. While the movie is not fast moving, it is paced well enough to keep one's attention. The dialog is crisp and right on target. Not much wasted in any scene. Where a scene needed to be short like in Sutter's confrontation with his mother over seeing his father at her work, it's short enough. The scene where he meets his father is paced just as if someone were waiting to get out of a fad situation and move on with his own world. It wasn't dragged out so anyone would wallow in the scene. The surprise accident where Aimee gets hit by a car was down so well that you were sure Aimee was killed. Such is not the case and that whole subplot was well handled.

The characters of Sutter and Aimee generate so much chemistry that one is reminded of Nick and Nore in their early movies when they were drinking all the time. Sutter drinks all the time but he's a sipper so only rarely gets smashed. He does lose his job because of alcohol though. He gets Aimee drinking regularly but she seems immune from the negatives that so enshroud Sutter,

Everything in this movie is handled so well that one can see the reality of a person who operates as if nobody else mattered at all. Only Sutter's father is more is more self-centered than he. And one can see the wreckage that comes from such behavior.

I was curious about the lack of marijuana in the movie. Usually people who abuse one drug, abuse several but this doesn't play out here. Even parties where there are lots of high school kids alcohol flows but no pot. That's surprising and the only unrealistic element not in the movie.

While this kind of move is supposed to be about some life-changing moment or epiphany, This one doesn't deliver in the best way; it makes you wonder and any movie that can make me wonder is a good, no spectacular effort indeed.

I will look for these two actors to show up again in other projects. Neither was known to me but I hope they get more opportunities after this major effort.
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Gravity (2013)
5/10
From Space to Mud. Another Wasted Message Movie With Great Graphics
10 December 2013
Warning: Spoilers
Spoiler Alert: Enjoy the movie first if you don't want to be sullied by another's opinion.

Nobody expects to see total realism in these kind of movies because total realism is mostly boring. However, with minimal cast and lots of special effects writer, producer, director Alfonso Cuaron made a mark for himself. For an adventure movie using space as a backdrop, it marginally works. As the story of a woman facing fears inside of herself, it marginally works and as a metaphor for human exploration: From water to earth to crawling to walking to space flight, it is so heavy handed that one is almost embarrassed at such a high-budget, sophomoric effort.

If this movie gets any Oscar or Golden Globe attention, it should be paid to Tim Webber because his work as Visual Effects Supervisor so far exceeds the rest of the movie that acting and directing have little place or importance. This movie is a visual feast if you like space stuff and the NASA channel. Forget the inaccuracies, it's a visual feast.

But it's "Perils of Pauline" in a shiny new wrapper with major messages.

1, We are all gonna die so live to the fullest and get over your petty fears.

2. Bad stuff happens in life but you must go on.

3. We came out of water, crawled on earth and took our first feeble steps to the stars -- or at least the upper atmosphere.

Why do these movies have to be so obviously message heavy? "Space Cowboys" dealt with tragedy in space and was more entertaining. 2001 dealt with tragedy in space and was more entertaining and thought provoking. "Mission to Mars" dealt with tragedy in space and was less entertaining.

Here, the movie/message baloney gets in the way of this move being entertaining and thoughtful. And do you think the situations could be any more set up than they were?

George Clooney is dead but miraculously comes back to life with sage advice for Sandra so that her life is saved but it is all an oxygen deprived dream. She is distraught over the premature death of her daughter and constantly thinks about her. So she's dying and who does she think about? Her fellow astronaut who sacrificed himself in a manner similar to De Palma's "Mission to Mars" which was even less entertaining and more message than "Gravity" if such a thing is possible.

M5 for visual effects only. Acting/directing is minimal but visually this is a stunner.
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4/10
Katniss or Kantmiss. This sequel is a copy.
4 December 2013
Warning: Spoilers
Spoiler Alert. Enjoy the movie first if you don't want to be sullied by another's opinion.

First, there is another movie in the wings and given the boffo box office of this meager effort will make millions more.

