Posted in: Disc Reviews by Archive Authors on May 23rd, 2006
The basic plot to The Bourne Supremacy is very similar to The Bourne Identity in that Jason Bourne is still trying to evade any and all forces that seemingly will stop at nothing to kill this man. Naturally though, Bourne can’t just evade these forces in a normal manner, but he has to evade these forces using his explosive martial arts and wit. As we learned in Identity, Bourne had his memory wiped. To escape people, Bourne has traveled halfway across the world living on the beach of Goa in south...rn India. Everything is going fine for Bourne and his new girlfriend Marie until Bourne, who seems to notice every little detail, recognizes something he has never seen before driving a car he has never seen before turning up in all the wrong places at the wrong times. This prompts Bourne to realize that someone is after him again, which turns out to be definitely true.
As the movie continues onward, Bourne discovers that he is being pursued by new people named Pamela Landy (Joan Allen) and her boss Ward Abbott (Brian Cox). Both found Bourne’s fingerprints at the scene of a murder in Berlin involving a CIA agent and his high-level criminal contact. The only issue with this is that Bourne was in Goa at the time sitting on the beach. So the big question here who is trying to frame Bourne and, more importantly, why is someone trying to frame Bourne. This simple question leads Bourne through many locales while he tries to figure every little clue out.
Posted in: Disc Reviews by Archive Authors on May 15th, 2006
Synopsis
Her hands covered in blood, a distraught-beyond-coherence Julianne Moore wanders into a hospital with a story of being carjacked in a predominantly black housing project area. Detective Samuel L. Jackson, assigned to the case, learns from her that her young son is apparently still in the car. Given that her brother is a cop in the adjoining white area, all hell breaks loose and racial tensions threaten to send an explosive situation into terminal meltdown. But the question is whether there i... more to Moore’s story than there at first seems.
Posted in: Disc Reviews by Archive Authors on May 9th, 2006
Harrison Ford stars as Jack Stanfield, an online security chief for a mid-sized baking chain. One day, he is introduced to a new possible candidate in Bill Cox (Paul Bettany). We learn this turns out to be a setup. Cox and his men are holding Stanfield's wife (Virginia Madsen) and their two children hostage. In return, Cox demands that Stanfield hack into his bank's computers to transfer a fortune into Cox's offshore accounts.
Firewall, in whole, contains a smart plot, one that makes you think. The ...asic plot, however, is nothing new. The plot has been updated with newer technology, such as an iPod containing everything Stanfield needs to get into his bank. It seems a bit odd that a small little device like an iPod could hold this much data. The bigger question is if a film like this needs events that are plausible in order to make a shred of sense. Fortunately though, mostly due to how entertaining Ford is to watch, the film holds its own and doesn't necessarily conclude in an odd manner.
Posted in: Disc Reviews by Archive Authors on May 8th, 2006
First off, let me say what a great idea it was to remake this film. The original has enjoyed elevated status far too long based only on an intense 23-minute opening sequence. And as good as that opening piece of suspense is, the same exact premise punctuates Bob Clark’s earlier 1974 masterpiece Black Christmas – so even what When a Stranger Calls does well owes a debt of gratitude to an overall better film. Still, I’ll give the Devil his due – knock-off or not, that sequence stands as an effective, inte...se short film, which carries the baggage of an additional three-quarters worth of movie, poorly executed with a wandering eye from character-to-character that spoils the memories of what was done right in the first place. With that said, let me now state what a missed opportunity this remake is. It fails to an equal extent, but does so in different ways. Director Simon West decides to set his redo in one night using a plot twist, whose shock value has had nearly thirty years to dissipate. Most know simply by watching the previews on TV what the big reveal is going to be, and that advanced knowledge causes the audience to sit through half the film twiddling thumbs. The suspense scenes at the end are well-shot, but largely uninspired… there is simply nothing visceral about this polished piece of lightweight teeny-bopper horror, and the premise itself is spread too thin across the 87-minute running time.
Now I’m going to do something unprecedented. I am going to beg Sony Pictures to remake this film again, and I am even going to give them a way they can do it, make big bucks, and a suspenseful classic (which both incarnations should have been to begin with) at the same time… and I’m going to go on record out of my love for the idea with no vain hopes they’ll see fit to compensate me for the time and trouble. This is a freebie, Sony… take note! The next time you remake this film, use the structure of the original. Act one – the “Oh no, the babysitter’s screwed” moment (also, kill the children). Act two – five-to-ten years later: only this time, instead of having the film float from character-to-character like it has ADD, stick with the girl. Set up her life elsewhere. Have her be someone the killer selected for a reason. Have her as the object of his obsession. This way, it makes sense when he comes after her upon escaping years later. Her living in another location would also provide a plausible explanation for her not knowing this guy is on the loose. Then, make the rest of the act about the killer slowly working his way back into her life, and perhaps even whittling away on the people close to her. Act three – he comes after her. This is where the heroine can really be seen for her strength. Give her something to lose (as the first one did) – perhaps even children, so the killer can break out his famous line one last time. Put her through hell and high water to reach the inevitable happy ending, continue to keep the killer a mystery (NOT like the original interpretation), go for the throat with an R-rating, and release to box office records. I say all this to prove a point: there’s a good film – no, a great film – hiding in the original idea for this story. But while both versions currently out there have strong points, neither puts in the hard work to cultivate the material into something truly special. If you’re in the mood for something similar (that has more punch to it), stick with Black Christmas and the far superior sequel to the original When a Stranger Calls Back.
