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Star Wars: Episode II - Attack of the Clones (2002)
A boost to the saga, but still unconvincing in parts
STAR WARS: EPISODE II - ATTACK OF THE CLONES ***
Personally I love Star Wars, when I first saw the movies as a child I was captivated by the whole premise on which it was based and fell for the characters instantly. Undoubtedly, the first three Star Wars films will be etched into my movie history as they brought together so many fresh concepts and proved to be unbelievably enjoyable. I rated those films accordingly, giving full credits to them all. The first three Star Wars movies were in short, and still are, my favourite movies in the sci-fi fantasy mould. It was in anticipation, a dreaded anticipation, that I waited for the prequels to be produced, because I feared that the time had come and gone, and that perhaps the saga would be affected by sub-standard cash ins. If the Phantom Menace proved to be a not so bad movie (it could certainly have been worse for my money) then Attack of the Clones fitted quick snugly in my good movie category.
The Attack of the Clones is set ten years after the first instalment, whereby Padme Amidala has become a Senator representing her home world. However, when an assassination attempt on her life fails there are fresh fears that the Senator must lie low in the face of growing hostility from a growing faction against the Republic. Obi-Wan Kenobi's young apprentice Anakin Skywalker is selected to look after Senator Amidala whilst Obi-Wan pursues his own quest to uncover a sinister plot of which the Jedi know little about.
Attack of the Clones is a welcome breath of fresh air, and contains all we want in a movie and some more. We are introduced to some important concepts along the way like the love between Anakin and Amidala that has grown for ten years, even though they had only memories of a distant time of each other. A clone army has been unearthed, and we ask ourselves who is it for, for what purpose, and for what end? Count Dooku is introduced, as a scheming manipulative Jedi, working towards the Dark Side. And we get glimpses of the Jedi's powers failing against the Dark Side onslaught of fear, pain and suffering.
Looking at the performances, I would say that all in all they were satisfactory. Nathalie Portman does an adequate job and I got the sense that a growing burden had become all too evident. The feuding and bickering amongst tribes and sects may have led to Senator Amidala growing up a hell of a lot in the political mess that incorporates the galaxy. Not brilliant, but she is believable in most ways. Hayden Christensen I perhaps had more of a problem with. He was good in many ways. I got the growing feeling of someone being held back and the intensity of his character shone through incredibly well. But sometimes he was unconvincing. I felt he over-acted on occasions, and his Jeckyll and Hide character was a little unbelievable. We are meant to believe that he is indeed starting a process whereby he turns to the Dark Side.
If the process was incremental then I would have had little problem with it, but his rapid mood changes from playing in a field of daisies (or the galactic equivalent) to butchering 'women and children' was radical. Many may argue that it was because of his mother, and indeed she plays an important catalyst role in determining his future. But for me, his character needed more subtlety. It's as if Lucas had wanted everything to be highlighted for the audience (a younger audience maybe) and showed the pointers to them; 'look, that's where he is good, and that's where he is bad). Christensen doesn't write the script, but he possibly could have acted with more depth here.
Obi-Wan Kenobi is played brilliantly by McGregor who is given more license to perform, and it's a good choice. The Jar-Jar Binks character has a limited role, and although many people criticised his character in the first movie I felt a little sorry for him. Yes he was annoying, but at least he was a character with some attitude and a character you could honestly pick out from the movie and say that he was different. The most gripping part for me though was the action containing the Jedi and some of the backdrops. The scenery was spectacular, amazing and totally awe-inspiring. But that was also a problem of it.
Things seemed too crystal, backdrops were too spectacular and after half an hour I began looking more closely at the surroundings and concluded that although its impact is at first tremendous it simply isn't real enough. When R2D2 first appears, his shell is too clean, are you telling me he showers every five minutes. C3PO has no scars of the terrain, he is glaringly magnificent which shouldn't be the case. The contemplation of whether or not to bump the movie up to three and a half stars was unbearable, but in the end the way the characters seemed to talk to empty spaces was noticeable. On a number of occasions the special effects worked really well, like when the Jedi were being attacked near the end and being encompassed by Dooku's soldiers.
But all too often I got the impression that characters were talking and acting against blank boards. On a brighter note, the action sequences were terrific, brilliantly done. I have always been intrigued by the Jedi, and in this movie we get a much closer look at what makes them what they are, the training rituals, the way the force works and not to mention their battle sequences throughout the movie. Especially, Yoda's stand off with Count Dooku. Many aspects begin to emerge with reference to the broader story, like the influence of Palpatine for example. Jedi talk is also expressed and in one of the funniest moments in the film Yoda utters, 'around the survivors, a perimeter create.' which I found amusing some time after.
The whole experience though was positive, and in many areas spectacular. The way the Jedi use their powers in the midst of being outnumbered by Dooku's soldiers was epic and it was an enjoyable ride right the way through the film. I am a little concerned about the third instalment, as it seems a hell of a lot of stuff is still left in the wind. Most Star Wars fans know what the loose ends are, but the amount of detail still seems huge. Anyway, whatever the case may be, this movie is certainly a worthy Star Wars addition.
From Hell (2001)
The Ripper is hunted, in this moderately enjoyable production
FROM HELL **1/2
An investigative opium smoker sets out to solve the case of Jack the Ripper during the late 19th century following a spate of killings of a number of prostitutes. The investigator has one special gift though especially when getting his daily fix of the drug in that he sees premonitions and snapshots of the killings to come, kind of giving him small insights into who the killer may be and where the killings will happen. The movie plunges into some unexpected areas, especially the unravelling of the Freemason's and its part in the jigsaw which the inspector must solve.
Friends may not be what they seem in this case. A number of prostitutes, who have been friends for years it seems, try and console each other and pledge to stay together in these dark times. When they slowly get picked off though by someone who the inspector believes to be distinguished (the killer entices the women with grapes, a delicacy) panic and fear sets in. It's an intriguing film in many ways which is also too unconvincing. We get to know the killer a long way before the end, and a lot of the plot isn't relevant. The overall plot can be pieced together with ease though, and there are no real surprises if indeed that is what the film sets out to do.
