Posted in: Disc Reviews by Gino Sassani on June 2nd, 2011
"People do not give it credence that a young girl could leave home and go off in the wintertime to avenge her father's blood. But it did happen."
Just like the book that both this and the 1969 John Wayne film were taken from, the film opens with the sad story of a young girl who has come to Fort Smith to see that justice is done for her father. The words were written by Charlie Portis, a journalist who went on to write a truly great American novel: True Grit.
Posted in: Disc Reviews by Archive Authors on June 2nd, 2011
There are a good number of people who have labeled Oliver Stone as a fan of conspiracy theories, out to destroy foundations of conservative ideology, while at the same time re-visiting 60’s nostalgic icons. Despite the jokes and the stereotyping, one has to admit that, as a filmmaker, he has helped bring to screen some of the most talked-about cinematic experiences of our time, including Midnight Express, Scarface, not to mention Conan the Barbarian. As a director, his works, such as The Doors, Nixon, JFK and Natural Born Killers, have generated discussion both within and aside from the technical merits. Platoon was his most personal work, and is widely regarded as one of the defining films of the Vietnam War.
Platoon relates the experiences of Chris Taylor (Charlie Sheen, Major League), who, like Stone, dropped out of college, and volunteered to serve in Vietnam. His battles are everywhere, be it the enemy, with his surroundings, some of his fellow soldiers, or with his identity. He is thrown into a platoon with several characters, each with their own distinguishing characteristics. Sergeant Barnes (Tom Berenger, The Big Chill) is riddled with facial scars, a veteran of many skirmishes in country, perhaps to the point where emotions have dwindled, as he is left a hard-nosed leader. Sergeant Elias (Willem Dafoe, To Live and Die in L.A.) tries to forget the memories and experiences through drugs, but acts as a spiritual center, if one could find that within a war movie. Other actors in this cast include John C. McGinley (Scrubs), Forest Whitaker (Bird), and a very young Johnny Depp (Finding Neverland), among others. They encounter many things during the time there, including ambushes and firefights. They experience the loss of fellow platoon members, either via combat or by other reasons, either wounded or serving their full tour of duty in country. The story and characters are done so well, when watching the movie, their losses are our own. When Taylor leaves his platoon following an injury during combat, the closing shot of the movie is his sobbing on the floor of the chopper taking him out. You could say the sobbing is due to finally being out, or to the friends that he lost, but it is without question that his (and our) experiences leave him a totally different person that when he arrived.
Posted in: Disc Reviews by Gino Sassani on May 31st, 2011
"What I do requires a certain mindset. I do assignments, designated targets. Some jobs need to look like accidents. Others must cast suspicion on someone else. A select few need to send a clear message. Pulling a trigger is easy. The best jobs are the ones nobody even knows you were there."
Arthur Bishop (Stratham) is an accomplished mechanic. But you don't want to bring your Toyota to him, unless you intend to use the car to get rid of a pesky spouse. You see, he's the kind of mechanic that fixes a different kind of problem. He removes unwanted people from your life. That's the basic set-up for this Simon West remake of the 1972 film that starred Charles Bronson as Bishop. That movie is a kind of classic, at least to Bronson fans. It's noted for a rather unique beginning where there is no dialog for the first 15 minutes of the movie. No such effect here. What you will find is an action-packed film to watch with the guys while you send the ladies off to watch the latest romantic comedy.
Posted in: Disc Reviews by Bob Ross on May 31st, 2011
Imagine that ‘40s tough-guy detective Philip Marlowe tangled with a billionaire mad scientist, along with the usual quota of thugs, strippers and sarcastic cops. Now suppose that writer Erik Jendresen and director Tony Krantz decided – perhaps over a meal of magic mushrooms and moonshine – to hire a fancy-pants cinematographer, rewrite author Raymond Chandler, and offer up what they obviously hoped would make them film-noir Fellinis for the new century. That would be the apparent cultural intent of The Big Bang, a vividly photographed but otherwise inarticulate effort that offers in-jokes and stylistic novelties that might entertain trivia nuts seeking obscure references, but will otherwise addle anyone seeking coherence or consistency.
Let’s start with the obvious nods to author Chandler. The title reminds us of The Big Sleep, a Marlowe favorite. And the plot kicks off with a direct swipe from another Marlowe mystery, Farewell, My Lovely (also made under the title Murder, My Sweet). In each instance, a hulking goon barges in on our unsuspecting hero – played here by Antonio Banderas as a relatively prim gumshoe named Ned Cruz. The lovelorn lug needs to find his long-lost girlfriend, who promised to stay faithful while he was in prison.
