Review in 100 Words – Safe House

Is Safe House is a safe bet this weekend? You’ve got some tried and true stars: Denzel Washington and Ryan Reynolds and a tried, (albeit tired) and true story line in the new and vibrant setting of South Africa. Sadly, the plot twists are completely predictable with a few “jump in your seat” moments. Denzel is playing the familiar flinty character he’s good at and Reynolds puts aside the jokes to be convincingly out of his depth. The cast rounds out with some great tough guy actors like Robert Patrick and Sam Sheppard. Beware – shaky cam abounds in this film.

Review in 100 Words – Sherlock Holmes – A Game of Shadows

If you liked the first Sherlock Holmes, you’re in luck. You’ll probably like its sequel since it’s more of the same, just on a grander scale; though this one takes its time getting to the point. Some liberties taken with historical events tend to stretch credibility. But given the spirit of the movie, it’s easier to simply hang on and enjoy the ride. Strangely it feels more like the conclusion to the series rather than second film. There is some impressive camera/editing/FX work during one exciting chase. Honestly, you can’t go too wrong with Holmes and Watson on the case.

Review in 100 Words – New Year’s Eve

Director Garry Marshall called in all his celebrity favors for his Valentine’s Day follow-up, New Year’s Eve. Despite the star power, the film barely raises above serviceable. The script is tired and so are some of the performances. Most of the LA based talent probably should have cut back on the bronzer before heading east. New Yorkers just aren’t that tan in January. There are some tender and wacky moments and its fun trying to guess who the next famous cameo will be. But after confetti is swept away, what remains is a disappointing “it should have been better” hangover.

Review in 100 Words – Happy Feet Two

Thankfully, Happy Feet Two is not a scene for scene rehash of the original and only the singing and dancing penguins is the same. Mumble is a dad now and he and his son Eric (plus their friends) must work together to save their community. Along the way there are plenty of good jokes, lots of action and fun songs. Robin Williams again offers hilarious moments as Ramon. New characters include Alecia “Pink” Moore as Mumbles mate, Gloria, impressively vocalizing most of the songs in the film. The funniest character is “The Mighty Sven”, the “flying” penguin played by Hank Azaria. Parents can be assured they will enjoy this film as much (if not more) than their kids.

Review – Immortals

Immortals, directed by Tarsem Singh, is not for the faint of heart. Plenty of blood-spurting action and tough one on one combat make no excuses when it comes to graphic depictions. It could be addicting, to say the least, if you love the type of action sequences as seen in the film 300 or love graphic novel films in general. Similar in its cinematic look and feel as 300, Immortals takes it a step further in 3D CGI graphics with epic tidal waves, cities built within cliffs, monumental dwellings, and earthly views from the heavens.

Based loosely on Greek mythology but with its own twists and turns, the story revolves around Theseus (Henry Cavill), a peasant bastard who becomes the hero and leads the army against King Hyperion (Mickey Rourke) and his legion of scarred, mask-wearing, sadistic warriors. Zeus (Luke Evans) and the Olympians view the carnage from above until there is no other choice but to intercede. King Hyperion, intent on obtaining the Bow of Epirus with its magical powers, maims and kills at his whim, yet he tries to bring Theseus to his side. Phaedra the Virgin Oracle (Freida Pinto) reveals to Theseus his destiny and brings him back to the source of the conflict.

A beautiful cast of gods, a goddess, creepy oracles, and hunky soldiers, Immortals lives up to its epic feel cinematically. Its action sequences are nonstop with thrilling suspense at every turn. This leaves little room for a dramatic storyline but its actors have done a decent job with their screen time. Henry Cavill plays his role stoically with heroic countenance, cementing his appeal in his future role as Superman. Luke Evans portrays Zeus as a strong yet compassionate father figure of the Olympians; even when he has to follow his own words you forgive him of his deed. Isabel Lucas as Athena, Kellan Lutz as Poseidon, and Daniel Sharman as Aries play the gold clad young beauties who dare to defy Zeus. Stephen Dorff as Stavros, Theseus’ player sidekick, gives the few moments of lightheartedness in an essentially dark film. Even Mickey Rourke becomes too involved in his role as a psycho sadistic king. Freida Pinto is sweetly sensuous as the Virgin Oracle and this role seems to be a turning point for her.

What makes this film amazing is the stunningly beautiful vision of its landscape, the superbly choreographed battle sequences, and its gorgeous stars. It’s art in motion and available in 3D, which doesn’t necessarily make much of a difference except for a brief period in the ending scene when things are flying at you. It is a film that needs to be seen on the big screen and in high definition. For graphic lovers, that means highly defined blood squirts, flying body parts, and kickass fighting. For manflesh lovers, that means seeing in contoured definition Henry Cavill, Luke Evans, and the rest shirtless and muscle bound in action. If a sequel is made the gods should get more screen exposure.

