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Olympus Has Fallen (2013) Review

Original review posted on IMDB, here.

If you’re looking for an action film straight out of the 90’s but stuck in the present day, you’ll arrive at Olympus Has Fallen. We’re initially led to believe that this might offer a story of personal redemption, when it’s in fact a rudimentary action flick with little purpose beyond entertaining the regular American viewer.

There’s nothing wrong with offering a film such as this, so long as its entertaining. And, thankfully, Olympus Has Fallen offers enough enjoyable and compelling moments to keep its viewers watching with some degree of interest. No, the characters are not compelling and far from fully developed, and that’s not necessarily the point. The point here is to keep the audience entertained and occupied, which is done sufficiently, if in an inconsistently effective manner.

Gerard Butler does what he has to, being the fairly routine action hero a la John McClane, which is a bit of a shame since the opening act alludes to so much more. But by the second half, just about all potential for actual exploration is cast aside. Aaron Eckhart is a likable actor in all of his performances, even in one as underplayed as this. There’s also a potentially strong predicament foreshadowed early on that could’ve been utilized to give the film a great edge, but it’s ultimately abandoned for the routine action movie wrap-up. Meanwhile, everyone’s favorite key player, Morgan Freeman, really seems bored in each scene, as if he’s only there to occupy the cameraman’s attention.

As you can probably guess, both the plot and characters are thin, with only implied potential separating the key players from even more routine movies (which isn’t saying much). The action and tension are where Olympus Has Fallen is left to shine, which it does during the time is plays. Looking back, however, it’s far easier to pick the movie apart. You’ll be entertained while watching it, but left banging your head shortly after leaving the theater.

Given the lackluster stream of movies released so far this year, Olympus Has Fallen is able to make enough room for itself. Taken into account with other action films, however, there’s little (if anything) to truly make it stand out. There’s a sense of identity crisis here, as the film is more or less lost in another time period and suggests more than it delivers. For my money, it’s decent popcorn entertainment, but not much else.

 
 

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A Look Back: 2012 in Film (Part II)

Ruby Sparks

There’s an odd connection between actual aspiring writers and movies centered on writers that’s tough to pinpoint.  Ruby Sparks is like a vision coming into physical reality for writers, with a character transforming into something anyone else can see, touch and feel.  The initial promise of such a premise is taken in the directions you’d expect, before taking some surprisingly dark turns.  But fellow fictional writers will know that sometimes to truly understand your characters, you’ll have to put them through the worst possible hell.  It is, to borrow from another certain 2012 release, “a necessary evil.”  Ruby Sparks is, at the very least, compelling and leaves a relatively strong impression.  Things do end up a little to conveniently resolved, but given the road taken, such an ending can feel all the more rewarding.

The Expendables 2

Times at the cinema would be so much better if films like The Expendables 2 were easier to pick out.  Like its predecessor, this is a perfect break and escape from reality.  No, the film isn’t fantastical, but it’s a hell of a great time, suspending you amidst ridiculous action and one-linters.  While other cheap, campy B-grade action movies do little but bore, The Expendables 2 entertains and entertains and entertains.  There’s little serious merit here, but the fact you have so fun watching it the first time around makes everything else irrelevant.

Lawless

Lawless didn’t fear showing a generally grisly side to Prohibition-era America, which is showcased in a scene that makes me queasy upon the slightest recollection.  There are a number of ways to generically label Lawless, ranging from Tom Hardy’s Post-Bane Role to Wait, Shia LaBeouf Has Acting Capabilities?  Being one of the few non-haters of the latter actor, even I think he’s outclassed and generally unfit for such a role.  Thankfully, he’s not misplaced to the point of say, Josh Hutcherson in The Hunger Games, while every other performance from Tom Hardy to Jessica Chastain and Guy Pearce is spot-on.  It’s just a shame we only get two scenes with Gary Oldman, who completely owns both and shows us a side to Jim Gordon we might’ve forgotten after The Dark Knight Rises.

