Posted in: Disc Reviews by Gino Sassani on June 2nd, 2005
Synopsis
Aaron Jacob Estes’ film Mean Creek has been favorably compared to films like River’s Edge and in a sense, Lord of the Flies, for obvious reasons, and that’s not a bad thing. Written and directed by Estes, the film begins with Sam (Rory Culkin, Signs), who “borrows” a camcorder owned by George (Josh Peck, Spun), and gets beaten up for it. Sam’s brother Rocky (Trevor Morgan, The Patriot) steps in as the protective, bigger brother and does a little scheming.>
Posted in: Disc Reviews by Archive Authors on June 2nd, 2005
Man on Fire is a stylish thriller with excellent performances at the heart. Denzel Washington plays Creasey, an ex CIA/assassin who is too tired of the killing. Now out of the game, Creasey sticks to drinking in Mexico City. Enter Rayburn, an old buddy (played by the wonderful Christopher Walken). He has a potential job for the down and out Creasey. A string of abductions and kidnappings in the city (Mexico City is the real life kidnap capital of the world) forces a young industrialist (Marc Anthony)and h...s wife (Radha Mitchell)to hire Creasy as a bodyguard for their 10 year old daughter Pita (played by Dakota Fanning). Well...let's just say...the bodyguarding doesn't go too well. And Creasey needs to find Pita before it's too late.
Man on Fire is directed by Tony Scott. Scott is a stylist, and the movie definitely has stylistic excess. But this is the man who invented stylistic excess with Top Gun. But Scott is more successful when he has great actors to inhabit his stylish canvas, True Romance and Crimson Tide are great examples. Scott has become more "modern" with his use of jump cuts and freaky camera angles. It's a dizzying experience, but thankfully this over the top effort is fleshed out by the excellent performances of Denzel and Dakota Fanning (she will be a star one day). The movie is way too long (2 and a half hours for a genre thriller??). But the peformances and the script (by Mystic River's Brian Helgeland) hold Scott's over direction in check.
Posted in: Disc Reviews by Gino Sassani on June 2nd, 2005
I didn’t think that Scarlet Johansson had an active eye or ear for drama films, that she does different stuff and has generally been incredibly lucky. Apparently, she’s got a good knack for appearing in films that have good stories also, as she had been attached to this film for quite some time.
Based on the novel by Ronald Everett Capps, A Love Song for Bobby Long tells the story of Pursy (Johansson), who has recently found out her mother died, so she travels back to New Orleans and meets Bobby Long...(John Travolta, Michael), a former college professor who, along with his teaching assistant Lawson (Gabriel Macht, The Recruit), have left their college lives in Alabama and decided to come to New Orleans, and have stayed for years in the house that Pursy’s mother, Lorraine, owned. In the midst of it all, Pursy is a kid barely out of high school (who actually dropped out in 10th grade) and sees her mother’s former friends as scumbag alcoholics. Lawson has been trying to write a novel for several years, and Bobby seems to be slowly pickling himself to death.
Posted in: Disc Reviews by Archive Authors on May 31st, 2005
We now have the full I, Robot experience with this new “All Access Collector’s Edition”. We have more a lot more supplements but, unfortunately, the movie is not improved. It’s still a fun couple of hours though. I, Robot follows the story of Will Smith (and his character name, if that matters, is Detective Spooner) as he tries to solve the murder of a robotics scientist (James Cromwell). Smith must overcome his prejudice against robots, as he tries to solve the case.
There are a lot of “c...ol” scenes, and I really enjoyed the universe created by Alex Proyas. One of Proyas’ previous films, Dark City, is a startling work of imagination. The special effects are very modern, but the story is as creaky as an old rocking chair. We’ve seen all this before: the chases, the one note characterizations, the one-liners, the Will Smith-ism. This is ain’t Bad Boys. The movie is caught between an intelligent futuristic tale and a Will Smith vehicle. The two cancel each other out. What’s left is a watered down film that’s only “suggested” by Isaac Asimov’s original work. Fans didn’t seem to mind though. The excellent box office summer receipts proved that Will Smith is still a force to be reckoned with. I enjoyed I, Robot, but I took it for what it was…and not as it should be.
Posted in: Disc Reviews by Archive Authors on May 29th, 2005
Guilt’s a bitch. It can drive you down the road to insanity, and turn your life upside-down. The Machinist is an interesting story that leaves you guessing right until the end. The story moves a little slow, but the performances are impressive and the cumulative tale is well done. Watching Christian Bale portray lead character Trevor Reznik is both impressive and disturbing. Bale looks like a shell of himself; shedding an astounding 63 pounds to play this role. Bale is so thin that you can see every rib ...nd every vertebra of his spine. Comparing his appearance in this film to his role in American Psycho will blow you away.