Review – Machine Gun Preacher

Sam Childers (Gerard Butler) just got out of prison and straight away he’s back into doing the same things he’s always done: drugging, boozing, and committing violent acts. This time, however, his wife has found religion and suddenly he finds inner turmoil. When he reaches a crisis, it is only then that he asks for help and he turns his life around.

Directed by Marc Forster (Monster’s Ball, Quantum of Solace), Machine Gun Preacher chronicles the true life of Sam Childers, a rehabilitated preacher turned savior for the orphaned children of East Africa. With a span of at least 30 years condensed into a little over 2-hour movie, screenwriter Jason Keller (of the untitled Snow White for 2012) managed to maintain a linear timeline even with the constant trips between the Sudan and Pennsylvania.

The story unravels in dual themes. While in Pennsylvania, Childers struggles to maintain his family life with his wife (Michelle Monaghan), daughter, and childhood friend (Michael Shannon) who is still plagued by drug addiction. He manages to create a business and build a church to support his family and his project of building the orphanage in the Sudan. In the Sudan, however, the more he goes the deeper he becomes involved in the fight for freedom and protection of the children of the region, the children orphaned or who have been tortured and abducted to serve as soldiers. It eventually overtakes him and he becomes estranged from his family.

While the film is a bit choppy in terms of scene flow, and you are never quite sure if there is rhyme and reason to all the chaos, the stabilizing and powerful force in the film is Gerard Butler. His passion and drive as Sam Childers bring out the empathy for the plight of the children and bring home the reality of their struggle. He expertly conveys the inner conflict brought on by having to witness the horrors of a war torn region and then coming home to a civilized society. When events become critical, you can feel his desperation and hopelessness, and then the renewal of faith.

Filmed in Africa, you feel the authenticity in the scenery and the people involved. There is enough gun battle and horrific scenes to portray the anguish without overpowering the story. The drawback to the film, however, is that it never manages to reach that climactic peak that the story builds up to, as if there is a final and ultimate resolution. Therein lies the paradox because in reality, the story continues and there is yet to be finality. The struggles of these children still exist and the political barriers that keep them from receiving help still stand.

Even if the film, as an attempt to show the world of this crisis in East Africa, disappoints by standard comparison, it should be taken almost as a documentary but mostly as an informational source to help these children and spread the word. If that isn’t enough reason, then the raw and genuine performance of Gerard Butler is worth the viewing.

Review in 100 Words – Moneyball

If you love sports movies about the underdog overcoming the odds, Moneyball is the next generation of storytelling. The talk-heavy script by Social Network scribe Aaron Sorkin and Steve Zaillian takes Michael Lewis’s book about the cash-poor Oakland A’s general manager Billy Beane (Brad Pitt) breaking from the decades old traditions of finding baseball talent for a more mathematical approach. Jonah Hill is the ivy-league egg-head with a radical idea and underused Philip Seymour Hoffman is the doubting team manager. For a movie about baseball, there isn’t much of it but the spirit of the game is there and entertaining.

Review in 100 Words – Killer Elite

Adrenaline-pumping, hardcore one-on-one action is why you go see a Jason Statham film, right? Well, his latest flick, Killer Elite, delivers on that promise and more. Based on an alleged true story, Statham plays a reluctant assassin forced to carry out orders to save his mentor (Robert De Niro) held captive. Clive Owen plays his nemesis who finds himself in an ultimate race to finish the job and win the prize. Hard-punching, nonstop suspense with car chases and testosterone, it still manages to pull heartstrings with Statham’s protectiveness with his girlfriend (Yvonne Strahovski). Statham and Owen’s fight scenes are deliciously masculine.

Review – Conan the Barbarian in 3-D

Enter the world of Conan the Barbarian in 3D and you find yourself among fire embers floating in the air in the opening sequence with digitalized scenery in the background giving it an animated feel. The rest of the film, however, lends itself more to comic book graphics, amazing stunts, and the powerful presence of Jason Momoa as Conan the Barbarian from Cimmeria.

Directed by Marcus Nispel (Texas Chainsaw Massacre, Pathfinder), this reboot of the 1982 version starring Arnold Schwarzenegger does a fantastic job portraying the barbaric environment in which the story unfolds. The bloodbath during battle sequences and specific moments are graphic, as in gushy blood splattering everywhere, beheadings, and shockingly violent acts. A more spectacular and somewhat creepy part of the film involves Conan battling sand warriors, reminiscent of the skeletons coming to life in Jason and the Argonauts.

Filmed in Bulgaria, the landscape was used to create distant lands and fantasy cities, the backdrop for the continent of Hyboria. However, amidst the modern technical effects and fantastic stunt coordination, some of the background scenery sometimes appear painted on rather than digitally inserted. Whether or not it was the technique used or if it was done on purpose, it seems a little off with the rest of the cinematography.