The Perks of Being a Wallflower

It’s not every day–or even every year–I can call a film truly resonant with how I generally feel, but The Perks of Being a Wallflower managed to be such a film.  Shame it was a bit of a sleeper, though.  This is a film equally earnest and honest, working better than it probably should thanks to how relatable and irresistible the characters are.  Even Paul Rudd, amounting to a simply sympathetic teacher, manages to bring us into the film more because his scenes with Logan Lerman work so well.  Sometimes comedic, other times seriously dramatic, but always enthralling, The Perks of Being a Wallflower more than earns a personal favorite mark from yours truly.

Looper

Looper was definitely one of the more highly touted films of 2012.  Many people seemed to think it would be the next “it” thing for science fiction action thrillers, with big comparisons being made to Inception.  The film met with almost universal acclaim but seems to have become little more than a dud on the windshield.  While this is a bit of a shame, the film does have, at its core, some very potential shortcomings.  To be fair, like Philip K. Dick’s works, most of these issues stem from the film’s deliberate approach to pose ideas without completely fleshing them out.  It becomes a bit of a backdrop to the story, rather than a consistently integral part.  Some say this works to the film’s strength, I say this is a story that belongs in novel form rather than on the big screen.  Don’t get me wrong, Looper is a very solid film in its own regards, it’s just many of the paths taken are unexpected in a way that necessarily fit.  For much of the second half I forgot we were in the future, or even an alternate reality.  This isn’t a movie you watch for spectacle or visions of another world, it’s a movie you watch for its surprisingly down-to-earth story with alternating thrills and drama.

Argo

In my original review of Argo, I mentioned that while a good piece of filmmaking, it’s not one I’d have honored with several Oscar nominations.  It seems the Academy felt surprisingly similar notions, except they got a couple things mixed up.  Give Ben Affleck the Best Director nom and possibly retract its Best Picture nomination, along with Alan Arkin, despite being one of the best parts of the film.  But I digress.  Argo had a lot to live up to in my books since I’m a huge fan of The Town.  Ben Affleck has a thing about surprising many of us, which is very welcoming.  For a film with so many characters and a rather forgiving runtime, Argo feels surprisingly whole and complete.  Outside of Victor Garber, I think everyone was sufficiently developed.  The plot is expansive in some ways, but the actual story at-hand is very focused.  Not to mention we get possibly the more intense final act of any film from 2012 in Argo, which isn’t in, how do you say, a bang-bang boom-boom kind of way.  Far from my top pick of the year, but definitely one of the most well made releases.

Skyfall

I can already hear the boos coming on this one: I’m not a James Bond fan.  The whole spy movie genre is a bit elusive to me, but I can set things aside to enjoy them if I so desire.  Daniel Craig’s first outing as 007 in Casino Royale does hold up as what you could call a good movie that just happened to be associated with James Bond.  Quantum of Solace, on the other hand, was about as solid as the T-1000 at the end of Terminator 2.  Thankfully, Skyfall brought integrity back and offered a few eye-catching surprises along the way.  This is still very much a Bond film with some hard-boiled action/thriller elements pushing their way in for the final act.  Skyfall doesn’t transcend or turn its back on its faith, which means fans of the series will still get the most out of it.

Flight

I’m trying to remember if Denzel Washington has ever given a subpar performance, much less been in a bad film.  He’s able to easily outclass the best actors Hollywood has to offer and, go figure, his only Academy Award isn’t for one of his top-notch performances.  We can now add Flight to his almost intimidating resume, in which his character goes through so much in its accurate portrayal that it could be labeled synonymous with gripping tragedy.  Without giving anything away, the ending is a bit of a buzzkill and makes what comes off as a long, hard journey abruptly hit some sort of a roundabout.  Still, even for such a good year, you’re not going find many films with a lead performances that commands and demands as much Denzel does here.