Let's see, how can we take a formula, alter it slightly and still keep the same thing? Make a sequel to "The Hunger Games" and call it "Catching Fire." We have a subplot involving the revolution that we thought was set off in the first movie. Obviously it wasn't but with Katniss' providing the impetus, rebellious elements are at work in this movie. One is reminded of the "Matrix."

In normal human existence, those that benefit give enough to those who don't so there will not be a revolution. Here, nothing is given back but propaganda. Kind of reminds me of the current American administration but that's not for this post.

It's all so formulaic and predictable. The whole goal is to get the "Whole World" to hate Katniss Let the floggings begin while showing Katniss in a wedding dress. Starve the people while showing Katniss at an elaborate dinner. This "let them eat cake" motive just doesn't work.

Potboilers are not new. Sinclair Lewis wrote "Kingsblood Royal" and it was a potboiler par excellence. But a potboiler inside a potboiler just gilds the Lily. Why? Here's my opinion inside of an opinion: There is simply not enough material to make three good movies but we want to stretch the franchise. So let's stretch the first concept from a pretty well done movie and see how much we can make without much effort. That what the producers must have been thinking. And make a fortune they did while elevating JenLaw into international stardom.

We know that our heroine will not be killed so this movie just drags through "The Perils of Pauline" but with supporting actors who do a good job of self sacrifice. We find out later in the film that they are all in on the joke but who cares. Supposedly nobody dies and they are all hiding in District 13 (Oh, those triskaidekaphobes.) as opposed to "District 9" which may have been more entertaining.

The acting is good and outside of the plastic "elite" roles, characters evolve to a degree. Actually, the characters do not develop in a sense but do coalesce due to extreme hardship. Supposedly they will all have to kill to survive but it sort of works if you don't pay too much attention.

Katniss as Xena warrior princess kind of works but Xena in a transforming wedding dress? Is she Xena or Kantmiss? The fake "marriage" theme just doesn't work if Snow and company are trying to kill her off. Now she's also the victim of a pregnancy which must be immaculate because there is no sex in this movie. But it is all a lie to get support for her plight from the populace that isn't so downtrodden that they can actually send help to someone else. What?

Now instead of individual protagonists, we have couples and these couples are past winners of the Hunger Games. I thought when you won the first time, you were set for life and your district was favored? What happened to that plot line? When did the couples start winning the stupid games? Supposedly there's only been seven gavels with one winner each so where do we get 24?

Fierce couples they are too. These are some really bad ass pairs who drop like paper tigers and operate like unintelligent zombies. At least the first crew were all thinking people and the games worked out in a way. But here, they face much stiffer competition from the environment that they ever do from any other person. The Mandrills are real, imagined? The mocking birds are real/unreal? When is a bite a bite and imagination can kill you if this were a "Fringe" episode where people were attacked by imaginary steel butterflies. Here the fog causes boils and the water cures but you can't drink it. You have to tap a tree. Just any tree?

Supposedly, this whole mess is watched by the "Whole World" and one wonders what statement is being made. If the winners are really a distraction, why would anyone not let the cat out of the bag so to speak? The winners obviously know that the whole thing is BS and they all seem to be pretty independent minded. During the introduction one of the winners Jena Mallone, I think, chastises the process and complains that she was promised an easy life but she's back in these stupid games. She challenges Snow during the games too. Now, that's pluck. Why not kill her? She's obviously telling state secrets and while no Snowden, her crime would be equally reprehensible to the elites.

There are no surprises. Don't we go to movies like this to be surprised at some point? Aren't we more satisfied when our plot-following senses are jarred out of sync and we are surprised and happy with plot twists? The only twisting thing here is the wire that Katniss shoots into the dome with arrows that fly higher than the sky.
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7/10
Starving for some comedy. Here's an hors d'oeuvre
12 November 2013
Warning: Spoilers
Spoiler Alert. Enjoy the movie first if you don't want to be sullied by the opinion of another.

M 7+ Not quite an 8 because ever since "Scary Movie" (Only the first one and maybe the third.) his form requires absolute surprise. Also, from the old "Police Squad" days comes a plethora of knock-offs that try hard but just don't make it. The parodies of Narnia related movies come to mind. But as can be seen in the number of parody failures, it's a difficult art form. Maybe more difficult that outright comedy.