Posted in: Disc Reviews by Gino Sassani on May 31st, 2011
I remember when I first heard that Dead Man Walking was coming out. The first news was that it was a death penalty film that involved Tim Robbins, Sean Penn and Susan Sarandon. I was not very keen to see the movie at that time. All three of these actors are known for their over-the-top liberal antics, and I just knew this was going to be nothing but a rant against the death penalty in the United States. But you see, that's why you just have to watch the movie sometimes. I'm not sure why I ended up going to see the film, but I did. I was very surprised to find that while it certainly was anti-death penalty, the movie showed both sides and didn't hit you on the head with its morality.
The film was based on the autobiography of Sister Helen Prejean (Sarandon). She had been asked to provide some conversation and possibly a little comfort to a death row inmate who was reaching out to the church. She went to meet Matthew Poncelet (Penn) and ended up his spiritual advisor during his final days. She helped to organize a legal team headed by Hilton Barber (Prosky) and tried to get him to take responsibility for what he had done so that he could die with some dignity. Along the way she was shaken by encounters with the parents of the couple that was brutally murdered by Poncelet and his partner. Their pain causes conflicts within her, but she continues to fight for the condemned man.
Posted in: Disc Reviews by Gino Sassani on May 28th, 2011
"I don't remember if I started drinking because my wife left me or my wife left me because I started drinking."
Nicolas Cage has played quite an array of oddball characters in what has to be one of Hollywood's most eclectic careers. But whatever your favorite might be, this is the one that earned him an Oscar. The movie also earned Elisabeth Shue her only nomination for an Oscar. While those were not the only nominations for this cult favorite film, that's really where the money is. The film is a character study of two people on a downward spiral. The film was also nominated for two additional Oscars, but it is the acting that makes this movie somewhat exceptional.
Posted in: Disc Reviews by Gino Sassani on May 25th, 2011
"In the world's highest mountains are roads only the best can survive. It's a whole new challenge for the top ice road truckers. They're taking on the world's deadliest roads to prove there's no route they can't conquer, and no load they can't haul..."
The Ice Road Truckers are back, but it's not the haul roads of Canada or Alaska they'll be facing this time. They've been taken to India where they'll haul cargo across the Himalayan mountains in trucks of wooden cabins and a third the horsepower they're used to. And, the worse danger isn't even the sheer cliffs or unpredictable landslides. It's the other cars. If you think they drive like maniacs where you live, you haven't seen anything yet. One of the drivers will get into two accidents before he even gets to the mountain.
Posted in: Disc Reviews by Archive Authors on May 25th, 2011
I’m kicking myself. Martin Scorcese’s The Color of Money has long been a favorite of mine, but for some reason I never knew it was a sequel to The Hustler, a film 25 years older and three times better.
Starring a young Paul Newman (Road to Perdition) in a role that earned him his second Oscar nomination, The Hustler is about a cocky pool player hustling his way to the top. When “Fast Eddie” Felson (Newman) challenges undefeated straight-pool champ Minnesota Fats (Jackie Gleason,…Requiem for a Heavyweight) to a high stakes game, the talented young hustler shows he has the skills to be the best, but self-destructs toward the end of the 25-hour marathon match. Left near-penniless and without the managing partner who helped him get started in the seedy world of pool hustling, Eddie faces an uphill struggle to regain his confidence. Shacking up with smart, attractive and similarly self-destructive Sarah (Piper Laurie, Carrie) proves to be a decent diversion while Eddie wallows in misery, but while he uses her as a crutch, he becomes the cause of her destruction when he agrees to play for Bert Gordon (George C. Scott, Patton), a ruthless, greedy manager, and brings her along when they hit the road.
Posted in: Disc Reviews by Gino Sassani on May 21st, 2011
"Do you believe in Sin?"
The Exorcist was one of the most chilling films ever made. William Friedkin used subliminal images as well as those quite famous scenes of Linda Blair being taken over by Satan himself. Ever since that time filmmakers have been trying to cash in on the phenomenon. Exorcism movies have become almost a sub-genre in the horror field. There have been everything from no-budget to mega-budget attempts. There have been both sequels and prequels to the original film. Some of these efforts have been truly worthy films with effective moments and compelling plots and performances. None have come close to the original film. The Rite is another attempt to create a modern version of The Exorcist. It's not a bad film at all, but it's not even close.
Posted in: Disc Reviews by Gino Sassani on May 19th, 2011
"The heat is on..."
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