Wreck-It Ralph

I can remember seeing the trailers for Wreck-It Ralph and thinking “whatever, just get Pixar out of their slump already!”  Then the film’s style brought comparisons to Scott Pilgrim vs. the World and I suddenly grew intrigued.  Said film is among my favorites and one that I enjoy even more with subsequent viewings.  I can’t see Wreck-It Ralph achieving the same effect, but it was surprisingly fun, enjoyable and one I’d be all for seeing again and again.

Lincoln

We had quite a few Oscar bait films this year and Lincoln shamelessly abides the criteria.  If there’s any surprise we’re thrown it’s the amount of comedy, usually courtesy of Tommy Lee Jones.  Obviously an actor like Daniel Day Lewis brings the iconic personality we think of when we imagine Lincoln, though it can definitely become overbearing.  I must reiterate that this performance is literally 50% elaborate storytelling.  No, this is hardly a deal-breaker and, in the hands of Steven Spielberg, we have a nicely handled and borderline immaculate film.  The only downside is it isn’t the year’s most compelling release since it takes about as much chances as I do with the ladies.

Silving Linings Playbook

This is the movie that actually drove me to travel nearly an hour away just to see what the hype was about.  I’m a bit of a sucker for rom-com/dramedies since, when handled well, they strike me like few others.  Two hours of watching and cumulative driving later and I can easily say that it was a wait and trip well spent.  Silver Linings Playbook hits the dysfunctional character note like so few movies and the results are pure bliss.  Comedy and drama run equally high and effectively with no weak links.  Silver Linings Playbook is tough to describe and justify, but if I had to sum it up, I’d say go see the movie and experience it yourself.  Even if it doesn’t crack your top movies of the year, it’s guaranteed to be among the most entertaining and rewarding.

Life of Pi

A scene from Life of Pi showed before a screening of Prometheus and my reaction was, to quote my friend, “so confused.”  That scene was literally all I caught of the film before deciding to eventually see a 3D screening.  I always feel uneasy when thinking Ang Lee since I just can’t separate that name from 2003’s Hulk, a film that continues to leave a repugnant taste in my mouth.  But rest assured, Life of Pi is no Hulk.  Life of Pi is one of the most beautiful, fascinating, well directed and edited films of 2012, bringing an odd story to light that keeps us riveted, regardless of whatever crazy direction it might take.  One pleasant surprise is the ending, which avoids the happy Hollywood archetype but doesn’t take the slummy road either.  Simply put, Life of Pi is a wondrous piece of work and a movie I can’t wait to experience again from the moment it comes out on Blu-ray.

Killing Them Softly

I had my eye on Killing Them Softly for a few months, though shortly after I saw the summertime trailer it drifted off and became but a distant memory.  It’s fitting then, that the film itself will likely suffer the same fate as its previews.  Killing Them Softly certainly isn’t a bad film, it’s just a bit of a drag and feels too incomplete for its own good.  This is really a film that I thought was good for killing time, it’s just I wish it had been done with a better, more investible and worthwhile piece.

The Hobbit: An Unexpected Journey

The whole idea of splitting film adaptations into multiple releases is just weird.  Monetary reasons aside, it kind of defeats the point of having an adaptation in the first place.  Typically a film adaptation is used to give us the short, sweet and entertaining version of a story.  If we’re lucky, we’ll occasionally get some good twists, but it’s often just the motion picture equivalent to spark notes.  So the fact we’re getting nearly 10 hours for a book that’s less than 400 pages is really just overkill.  Now, taken in its own regards, The Hobbit: An Unexpected Journey is a conflicted and inconsistent film.  It’s tough for me to tell whether the film wants to be a comedy or fantasy drama.  Even during its most serious moments, I kept thinking “is anyone on our side going do die?”  Granted, that’s probably the way the book is, but it cut back on the sense of urgency that The Lord of the Rings had.  That, I think, is a key reason this semi-adaptation of The Hobbit falters, in spite of retaining some laughs, entertainment and occasional majesty.