Although the backdrops were quite real for the time, everything seemed to be too organised for this period. The prostitutes were sometimes too clean and neatly primed, and there didn't seem any indication of the great poverty line that was all too evident in London at that time. Depp was okay, Coltrane was very good and Heather Graham was quite believable. But it didn't strike a lasting chord personally.
The Quick and the Dead (1995)
Lacking in some departments, the movie nevertheless still manages to show some class
THE QUICK AND THE DEAD ***
Many Westerns that are made nowadays are ridiculous affairs, they are poorly acted and pay little attention to plot or character development. American Outlaws being one. The Quick and the Dead is an exception to that rule and proves that if the movie is handled with care, there is still room for the Western. Sharon Stone glides into a town owned by the dictatorial Gene Hackman. He owns the town, he owns the people and he is the order. What we have in the early stages are glimpses of why Stone is in town and what she hopes to gain from being there. We know she can handle herself from the opening shots of her dealing with a degenerate cowboy. As a side point Stone is good in the movie because she looks to have the steely grit and determination that not many actresses could have pulled off.
What ensues next is an intermediate section, whereby we learn that a great deal of sharp shooters are in town for a massive cash prize. It's Hackman's prize to give out, and he enters the tournament. His son named The Kid' enters to prove to his father that he is a man and has what it takes to be the best. Crowe is a preacher who's clouded past comes home to roost and is made to enter. And along with Stone, numerous others enter including a professional killer, a man named Ace and a Swedish champion. The game is simple, in tournament fashion 16 people will be whittled down to just one. Two gunfighters will draw when the clock hits the hour, and the one who defeats his opponent wins and progresses.
In typical dictatorial style Hackman later changes the rules to a shoot out to the death rather than to just incapacitate their opponent. Involved is the plot with Stone, who is bent on revenge for reasons that you will find out. The movie is great with some really strong performances from Hackman, Crowe, DiCaprio and especially Stone who convinces us that she can fire fight. Directed intelligently, the movie is allowed to progress at an engrossing pace, and every now and again the film allows itself to go off on a tangent to pursue issues that stem from the wild west way of life. Stone becomes a martyr to women and especially a little girl who believes in her. The man called the 'Ace' is rumbled by Hackman who reveals to 'Ace' that he couldn't possibly have killed the people he says he's killed because Hackman had beaten him to it.
Hackman's character is central to the film. He and Crowe's character, Cort, played outlaws a long time ago. They were the best; they still are. But Cort's path altered when Hackman went power crazy and enjoyed the killing too much. Becoming a preacher, this was Cort's way of redemption. But Hackman found him, and through his foot soldiers dragged Cort to the championship wanting to meet him in the final. Stone is wonderful, aggressive, witty and determined. But the film cleverly shows a vulnerable side, as she knows that some of these fighters are the genuine article. She has a plan, and she is there out of her own personal needs apart from anything else. And DiCaprio plays 'The Kid'. He is fast, really fast. The Kid's overconfidence comes from his father's neglect. Hackman at every opportunity refuses to believe that his son is anything like as good, and in one scene completely cuts his son down to size and tells him not to stare him down, as he is twice the man that his son is.
Fate will bring them together, and between the Kid's eagerness to impress and his father's killing instinct there will be a downfall. Engrossing and captivating throughout, the movie is intelligent and surprising and has a great cast. Without giving too much away, the latter stages of the movie were a little trite, but in every other sense the movie was a success and really treated the viewer with some respect. This ensured that the movie was given its full attention by the viewer, so that they could appreciate its story line and thoroughly enjoy the movie convinced that it was money well spent.
Mrs. Doubtfire (1993)
A heart-warming and wholly satisfying comedy
MRS. DOUBTFIRE ***1/2
A suburban family has been going through a bad time, and although everything looks set to continue with constant grudges and niggles, the parents three children eventually split up. The mother keeps the house and the three children, because of the fathers incapacity to live a normal' life. Williams plays a kind of eccentric comic time- bomb, who seems to have so much to give, but often misplaces his creative ideas. The image we get is that he tries desperately hard, but somehow things just don't go to plan.
His wife on the other hand seems organised, focused and disciplined. The court's verdict is that Daniel (Williams) must hold down a steady job, live a steady life and show signs of progress. Daniel is heartbroken that he cannot see his children unless these demands are met and in a desperate bid to keep in touch with his children, he turns himself into an ageing nanny, Mrs. Doubtfire, who hails from Britain. She can hip hop, bee bop and dance till you drop' as one line sums it up. At the start the children are sad about their father not being there for them, but eventually Mrs. Doubtfire brings out a happiness in the entire family that had long been forgotten in the house.
A tale of happiness as they gallop off into the sunset. But no, there is more to this excellent film than just this. Williams is sensational as the nanny giving him a licence to do what he does best, act in his own style with comic genius. The whole movie is a joy which I found heart-warming, heart-breaking and ultimately satisfying. It doesn't patronise the viewer with perfect answers, just the best of what's on offer. In their own way, the many pieces come together to create an excellent movie. The children act superbly with a distinct air of believability, something not always seem in movies. Miranda (Daniels Wife) shows the full range of emotions throughout, and of course the object of hate played by Pierce Brosnan as Miranda's new boyfriend does a fine job for between jokes.
Undoubtedly though Williams shines through. Displaying a passion to see his children, emotion at what he has to go through, balancing daily life, and hiding his identity from those closest to him. Mostly funny, sometimes sad, the movie does more than just give Williams a vehicle to be silly, it promotes a lot of sound issues and basis itself on a reality that no easy answers can be obtained because of the fighting, but sound solutions can be offered in an amicable way. A very good movie.