Despite the visual discontinuity, Jason Momoa as Conan maintains the momentum of the film with his powerful and meaningful presence. His eyes convey more than his actual words which are limited by the script, in keeping with the original grunt-like barbaric tongue as in the Schwarzenegger role. “I live, I love, I slay, and I am content” is the extent of his vocabulary and his character’s life. He treats women as harlots or warriors in battle, until he runs into Tamara and becomes perplexed. His wielding of the sword becomes his symbol of manhood and ultimate power. Traveling the continent of Hyboria to avenge the death of his father (Ron Perlman), he lithely and gorgeously moves through his battle scenes with force and agility.

The characters in the story also give dimension to the plot and visual aspect of the script. Rose McGowan, as Marique, gives a sinister performance as the psychotic sorceress daughter of the evil lord Khalar Zym (Stephen Lang from Avatar). With a Goth white face and dark eye shadow, she wears high barbaric fashion in tall red boots and semi-revealing outfits. In contrast, the virginal Tamara-with-the-long-name (Rachel Nichols, G.I. Joe) of pure ancient bloodline, is stuck wearing the white virginal sheet until, of course, she meets Conan. Saïd Taghmaoui (also from G.I. Joe) plays the bumbling sidekick Conan befriends and uses to help find Tamara again.

The storyline of film is not exactly like the original but follows the general summation of its characters. This modern version is rich with effects and graphic battle scenes, and the use of 3D is unnecessary except for the introductory portion. Fantasy action and graphic novel lovers will enjoy this film. It is more heartfelt with its theme of vengeance, and Jason Momoa perfectly embodies and enriches the character of Conan the Barbarian.

Review – Fright Night (2011)

Welcome to Fright Night. After witnessing some strange mischief going on next door, High School Senior Charley Brewster (Anton Yelchin) suspects that his new neighbor, Jerry (Colin Farrell), is not only responsible for disappearances of his neighbors, but that he is might be a vampire. He turns to illusionist (and self-proclaimed) vampire slayer, Peter Vincent (David Tennant), his mom (Toni Collette), girlfriend Amy (Imogen Poots) to help him to destroy Jerry, before Jerry kills them all.

While Yelchin and Poots are fine in their parts (he is “every boy”. She is pretty, sweet and spunky), Christopher Mintz-Plasse also deserves a mention, as Charlie’s ex-best friend Ed and Toni Collette (as usual) makes the most of whatever she is given to do. But Fright Night belongs almost entirely to David Tennant and Colin Farrell, who know full well they are in a campy horror film and make the most of every moment.

It takes awhile, but when Farrell finally goes into full vamp mode, Fright Night finally becomes the thrill ride it is meant to be. The main reason being, Farrell was born to play a vampire. He not only has the charm to believably pull victims toward him, he also has the gravitas to be threatening and scary. His vamp is not touchy feely and misunderstood. He is, as one of the characters says, “Jaws”. Farrell is so good at these parts. One but has to remember he has the range to play sweet, innocent and guileless (A Home at the End of the World) and he can also be extremely funny (In Bruges).

David Tennant’s performance is the perfect counterpoint to Farrell’s. Tennant’s comic timing is flawless. The film finally starts to have fun when he finally appears. He was inspired casting as the illusionist, Peter Vincent, who is (literally) nothing that he appears to be (we find out his whole public persona is an illusion). Vincent is a boozed out Vegas success, always with a snarky quip ready to fling playfully at others and a bottle (or flask) of Midori close at hand.

Fright Night is at its funniest when Tennant is milking laughs, often transforming what are mundane, throwaway lines into some of the most memorable scenes in the film. But it is also the amusing physical “bits” that he creates, many of which clearly were improvised, which add to the delight of his performance. (Such as the removal of his Vincent “costume”.) Many Americans, who are not Sci Fi fans, will no doubt come out of Fright Night wondering who that “new” guy is playing Peter Vincent. If Fright Night does even moderately well at the box office, this is the kind of “break out” role that can finally get Tennant noticed by a larger American audience and get him offers for even bigger studio films (which depending on the roles may or may not be a good thing).

Fright Night is an unapologetic campy, funny, old fashioned (in a good way) horror movie with enjoyable performances from its veteran cast, good use of 3-D technology (for once) and enough icky stuff (but not too much) to please almost everyone. It starts off at a rather sluggish pace, spending too much time on the “this can’t be happening in the real world” moments and laying it on thick on how modern and 21st Century it is. But once it embraces its true roots, the film becomes one crazy, extremely entertaining ride, with plenty of “scary” moments that make you jump and squirm.

Review – The Help

If your first reaction to the new Dreamworks film The Help is, “Dear Lord, not another Driving Miss Daisy, where African Americans are still playing servants,” you will be pleasantly surprised. The Help is a harsher, realistic look at the lives of domestic workers in the last days of the Jim Crowe South and the daily indignities African American workers endured.