Django Unchained

Tarantino is a very inconsistent director with me.  I liked but didn’t care much for Reservoir Dogs; Pulp Fiction is, as we all know, a classic; Inglourious Basterds did what I thought no Tarantino movie would do in boring me; and Kill Bill just never appealed to me, hence why I haven’t bothered with them.  While I figured I’d enjoy Django Unchained based on the trailers, I was completely unprepared for the unrivaled level of entertainment I got out of it.  If Django Unchained is simply entertaining, then Silver Linings Playbook is a snorefest.  Now, if we break the film apart there are points that can be criticized, but there’s so much fun and enjoyment to be had that any shortcomings quickly become irrelevant.  A true crowd pleaser, Django Unchained can definitely earn more than a couple wholesome theatrical viewings.

Les Miserables

And finally we have 2012’s last impression according to release date (and alphabetical order): Les Miserables.  I’ve gone on to call Les Miserables the most frustrating film of 2012 because of how much I wanted to enjoy and be soaked into its story, only to be let down at almost every corner.  Detachment, spontaneity and weariness are how I’d describe the adaptation we’re afforded, which only accomplishes the visual class of Hooper’s previous effort, The King’s Speech.  I’d want to give the film another chance down the line, but one sitting was laborious enough.

 
 

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Argo (2012) Review

The common verdict seems to be that Ben Affleck is now three-for-three with his directorial efforts.  Though I can’t speak for Gone Baby Gone, The Town is definitely one of my top picks from 2010 and a personal favorite.  Now imagine my excitement when Blu-ray.com, a website every bit as informative as they are off in their verdicts of new releases, gave the film a perfect 10.  Between that and some equally impressed reviews from other everyday reviewers I (don’t) know and trust and we have an excited little boy biking to his local theater.

Argo sets the stage with a brief but encompassing introduction so you’re not totally lost when going in.  I say this because, like so many other Oscar-hyped films, I was probably the only person in my theater under 60 years of age.  You have any idea how awkward and alienating it is to be the 22 year-old in that situation?  It’s weird as hell.

After our informal introduction things kick into gear with protesting in the streets which essentially leads to six people hiding in Iran with a Canadian.  And South Park would have you believe Canada have done nothing important; Matt and Trey might need a new history book for an upcoming apology episode.  Cut to America and we have Ben Affleck playing Tony Mendez, who gets the brilliant bad idea to make a fake movie so the six escapees can, well, escape.  Again.

This is a movie that almost comes off like you need to pay more attention to it than is necessary.  The film is fundamentally a suspense thriller with the occasional political and social commentary.  But if that’s not your thing PLEASE don’t be turned off, because these are more supplementary to the plot at-hand.  To that degree this is a very solid film, one that knows when to step outside of the story and when to return.  Tension rides high, much like The Town, and the climax definitely keeps you on-edge.  Characters are also detailed to just the right degree which, given the two-hour runtime, is saying quite a lot when you have almost a dozen people to follow.  The real standouts, however, are Ben Affleck and the irresistibly entertaining Alan Arkin, who almost feels like stark contrasts of each other.

Now there has been A LOT of Oscar hype behind this movie with critical acclaim to boot.  As you can tell, I’m definitely in the fan crowd for this movie.  But as far as being the best movie of the year I have to raise up my hands and say “whoa, let’s back up for a moment.”  Argo is definitely another strong offering for 2012 and proof that this has been a fantastic year for film, but I wouldn’t say it’s contending for my Top Film spot of 2012.  Heck, I wouldn’t even place it on-par with The Town.  Like I said, this is solid, satisfying entertainment in the way a more or less gritty suspense film should be.  Definitely well made and a Best Director nomination should at least be a guarantee here.  Just don’t expect this to crack my Top 5 of the year if the movies I still haven’t seen are as good as I expect.