The story of The Machinist centers around the progressively dwindling life of Trevor Reznik (Bale). Resnik is an insomniac who claims to have not slept in a full year. He works in a machine shop, has a hooker that he regulars, and nightly visits the same waitress at an airport-based coffee shop. Everyday brings with it a new paranoia. When he mysteriously finds a “hangman” sticky-note on his refrigerator, Resnik starts a journey to discover who is playing this sick game with him, or if it is just his sleep-starved mind playing tricks on him. A hallucination of a mysterious co-worker causing a workplace accident drives Resnik to evaluate everyone around him. The more he digs, the more crazy everything seems… it is real, or is it all in his head?
Posted in: Disc Reviews by David Annandale on May 27th, 2005
Synopsis
Irritable, repressed Sylvia Stickles (Tracy Ullman) is conked on the head, and the concussiontransforms her into a sexual dynamo, one of the followers of sexual healer and prophet Ray-Ray(Johnny Knoxville). The streets of Baltimore are the battleground of a culture war between theanti-sex Neuters, led by Sylvia’s mother-in-law Big Ethel, and the forces of the polymorphouslyperverse. The result is a little bit like a George Romero zombie movie, where getting headingthe bonked transf...rms you back and forth between human and zombie. Here, the Neuters are thezombies.
Posted in: Disc Reviews by David Annandale on May 27th, 2005
Synopsis
Posted in: Disc Reviews by Archive Authors on May 27th, 2005
Fascination is a potboiler without a pot. It loosely follows the plot of Hamlet. Adam Garcia plays Scott Doherty, a spoiled young artiste who sulks more than Anakin Skywalker. Scott's father dies (played by James Naughton) under mysterious circumstances, and his wife (played by the "still a hotty" Jacqueline Bisset") returns from a cruise with a new beau (Stuart Wilson). Scott smells something fishy, and with the help of a new stepsister/lover (Alice Evans), he tries to get to the bottom of this crime. So...nds fascinating? Not really.
Everything about Fascination is not fascinating. It's only interesting in the sense of how much worse can it get! For a thriller, it moves like molasses. For eroticism, it's more awkward than sexy. As far as underwater sex scenes go, I'll take the one in Showgirls any day. The performances aren't the saving grace either. Garcia is one note, Bisset tries her bisset, and Alice Evans deserves an award for one of the strangest performances I've ever seen. You can watch the film in a director's cut or a theatrical cut. The director's cut is a bit shorter, so I might go for that one.
Posted in: Disc Reviews by Gino Sassani on May 25th, 2005
Much like previous con films before it like Matchstick Men and The Grifters, Criminal tells the story of a veteran taking a young inexperienced rookie under his wing and showing him the tricks behind the money, and the con artist philosophy.
Based on the Argentinean film Nine Queens, Richard (John C. Reilly, Magnolia) spots Rodrigo (Diego Luna, The Terminal) trying to hustle drink money in a club. He hustles Rodrigo out, and discovers Rodrigo is doing this to earn m...ney for his father, who’s incurred a large gambling debt to mobsters. Richard decides to show Rodrigo how the grift works, and Rodrigo even has a few tricks for Richard. Things become interesting when Richard’s sister Valerie calls him (Maggie Gyllenhaal, Secretary) from her job at a 4 star hotel to inform him he has a visitor. Valerie is aware of Richard’s work and hates it, and him, as he is in the midst of a legal battle with her for their mother’s estate. Throughout the day, Richard and Rodrigo help Richard’s hotel friend attempt to sell a counterfeit treasury document to a wealthy investor. Along the way, we discover the lengths Richard goes to to pull off the deal, and you see just how many people want a piece of the pie. As is the case with con movies, there’s a twist at the end that we don’t see coming, but in a sense, since Reilly is such a sympathetic face, you almost don’t want it to happen that way.
Posted in: Disc Reviews by Gino Sassani on May 24th, 2005
White Noise borrows much from the successful cycle of modern horror films. There is a tremendous likeness to both The Ring and FearDotCom. The use of a television screen for eerie f/x and a few shocks reminds us of the former, while the torture of the kidnapped victim in industrial and dank surroundings is taken right out of the latter. White Noise has some wonderfully disturbing moments. The atmosphere is rank with just enough possibility to be truly scary at times. Michael Keaton adds that element of respectability and believability which carries a weak script much farther than it deserves. I should also point out that the cinematography is simply brilliant. Transitions are masterfully crafted into a stunning visual experience. I expected this film to disappoint and it did; however, it was not quite the disaster I was anticipating.
The idea of EVP, Electronic Voice Phenomenon, has been around since about the 1970’s. The film’s use of the television is a new fictional wrinkle that obviously makes for more compelling drama. White Noise quickly leaves the arena of the EVP world and enters a mythos of its very own. It is this diversion that creates the biggest problems I have with the film. It seems Keaton sees not only dead folks but those soon to be dead. We are never given any explanation as to how this new development occurs. Normally that’s not a problem, but the film appears to go to great lengths to make sure we understand the principles of EVP, then fails us once the story ventures into new ground. The ending is a completely unsatisfying. I don’t need to be told everything, but would like to have more answers than questions when the credits roll. It seems three really bad dead guys are pissed off, but we never find out who they are or why they’re so angry.