But that is not what makes The Help a must see. It is the Oscar worthy performances by Viola Davis and Octavia Spencer as friends Abilene Clark and Minny Jackson. At last, Davis has gotten a part that proves she is not only capable of being a movie star, but one of best actresses in film today. It isn’t going out on much of a limb to predict that she’ll win Oscar for her nuanced work in this film when February rolls around, because hers is not just one of the great performances this year, but one of the best in recent memory.

Together, Davis and Spencer help elevate what could have been a corny, nostalgic (for the wrong reasons) movie into something that celebrates the power of the individual. But in addition, it is the stellar work by the entire supporting cast who help prevent The Help from descending into clichés. Every actor and actress (literally down to those with just a few lines) does extraordinary work.

Emma Stone is fine in her first major role as ‘Skeeter’ Phelan, the young lady who was raised by the family’s African American maid (Constantine, played by Cicely Tyson), who has disappeared without a word, but her parents won’t tell her what happened. Skeeter loves Constantine as much as her own mother (maybe more) and it is this incident that is the catalyst that makes her want to interview maids and ask them what it is like raising white children and how they are treated like they don’t matter, despite their important role in the families they work for.

Also noteworthy are Bryce Dallas Howard, who is fantastic as the “villain” of the story, Hilly Holbrook, who is all frills and sweetness on the outside, but an unapologetic racist and someone who will exact revenge on anyone who gets in her way. Jessica Chastain is touching and funny as Celia Foote, the social outcast who Minny goes to work for. She is a Marilyn Monroe type sexpot, who is very sweet and vulnerable, but clueless as to why the other housewives in Jackson (lead by Hilly) treat her like she has a contagious disease. She not only needs a maid, she needs company, guidance and a friend, which Minny provides, and Celia provides her a safe haven.

One minor issue with film is lack of faults in Davis’ and Stones’ characters. Davis’ is saved from being too saintly by multi-layered performance, but still but would’ve been nice to see her misstep just once. Stones’ character is also a bit too good to be true and her only fault is being mean to her blind dates. Opposite, Howard’s could have used at least ONE redeeming quality, so there wasn’t so much reliance on Howard’s performance to make her a believable human being. Spencer’s character is the best written, because she is likeable, in spite of her short temper and acid tongue

Hopefully, The Help will do well at the box office and we will see more movies starring Viola Davis and Octavia Spencer!

Review in 100 Words – Green Lantern

Fan expectations are high for this beloved comic-turned-movie. Ryan Reynolds is Hal Jordan, hot shot pilot and unexpected hero. A brunette Blake Lively is his wingman/boss and Peter Sarsgaard is Hector, a lovable but easily corrupted braniac. Green Lantern relies heavily on CG (including Reynolds in a digitally created green suit) as the Lanterns rely heavily on the power of imagination. Tons of mythology is thrown at you but the script and director Martin Campbell utilize Ryan’s dry wit to make it entertaining and good summer fun. Stick around for the first part of the credits for the sequel set-up.

Review – The Art of Getting By

Freddie Highmore stars in The Art of Getting By as George, a lonely senior at a NYC prep school who spends his days drawing in his textbooks instead of completing any of his work. He becomes friends with a fellow student, Sally (Emma Roberts), when he covers up for her when she is about to be caught smoking on school campus. Throughout the school year they their friendship goes through ups and downs as George falls in love with Sally, faces the prospect of not graduating, deals with family issues at home with his mom (Rita Wilson) and stepdad, and struggles to figure out if he can honestly express himself through art.

Highmore has grown up from his Finding Neverland days, but still has those large puppy dog eyes, that can fill with tears so believably. He wears the emotions of this troubled teen very well, which at times makes you as frustrated with him as his mother, principal (Blair Underwood) and teachers, and then sorry for him when he realizes how lost he could be. Michael Angarano, as Dustin, a hip artist who graduated from George’s school, gives a solid performance as he mentors and encourages George to pursue art and life. Elizabeth Reaser, as Sally’s recently divorced, back on the dating scene and loving it, mom Charlotte, appears briefly in the movie, but is much more lively, entertaining and loveable than her daughter.

Roberts is the weak link of the film. She lacked the warmth of her mother, and at times lacked authenticity, but I can’t blame that on Roberts’ performance entirety. The writer of this film must not be from the U.S. and no one bothered to tell him during production that the legal drinking age here is 21, not 18. The first time you see Sally drinking is at home with her zany mother, which could be believable, but as she continues to casually drink with other teenaged friends at a club, a restaurant, and a bar, it really affected the genuineness of the character, the situations and the story because you know none of that would be possible for an 18 year old in New York City.

It’s an entertaining film that is dominated by Highmore’s moving performance as the troubled teen who at times is frustrating to watch as he makes poor choices, but you still root for to succeed beyond just The Art of Getting By.