But his movie hits on several levels and while being no Mel Brooks or Faralley Brothers or Coen Brothers production, some of the lines are well written. Unfortunately they are poorly acted. Others just miss but a few hit. The throwaway line is a great comedic vehicle but timing is of the essence. In "The Starving Games" the timing is just a little off with some of the gags. Some were spot on but others fell flat because of terrible comedic timing. Otherwise, an enjoyable movie with just the right amount of quotes from other movies but with a twist.

The gay references were so obvious that they just didn't work. The whole Intro to the games scene where the lead male falls for his male counterpart was so obvious that it really wasn't funny at all. Either was the reference to Cantmiss' misunderstood "hit" on the young girl. It just didn't work. Maybe we've become so used to gays as a fact of life that the whole "gay" thing has little surprise left. One expects something referring to same sex relationships and thus the whole "gay" thing has the same impact as a SURPRISE heterosexual relationship.

The explanation of the attire was great. Lady Gaga mixed with Mikki Menage (?). One could see it and it was a nice touch. Those places show that the duo can write.

Lots of mugging from all and I don't care if I never see a blue haired man bent over backward in laughter. All that mugging was bad direction and did not help sell the good lines in the film. And there are some good lines and funny verbal plays. Bringing in Stallone, Schwartznegger, and ail the other "action" stars like a super A-team was a good surprise. I think a better ending would be if they all behaved as if they were in the games and killed each other instead of the boyfriend shooting them all as he bursts onto the set. A good twist was bringing in the Avengers to recruit Cantmiss as a member. Some funny stuff there.

Obviously the directors also thought some of the comedic timing was amiss because they included in the film a series of outtakes about the games. Most of it was not that funny.

I hope the two director/writers get another shot and learn from the few mistakes made here.
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2/10
"Sea of Thoughtless"
11 November 2013
Warning: Spoilers
Spoiler Alert. Enjoy the movie first if you don't want to be sullied by another's opinion.

"Percy Jackson And The Ocean of Monstrous Ripoffs." or "Percy Jackson and the Sea of No Ideas." Egad, what were the producers thinking? I have to admit that this movie pandered to the thoughtless amongst us to the point of ridicule.

The Harry Potter allusion early in the movie where a story was told through animation was atrocious. Oh, a story is told and animated. What a cool concept. It worked in HP so let's steal it and all the kids will go WOW? The animation in HP was really good and the animator did a fantastic job of blending a personal style with a story. Here, it's just hogwash meant to wow audiences will coolness. How cute.

The same old nemeses are back with some new ones. Here the kids are away at camp "We're so special" and a mechanical bull comes crashing through. Remember the bull in the first movie? So let's make this one mechanical like the robots in "Hellboy: The Golden Army" or whatever and kids will go WOW!. Let's defy our elders and run off to find our missing parents or fix our parent's goofs. Let's have an authority figure steal some demigod's idea and present it as his own. OUCH! There's more but why belabor the point.

It's all so trite, poorly written and formulaic. People don't die unless they are totally obscure. They have to come back at the last minute to save the day. Not only are they restored to perfect health but they know where to go to find the other protagonists even though they were searching for the place in the beginning. If they know where it is and can get there, why the search?

OMG. the lines were just so cool man. Those demigods really know how to sling the lingo even though they live in a place with no outside electronic broadcasts and music. They are supposed to be isolated, misunderstood and ever so cool like the broken children in "The Perks of Being a Wallflower" which was actually quite a good movie, but here they are just wooden dorks. Even the females were shadows of women.

Language and thought sequence is so juvenile that one weeps for movie making with absolutely seamless special effects where language and thought is so dumbed down that the most intellectually impotent must be the target audience. Have we really sunk so low in our expectation of youth?

Adventure/Action movies have always been heavy on the action while being intellectually dishonest. Take "Armageddon" for example or "Transformers" But in both those movies there was an undercurrent of something happening beyond the foolishness. Here there is just foolishness with no undercurrent.