 
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Posted by on October 17, 2012 in Blog, Film, Film Review, Movie Review, Movies, Review

 

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Looper Review

If you’re looking for convention and routine, Looper isn’t going to be your most fulfilling catch.  Here we have a film that incorporates time travel but doesn’t go balls out with showing off technology or advances.  Normally the two go hand-in-hand, but we’re shown stuff that’s as subtle as it is familiar, aesthetically.  The focus instead rests on the story and characters, one of which is normally compromised for the other in other sci-fi films.  But since we have less blunt distractions in our way, the focus remains where many will argue it should be.

Speaking of the story, quite a bit goes on here and, without spoiling anything, let’s just say that ties and lines are twisted and strained.  We’re given a modest future, to say the least, where people from even later on are sent back to be killed and literally eliminated–no traces or fingerprints to find.  It’s a premise that will either fascinate or frustrate you (or both) the more you dig into it, which you can argue as being part of the fun here.

Actually, that might be the only fun you’ll get, as the film doesn’t tread lightly.  Save two or three chuckles, you’re really left with a serious face during the film’s runtime.  Thankfully, this is an engaging watch with hardly a slow or dragging moment.  That said, there were points I was saying to myself “man, I wish this movie was a lot longer so we could get and see more.”  On one hand it’s great that I’m being sucked in, but on the other I feel like since more sci-fi films stretch well past the 2 hour mark, why not Looper?

This is also to say that you shouldn’t expect a building climax that builds to epic proportions.  Looper is, at its core, a fairly personal story that brings several characters into play, but doesn’t show or build things to a grand, awe-inspiring scale.  Think of it like The Terminator with less indication of the war in the future.

Shape and spectacle are not what you should look for in Looper; but instead thought and personal investment.  The idea and premise is less original and more innovative, but it’s nice to get a little something different.  And with a year already full of solid films, it should have no problem fitting comfortably on most viewer’s top releases of the year.

 
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Posted by on September 28, 2012 in Blog, Film, Film Review, Movie Review, Movies, Review

 

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The Dark Knight Rises: Full, Spoiler-Free Review

Christopher Nolan’s Batman films are among the few you can get away with coming to a verdict on before even seeing.  The big reason is that, regardless of what we’re given, it’s going to be quality work.  At this point it’s, well, pointless to talk about Batman Begins and The Dark Knight since they both live up to said pedigree.  And just like the initial skepticisms for those two films, concerns are beyond cast aside in The Dark Knight Rises.

Not many films get the idea of effective marketing, but The Dark Knight Rises really has it down.  The trailers often showed similar footage and, beyond the limited release of the prologue, all we had to work with were fragments.  As such, this is less a movie to spoil and more one to discuss in limited detail.

The film is set eight years after The Dark Knight, with Gotham’s criminal activity apparently at an all-time low.  During that time, the city has thrived off of a lie which has taken its toll on those who know the truth.  Much of the film’s first half reacquaints us with just what consequences have followed, which is played off as the more immediate threat ensues.

Enter Bane, who we all know from the trailers as the man who’ll become “Gotham’s reckoning.”  In a recent behind-the-scenes video, actor Tom Hardy said “The Joker wanted to watch the world burn.  Bane’s here to pull the pin on the grenade.”  There’s really no other way to say it, as Bane is pretty much the embodiment of a Batman villain in the form of a terrorist.  It gets to the point that you almost forget this is based on a graphic novel.  That is, until one or two tiny parts creep up and remind you that nothing is quite off limits, even under Nolan’s direction.  The presence and role Bane has is infrequent but significant.  It’s just a shame that his lines are still tough to make out, despite addressing the concerns of many fans (including myself).  Eventually it comes down to actions speaking louder than words, but it’s still tough to get a first impression when much of what you hear sounds like sheer distortion, bass and accent.