Commando (1985)
It's just one of those movies; atrocious in parts but you still want more
***SPOILERS*** ***SPOILERS*** COMMANDO **1/2
My, my, my. Where can one start. Commando was the kind of film that I was brought up on. Action and gung-ho, no-brainer entertainment. As a youngster, you believe what you see, which was in this case a military man kicking some evil ass using his prowess and killer instinct to survive the torrent of people eager to wipe him out. As an adult, and this is a guilty secret, it is still the case. What has changed is the way we analyse a movie and come to a conclusion much more advanced from just the good guy winning.
I have to say watching it again a few years later that this movie is still entertaining. It's a movie that I will watch if scheduled even though I know it merits very little if I was being objective. To go one step further it should be a movie classed as bad or very bad, but weighed up with the engrossing entertainment factor you may find it in yourself to bump the rating up to so-so. As stated though it's entertaining, but not for the reasons I had originally thought it to be.
Arnold Schwarzenegger plays a covert leader who was given a new identity along with his men on the last mission to start afresh and make new lives. Arnie, who plays John Matrix, is found along with his daughter who is captured by a rebel who wants his Presidential throne back of some troubled country, I can't remember where but believe me it's not important. When the daughter is kidnapped by this dissident, Arnie is given a mission; to kill the existing President who Arnie had befriended or see his daughter killed. There it is. Simple. This has got to be one of the funniest action movies ever written, and believe me when I say that for the most part I don't think it was meant to be intentional.
As a kid you didn't ask questions and the humour went over your head, you just wanted bullets and bad guys shot. Now it's different. Stuff the bullets and bad guys I want to listen to side splitting dialogue. The movie is unbelievably funny, I must stress that. The opening sequences sees Arnie enjoying life with his daughter, feeding dears that sort of thing. From then on we have one comic moment after another. 'If you want your daughter back you'd better co-operate. Right.', 'Wrong' as Arnie silences the henchman with a bullet to his head. We then learn that one of Arnie's squad member has come back to inflict pain on him for throwing him out of his group.
His name is Bennett, and Jesus is he camp. He wears this ridiculous chain vest, sports a handle bar moustache, and holds a nun-chucks of some description. By the way since he left Arnie's group he must have let himself go, as he waddles around the place acting mean. If he was like that before Arnie dismissed him, then that was probably the reason. We then meet some of the funniest men you'd wish to meet. As if Bennett wasn't enough, there's a man named Sully who professes to be in the forces. He's about 4'2, weighs about 100 pounds and has the same dress sense as Michael Jackson. Arnie says 'You're a funny guy Sully, that's why I'm going to kill you last.' Sully is with this black guy who is also supposed to be ex-forces, and is hired to ensure that Arnie gets on the plane and gets off eleven hours later.
Matrix deals with this bloke in the plane, where he pretends to fiddle with his shoe laces before duly smacking an elbow into his head. Usually you are surrounded by half a dozen air stewardesses if you spill your milk, but that's another story. Then after twisting his neck ensuring a gruesome death he puts this bloke's hat over his face, he taps a stewardess on the shoulder and says 'Don't disturb my friend, he's dead tired.' Oh they get better. Matrix involves a women who in the end helps him out, and after a car crash Matrix is holding Sully over a cliff with his left hand. 'You know when I said I would kill you last', 'That's right Matrix, you did.', 'I lied'. The women enquires 'what did you do with Sully?', 'I let him go' counters the smug Austrian.
The car which Sully drove is almost a write off and dented immeasurably on one side, and yet when Matrix and the woman drive off in it later it's brand new. Did I mention that they hit a lamp post prior to this doing around 80mph and nobody shot from the car. Laws of inertia did not apply in this film especially as they both weren't wearing seat belts. Arnie's staccato acting is out of this world, I don't know if he tried to act properly in this, for my money I think he does. But he is so funny, sounding incredibly stilted. In the middle he fights another ex-forces man and delivers one of the funniest sequences in the film. 'This green beret's gonna kick your ass.' says the opponent, 'I eat green berets for breakfast, and right now I'm very hungry.' retorts Arnie.
Towards the end Matrix guns down more than a thousand soldiers, some of which get blown up, some just fall, others appear more than once after they die, others trip over themselves, all are so slow that when he is cornered in a shed seven people fail to get a shot in whilst he kills them all with garden utilities. This is priceless; some men are blown up when a grenade explodes 20 yards from them, and then when one of the bad guys throws a grenade literally two feet from John Matrix and it explodes he comes out of it with just a slight limp which vanishes when he reaches inside the palace.
On a distant world in a galaxy far, far away that same man would have had his leg blown off to kingdom come and Jenny would have been playing jigsaw with her father, trying to fit him back together. He has unlimited ammo, escapes from a sealed armoured police van after the women who is helping him totally destroys somebody's livelihood by obliterating a shop. And yes, we haven't forgotten about Bennett. His acting is camp and his tone of voice is ludicrous. I was left thinking, is this guy seriously for real. Right at the end Bennett captures Matrix's daughter and in a stand off says he will shot Matrix 'between the eyes' to make it a quick killing. Arnie eggs on Bennett to use a knife and he actually throws a strop because Arnie taunts him. 'I don't need no gun' he yells giving up all his advantages by throwing his gun away.
And then in one of the most hypocritical scenes of movie history he has a showdown with Arnie. Arnie who is built like a brick s***-house dwarfs this overweight man, who is a cross between one of the village people and Freddie Mercury. Just picture it. They both have knives, Bennett is wearing his chain vest and Arnie is showing all of his muscles. 'You're getting old John' says Bennett. Taunting him because apparently Matrix had lost his instinct and his shape. The words pot, kettle and black come to mind. Bennett then gets electrocuted and has a new lease of life. Then to put the icing on the cake is a quote that I will remember until I die.
