Posted in: Disc Reviews by Archive Authors on May 11th, 2006
Training Day stars Academy Award Winning Actor Denzel Washington in the role of Alonzo Harris. Harris, who is one of the meanest, baddest cops in the city of LA, is a person who cruises the streets in his customized Caddy. Harris, in one of the film's opening scenes, meets Jake Hoyt (Ethan Hawke), a young cop whose dream is to be promoted to the elite narc squad. Naturally, this is Jake's first day of training and he is thrown into the arms of Harris. Alonzo tries to show him the streets so he can understand e...erything. He has Jake smoke pot just because he can. In one interesting scene, possibly Alonzo being a tough ass to Jake, doesn't arrest two rapists like Jake wants to, but, instead, proceeds to beat the living crap out of them.
For Alonzo, acting the way he does is simply because this is the way Alonzo feels he should act. As he tells Jake in one scene "If you turn down gifts on the street, you'll be dead." Jake, who has just learned his pot has been laced with PCP, has just awoken to find out that he is now involved with a raid on a drug dealer's house. Alonzo continues to take Jake on these various trips, which all seem to be teaching Jake more and more about the type of cop Alonzo truly is. It makes me wonder if all LA cops are truly this evil, not necessarily as a poke at LA and the crime, but possibly a look into the corruption of the cop field in itself.
Posted in: Disc Reviews by Archive Authors on May 10th, 2006
If Only is a romantic drama, which too often goes for the cheapest emotional reaction out of its viewers, without incorporating logic or common sense into such decisions. Jennifer Love-Hewitt and Paul Nicholls star as a couple of young lovers, who represent the prototypical female and male, with very little surprises in their characterizations. In the beginning, we see Nicholls is a bit invested in his work, and, while adoring his singer-songwriter girlfriend, he instinctively keeps her and the rest of the wor...d at arm’s length. This distancing is due to a somber childhood, which involved a relationship with his alcoholic father that was filled with both admiration and disappointment. His father was his hero, but is now the case study Nicholls’ character uses for how NOT to live his life… due to the alcohol, of course. But as a result, Nicholls’ character tends to run from love, when it’s staring him in the face (and I mean that both figuratively and literally). Then, something huge happens that forces him to approach life from another perspective… his girlfriend dies in a car accident. The accident makes him realize just how much she meant to him… but it all comes too late.
Or does it?
Posted in: Disc Reviews by Archive Authors on May 7th, 2006
Goodfellas tells the story of Henry Hill (Narc’s Ray Liotta), an Irish-Italian kid whose only ambition, it seems, is to be a type of wise-guy kid. In one of the first scenes with Hill we learn that “As far back as I can remember, I always wanted to be gangster.” This line here tends to set the emotion and mood for the whole film. Hill, as a kid at least, is your typical child who defies his parents, struggles to do well in school and wants to hang out with the older looking tough guys down the street. F...r Hill, gangsters were his Superman type hero; they could get anything they wanted including the best seats at the show, the best cars and they actually belonged to something.
As Hill becomes immersed in the Mob world, he starts to do little jobs. It isn’t until he meets Jimmy Conway (15 Minutes’ Robert De Niro) and Tommy DeVito (JFK’s Joe Pesci) that his life starts to change. We learn that Conway and DeVito are two of the most feared hit men in the entire Organization. If someone needed something done, odds are they approached one of these two men. Conway and DeVito teach Hill the basics of the mob world included a few life lessons all while they make it so evidently clear to Hill that they have no problem killing any man and neither should Hill.
Posted in: Disc Reviews by Archive Authors on April 29th, 2006
In the era we live in, the eventuality of a movie about war was going to come, whether or not we wanted to see the film. Since the war in Iraq is such a hot button topic with a majority of people, regardless if you were for the war or against the war, Universal thought this would be the perfect moment to capture our interest in war. Enter director Sam Mendes (American Beauty) and stars Jake Gyllenhaal (Brokeback Mountain) and Academy-Award winning Actor Jamie Foxx (Ray) and you know you have a m...vie that will pique the average person’s curiousity. But was Jarhead made too soon? Would people really want to see what our soliders are going through? Let’s find out shall we?
Jarhead is based on the 2003 memoirs of Anthony Swofford who is portrayed by Gyllenhaal. Swofford served in the first Gulf War. The film is obviously about a war, but what makes the film amazing is that it is a war film that rises way, way above the concept of a war to tell an intriguing story of exhaustion, boredom, lonliness, obession and drama.
Posted in: Disc Reviews by Gino Sassani on April 28th, 2006
This is another one of those films that is best suited for the international film festival crowd. I’m not sure, however, if even that group will get this one. Jennifer Van Dyck gives one of the silliest and most wooden performances I’ve ever seen as a woman suddenly constrained by normal life. Under the influence of a messed up play director, she is encouraged to experience life through other eyes. Her use of profanity, sleep deprivation, and depravity are just not interesting to observe. I’ve had bouts of sleep de...rivation, and trust me, it’s not the sense-stimulating experience she writes about. It plays out like a poor art film student’s work. Not to be taken seriously at all. It won’t likely even show up at the local video chains . “You ain’t missing nothing.”
Video
Posted in: Disc Reviews by Archive Authors on April 25th, 2006
Clint Eastwood’s film Million Dollar Baby tells the story of an aging fighter trainer named Frankie Dunn (Eastwood) who eventually decides to train a hillbilly girl (Swank) who thinks she can be a boxer. Dunn runs a gym in the Los Angeles area. One day a girl named Maggie Fitzgerald, from Missouri, approaches Dunn informing him that she has been working at a waitress job since the age of 13. She tells Dunn that boxing for her is the only way she can escape this type of job her life has thrown at her.
