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Alex Florez

By

2008/06/08 at 12:00am

What Happens in Vegas…

06.8.2008 | By |

Rated: PG-13 for some sexual and crude content, and language,including a drug reference.
Release Date: 2008-05-09
Starring: Dana Fox
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: http://www.algopasaenlasvegas.es/

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What Happens in Vegas...

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2008/06/07 at 12:00am

The Bank Job

06.7.2008 | By |

Rating: 3.5

Rated: R for for sexual content, nudity, violence and language.
Release Date: 2008-03-07
Starring: Dick Clement, Ian La Frenais
Director(s):
Distributor:
Film Genre:
Country:NULL
Official Website: http://www.bankjobmovie.co.uk/

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The Bank Job is a heist movie in the classic tradition – it details every aspect of the caper, from its genesis to its aftermath. The fact that there’s political intrigue and espionage swirling around the edges only makes it more fascinating. Director Roger Donaldson, whose resume includes films as diverse as Dante’s Peak and The World’s Fastest Indian, keeps the pace at a high level so even the “down” moments are driven forward by the film’s momentum. And, unlike some crime movies that become so fixated on the plot that everything else gets lost in the mix, Donaldson and his screenwriters take the time to develop the characters.

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The Bank Job is based on a true story – a daring 1971 robbery that made front page headlines until MI-5 made a D-Notice request that stifled further coverage by the press (on the grounds that it created a danger to National Security), driving it from the newspapers and into myth and memory. While some of the facts are known, there are many gaps in the official record. Screenwriters Dick Clement and Ian Lefrenais, supposedly collaborating with anonymous inside sources, seek to provide caulk for many of those gaps. Some of what appears on-screen in The Bank Job is speculative, but much has the ring of truth and fits in with the facts. Of course, since the names have been changed “to protect the guilty,” The Bank Job doesn’t provide any shocking revelations about still-living individuals. What it accomplishes, however, is to present a possible autopsy of a crime that has baffled people for decades. And, regardless of whether it’s more fact or fiction, it provides an enjoyable two hours.

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The Bank Job‘s protagonist is Terry Leather (Jason Statham), a typical dodgy East End character. He runs a car-sales garage, is in debt to a loanshark who believes in more than “harsh words” when it comes to repayment, and – perhaps surprisingly – is happily married to the love of his life, Wendy (Keely Hawes). He is a doting father and husband. Enter Martine Love (Saffron Burrows), an old flame-who-might-have-been. When she needs a “villain” to help her with a heist, she approaches Terry with a proposition. She’s in possession of information that could net him a lot of money if he can put together a team on short notice to break into the safety deposit vault of a Baker Street bank. With his greed overcoming his good sense, Terry in inclined to believe her but, unbeknownst to him, Martine is not on the level. The puppeteer pulling her strings is an MI5 agent named Tim Everett (Richard Lintern), and he’s after the contents of safety deposit box 118 – compromising pictures of Princess Margaret that are being used to blackmail the government. So Terry gathers his crew of six, which includes Martine, a couple of close friends (Stephen Campbell Moore, Daniel Mays) and two others, without being aware of what he’s really getting involved in.

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When one looks back at the plot of The Bank Job from a post-end credits perspective, its complexity is apparent. It weaves together a large number of subplots, including police corruption, MI5 gamesmanship, hard-core criminal activity (including murder and extortion) and, of course, the caper itself. By eliminating flashy cinematography and editing, approaching the material in a clear, chronological fashion, and providing only the details necessary to flesh out crucial aspects of the story, the filmmakers never lose the viewer in a muddle of tangential characters and issues. The audience isn’t left for long to wonder about the purpose of the naked water frolic at the beginning or the incorporation of crime lord/activist Michael X into the mix.

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For better or worse, this is the kind of character with which Jason Statham has become associated. Over the course of a career begun under the guidance of Guy Ritchie, most of his performances have fallen into this “tough guy” category, so it’s impossible to argue with the casting. He’s easily the best-known member of the troupe. Some viewers may recognize Saffron Burrows or David Suchet, but neither has a mainstream following. The important thing to note is that everyone disappears into their roles, which is the kind of thing one has come to expect from low-profile British movies. When the entire supporting cast is comprised of character actors, this result is achieved.

 

Much as I enjoyed Stephen Soderbergh’s Oceans trilogy (more for the camaraderie and chemistry of the actors/characters than for the plots), The Bank Job illustrates how much more richness there can be in a heist movie when layers are fabricated into the story and the narrative extends beyond the central caper. When this movie ends, the viewer feels as if he has seen an entire tale unfold rather than merely having been granted the chance to peer through a window at the inner workings of an infamous historical crime. The Bank Job is smart, well-paced, exciting entertainment for adults – something that is more of a rarity than it should be.