After being eventually overpowered Bennett decides to use a gun after all, and yells in hysterics; 'I'm not gonna shoot you between the eyes...I'm gonna shoot you between the bawls!'. Nice one. Of course Matrix will foil him before he lets off a round. Tearing a pipe off the wall (this pipe is about 8 inches thick mind you) he manages to throw it at Bennett before triumphantly and in monotone says 'Let off some steam Bennett' as indeed steam exudes from his opponent. I don't think I have had so much fun writing a review before and I'm sorry it's gone on over what I normally deem necessary. But it was worth it. The movie is cheesy, action packed, violent, predictable, plot-less, really excruciatingly funny and entertaining. It will go down as one of my favourite movies for a total chill out session, and one that will not be forgotten for a long time.
Blade Runner (1982)
Thoroughly impressive and deeply engaging, this is a movie that oozes supremacy
BLADE RUNNER ****
This futuristic sci-fi thriller will stand the test of time as a defining moment in the genre. With cult status firmly behind it, the movie manages to bring together so many strands that it is interesting, thought provoking, entertaining and endearing. Harrison Ford plays the Blade Runner detective Deckard, who once again takes up his duty to retire Replicants. Early in the 21st century, the Tyrell company engineered robots that were comparable to humans in all attributes whilst also being more intelligent than us, and used as slave labour in off world colonies. The work was dangerous and often the information of the colonies would be cloudy, so it was necessary to send in robots as a test.
When a particular band of robots under the umbrella of the Nexus 6 model rebelled against the humans however, they fled and came to Earth; Los Angeles to be exact. The year is 2019, and Deckard is sent to find out why the Replicants have come back to Earth and to retire them before they can blend in to the surroundings. Ford is supreme in this role and commands the stage with presence throughout. The film addresses many issues, some a little far fetched and others more believable.
The latest model of Replicant is so advanced that it has started feeling emotions just like a human. To be more easily controlled, the founder of the Tyrell company implanted a history' into their minds so that they become easier to control. But the escaped Replicants fear something is wrong through their intuition that they have learned to experience. From the primary story of Ford's quest to kill these Replicants, are the other stories that blend together brilliantly. Deckard feels a pain and uneasiness about killing Replicants even if they are solely robotic. He forges a friendship with a Replicant who works at the Tyrell company and finds it difficult to communicate with her after many truths have been revealed.
Rutger Hauer plays the leader of the Nexus Six brigade who seems to be on a personal quest to find out what he wants to know with his Replicant friends. Hauer is excellent, capturing the uneasy quality that we associate with anything that looks human but we know is synthetic. He plays suspense expertly, and along with Daryl Hannah creates a believable story line and triggers feelings of sadness and sorrow at their plight mixed with an uncertainty as to whether they are playing on our emotions. Ford embarks on his quest trying to fit the pieces of the jigsaw, and his roguish attractive style is perfectly suited to the movie.
The backdrops are stunning and what we get is a real feel for the place. Los Angeles has become a mixture of nationalities and customs in which it is seemingly dull and dank except for the glimpses of blazing sun that basks its heat over the Tyrell building. Perhaps Tyrell thinks he has become some sort of God with the blessing of the above. The city is shrouded in steam from the Chinatown region in which stalls and market places rule. Overhead are the neon signs and lights that light up the darkened sky and factories spurn out flame after flame for production. Why would the Replicants come back to this, shouldn't they have escaped to another colony? Deckard must find out, coming up against his greatest foe yet.
Armed with a Voigt Kampf testing machine, that measures impulses to decide whether the subject is human or not, and by his own judgement from working the city he must get to the bottom of the mystery. Ridley Scott has made one of the best sci-fi movies here. Everything comes together supremely and Hauer's finishing speech is memorable and moving, something which fits the movie as a whole.
About a Boy (2002)
An exquisite and delightful movie
ABOUT A BOY ****
Forever the cynic about the next best movie tag, I was quite undecided about whether to watch this movie. There was Hugh Grant, this little boy I had never seen, and some women who fitted the chick flick criteria perfectly. In the end I backed my better judgement and decided to give the movie a go, but even though Grant was headlining I was still trepidacious. About a Boy is exceptional, in not only its story telling and unravelling of the characters but in its balance between humour, sadness and interesting thought provoking points of view. Grant plays Will, a self indulgent wannabe romeo, who spends his days using up 'units of time' as he puts it. In one of the funniest passages in the movie he describes this concept, and without delving into it too much he believes that he enjoys a perfect balance of relaxation and fun. How can he do this you might ask; easy, you live off the royalties of your father's hit Christmas song. He is convinced in himself, he knows what he is and what he wants to do and his pathway is clear of such daily obstacles like finance, trust, dependance and stress. He is complete. But he's not of course. Deep down he knows the shallowness of such an existance where the innocent daily ritual of watching quiz shows blends into his alter-ego nightlife.
Void of any life variables he exists in his vacuum, until a twelve year old boy uncovers a sinister truth. Will you see has been on the search for available women, and he uncovers a group whereby single mothers go to feel good about themselves and to relieve the stresses of total independence. He is the only male single parent in the group, and soon he weaves a web of deception about his very own son. The women fall for it. He is pleased with his efforts and another lie is notched onto his bedpost. The movie gets going when Will and a mother from the group decide to meet, but she brings along with her the boy of another woman who has been ill. From then on relationships are formed, dissolved, papered over and engineered.
The movie was superb in almost every respect. The directors needn't have looked no further than Grant, for if you want caddish charm and an air of unassured assurance, Grant is your man. He is wonderful throughout. The 'boy' in question is played brilliantly by Nicholas Hoult as Marcus, the son of a hippie type who cannot get to grips with the evolving millenium. He doesn't seem like other kids and sometimes I wondered whether or not the movie would fob me off with another 'the underachieving nobody defeats all in the end' tagline. To a tiny extent it does, but the story remains real and believable to itself which was refreshing. And Toni Collete is also wonderful as Fiona, the depressive mother of Marcus. Their love for each other is evident, but she frets that she cannot give the thing she cherishes the most the best in life. Marcus doesn't mind, he just wants her to be there for him, although the inner rejection she feels for not being the perfect mother is sometimes too much to handle in some harrowing scenes.