The villains from the Dark Knight films have been perhaps the most memorable.  And while Bane does more than enough to leave an impression (or two), we thankfully get a bit more of our heroes a la Batman Begins.  Superb as The Dark Knight was, the film was really about the Joker; his show-stealing scenes almost took away from our actual hero.  Not so much the case here.  Christian Bale puts on his best performance as Bruce Wayne and Batman, with the rest of the main cast matching his commitment.  In fact, while we’re on that subject, Michael Caine deserves an Oscar nomination for his performance.  He has hardly three or four scenes, but those moments really count and stick with you.

It’s a good thing we have these characters to enjoy and invest ourselves in, because without them, the story would definitely cripple.  Plot points almost come off like small details at first, but quickly play bigger and even pivotal roles.  To the more indifferent viewer, these are bound to be potential problems, but to the film’s credit, it’s at least trying to take itself and its audience seriously.  If you can’t get the entire picture, you’ll at least get the gist of things.

What The Dark Knight Rises manages to be, more than anything, is an effective concoction.  For a while it brews and swells with set ups and potential before utilizing the last hour to build the intensity with more than a few gripping, boiling points.  It leaves you panting, losing breath but still wanting to be subjected.  The universe is deeply grounded with characters pulling you in while the action and tension leave you immobilized.  It’s a fine, worthy conclusion that shows it’s less about matching or outdoing its predecessors, but more about ending the series on a proper note.

 
 

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Quote Review: Inception (2010)

“You mustn’t be afraid to dream a little bigger, darling.”

The very least that can be said about Inception is that it’s one heck of a discussion spawner.  Nolan really offers us something to think and speculate, resulting in something that a less attentive viewer might not get at first, but remains fulfilling for multiple viewings.  We’re also given action sequences as they should be handled in that they’re gripping but don’t leave us wondering just what the heck is going on.  This is truly one of the best all-encompassing films you’ll find.

 
 

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Quote Review: The Devil’s Advocate (1997)

“Behold I send you out as sheep amidst the wolves.”

Part lawyer movie and part character study, The Devil’s Advocate is quick to let you know just what direction it’ll head but will keep you guessing what specifically will play out.  It’s also a fine piece to showcase the talent of its three key players.

 
 

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The Films of 2012 You Shouldn’t Ignore

Well before 2011 was over people were already claiming 2012 to be one of the best years for film.  After all, the only thing better than sequels, remakes and adaptations are above average sequels, remakes and adaptations.  But while films like The Hunger Games and The Avengers bask in the financial intake, there are a slew of movies being overshadowed.  Not that they need help to generate revenue, but those who want something a bit different from the publicized crop can venture a look.
Lawless

A Depression-era film starring shouter Shia LaBeouf might not be the best way to kick a list off, but films that deal with law-shrugging gangsters still seem to resonate with many people–and who can blame them?  Plus, we have The Road director John Hillcoat at the helm here with a cast that includes Tom Hardy, Guy Pearce and Gary Oldman, who make relatively good film choices.  And as an added bonus, we have Jessica Chastain filling in the pretty-face card.  The trailer certainly looks enticing and the film should be a good way to keep our attention between the summer and fall film slaughters of 2012.

Trailer:

Moonrise Kingdom

A few people are keeping their eyes open for this latest film by Wes Anderson, which got very positive reactions at the Cannes Film Festival.  After all, what’s not to like?  It’s a dramedy by a talented and acclaimed director, the premise and scenario is different, the cast includes Edward Norton, Bruce Willis, Bill Murray, Tilda Swinton and Harvey Keitel and–brace yourselves–it’s not adapted!  Between this and the trailer, which implies a perfect balance of charming and awkward comedy, there should be more anticipation for Moonrise Kingdom than Men In Black 3.  Of course, we all know the chances of that happening.

Trailer:

ParaNorman

Even with the misstep that was Cars 2, Pixar still appear to have quite a following lined up for Brave.  But what about the other animated movies?  Frankenweenie has been showing before literally every movie and, quite frankly, sounds more like a bad porno title than anything.  Then there’s ParaNorman, which has a very off-beat vibe based on the trailer…but that’s why it might be worthwhile.  There’s a bit of Tim Burton meets Nick Park here, except the former aspects should be handled well.  And if that turns out to be accurate, then we should have our second promising animated flick this year.