< ...>Dunn, naturally, doesn’t want to give this girl a chance because there is no way he will train a girl. Dunn’s former boxer Scrap (Morgan Freeman) convinces Dunn to give this girl a chance because she knew growing up that she would be nothing but trash if not given any chances. Scrap serves as the film’s narrator, similar to his role in The Shawshank Redemption. His voice is very flat and subdued usually putting no effect on what he is ever saying. He talks about how the girl walked into the gym, how she refused to ever leave and how Frankie decided to finally train her. Scrap, to some, may just serve as a person who tells us what is going on, but he is more. Scrap serves as an individual breathing life into his own when he is not focusing on Maggie or Frankie.
Posted in: Disc Reviews by Archive Authors on April 24th, 2006
Steven Spielberg has always been a surefire type of director to go to if you want a high quality film. I was first introduced to Spielberg’s work via his groundbreaking film Jaws. Since then, Spielberg has continued to churn out hit after hit from 1993’s Schindler’s List which was awarded a Best Picture Oscar to his most recent film 2005’s Munich. Both of these particular films have gained numerous political and critical praise for the messages and raw power they both contained via the film’s int...nse imagery and story. I’ve always viewed Schindler’s List as my favorite film simply because of the impact the film had on me. After watching Spielberg’s latest masterpiece Munich, I can now say that the film is high up on my list nearly dethroning Schindler’s List.
Munich opens with the 1972 events that took place at the Munich Olympics where terrorists took hostages and killed them for the simple goal of wanting peace for their homeland. The event is re-enacted in near heart-stopping moments due the raw silent scenery that Spielberg creates. We then move to a room where we meet Israeli Prime Minister Golda Meir (Lynn Cohen) sitting with her cabinet. She utters the line “Forget peace for now.” We learn that Meir has decided to establish a secret Israeli revenge squad. What’s the goal of this squad? Why simply to kill the men who were responsible for these heinous attacks. The question that was eventually raised, long after the events in the film, was why kill these men? Men who will simply be replaced by more and more powerful and intense men who will want to do even more harm.
Posted in: Disc Reviews by Gino Sassani on April 17th, 2006
Can good acting make a film? Quite often it can. Dirty is a prime example of a film ending up better than it deserves to be by the powerful performance of a few good actors. Amando Sancho (Collins, Jr.) is an ex-gang kid from the mean streets of L.A. He thinks his street smarts and credibility can be an asset on the police force. Unfortunately we will never know, because he is partnered with corrupt cop Salim Adel (Gooding, Jr.). Both appear to require abject lessons in morality and loyalty, lessons that come too...late to be of any true value.
To say this is a disturbing film is putting it quite mildly. If you are at all sensitive to racial epithets being thrown about in casual fashion, this is not a film you want to view. If the depiction of cops as basically all corrupt with a few good eggs is offensive, this film will offend. It is a tragedy that the entire force is portrayed in these negative terms. We get no indication that there’s a clean cop in the film. This film is not so much about doing what’s right or not. The real question here is what is right or wrong. This is a gritty, stark world that reminds us in many ways of Vic Mackey and the Shield’s hopeless universe. The stark difference is that Adel has no respect for anyone. There is no distinction between the good guys and the bad guys. Mackey, at least, appears to believe he’s doing good. Adel simply doesn’t care. On the other hand, Sancho is more swept up with events. He aware of the ghosts that this kind of a life creates. This “day in the life” tale is all about the lack of redemption. I found it to be a pessimistic, dim view of society. While some might claim that perhaps this is reality at its core, what value is a film that has no hope at all? What good is a morality tale if there is no moral? The film is entirely too self-indulgent and a waste of some fine actors.
Posted in: Disc Reviews by Archive Authors on April 12th, 2006
Cecil B. DeMille’s The Ten Commandments hits store shelves in a new three-disc special edition, just in time for the release of the new made-for-TV mini-series. While the film classic is no stranger to DVD, it has yet to be released with this kind of gusto. At over three-and-a-half hours long, the film is simply too much for one disc to hold. The first disc contains the first 140 minutes, while disc two finishes up with the last 80. Plus, as a bonus, we get the original 136-minute silent version (also a DeMill... picture) on disc three. Since the later version is the most famous – and the centerpiece of this release – I will treat the inclusion of the silent version as a bonus feature.
Unless you’ve been living under a pyramid for the last 5000 years, you’re probably familiar with the story. Moses (Charlton Heston) grows up in the Egyptian palaces as a brother to Ramses (Yul Brynner). He discovers his true heritage as a Hebrew and forsakes all the riches and comforts of his childhood for the harsh life of a Hebrew slave. After killing an abusive Egyptian overlord (Vincent Price) in defense of a fellow Hebrew, he flees into the wilderness for about thirty years, until God decides it’s time for Moses to deliver the Hebrews from their plight. At first reluctant, Moses embraces the task at hand, and boldly marches back to Egypt for the famous showdown with the man he once called “brother.” Of course, the film takes certain liberties with the source material, but not so much to fall beyond the realms of reason. Moses really did grow up as an Egyptian, or so historians tell us, and so he must have had some deep ties to that people. DeMille does a fine job of honoring the text, while parlaying it into a compelling story of a house divided.
Posted in: Disc Reviews by David Annandale on April 11th, 2006
Synopsis
Jack Nicholson is a journalist in Africa, fed up with his job and his life. When an acquaintance in an adjoining hotel room dies, Nicholson, struck by the other man’s physical resemblance to himself, switches identities, allowing everyone to believe that he is the one dead. But his new self doesn’t turn out quite to be the escape he had hoped for, as the man he has now become turns out to be an arms dealer.
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