All of the other characters also played their parts extremely well. It was an exciting and rivetting movie, that had its fair share of serious moments as well as some brilliantly executed comic scenes. It is also deeply touching, with a sort of refreshing feel good factor that firmly bases itself on reality. By that I mean that not all questions were answered, and that some aspects of life remain troubling. The central combination of Will and Marcus worked splendidly as well. Marcus' naivity and innocence was blended paradoxically with a kind of know how and some semblance of street wise occasionally. Inquisitive and well meaning, the partnership forged between the two was entertaining if nothing else. Watch it if you can, even if at first you have some reservations like me, because About a Boy is a genuinely terrific movie. People grow, find a certain peace with themselves and along the way involve themselves in moments of comedy. An excellent movie.
One Hour Photo (2002)
Glimpses of excellence, overshadowed by a lifeless family
ONE HOUR PHOTO **
Robin Williams is cast out of his normal territory in this quite bizarre and somewhat interesting movie. He plays a character called Sy who is a photo developer at a local supermarket who has obsessed about some of his clients for a number of years. Cut off from society in general and with no close relatives his only solace in life is the people he serves and the dedication to his job. But one family in particular appeals to him more than any other, and he soon obsesses to the extent where he follows the families footsteps, has a constant record of their photographs and wanders around their property. But when he gets fired from his job for misuse of the equipment he fills his time by delving even deeper into the families life, uncovering deceit and turmoil.
Williams' performance is deeply disturbing and harrowing, because of the isolation Sy feels in a world where he sees so many faces in photographs in a day. Williams is wonderful in his part. The problem comes in not where he takes the movie or the movie's choice of plot and direction. We are supposed to feel sorry and fearful for the family he obsesses about, and we are supposed to be left aghast at what will happen next. The problem is that the family is so wooden and lifeless that I did not care what happened to them. And that for me is where it fell down. We get snapshots of the family, and hints of where their problems lie. We know there's something not quite right when Sy's intuition tells us so. But not enough detail went into the family for us to appreciate them and get to know them. Therefore when Williams' character torments them through his problem with isolation, it's just a prelude to a weird ending. A shame really because the film showed a lot of potential.
Kung Pow: Enter the Fist (2002)
It will split the audience, for me it's raw comic fun
KUNG POW: ENTER THE FIST ***
Writer/director Steve Oedekerk has taken a tacky 1977 kung fu movie, Tiger and Crane Fists, digitally inserted himself into the action as an inept martial arts hero and re-dubbed all the other characters' voices with his own banter and nonsensical sequiturs. The result is a juvenile and probably pointless film, that is without a shadow of doubt unbelievably funny that had me in tears at regular intervals. Best viewed with a few beers, it is definitely a movie that will split the audience. If you're in that sort of mood for laughter and to be just entertained for no apparent cause then this movie is sublime. If you have a serious disposition though, caution, you'll probably hate the movie. There is little plot apart from constant kung-fu battles and the film is riddled with squeaks, nuances and excruciating banter. With an open mind, the movie is a master class in comic simplicity and is undeniably creative.
The Fast and the Furious (2001)
The car's the star in this mediocre effort
THE FAST AND THE FURIOUS **
Action aficionados look out, because if you want a movie with limited plot to get in the way of some rip roaring cars then this is the film for you. Succinctly put, Paul Walker plays a cop who has to go undercover to infiltrate a gang of illegal car racers and must get into their circle of friends to find out their illegal activities. Diesel is the leader of such a group and together they become friends. A moral dilemma story; I think not. What you get is an excuse to see the fastest turbo boosted cars on the market with some feisty women to boot. Some sequences may get the blood pumping and the constant bumping soundtrack will leave you thinking that you've just participated in such an illegal street race yourself.
The acting is wooden and Diesel just portrays...well Diesel. He stands there looking angry and mean and doesn't really do anything. There's a love story to boot, but the emphasis is firmly on the street races and how, rather unfairly, they can easily avoid the dumb police who seem intent in every movie in crashing into each other and generally looking foolish in pursuit of criminals.
Planet of the Apes (2001)
Engaging in parts, but otherwise just alright
PLANET OF THE APES **1/2
The remake of the classic is actually quite good. The story evolves around a space mission that goes wrong when a space pilot is transported into the future to a place where human beings are ruled by the apes. The dilemma for the pilot is simple in that he wants to get back to his original era but to do so he must put his faith in those he knows little about, not least a female ape who has rebelled against the brutal treatment of humans. Wahlberg's performance is a little stilted for my money and the typical gung-ho swashbuckling American hero comes through in trumps but he cares little for the land he leaves behind. The scenery is superb and the way the apes move and react and indeed look is amazing.
There are a number of sub plots, but the most interesting one evolves around the whole scenario of totalitarian ape rule. Helena Bonham Carter's performance is excellent and I felt a sense of real urgency about her personal quest. The film all boils down to the stand off near the end whereby some of the militaristic apes learn the truth about their existence in that they were once controlled by humans. All in all a good movie that was enjoyable, but could have focused more on the inter-race relations and a little less on the selfish quest of Wahlberg's character to just get the hell out of there!
The French Lieutenant's Woman (1981)
Interesting intertwined tales of love and lust
THE FRENCH LIEUTENANT'S WOMAN ***
Both Jeremy Irons and Meryl Streep give really accomplished performances in this rather interesting and somewhat peculiar movie. Essentially, the movie centres around an actor and an actress who are rehearsing a Victorian script and who are themselves engaged in something of an affair. But the movie's prime focus is a similar relationship actually in Victorian times between a scientist and disturbed woman who the locals named Tragedy. The movie is cleverly written and thoroughly engaging, although sometimes the movie does tend to drag on a little. The scientist in question is a Mr. Charles Smithson who is on the verge of marrying his sweetheart, a young woman who is the daughter of a well off shipping merchant. All goes well until one fateful meeting between the woman who people call the French Lieutenant's whore, and the aforementioned Smithson.