Posted in: Disc Reviews by Gino Sassani on April 19th, 2006
The only thing worse than films about filmmaking are artsy films about filmmaking. These are hazardous affairs at best. Don’t get me wrong; I thrive on a steady diet of behind the scenes features and film trade magazines. But a film in that vein can’t help but become pretentious. Enter I Love Your Work. It’s very hard to tell when Adam Goldberg is trying to be serious and when he’s aiming for satire. I hope it was mostly the latter.
Just because you’re paranoid doesn’t mean they’re not really out to g...t you. Gray Evans (Ribisi) is one of those quick-rising stars. He’s obviously more in love with himself than his legions of adoring fans. His self-loving world, however, is turned upside down when it appears he is being stalked by a crazy fan. The film allows for the chance this is all in his head, and there’s the fatal flaw. Much of this film appears to occur in Gray’s head, and it’s not a terribly exciting place to hang out. In a predictable spin, the couple he thinks might be stalking him reminds him of an earlier relationship before he was a big star. Now it seems Gray is the real stalker. The film is all style and absolutely no substance. At one point in the film Gray is watching snow on his television. I knew I was in trouble when I started to know exactly how he felt just then. This is also the kind of indy film where many of the actors are the filmmaker’s friends. Goldberg takes some pride in this point. The end result is watching sub par actors pretending to be actors who are pretending to be actors. Make it stop. Cameos by Vince Vaughn and Elvis Costello can’t even save this mess.
Posted in: Disc Reviews by David Annandale on March 28th, 2006
Synopsis
Clive Owen is a man approaching the end of his tether. His marriage is becoming stagnant, his job at an advertising firm is no better, and he is worried about his daughter, who has type 1 diabetes. He and his wife have set aside a lot of money to pay for an experimental drug for her. One day, on a train, he meets Jennifer Aniston. A friendship is sparked, and then an affair begins, only to be violently disrupted by Vincent Cassel. He brutalizes both, and begins to blackmail Owen for ever-inc...easing sums of money.
Posted in: Disc Reviews by Gino Sassani on March 28th, 2006
Sliver is a sexy thriller that is neither sexy or at all thrilling. Filmed in the wake of the hugely successful Basic Instinct, Sliver has all of the elements but none of the passion. Call it Basic Instinct lite. Less filling without the great taste. Sharon Stone sleepwalks through her role of Carly. Carly works at a publishing house and has recently moved into one of New York’s plush apartment buildings. She was trying to ride her Basic Instinct wave here, but the truth is she has never really lived up to the pote...tial. William Baldwin tries at least a little harder as Zeke, who happens to own the building where tenants seem to end up dead, particularly young attractive women. Zeke loves to watch the private moments in his tenants’ lives. He is likely intended to represent the audience. Filling out the cast is Tom Berrenger as Alex, a self-absorbed writer who is obsessed with Carly. Martin Landau is underused as the fatherly owner of Carly’s company. Red herrings abound. Twists are nothing more than cheap thrills.
This “unrated” version promises scenes too hot for theatres. All you really get is a little more moaning from Sharon Stone and not anything remotely steamy. The final product is a film that will leave you unsatisfied whatever your intention going in. The new scenes serve simply to slow down an already hopelessly bogged down premise.
Posted in: Disc Reviews by Archive Authors on March 19th, 2006
The genre of Thrillers and Suspense are usually categorized by types of films that the viewer watches and then wonders what they just watched. Films like Memento and The Machinist are prime examples of this. Both films, after many viewings, are excellent films solely because they require that the viewer think of each scene with careful scrutiny making note of each and everything on the screen. Both films end with the type of ending that doesn’t necessarily satisfy on the first viewing, but ultimately sa...isfies after many viewings. Add the film Stay to this list of films.
Henry Lethem (Ryan Gosling) is an art student at a university who plays to kill himself in three days, that is unless his psychiatrist Sam Foster (Ewan McGregor) can figure him out to stop his plan. Foster soon learns that Lethem is starting to hear voices, voices that are telling him to do things. But the enjoyment for Foster doesn’t end here as Lethem starts experiencing horrifying visions of pain. Lethem seems to be able to see the future at least as he knows everything that is going to occur a bit before it does. When Foster asks if they’ll meet again when Lethem informs him that he’ll kill himself, he declares “Yeah, there’s still three more days’. While the concept of seeing into the future before your ‘death’ is nothing new, I always find it to be interesting how every movie plays this angle out.
Posted in: Disc Reviews by David Annandale on March 14th, 2006
Synopsis
In his film debut, Sidney Poitier is a newly minted doctor at a downtown hospital. Two patients arrive in the prison ward, shot in the leg by police. One is Richard Widmark, frothing racist. The other is his brother, who dies under Poitier’s care, not from the wound, but from a terminal brain tumour. Widmark blames Poitier, and sets about inflaming racial hatred in his quest to destroy Poitier.
Posted in: Disc Reviews by David Annandale on March 14th, 2006
Synopsis
Nigel has fled England and is living a loser existence in Copenhagen with a junkie girlfriend he doesn’t love anymore. Desperate for money, he takes on a job from a gangster known as the President. All he has to do is stash some stolen goods until they can be moved. But he begins an affair with Tanya, a prostitute also in the grip of the President, and, in true film noir fashion, he makes some stupid decisions and events spiral violently out of control.
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