Trailer:

Red Lights

Most movies that deal with the paranormal are little more than campy, B-grade throw-outs, but here’s a movie that could prove to be a little different.  The cast is decent enough, which should help Cillian Murphy continue his slow climb of recognition; shame he’ll probably be as old as Christopher Plummer before becoming a household name.  That aside, Red Lights should work since it might take its audience seriously.  Granted, it’s unlikely this will be a game-changer (since Hollywood hardly know the definition), but the movie can at least raise the standards for its siblings to come.

Trailer:

Premium Rush

Okay, let’s be honest: the main reason people will see this movie is because of Joseph Gordon-Levitt.  The man seemed to become an overnight sensation and favorite thanks to 50/50, which isn’t difficult to reason.  Beyond that, this film looks to be a fairly by-the-numbers chase/action-thriller, but that’s just the point.  Everyone knows all the action movies they want to see this year, so hopefully Premium Rush will be a fun by-the-numbers film.  In fact, calling it Speed on a bicycle really doesn’t sound all that crazy after giving it some thought.

Trailer:

Gangster Squad

Oh look, another gangster/mafia film!  Except where Lawless may or may not look merely decent at this point, Gangster Squad could potentially bring us back to the former mafia glory of the 90’s.  Almost all of Ryan Gosling’s recent films have been acclaimed, critic-favorites Sean Penn and Nick Nolte are alongside him and, just for good measure, Josh Brolin, Giovanni Ribisi and Emma Stone have parts too.  Not everything about the film is promising, however; let’s be honest, the title is just silly and Ruben Fleischer is at the helm.  This would be fine, except a little number known as 30 Minutes or Less made his other effort, Zombieland, look like Resident Evil with Citizen Kane-like execution.  We’ll just have to hope Ruben has learned from his misstep, much like we’re hoping for Pixar’s redemption after a merely subpar sequel.

Trailer:

The Words

What is it with the sudden surge of movies about writers?  Ghost Writer, Being Flynn, Ruby Sparks and this: The Words.  Though Bradley Cooper did stretch his acting wings in Limitless, this just might make him a card worth taking seriously.  Based on the trailer, it almost looks like the movie wants to shoot for some sort of Academy recognition.  Now, we shouldn’t get ahead of ourselves, but the film does look promising.  Drama, some light-hearted humor and, more than likely, a typical Hollywood ending, should make this a modest hit with casual critics–if such thing exists.

Trailer:

Looper

Hey look, it’s Back to the Future meets Inception!  There’s a good chance people have noticed the poster for this movie, but don’t know anything about it.  Audiences seem to enjoy the movies that do away with some laws of logic while keeping others, and Looper is looking to fit the bill wonderfully.  Just don’t expect it to be nearly as huge as either of the aforementioned films, since it’s clear this is more an adrenaline fix than food for thought.

Trailer:

 
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Posted by on May 22, 2012 in Film, Movies

 

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Quote Review: Heat (1995)

“I say what I mean, and I do what I say.”

For a movie nearly 3 hours in length, Heat does a fine job keeping your interest from start to finish. While the plot does get muddled, its lead characters are really the key parts to the film, with both Pacino and De Niro being at the top of their game here. The personalities are great, it tugs at your alliances, the action scenes are tense and the experience is, overall, very fulfilling.

 
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Posted by on April 9, 2012 in Film Review, Movie Review

 

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Quote Review: Angel Heart (1987)

“Alas, how terrible is wisdom when it brings no profit to the wise, Johnny?”

Even the incredibly misplaced (though not miscast) Robert De Niro can’t save this drab, prolonged and completely predictable film. Instead of making for a curious amalgamation of genres, Angel Heart only proves to be tiresome and empty in its unimposing strives.

 
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Posted by on April 7, 2012 in Film Review, Movie Review

 

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