Review in 100 Words – Priest

Slimy, eyeless, Alien-esque vampires at war with a clergy run society? It’s a hard sell to an audience used to seeing Twilight and True Blood vampires, even with Stephen Moyer appearing as the Priest’s brother. With an uninspired and too serious a script, Paul Bettany, as Priest, gives a quiet, stoic performance, having no chemistry with either the Priestess (Maggie Q) or Hicks the Sheriff (Cam Gigandet). Certainties are: the film is good enough for a feature showing on the SyFy channel, Bettany is sexy, Karl Urban as Black Hat is sexy, and superhero suits don’t come with padded bras.

Review in 100 Words – Something Borrowed

Good girl, doormat Rachel (Ginnifer Goodwin) keeps a major secret from her bestie, the self-absorbed Darcy (Kate Hudson): she’s in love with Darcy’s fiancée Dex (delectable but stiff, Colin Egglesfield). Comedic standouts are Steve Howey as Cro-Magnon Marcus, Ashley Williams as the irrepressible Claire and the always adorable John Krasinski, the object of Claire’s obsession. The typical chick flick bill of fare of fashion, trendy restaurants and summer locales don’t help much. Unsympathetic, 2-dimensional characters (undeserving cheating liars who cheat and lie) make it difficult to like Something Borrowed. There’s the tease of a sequel – but why torture us further?

Review – Thor

Thor rushes in like a Fenris-Wolf and goes out like a lion.

As Odinson of Asgard, Thor was born with a silver spoon in his mouth – or in this case a mighty large hammer. He and his dark-haired brother Loki are raised together to become kings, each with opposing personalities. Thor (Chris Hemsworth), the loud, super confident, older and larger of the two, overpowers Loki (Tom Hiddleston) who plays the more conservative and subdued brother. Things soon change, however, when Thor becomes cocky and tries to defeat the enemy realm of the Frost Giants, lead by King Laufey (Colm Feore). Odin (Anthony Hopkins) banishes Thor to Earth, stripping him of his powers and armor.

As Thor, Chris Hemsworth brings to life the mythical Norse god in gigantic proportions, both in physical presence and strength of character. At first he is the shallow, superficial, invincible god who takes his power for granted. Upon his banishment, he is unable to attain Mjolnir, the hammer with his power force, which also falls to Earth and becomes a site of attention by locals and federal agents. Thor’s transformation into a vulnerable mortal and his realization of the limits of his abilities ultimately drives the heart the film. He endears himself as a mortal who becomes a god with a soul.

More surprising is the character of Loki, who seems at first a background personality but soon transforms into a dark, sinister being, capable of deceit and treason. He uses his powers of magic to his advantage, manipulating both the enemy and his family. His ultimate goal, however, becomes the need to gain approval from his father, Odin, even after he learns of his own origin.

Anthony Hopkins as Odin is perfectly cast in his role as a god king who guides and loves his sons, albeit in a tough manner for one. His presence gives the film class and quality drama. He becomes weakened from the actions of one son and regains power from the love of the other. It is this three-way interaction that causes intrigue and is the internal focus of the film.

Kenneth Branaugh, primarily known for his Shakespearean pieces, faced a daunting task of cohesively directing an action fantasy film with care for its characters. The beautiful landscape scenery of Asgard is a joy to behold in each shot, the cinematography graphically excellent. His treatment of the characters, specifically Odin, Thor, and Loki, center the film, giving them dimension beyond mere comic book players.

Far from being a two-dimensional comic book film, Thor is exceedingly beautiful, refined, action-filled, and heartfelt with funny moments thrown into scenes. It’s well casted, with Natalie Portman, Stellan Skarsgård, and Idris Elba as Heimdall, the imposing, giant gatekeeper of the realms. The Warriors Three and Sif (Ray Stevenson, Tadanobu Asano, Josh Dallas, and Jaime Alexander) are Thor’s fearless companions who fight for and alongside him. Kat Dennings as Darcy the assistant provides cute comic relief, doing things such as pronouncing Mjolnir the Hammer as “Meow Meow.” Jeremy Renner makes a brief appearance in this film as Hawkeye, as a teaser for the 2012 film The Avengers which will feature Thor, Ironman, The Black Widow, and other superheroes.

Highly entertaining and visually stunning, Thor is one of this year’s best films.

Review in 100 Words – The Princess of Montpensier

A historic drama about a French princess in love with two men and duty bound to do the right thing is a hard-sell under the best of circumstances. But director Bertrand Tavernier takes a hot, young cast and an ages old story and comes up with a modern and watch-able albeit depressing, film. Luminous Mélanie Thierry is the object of desire with a mind of her own, dashing Gaspard Ulliel is her warrior lover and Lambert Wilson her besotted tutor. The setting of the French Religious Wars makes me want to pop in La Reine Margot (1994) for the “sequel”.