The movie manages to bring together multiple aspects of emotion wand shows an adeptness at handling its material. The characters involved are varied and diverse also, from the typical old age Victorian female taskmaster to the cheeky cherubic servants of Smithson and Miss Ernestina. The blend of characters ensures that the movie is rarely dull, and I was really impressed by Meryl Streep's performance. Playing the woman who has been tarnished by her past, the movie takes an unexpected turn and she manages to bring to life an energetic and mildly touching performance that spurs on the last three quarters of an hour. Jeremy Irons was steady throughout and he seems particularly suited to that lovable upstanding citizen type with just a little bit of unpredictability about him.
The scenery was beautiful and the landscapes were used to show the general mood of the characters throughout. Smithson who was soon besotted with this enigmatic woman soon realises however that a sense of reality must dictate, but who eventually succumbs to his raw emotions. Meanwhile, the issue of true love keeps burning right to the very end. The movie also manages to create an anger at our characters as many people get hurt because of the central characters actions, in both contexts. A good movie then, which lacked any real cutting edge to be considered great, but nevertheless an impressive effort.
We Were Soldiers (2002)
A quite competent and watchable war drama
WE WERE SOLDIERS **1/2
Vietnam was a horrifying militaristic blunder. American governmental officials thought the operation would be an efficient and effective strategy, only to discover resistance of the strongest kind under the guise of the Vietnamese Communist founder Ho Chi Minh. After the first confrontations, America eventually joined the fray to eradicate the problems in Vietnam. They were wrong. In the movie, the Viet-Cong military leader opposed to Gibson's company said something along the lines of the Americans will think that they've won this war', something that held some gravity. Gibson plays a leader of a company that will land at la Drang and assess the problems. The opening sequences focus more on the emotional build-up to the war through the eyes of the companies' wives and girlfriends and the grief that they carry that their loved ones will be going to war.
The crux of the movie shows the horrific action involving the company landing in Vietnam and the Viet Cong that are protecting their mother land. The results were horrifying. Needless deaths with little or no plan, with hundreds slaughtered after being surrounded by the Viet Cong. The movie was sound, with it giving a good overall portrayal of the brutalities of war. However, after watching previous movies like Saving Private Ryan, The Thin Red Line and Platoon the brilliant action sequences with bullets flying to all parts and the brutal kill shots now look a little more ordinary.
One of the most emotional sequences of the movie involved Gibson's wife (played by Stowe). A taxi would regularly come and go in the vicinity were the wives lived, which turned out to be the fateful taxi that would give the worst possible information that a member of the company had died. The driver one day walks up to Stowe's house and looking rather grim, fidgets with an envelope. Stowe awaits the news beginning to cry. He announces that he's looking for Stowe because he wants to know where another woman lives. The impact was tremendous. She shouts at the forlorn man 'Did you know what you did to me then', before the man starts walking away apologetically. He stops and almost in a whimper suggests that he doesn't like doing the job, but he's just trying to do it the best he can. Stowe then takes on the responsibility by telling the man that all envelopes from that day forward would be delivered to her. Moments like that in the movie will probably bring a tear to the eye. Stowe's response, and the isolation of a man just trying to do a simple job in the worst circumstances.
But if the emotional study was excellent, the war combat scenes were a little unbelievable. Not in a sloppy way by no means, but for me something didn't click. That may be my problem and not yours. From the Patriot and Braveheart, I believed in Gibson's performance. But I didn't believe in him much here. As the movie progressed he got better and better, but the early damage whereby I thought he was going to break out into a What Women Want' comic sketch set the tone. Overall the film is worth a watch, but it didn't show me anything new. Maybe it's because the impact of the aforementioned war films was so great because they were the first to show what war is truly like, and that any films after these would have to show something different and diverse otherwise I just take it for granted.
The Shawshank Redemption (1994)
A wonderfully constructed, emotional masterpiece
THE SHAWSHANK REDEMPTION ****
A man sets out to scratch together some semblance of a life after he is convicted of murdering his wife and her lover. With the inmates taking bets on which one of the new prisoners will fall victim to the harsh environment, the movie evolves into a blossoming friendship between the convicted murderer and the prison handyman. With a growing trust and bond that will stand forever they begin to share in their experiences and over time the new prisoner becomes much more than just a friend; he becomes a man with vision and determination whilst also using the system to his benefit by applying his professional experience within the prison.
The Shawshank Redemption is a masterpiece portraying the issues that we expect a movie of this calibre to portray, whilst also developing sub-plots with such precision that the entire movie felt like it passed in double quick time. Rarely do I get the feeling that a movie was totally seamless, but this was one instance. The acting was first rate, with both Robbins and Freeman putting in the performances of a lifetime. I must admit I haven't see much of Robbins' work, but if all his other performances slump to deep mediocrity he will still be remembered for his part here. Freeman was superb as the inmate who has come to terms with Shawshank, believing that hope springs futility and that Shawshank becomes an institutionalised aspect of a mans' character, whether inside or out.
To focus on just two people would be ludicrous, there are a number of other outstanding contributions from the prison rule makers and the band of men that keep morale high enough to contemplate living on through their sentences. The movie triggered a number of responses personally, the obvious responses of sadness and happiness can be taken for granted. But emerging through the obvious were issues of friendship, trust, betrayal, hatred, anger and injustice. So too was there joy and relief, and a new perspective on what life and prison means to many people that I previously hadn't thought of.
