Posted in: Disc Reviews by Archive Authors on January 17th, 2006
Jodie Foster stars in this film as a propulsion engineer named Kyle Pratt who decides to take her six year old daughter Julia on a transatlantic flight aboard a brand new jumbo jet (which she helped design). Aboard the plane, her daughter goes missing. Naturally she has no clue what is going on as the captain (Sean Bean), nor the sky marshal (Peter Sarsgaard) are of any assistance. Foster calmly looks around the plane for her daughter wondering what has happened to her. We learn more and more facts about the daughte... as the movie progresses, some of which will definitely surprise you. That is what makes this film so overly effective. How it takes a fairly common plot but adds more flare and spark to the plot by having certain areas jump out at us.
Flightplan is being compared to Foster 2002 film Panic Room due to the similar concepts (Woman and a daughter are in peril). However, the problem Foster faces in Flightplan is far more inquisitive and far more interesting. Did her daughter suddenly disappear or was she kidnapping? How could all of this occur on a airplane with tons of passengers? Foster is a usual form in this film. She comes off a resourceful and extremely brave woman. As the plot progresses forward, Foster’s response continues to change as do her overall tactics. She tends to scream out, as would any of us in a similar situation. The director, who I will get to later, seems to know how an audience’s mind work as he constantly has Foster’s character think ahead of what she will do, almost anticipating the next development of the film.
Posted in: Disc Reviews by Archive Authors on January 9th, 2006
Synopsis
Tae-suk is a young man who breaks into people's home while they are away. He lives there in their absence, but doesn't steal anything, and fixes odds and ends while he's there. During one such break-in, it turns out that owner's wife is there, and a love affair begins between the two. When the abusive husband returns, Tae-suk winds up killing him with the title instrument, and the lovers flee.
Posted in: Disc Reviews by Archive Authors on January 8th, 2006
It seems that every action movie that is being released out of Hollywood nowadays always has to feature out of this world stunts that no real human could ever do. Now this is not necessarily bad if the action is done in correspondence to the film in a skillful manner. When the original Transporter was released onto DVD, it quickly gained a reputation through many action fans that caused the film’s sales to skyrocket. The sales skyrocketed so high that Twentieth Century Fox quickly greenlit the sequel to a film...they had no interest in making a sequel to after the rather poor theatrical performance.
Quickly recapping the first film for those of you have not seen it. The Transporter starred actor Jason Statham (Cellular) as Frank Martin a.k.a The Transporter, a man who would transport anything at a price. He had three rules if you wanted to hire him. 1. Never change the deal. 2. No Names. 3. Never look in the package. Martin is hired to deliver a large duffel bag. The bag tends to complain and squirm. The bag contains a Chinese woman named Lai. Martin cuts a hole in the tape over her mouth, thus violating his third rule of never looking in the bag. What occurs next is a movie that tends to have too much action at some point that it brings the film to a near dead standstill.
Posted in: Disc Reviews by Archive Authors on January 6th, 2006
Peter Weir’s Gallipoli is a remarkable film. Starring an inexperienced model, who was only intended to be used for a photo shoot to promote the picture and shot on a small budget, this film's longevity and frequently attained levels of excellence could have never been predicted. That doesn't mean Gallipoli will be turning up on any all-time best lists any time soon, as the first half has a tendency to drag its feet. However, a solid hour two punctuated by one of the most haunting images I have seen in a...war film elevates the material from slow-paced and dragging to something that actually works, and is certainly worthy of recommendation. Mark Lee, the model-turned-actor mentioned above, stars opposite Mel Gibson, and delivers a performance of such credibility that no one could have ever guessed he didn't know the first thing about acting. In fact, he holds his own with the already seasoned Gibson, and the two make a believable pairing as a couple of naive young men hungry for adventure, who make the mistake of seeking it during the First World War. Their paths lead them to the disastrous real-life battle of Gallipoli, where strategic incompetence led to the senseless slaughter of a great many Australian soldiers.
The sense of pride in one's country is always there, and the movie seems to endorse such a feeling. However, the anti-war message is never far from the surface, and it wells up prominently in the third act like blood from a liver wound that reappears as quickly as it’s washed. Still, it's anti-war without being partisan, and remains true to all the soldiers, who gave their lives for their country, their beliefs, and most importantly, their mates. Weir's directorial style also provides the film with two strong legs, and has since been imitated in every great modern war film, especially Spielberg's Saving Private Ryan. The underwater shrapnel scene of Gallipoli is recreated with equal skill and effectiveness by Spielberg, but let's remember: Weir did it first. And Weir's constant use of exterior locations, while nearly achieving overkill status from time-to-time, demonstrates the director's expert sense of landscape and scope. It's a beautiful picture to watch, but not always one to entertain. However, hang with it through the first hour, and you'll be blown away by the crescendo of fear and violence Weir's film has reached.