Review – Sucker Punch

Sucker Punch is an action film that mostly takes place inside of the imagination of a troubled young lady, Baby Doll (Emily Browning). She not only uses her fantasies to escape reality, but to plan her literal escape from the mental institution in which she has been unjustly placed. There, she meets Sweet Pea (Abbie Cornish), Rocket (Jena Malone), Blondie (Vanessa Hudgens) and Amber (Jamie Chung), all of whom she convinces to help plan her (and their) escape.

That’s about all there is with the story, along with very little character development and some painfully bad dialogue. Sucker Punch is best when it is concentrating on stunning visuals, when the characters aren’t speaking at all and when it relies on the cast’s appeal and Snyder’s ability to come up with endless ways to do an action scene. Unfortunately, Snyder’s attempt to merge a cool popcorn movie with more serious issues and themes is not successful, due to over self-indulgence in “coolness” rather than substance.

That said, Sucker Punch proves that Zack Snyder can be one of the best action directors working today (if not the best). His action sequences are exciting, thrilling and always captivating. He is also one of the few action directors who understands action sequences need pacing – his are intricately choreographed dances or ballets (just very violent ones) executed perfectly to whatever cool bit of music happens to be playing in the background, which is part of what makes them so exciting to watch. (This is a probably a good time for me to mention the killer soundtrack.)

The cast is a good collection of young actresses, who get a few good moments, but they don’t get to do much more than leap around in skimpy outfits and look cool. Veterans like Carla Gugino, Oscar Isaac and Scott Glenn are much needed counterpoints to the young cast.

Gugino is great, as always, as the girls “psychiatrist” in the mental institution. But the real stand out of the film is Oscar Isaac, as the villain who relentlessly torments our heroines. This is a potentially star making performance and adds to his scene stealing turn in last year’s Robin Hood as King John. Sadly, Scott Glenn (who is a favorite of mine) is well cast as (literally) the “wise man” who guides the girls during their quest. But he is saddled with the worst lines of dialogue in the film (which is saying something). He brave does his best to pull off lines like, “If you don’t stand for something, you’ll fall for anything!” Yikes! You can tell by the twinkle in his eye he knows these are crap lines, but it doesn’t make them any less cringe worthy.

This film is at its heart a melodrama and Oscar Isaac goes all out (almost literally) as a mustache twirling villain. The tense scene at the end between him, Gugino and the girls is very dramatic and even frightening. It is the best non-action scene in the film, because it relies on Isaac, Gugino and Cornish’s performances and not cinematic trickery. If the other “serious” scenes in the film had been this good, Sucker Punch would have been what Snyder was trying to achieve – an action movie with more depth and something to say.

The ending, to my surprise, was the strongest and most emotional part of story. But it is marred by final corny line. The pity is it did not need to be said. Snyder just can’t let the story tell itself, the “deeper meaning” is perfectly clear and has been made, but he has to tack on a corny voice over at the end which undercuts whatever message he has already gotten across. Snyder has so much talent, if he could only team up with a great screenwriter and learn when to use some restraint, he could make a really fantastic film. Hopefully Snyder will learn from his mistakes and realize that sometimes a little simplicity can be a good thing.

Review – Lincoln Lawyer

Smart and sassy, Mick Haller (Matthew McConaughey) has no problem running his business from the back of his Lincoln sedan with his driver, Earl (Laurence Mason). In fact, it’s perfect for those drive-by consultations with motorcycle gangs that can’t all fit in a tiny office. As a criminal defense attorney, Mick has what it takes to be street savvy and downright manipulative in the courtroom. He knows how to handle things to go his way, until he finds himself defending a rich playboy, Louis Roulet (Ryan Phillippe), accused of attempted murder.

What starts out as a straightforward case soon turns into a complex web of suspicion and manipulation. Mick finds himself battling with his conscience as he sorts out another case from his past, a dilemma involving an incarcerated individual, Jesus Martinez (passionately played by Michael Peña). His relationships are further complicated when his daughter’s mama, Maggie (Marisa Tomei), a prosecutor, re-enters his life, and they become subject to threat of harm. Frank (William H. Macy), Mick’s investigator, becomes the turning point of the thriller when he reveals he has a clue to the case.

Matthew McConaughey surprisingly plays Mick with a depth of character and stoicism that is rarely seen in his films. The easygoing Mick at the beginning of the film is usually what you expect from McConaughey. Yet, as the story progresses, his character becomes more three-dimensional. It is his portrayal that makes this film a vehicle of support for criminal defense attorneys anywhere. Defense attorneys are held to the same standard of criminal justice as prosecutors, no matter what or who they defend. This form of legal standard makes the job of a criminal defense attorney twice as interesting and complicated in terms of compromising ethics, and this is what gives this film the edge.