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2008/06/07 at 12:00am

The Bank Job

06.7.2008 | By |

Rated: R for for sexual content, nudity, violence and language.
Release Date: 2008-03-07
Starring: Dick Clement, Ian La Frenais
Director(s):
Distributor:
Film Genre:
Country: NULL
Official Website: http://www.bankjobmovie.co.uk/

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The Bank Job

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2008/06/07 at 12:00am

CJ7

06.7.2008 | By |

Rated: PG for strong language.
Release Date: 2008-03-07
Starring: Stephen Chow, Chi Keung Fung, Vincent Kok, Sandy Shaw, Kan-Cheung Tsang
Director(s):
Distributor:
Film Genre:
Country: Hong Kong
Official Website: http://www.sonyclassics.com/cj7/

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2008/06/05 at 12:00am

You Don’t Mess with the Zohan

06.5.2008 | By |

Rated: PG-13 for some strong language, sexual scenes and nudity.
Release Date: 2008-06-06
Starring: Judd Apatow, Adam Sandler, Robert Smigel
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: http://www.youdontmesswiththezohan.com/

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You Don't Mess with the Zohan
Ted Faraone

By

2008/06/04 at 12:00am

Nim's Island

06.4.2008 | By |

Rating: 3.0

Rated: PG for mild adventure action and brief language.
Release Date: 2008-04-04
Starring: Joseph Kwong, Paula Mazur, Jennifer Flackett, Mark Levin
Director(s):
Distributor:
Film Genre:
Country:NULL
Official Website: http://www.nimsisland.com/

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First, the good news:  Jodie Foster can play comedy.  As agoraphobic, obsessive compulsive action novelist Alexandra Rover in “Nim’s Island,” an adaptation by Joseph Kwong, Paula Mazur, and co-directors Mark Levin and Jennifer Flackett of Wendy Orr’s eponymous novel, Foster is both funny and convincing.  At physical comedy she approaches Lucille Ball and Carol Burnett.  “Nim’s Island” should earn Foster her fifth Oscar nomination.
 
Now the bad news:  The screenplay does not do justice to the performances.  Rather than show the idyllic love between 11-year-old prodigy Nim Rusoe (Abigail Breslin), her dad Jack (a scientist, the other half of Butler’s dual role), and their menagerie of almost-human animals on an uncharted island, the screenplay hammers it home.  Every scene between Breslin and Butler fairly oozes saccharine.
 
Plot centers on the unlikely convergence of a monsoon, which maroons Jack in mid ocean, the chance discovery of the island by a cruise ship crew who resemble modern day pirates, and Alexandra “Alex” Rover’s writer’s block.  With Jack gone, Nim reads his emails and answers one from Alex, her favorite novelist.  An email relationship develops almost overnight.  There’s a catch.  Nim believes that Alex Rover, the author, is the swashbuckling, Indiana Jones – style adventurer of novels.  Nim does not know that ‘he” is a “she,” let alone a nutcase.  With her island about to be invaded by tourists and her dad in danger, Nim begs Alex to travel half-way around the world to come to her aid.
 
Challenged to overcome her fears, Alexandra’s inner conflict, played out with her alter ego, brings out just about every agoraphobic, obsessive compulsive joke that one can imagine, and Foster plays them to the hilt.
 
When the chips are down, Nim and Jack resort to the Mr. Wizardry that endeared the “MacGyver” TV show to a generation of kids.  His mast broken by the monsoon, his boat leaking, Jack rigs a pump and fashions a propeller, turning his sailboat into an airboat.  Nim enlists Selkie the sea lion to pass noxious gas near the tourists’ launch.  She then catapults lizards onto their faces on the beach.  Finally, she fakes a volcanic eruption – and gets a real one – to scare off the cruise ship crowd.
 
Expect PG-rated “Nim’s Island” to fare well with kids and fans of the novel.

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2008/06/04 at 12:00am

Shine a Light

06.4.2008 | By |

Rating: 3.0

Rated:
Release Date: 2008-04-04
Starring:
Director(s):
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Country:NULL
Official Website: http://www.shinealight.es/

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The Rolling Stones was here for a concert not too long ago, but since tickets were priced way out of my league, there was no way I could have seen them in action live unless I opted for the cheapest of the lot and sat well away from the stage. So I got to thank Martin Scorsese for having design and capture some definitive moments from a Rolling Stones performance, and share that stage magic the quartet provide when they’re at their element, on a celluloid screen, captured for posterity.