In the Obama age in America, it's hip to be stupid and dependent while telling one's self how clever and smart one really is. And that's what this movie represents in a weird way. It's intellectual onanism at it's finest.

The Percy Jackson story could be a compelling tale. The acting is reality TV level except for the characters who play anything but the principals. In other words, the monstrous. The cab driving fates are really entertaining. Some good acting there. There will be a sequel. Smoke a joint and revel in the sheer idiocy of the thing.
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RED 2 (2013)
A REDfaced self-parody of tepid ideas.
7 November 2013
Warning: Spoilers
Spoiler Alert. Enjoy the movie first if you don't want the opinion of another person. '

I thought the recreation of the characters in "RED" would be interesting. But alas, there is only so much enjoyment to be found in geriatric feats of derring do. A stellar cast with a hackneyed script so lacking in surprises that one shudders to think that people actually paid to see this in theaters.

Star power has some draw but the only thing this movie could draw is a warm bath. The original movie had some charm and the exposition of characters was interesting and contained some twists but this movie seeks to be a parody of itself and that just doesn't work.

Maybe a new term for such foolishness is needed. Jackie Chan used Harold Lloyd's incredible innovations to create a new comedic art form mixing adventure, martial arts and comedy. We had the Bond sequence and even Matt Helm in the '60s and '70 and '80s and. . . But ever since the "gay" bonds who were so effeminate that one questioned any love scene with a woman, action/spy/thriller/comedy forms have taken off like the proverbial rogue CIA agent.

Good God. If the CIA were only as competent and nefarious as that presented in movies, we would all be safe from any foreign enemy. But alas, the intelligence service is one in name only. No James Bond types there but a lot and I mean a lot of petty bureaucrats pushing pencils. (Actually, today, they sit at computer screens and make Powerpoint presentations. They are mostly Powerpoint Rangers and they have the paper cuts to prove it.)

Agents like the characters in "Red" and "Red 2" are relics of a bygone era that never really existed. Those that act off the farm so to speak. are let go or sent to a desk. But it's part of the American Myth that defying order and exposing criminality and malfeasance are rewarded. Just remember, it's all myth. In reality, these people would be fired and jailed before the end of the first reel. But myth needs fodder and there is plenty of that here.

But if viewers like to see guys who can barely walk to the toilet carry on like sixteen year-olds, more power to them. Maybe Schwartznegger and Stallone could team up with this set of seniors and stage one giant self immolation movie where everyone dies and is magically resurrected in a sequel based on a parody of a simplistic storyline from the first film. Audiences for such dumbed down entertainment are "Legion."
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The Conjuring (2013)
4/10
Conjure Me a Creepy Jack In The Box Please. Please!
25 October 2013
Warning: Spoilers
Spoiler Alert. Enjoy the movie if you don't want another's opinion before you watch.

Where does "Based on a true story" mean that a director can take such liberties as to make a compelling story implausible?

Like the couple that take their obviously psychotic child up to an isolated and potentially hostile environment in "The Shining," what could possess these parents to stay in a house where their children are experiencing harmful events? What is their cure? Bring in paranormal investigators.

Here's the problem: If the events were really as dramatic and frequent as those depicted, rational parents would have fled that place during the first week. If the events were really that stark, proof of ghosts would be a fait accompli and the National Inquirer would have to pay the reward. So, we know the movie is dramatized BS.

However, the story is compelling and surely something happened and that would have been compelling in itself.

But one is stuck wondering why people would stay in a house where harmful things are happening to one of the parents and the children (All girls by the way.) with regularity. By the time they leave the house, things have gotten beyond the pale so to speak.

The acting of all parties is pretty good and the performances are convincing but since these movies are predicated on supposedly rational people doing stupid things, This movie fits the bill exactly. Here is a daughter who is supposedly attacked but the parents seem completely oblivious. After they find her fighting a ??? and the other children seeing the thing, they obliviously ignore the incident. What? Child Protective Services wasn't nearly as intruding in 1971 as it is now but a sheriff's report would have alerted someone somewhere to investigate this family.