In another twist of courtroom drama, the two witnesses called in to testify, Corliss (Shea Whigham), and Charles Talbot (Eric Etebari), provide entertaining glimpses into characters possibly typical in the mainstream public. Shea Whigham plays a prison snitch bent on getting favors for himself, and he aces his role with defined stupidity as Corliss. Eric Etebari, as the suave businessman who insinuates his sexual prowess when testifying about the victim, simply captivates with his playful ego-centrism. These two performances provide brief moments of lightness in the sea of heavy drama.

Director Brad Furman (The Take, 2007) put together an impressive cast in this thriller. This includes Josh Lucas (the prosecutor), John Leguizamo (the pawn shop dealer), Francis Fisher (the defendant’s mother), Bob Gunton (the family lawyer), Bryan Cranston (the detective), and Margarita Levieva as the victim. Another player worth mentioning is Katherine Moennig (the jailhouse client), who previously appeared in a Law & Order: Special Victims Unit episode (Fallacy) as a pre-op transgender involved in a crime.

The film sufficiently plays out the suspense, although, like in real life, it turns into a courtroom piece for a long period. It is, however, heartfelt as it progresses and the twists it takes keeps you on the edge of your seat. Matthew McConaughey impressively delivered this time around.

Review in 100 Words – Black Death

Sean Bean is swinging a sword again. This time he is Ulrich, a warrior for God investigating how one little town can escape the ravages of the plague and hoping it isn’t the devil’s handiwork. He takes along Eddie Redmayne, a doubting monk who is looking for more than just one last outing before taking orders and sadly finds it. Part medieval Wicker Man, part gory morality play; Black Death has a fantastic cast including Irishman John Lynch and the great David Warner. The overly melodramatic moments are forgivable considering the context of the story. It’s a bloody interesting film.

Review in 100 Words – Elektra Luxx

Elektra Luxx. It sounds like a comic book superhero in a super cool outfit. Who would have thought it was a funny parody about a pregnant porn star (Carla Gugino)? What does one do after retiring from the porn industry? Be the center of adoration for a video sex blogger Bert Rodriguez (Joseph Gordon-Levitt)? Become a femme fatale in a love triangle conspiracy, only to accidentally have sex with Timothy Olyphant (as Dellwood Butterworth)? Or teach a class at a community center on how to act like a porn star in bed? Quirky, hilarious, a bit disjointed, and nevertheless entertaining.

Review – Red Riding Hood

For a region that is constantly covered in snow a girl needs more than a short sleeved dress and a cape.

From the moment Red Riding Hood opens with a sweeping camera over the fog and trees so reminiscent from Twilight that it could have come from the cutting room floor, it is obvious that the movie is a Catherine Hardwicke production. While the movie at times looks and feels perfect for this fairy tale world, the classic tale is interrupted by jarring modern moments, music that feels out of place, unnecessary angst, and a script that at times draw laughter for the wrong reasons.

Amanda Seyfried is lovely as Valerie, the girl with the red cape. Her big doe eyes and beautiful expressive features make her perfect for a fairy tale character. Valerie lives in a medieval town with her mother, Suzette( Virginia Madsen), father, Cesaire ( Billy Burke), and her sister. The village has kept peace for years with the wolf that haunts them by providing it with their best livestock until one day it kills Valerie’s sister. The men decide to track down the wolf and destroy it. Among the hunting party are Valerie’s two suitors. Peter ( Shilo Fernandez) cuts wood for a living like her father, has been her friend since childhood, and is the man she loves. Henry (Max Irons) is a blacksmith who Valerie’s parents have arranged for her to marry to ensure her a better life. The group returns to town with the head of the wolf, but also the body of Henry’s father who was killed by the beast. As they celebrate their victory, Father Solomon (Gary Oldman), the famous werewolf hunter, arrives. He informs the villagers that the wolf they have killed is not the werewolf, and that anyone bitten by the wolf will be infected and must be destroyed. From there on out it is a series of attacks and fights between Father Solomon, his men and the wolf while at the same time Father Solomon terrorizes the town’s residents in his quest to unmask the werewolf in their midst. Academy Award winning actress Julie Christie plays the grandmother who lives in the woods.

The movie often felt flat as the story’s progression was rather slow. While the cast is talented the likes of Madsen, Oldman, and Christie felt wasted and at times forced into playing caricatures . Burke plays his character with so much apathy that you forget he exists at times until he wanders on screen again. Seyfried works with what she is given and is appealing to watch. You do care for her character’s well being. Irons is winning and a nice guy as Henry. There is no reason to dislike Henry, but there’s also no reason to root for him to get the girl either, which creates a rather drama less love triangle. Fernadez as Peter has been Valerie’s dear friend from childhood. They love each other., He’s charming, dashingly and roguishly handsome, and an amazing onscreen kisser. You long for Fernadez to come back on screen for eye candy alone, but he is talented and like Seyfried does his best with the material.