Make no mistake, the entire movie is just like being there at a Rolling Stones concert, only that you’ll have to ensure the cinema hall has great sound system installed, and you can’t actually smell the sweat the rockers exude, even though you get to go really up close and personal during their performance, something which even the standing-only front row pit will not allow. You can even throw your hands up in the air only to irk those seated behind you, unless they and everyone else are game enough to turn the sedate cinema atmosphere into a party one. So this review (if I can call it one) largely depends on whether you’re a Stones fan to appreciate, or for non-fans to want to give them a go, to kick back, relax (if you can) or just soak in the rollickingly wild atmosphere and immerse yourself into a Rolling Stones experience.

More than 20 songs were performed (if my mental counter serves me right), and for a Rolling Stones fan, you’ll likely be satisfied them all for the price that you fork out. For a simple fleeting fan like me, it’s an eye (ear?) opener to a lot more of their music, as well as an opportunity to watch them in action on the cheap. The first 10 minutes or so was the setup, with Scorsese worrying and fussing over how to film the Stones in action, and to want to have their set of songs as early as possible so that he could plan certain shots. But of course Mick Jagger and the gang got other ideas, as they flit from performance to performance during their “A Bigger Bang” tour, only to connect physically with Scorsese when they’re at the designated performance stop at the Beacon theatre for the Clinton Foundation – where you’ll get to see how big a fan Bill and Hillary are, together with their 30 strong entourage.

Interspersed throughout the concert performance are plenty of vignettes culled from past interviews spanning from the 60s, which will bring on some laughter as you watch them with perfect hindsight. You will get to see how youthful all of them looked when they first started out, and be amazed at their longevity in this business where bands come and go after making it to the top, if at all. Despite being grand-daddies, Mick Jagger, Keith Richards, Ronnie Wood and Charlie Watts still look in great physical condition to be touring and strutting their stuff, dishing out high energy, high performance concerts, with Watts even cheekily feinting tiredness at a point. In fact, none of them thought earnestly thought, back in their youths, that they will sustain their popularity, or would have reasons for it, except perhaps Jagger himself who jested that he had dreamt about rocking the stage into his 60s.

Shine a Light doesn’t break any new cinematic ground, even though it has cameras almost everywhere in a concert hall to capture every aspect and angle of the performing stage. In fact, despite Scorsese making appearances in front of the camera, his work behind it, with all due respect, could be replaced with any other director, and the outcome would probably be more or less the same, only because of the fact that it is a Rolling Stones concert with the band holding court from start to end. Would have been more of a blast to be able to see this in the IMAX version though.

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2008/06/04 at 12:00am

The Orphanage

06.4.2008 | By |

Rated: R for some disturbing content
Release Date: 2007-12-28
Starring: Sergio G. Sánchez
Director(s):
Distributor:
Film Genre:
Country: Spain
Official Website: http://www.clubcultura.com/clubcine/clubcineastas/guillermodeltoro/elorfanato/

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The Orphanage

De estilo barroco, con características similares a The Others, y anunciada con bombo y platillo, llega hoy a todas las salas de Estados Unidos la cinta extranjera más esperada del año: El Orfanato.

La película española protagonizada por Belén Rueda, quien interpreta a una madre de un niño que está infectado de VIH, narra la historia de una pequeña familia que habita en una casona ubicada en medio de la nada, y que en la antigüedad solía ser un orfelinato.

Simón, quien en realidad es hijo adoptivo, (interpretado por un excelenteRoger Príncep), pasa sus días jugando con sus amigos imaginarios, hasta que en un momento inesperado, desaparece de la casa y nadie lo puede encontrar.

Así inicia un juego de susto tras susto en el que Belén Rueda (quien sin duda despierta comparaciones con la Nicole Kidman perdida en una casona tratando de entender qué sucede ahí), comienza a tener visiones del más allá.

¿Por qué los amigos imaginarios de su hijo tienen los nombres de quienes habitaban ese orfanato años atrás?

Esta es sólo la premisa básica de la película producida por Guillermo del Toro, y sin querer revelarles más, las cosas dan un giro de 180 grados cuando Édgar Vivar (el mismísimo señor Barriga), y Geraldine Chaplin, aparecen como en Poltergeist (1982), dispuestos a tratar de contactar a los espíritus perdidos en aquella casona (si es que los hay).

El orfanato podrá tener inspiración casi descarada de varias películas – más allá de las mencionadas incluso – pero su magia radica en la fuerza de Belén Rueda, quien hará hasta lo imposible por encontrar a su hijo, y en la forma en que logra conmovernos al recordarnos la importancia de la infancia.

¿Por qué los niños siempre están solos? ¿Por qué los adultos los tratamos como seres que no existieran, pensaran, sintieran? ¿Por qué no les creemos y los ignoramos hasta que cumplen la mayoría de edad? En realidad, los niños, tengan padres o no, muchas veces viven en un orfanato metafórico.

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