Personally, one of the saddest moments I can remember from all of the movies I have seen involves an old book-keeper who has to come to terms with freedom. For those that have seen it you'll probably concur that it was deeply touching; for those who haven't seen the movie you may see a fresh insight into prison life. It is a wonderfully crafted film, and whilst I hate banding extreme and blind accolades at movies that can be taken as fads, this will probably stay in my top five favourite movies for it's enjoyment, its direction and it's comprehensive grasp of so many of it's focus points. An outstanding movie.
GoldenEye (1995)
A necessary injection into the Bond series
GOLDENEYE (1995) Rating - 8/10 - Possible spoilers
After a number of years in the wilderness due to company disagreements, Bond came back with vengeance in the eagerly anticipated Goldeneye. Next up was Pierce Brosnan with his dashing looks and who seemed to have the ingredients for the role, but would he be able to captivate the audience and be believable as Fleming's super spy? The answer was in the affirmative. Goldeneye blends together a competent plot, some intriguing characters and of course the courtesy Bond villains and Bond girls (who I've discovered are manufactured and put on a Bond conveyor belt on an island off Key Largo) The movie comes together quite nicely and Brosnan is perfectly believable. The movie centres around the premise that the Cold War is over and so the countries involved have initiated a period of friendly negotiation. The opening sequences see Bond lose his partner on a job, and a Russian satellite key called Goldeneye taken by a Russian general. From there we are given an hour and a half or so of all out action, with obviously a lot of thought going into collaborating all of the material for the audience to indulge. Bond must retrieve this key in order to stabilise the world order again, but it is far more difficult than he expected.
Teaming up with a computer programmer who escaped a satellite station and witnessed who took the Goldeneye, Bond must hunt down the villains whilst also showing a love for the women, a love for cars, and engaging in conversations that lead to pun heaven. It's a very good movie. Brosnan is stylish, and whilst we probably know the outline of the movie way in advance it still managed to make me sit up and take notice. Speeding through the Russian streets in an armoured tank, gliding through the air and boarding a plane that is in full descent and ejecting out of a helicopter seconds before two missiles threaten to end the Bond series are such highlights.. It's an exciting movie and surpassed my expectation level.
The movie also highlighted a number of new additions in the intelligence personnel, with the no-nonsense female M (Judi Dench) making a lasting impression. All the characters did their job, but only one or two left a lasting impression. Instead I focused primarily on whether or not I enjoyed the movie and whether Bond deserved to go on doing what he does best. I did enjoy the movie, and with Brosnan in control it seems it hasn't lost its appeal to the action buffs and has given a very healthy push toward a new super cool, modern Bond.
Jeepers Creepers (2001)
Quite a laughable horror movie
Jeepers creepers indeed. A brother and a sister head home for vacation and encounter a monstrous creature of sorts seemingly pushing two body bags down a chute. Obviously in true movie tradition, the youngsters after getting battered with the monsters truck still have the nerve to head back to the place where the chute was. As a horror movie in its essence there are some moments of redemption. However, issues like how the demonic creature is able to drive a truck so well are all too frequent. The creature it seems needs some human parts to survive, and so goes in hunt of those who will satisfy the requirements. The acting is a bit stilted and by the end I was more than agitated at what had preceeded. Only for those die hard horror fans where anything goes; the movie otherwise is a bit on the laughable side.
Red Dragon (2002)
Just a starter to the Lambs main course
6/10
The prequel to Silence of the Lambs is a tense affair that tries to put into some perspective the Hannibal Lecter story before the unveiling of the Lecter-Starling relationship. This film focuses on Hannibal Lecter and just how he was caught, after a string of brutal murders, by a colleague that confided in him within the FBI. Edward Norton plays the FBI agent, Will Graham, who comes out of retirement after only just escaping an attempted killing from Lecter. After two linked cases Graham is asked to help in the case of the Tooth Fairy' and soon becomes embroiled in the case with direction from Lecter himself.
The film was quite a sturdy affair with the relationship between Graham and Lecter developing into where Silence of the Lambs started off, and although the plot was relatively good the sense of tension and intensity that the Silence of the Lambs portrayed could not be matched, nor was it expected to be matched. Ralph Fiennes' portrayal of the Tooth Fairy' was often eerie and in disturbing, but something didn't quite click and I was left with a small sense of being let down.
It seemed simply a case of a good idea put into practice quite effectively, but perhaps in the end over-stretched as to the expected impact of the movie. In essence then it was just over average, and although the acting simply couldn't be faulted and the focus on Graham's character was well done there wasn't the electric chemistry that the original produced. And as with Hannibal, it seems like window dressing around the brilliance of the first film made.
Changing Lanes (2002)
Tedious battle of minds affair
4/10
Two men are inextricably linked by a motoring accident and as a result have their days changed that sends both into panic. One man (Ben Affleck as Gavin Banek) is a lawyer, and is fighting a case in the courtroom that is tinged with ethical dilemmas whilst the other man (Samuel L Jackson as Doyle Gipson) is fighting for joint custody of his children after making an effort to reconcile his family with the token gesture of buying a house. Changing Lanes is predominantly a film that centres around the what ifs' of life and the issues that stem from this revolve around fate.
The idea isn't exactly new with Sliding Doors' touching upon this exact scenario whereby perhaps even the tiniest thing could have profound effects on a number of lives. The film goes beyond that though and delves into the human nature of frustration and anger as both people involved in the accident are left with more problems than what they started out the day with. In the case of Gavin Banek, he becomes intrigued by his case and asks himself personal questions of those around him whilst also analysing life for answers. And Doyle Gipson who is fighting to save his family and who is also battling alcoholism also finds himself angered at the injustices of the world and there the perpetual cycle continues.
In all honesty the film was below average and on times was quite boring. Affleck and Jackson didn't seem to have any spark though and their characters didn't make any lasting impression. The script was a little one-dimensional and rather predictable and although there were clear signs of moral issues and dilemma's being addressed the film seemed too jaded and lacklustre. All in all I simply didn't care about the characters and was glad when the Hollywood ending finished the film.