There are too many ancillary characters that we know little about, but then are expected to care when they are killed. Father Solomon’s witch hunt through the town and relentless treatment of everyone was over the top. You don’t have to worry about being frightened because the trailers look scarier than anything actually in the movie. Red Riding Hood lacks excitement and by the time the wolf was revealed, I almost didn’t care anymore. Almost.

Review in 100 Words – Unknown

Liam Neeson is running around Europe again in the Bourne Identity meets Taken-lite thriller, Unknown. This time Neeson is in search of his memory and the truth, not a kidnapped daughter. A paltry January Jones is the exception in an otherwise solid cast. The car chases are breathtaking and the final action sequence explosive. In fact, at times I wondered if the Berlin police were on retreat that week because of how the criminals were running amok. Hard hitting, I appreciated that the story never shied away from “going there”. I also appreciated how age has only made Liam handsomer!

Review in 100 Words – I Am Number 4

It’s hard being an alien teenager these days: dealing with jocks, in love with a cheerleader photographer, saving nerdy sidekicks, and you’re hunted by psycho anarchist aliens on a mission to kill you for your “legacies.” On the upside, you have a special guardian and a dog that is more than a bundle of cuteness.

Hunky and innocent Alex Pettyfer grows into his powers with Timothy Olyphant as his sexy parental figure. Aussie Teresa Palmer kicks ass as Number Six. Slow paced at first, the movie rushes into X-Men style action, complete with monsters and a yearning for a sequel.

Review – The Rite

Let me begin by saying I am not a fan of the possession subgenre of horror films. I’ll gladly sit through zombies, vampires, slashers and flesh eating fish before I willingly submit to a film where the devil made them do it. Naturally I was very apprehensive about seeing the latest in head-spinning, bone-cracking exorcism movies, The Rite, opening today. But it turns out if I had to see one “demon invading my personal space” flick this year; The Rite was a surprise and not so bad, relatively speaking.

Young Michael Kovak (Irish newcomer Colin O’Donoghue) is desperately looking for a way out of the nowhere life working as a mortician in the family funeral home. But according to his father Istvan (Rutger Hauer) either you work with the dead or you become a priest. Seizing an opportunity to escape (with the backup plan of quitting, should “the calling” not manifest itself) Michael heads to seminary school. Four years later he is at a crisis of faith cross-road, wanting to leave the priesthood before taking his final vows. A strongly-worded suggestion from one his instructors send Michael to Rome to enroll in a course on Exorcism.

If Michael was already skeptical, discussions with the professor, Father Xavier (Ciarán Hinds) and reporter Angeline (Alice Braga) only compound matters. Sensing that the force is strong with this one Father Xavier recommends Michael visit Xavier’s old friend and famed exorcist Father Trevant (Sir Anthony Hopkins). Trevant is an “unconventional” priest and, even in the face of what others consider irrefutable proof, is having difficulty convincing the analytical young man that the devil does indeed exist and should be feared for the force of evil he is.

The puzzle pieces of Michael’s past and present come sharply into focus just as Father Trevant begins to exhibit signs of demon possession. If there was ever a time to call upon faith in God and yourself, it’s now. Michael must do both in order to save his own soul as well as Trevant’s.

I had prepared myself for what I was sure was going to be an onslaught of horror and seating-jumping moments. While there were enough of both of those elements I was pleasantly relieved that The Rite wasn’t a non-stop gore fest. It also helped that the protagonist was a comely Irish lad with lovely eyes and a tragic, yet forgivable hair style. Another welcome and surprising feature was humor. There are a few self-aware moments, references to the pivotal 1973 film The Exorcist, etc. It’s pretty clear no one is taking this too seriously.

I fear genre enthusiasts will be put off by the wishy-washy attempt to make the story “real” (it’s “inspired” by true events).The story is nothing fresh and the only thing that may raise expectations for this film compared to, say, last year’s The Last Exorcism is the caliber of the largely European cast. Which then begs the question – what, did Anthony Hopkins need his bathroom remodeled or something? Why is he doing a movie like this? If it wasn’t home improvements, I’d have to say that it had to be the prospect of having an immeasurable amount of fun playing the possessed Trevant. When we first meet the older priest he’s understandably weary and subdued (atypical Hopkins character traits). Throw an unclean spirit in there and Trevant blossoms! There are flashes of Hannibal Lecter but there is something deeply and deliciously evil about Trevant under the influence of the devil. Who would pass up an opportunity like that?

I’m not sure if my saying The Rite is an OK film is going to encourage the hardcore horror fans out there. If you find yourself the losing end of a bet and have to see this film against your better judgment, you won’t be cursing the person who made you go. Not a rousing endorsement I know, but considering the circumstances, take what you can get people.

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