Somewhere in this mess is a conflict with the mother and daughters that could be a compelling line of inquiry but is never pursued as an avenue by either the investigators or the director. It would be interesting to discover how prevalent the "attacks" really were because something was obviously happening. Like the original "Carrie" movie being somewhat based around a girl discovering her menus and that sets off a series of events. One wonders what normal physical process might have been the genesis of these supposed "demonic" events.

Does demonic possession exist? The Catholic church has exorcists but real "proof" is still illusive despite anecdotal evidence to the contrary. How to prove it though.

Television has plenty of "Ghost Hunter" type shows because people are interested in seeing nothing dramatized by Bubba and Francine who are ever so brave that they face nothing. But the hope is there. Of far more interest are the "Ghostbreakers" posers from the "Supernatural" series. These wannabes are probably closer to the truth of ghost hunting than not.

One more thing. What is is about these movies where single women/girls walk into danger slowly? At least the father was realistic: He turned on all the lights and burst into a room to startle the demon/ghost/spectre/whatever might be lurking in the room. Girls, it seems have to walk slowly until they back into something.
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1/10
The Script is as bloodless as Dracula is supposed to be.
24 October 2013
Warning: Spoilers
Spoiler Alert. Enjoy the movie before reading further if you don not want another's opinion of the movie.

This movie could have been quite stylish and I have the feeling that it was shot then re shot to add some interesting scenes. The whole beginning of the movie where stills similar to "The 300" where live action and stills were mixed to interesting effect screamed potential..

But alas. It stinks. The scriptwriter was caught between writing a legitimate, alternate telling of the Dracula story full of mysticism, occult, symbolism and sexy lesbos who never really get it on but wander around being on the verge of orgasm all the time and a pratfall comedy that just never got going. Either way it;s a disaster dialog-wise and cinematically.

Maybe undead lesbians who crave sex as much as blood is the basis of the attractiveness of vampires. The amount of unrestricted sex people think they get certainly hypes the interest of prepubescent boys and girls. After all, who is going to try to restrict the actions of a fifteen year-old dead boy or girl? All the social ramifications of his/her actions are gone. They are free to have sex with whomsoever they please and are constantly on the prowl for new conquests in literature of this ilk. Aah, the romance and stench of the undead. Just turns you on doesn't it?

But back to the movie. Dracula has always been overtly sexual ever since Bram Stoker penned the character. Maybe only Nosferatu is the only non-sexual vampire. This one is as tortured as any of the enormous cadre of cohorts. He is a poor troubled soul who has lost his true love and must compensate by having sex with a bevy semi-attractive women. I guess the budget, after paying for Voight, must have been dramatically reduced so the bevy was of the bargain basement variety. .

Voight is a good actor. He has given some superior performances and some real scenery chewers. This role, as Van Helsing, could have been a powerful one but his dialog was so hackneyed and his direction so over the top that one yearns for the character he created in "Anaconda." But here is something about this actor: He can create a character and bring that character to life. This puts him so far above the rest of the cast craft wise that's it's almost painful to watch them mouth lines that must have sent him wrenching to whatever substituted for a trailer or dressing room. I hope he cashed his check right after he got it.

Here there was potential to take the movie to a new look at this well known Dracula character but both the writers and the director totally failed to realize any kind of concept and as much as Lugosi set the mold for the character, his depiction soars in comparison. Hell, even Brandon Lee's characterization was superior and that was a total disaster. The producers should have brought "The Bringer of Light" and had him illuminate the script because it just doesn't work.

One of the things a director can do with a movie like this is add a concept or subtext that is metaphorically presented through the movie. But I fear only Voight understands how such a thing can be done and he wasn't directing the movie. Hell, he was barely acting in it and his performance was the best the movie had to offer.

The movie reminds me of people who put on plays and opera in small towns. They advertise that they are going to have a fantastic production with all kinds of ideas brought out in the dramaturgy. But they end up being stock versions with period costumes and they fall as flat as some of the scenery. If this was a play, it would have been as dark as the dark prince after opening night.
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