Gattaca (1997)
Inspired film of human ambition
8/10
In a world where your life is defined by genetics comes a man who was made out of love in the 1990's. Ethan Hawke plays a man who is rigged with human nature's imperfections' that stunt his potential for being what he truly wants to be. Realising that his humaneness will get him very little in life, he tries to extend his boundaries by taking over the genetic make-up of someone who has an extremely good genetic make-up.
The film takes on such issues as genetics and designer babies, whilst also uncovering the deeper emotional aspects of reaching potential and imperfections. Gattaca is an extremely good movie that at times provoked deep thought, especially as we are approaching times of enhanced gene investigations and advancements in genetics.
Gattaca (1997)
Inspired film of human ambition
8/10
In a world where your life is defined by genetics comes a man who was made out of love in the 1990's. Ethan Hawke plays a man who is rigged with human nature's imperfections' that stunt his potential for being what he truly wants to be. Realising that his humaneness will get him very little in life, he tries to extend his boundaries by taking over the genetic make-up of someone who has an extremely good genetic make-up.
The film takes on such issues as genetics and designer babies, whilst also uncovering the deeper emotional aspects of reaching potential and imperfections. Gattaca is an extremely good movie that at times provoked deep thought, especially as we are approaching times of enhanced gene investigations and advancements in genetics.
Outbreak (1995)
Decent enough movie, but purely mild entertainment
6/10
Not a bad movie at all, its just one of the movie where there is something missing. The 'Outbreak' is an epidemic that was supposed to be contained by a clear up by the military. Dustin Hoffman plays the lead role as a scientist that enters these areas and tries to gather the truth and to shut down any possible threat of the disease spreading. The film sort of meanders at times, and you know what's coming a mile down the road. Hoffman is fairly good, and Morgan Freeman also gives a fair performance. Rene Russo gives an accomplished performance as she also plays a scientist who has recently split from Hoffman's character. The screenplay can be described as a little laboured and the movie genuinely has that feel of being just another Hollywood thriller. The result a little better than average.
Frantic (1988)
Frenzied thriller
7/10
Roman Polanski's thriller worked extremely well and just about summed up the panic feeling when you are not in control of your surroundings. Here Harrison Ford plays a doctor who goes to Paris with his wife for a conference meeting. When his wife suspiciously disappears from the hotel room the movie begins to unravel the twists that have found the Walkers in this situation. It is the sense of frenzy and frustration that make it such a good film, and I firmly believe that Ford encapsulated the frustrations and anger very well. Emmanuelle Seigner also did a very good job of portraying the girl with attitude, but also showed a naive and child-like side on times. The screenplay was generally sound, with the camera work establishing the feel and frenetic nature of the movie. Perhaps the movie went on a little too long as there were some scenes that dragged a little, but all in all it was a good movie that managed to make myself care about the ending.
Rocky (1976)
Stirring movie and genuinely entertaining
7/10
From the slums of Philadelphia comes a courageous if misguided nobody, who has the heart and determination to reach his goals if only he could believe in himself. Indeed this movies plot line is somewhat over-used nowadays, but you cannot argue that Rocky was a catalyst for the 'it's not the size of the dog in the fight that counts, its the size of the fight in the dog'. Sylvester Stallone portrays the wannabe fighter, and the character development is extremely touching on times especially as he forges a partnership with Adrian (Talia Shire) who throughout is tremendous. Sure the boxing sequences are a something of make believe, but that only goes to enhance the entertainment.
As Rocky begins to reach the big time he faces the ultimate task of trying to beat the American dream that is Apollo Creed and take his chance in the big time. Burgess Meredith is outstanding as the long suffering boxing trainer and his angry characteristics only served to give a deeper emotional side to the love and warmth he feels for Rocky. The direction could have been a little better and of course the story line is something out of make-believe, but it is undoubtedly one of those hallmark films that every generation should enjoy.
Live Forever (2003)
Extremely good snapshot of 'Britpop'
7.5/10
I thought that Live Forever was an excellent documentary capturing the phenomenon of the Britpop passage. It is worth noting that I think that even if you didn't get the whole Britpop experience it is still worth watching to try and understand exactly what the period of time tried to encapsulate. Dragging Britain from a period of being totally dormant, to generating great music and creating an aura of genuine invincibility.
Live Forever features the obvious candidates that are Oasis and Blur as the battle for number one captured a nation, whilst also giving an analysis of movie culture and the feel good factor that took over Britain during those 2/3 years. Massive Attack were also undoubtedly another factor in the way that Britain seemed to transcend itself to another plain, and although many will be put off by some of the language used it is worth remembering that the laddish behaviour of that period was a factor that boosted the industry and re-ignited interest in British pop/rock.
The documentary also takes perspectives from a political sense whilst also highlighting perhaps a more sinister undercurrent to Britpop and the way it was used by stragglers and then dumped once the period was over. Whatever your perspective, it made me feel alive and was more than happy to re-visit that golden few years where the music was on another level and the country was swept with the feel good factor. Nirvana was the catalyst for the whole period that saw the change, and I was more than happy to re-visit Cobain's angst ridden voice, Oasis' brilliance and the competition that was Blur.
Analyze That (2002)
Slightly disappointing comedy sequel
5.5/10
Analyze This was a very funny comedy about a psychiatrist (Billy Crystal) and his mobster client (Robert de Niro). The sequel to this movie was similar in that the relationship continues after de Niro cannot cope with the pressures of jail life. Analyze That therefore had the difficult job of following up the bright and breazy comedy and in some regards it worked with some well timed gags, and the growing disillusion felt by Crystal as he begins to analyze both their lives. However, I sensed that the film was virtually just cashing in, in the timeless way that sequels have done before offering nothing new. Crystal and de Niro I felt did their best to inject some enthusiasm into the movie, but there just wasn't enough room for anything other than a few laughs and a little enjoyment. For these reasons the movie is worth watching as a little light entertainment, but don't be surprised if you end up ultimately disappointed.