Posted in: Disc Reviews by Archive Authors on January 1st, 2006
Synopsis
Having zipped through The Emperor’s New Groove awhile back (yes, I have Disney DVDs), I was somewhat familiar with the story and the cast behind it. I was aware that the original film enjoyed some theatrical success, but I didn’t understand why the film necessitated a sequel. But here I am, trying to wrap my head around the logic for this sequel.
Posted in: Disc Reviews by Archive Authors on December 30th, 2005
8MM 2 is a sequel to Schumacher’s 8MM in name only. It tells the story of an aspiring politician and his loving fiancée on a mission of sexual experimentation in Budapest, which quickly turns into a trust-no one game of seduction, blackmail, and murder. The crux of the story is a steamy threesome between the two lovers and a strange dark-haired beauty. The only eight millimeter tie-in is from the film which is shot during the escapade – unbeknownst to the lovers – which is then used to string the politi...ian along in the unknown blackmailer’s deadly game.
As a sequel, this story completely fails to work. Gone is the creepiness of the first’s horrific plot. Now it’s just about sleaze and blackmail, neither of which are executed in very interesting fashion. Lori Heuring and Johnathon Schaech are good-looking enough, but their presence seems better suited to a made-for-Lifetime movie. Their looks are too clean and simply fall short of the sleaze level the film hopes to obtain. While production values are slick, director J.S. Cardone’s ego is dripping from every frame. I’m glad he takes his work so seriously, but when that work is as cheap and trashy as 8MM 2, such behavior is more obnoxious than endearing.
Posted in: Disc Reviews by Archive Authors on December 18th, 2005
Synopsis
After years of answering questions running along the lines of "When are you guys going to make a movie?" X-Files creator Chris Carter and stars David Duchovny and Gillian Anderson decided, in lieu of taking the time off between TV seasons 4 and 5, to go ahead and start production on a feature-length movie and a place in the summer blockbuster arena.
Posted in: Disc Reviews by Archive Authors on December 16th, 2005
Just in time for the mega release of Peter Jackson’s King Kong comes a slew of Kong-related merchandise determined to cash in on the hoopla. Like long lost relatives only interested in you after that big lottery win, these forgettable items are giving it one desperate shot on DVD. Among this sub-par schedule of releases is the new feature-length cartoon Kong – King of Atlantis. In this outing, Kong is a new gorilla descended from the original King Kong. He has inherited the size, but is still struggling...to find his way into mental maturity. Hampering his journey is a trio of mostly clueless human allies that really bog down the action in spite of the elements that are actually there to recommend it. While most children will delight at the sight of Kong, his speechless bear cub friend, and a friendly overgrown tiger (reminiscent of He-Man’s Battle Cat), the human element will stop any further interest flat in its tracks.
Rather than bringing kids into the action through relatable human involvement, the creators have conjured up three whiny, obnoxious caricatures that will leave all children young and old begging for another shot of Kong and his animal friends. Not helping the likeability factor among the three human stars is a lurid opening musical number – to the best of my knowledge, it’s called “De-cide Now” – which will make even the most open-minded fan of family entertainment cringe in despair until it’s finally over.
Posted in: Disc Reviews by Archive Authors on December 15th, 2005
Synopsis
During the Cold War, a vaguely defined group breaks into a Romanian church and the cavern beneath it for vaguely defined reasons. They accidentally trigger a landslide, trapping themselves beneath the earth. Jump forward thirty years, and the cavern has been rediscovered. A team of cave divers headed up by Cole Hauser descends into the depths, and soon find themselves up against vicious bat-winged monsters. A parasite enters into Hauser’s blood, and he slowly starts to transform into one the...e beasts himself, raising the question as to whether he will retain his humanity long enough to save the people for whom he is responsible.
Posted in: Disc Reviews by Archive Authors on December 10th, 2005
Every now and then, a film comes along that I really think is something special, but for whatever reason, the movie-going public doesn't agree. For me, The Truman Show is one of those films. Maybe it was because this was Jim Carrey's first serious role. Maybe it was because it felt too gimmicky with the popularity of The Real World at the time, and being released around the same time as the similarly-themed film EdTV. Maybe it was because the premise was just a little too far outside of the norma... summer box office fare.
The fact is, the reasons that I like this movie are pretty similar to the reasons that others may not have. Jim Carrey was simply fantastic in this film, and his bold performance proved my theory that it is much more difficult to be a great comedic actor than most people believe. Carrey was handed the unenviable task of being made to carry a film that was about a lot of things at once. This is a film about big government. About secrets and lies, what it means to love someone and discovering who we are as humans. This is a film about limits, about control, and about the media. It's about knowing what to believe, what not to believe, and how to tell the two apart. It is about the importance of being the same person at work, in the home and everywhere in between.
