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Reviews for DVD Releases

Jack Rico

By

2009/07/07 at 12:00am

Knowing

07.7.2009 | By |

Rating: 2.5

Rated: PG-13 for disaster sequences, disturbing images and brief strong language.
Release Date: 2009-03-20
Starring: Ryne Douglas Pearson, Juliet Snowden, Stiles White, Stuart Hazeldine
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://knowing-themovie.com/

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‘Knowing’, Nicolas Cage’s new apocalyptic action-thriller pic, is a mammoth and entertaining mega-production that possesses a captivating plot (rare in Hollywood these days), but due to its risible acting and incongruous occurrences, the enormity of the film becomes just a distraction to its script deficiencies. Is it entertaining? You betcha, but you’ll have to wait almost an hour to see the best scenes.

Nicolas Cage stars as a professor who stumbles upon terrifyingly tragic predictions about the future of the world – as he sets out to prevent them from coming true.

Blowing up Earth is where Hollywood has had some of its best box office successes and saving it is where Cage is king. His last two films, Bangkok Dangerous (2008) and National Treasure: Book of Secrets (2007), were #1’s at the box office respectively, not to mention several others throughout his career. Regrettably, just because he topped the b.o doesn’t mean those movies are great. It means he works in films that the public likes. These type of movies that incorporate computer generated graphics are a huge attraction, but in the case of ‘Knowing’, the gaping holes are just too blatant to ignore. Worse is its denouement – its conclusion is the most random and absurd ending to any film I have ever seen!

If you’re in the mood to zone out and do not mind preposterous irrationalities, then you’ll enjoy this film. If you’re looking for a stimulating and thought provoking sci-fi flick, you’ll be very disappointed.

Jack Rico

By

2009/07/07 at 12:00am

The Unborn

07.7.2009 | By |

Rating: 1.0

Rated: PG-13 for intense sequences of violence and terror, disturbing images, thematic material and language including some sexual references.
Release Date: 2009-01-09
Starring: David S. Goyer
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://www.theunbornmovie.net/

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Jack Rico

By

2009/06/30 at 12:00am

12 Rounds

06.30.2009 | By |

Rating: 3.0

Rated: PG-13 for intense sequences of violence and action.
Release Date: 2009-03-27
Starring: Daniel Kunka
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://12rounds-movie.com/

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‘12 Rounds’ is a surprisingly fun movie. I would actually say it is a great ‘B’ movie that many will enjoy. It possesses action from beginning to end and an interesting and plausible plot line that will keep your ADD at bay.

 

The story centers on a New Orleans police detective (John Cena) whose girlfriend (Ashley Scott) is kidnapped. He must play a sinister game lasting 12 rounds with a vicious and heartless killer (Aidan Gillen) to save the love of his life.

The wrestling organization, WWE, has been in the movie making business for some time now creating film vehicles for its top stars such as Hulk Hogan, The Rock, Roddy Piper and Steve Austin, all with the intention of creating extra financial revenue and branching their brand to non-wrestling masses. Cena’s ‘12 Rounds’ is perhaps the best of their cinematic efforts. For years, these films featuring wrestling stars, have been mocked for their facially exaggerated acting and asinine dialogue. But things are changing for the better. ‘The Rock’ achieved #1 status with 2007’s The Game Plan and most recently again with Race to Witch Mountain. From the looks of it, people are warming up to them and ‘12 Rounds’ could very well be in the top 3 in this week’s box office. This film, unlike the previous WWE Studios projects, offers a legitimate movie that can crossover to mainstream audiences with Cena providing a toned down dramatic demeanor as opposed to his flamboyant and hip hop persona on Monday Night Raw.

I must admit though, it will be a tough sell for audiences that are not wrestling fans simply because of the unknown cast, but to its credit, the movie moves at a fast pace with many twists and turns accompanied by explosions, car chases and gun fights. Few action movies do that anymore. Alas, the acting is not up to par, but it is not by any means blinding. Cena is decent and not over the top and his co-star assassin is suave and dynamic. If you are looking to escape in a movie that offers plausible, non-stop action, this is definitely worth checking out.

Jack Rico

By

2009/06/23 at 12:00am

Confessions of a Shopaholic

06.23.2009 | By |

Rating: 3.0

Rated: PG for some mild language and thematic elements.
Release Date: 2009-02-13
Starring: Tracey Jackson, Tim Firth
Director(s):
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Film Genre:
Country:USA
Official Website: http://www.shopaholicmovie.com/

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‘Confessions of a Shopaholic’ has a simple story line with an adorable and charming protagonist and an uplifting and empowering kick to it. It’s a mix between the charm of ‘Legally Blonde’ and the glitz and glam of ‘The Devil Wears Prada’.

Based on the novel “Confessions of a Shopaholic” by Sophie Kinsella, the plot has a college grad (Isla Fisher) landing a job as a financial journalist in New York City to support her shopping addiction. She then later falls for a wealthy entrepreneur (Hugh Dancy), but there are some trip ups along the way.

The film is a romantic comedy that is more comedy than romance. It’s target audience is  transparently women who live in cities and have a slight addiction to shopping. The plot has many ridiculous notions in it which is why the overall appeal isn’t engaging, unlike its lead actress who is by far the best the movie has to offer. The rest of the cast which includes the likes of Joan Cusack, John Goodman, John Lithgow and – are you ready for this? –  Kristin Scott Thomas as the french editor of a high power fashion magazine, are too talented for the film. This only reaffirms our suspicions that the economic recession affects ALL of us.

The backdrop of New York City is once again a film co-star and it’s hard to argue why. There is something to be said about a New York romantic comedy, it exudes an energy and allure that is almost impossible to match.

If you want to laugh, giggle and hug your significant other this Valentine’s, this is film will do the trick!

Jack Rico

By

2009/06/22 at 12:00am

Inkheart

06.22.2009 | By |

Rating: 2.0

Rated: PG for fantasy adventure action, some scary moments and brief language.
Release Date: 2009-01-23
Starring: David Lindsay-Abaire
Director(s):
Distributor:
Film Genre:
Country:UK, Germany, USA
Official Website: http://www.inkheartmovie.com/

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Brendan Fraser’s new family adventure film ‘Inkheart’ has no heart at all, just ink on 120 pages of a script. The concept and premise are alluring, but it never delivers more than a basic and elemental movie experience. Instead of engaging the senses, the film only provides apathy. In addition, the film targets infant and juvenile audiences, but makes no excuses in its exclusion of adults. Parents beware, you are going to have a hard time maintaining any interest after the first 15 minutes.

The story focuses on a young girl (Eliza Hope Bennett) who discovers that her father (Brendan Fraser) has an amazing talent to bring literature characters to life and must try to stop a freed villain from destroying them all, with the help of her father, her aunt (Helen Mirren), and a storybook’s hero (Paul Bettany).

The acting is neither uproarious nor dreadful, just bland. Fraser gives you the ol’ nice guy acting he consistently does well, young newcomer Bennett shows potential and Mirren and Bettany are too good for the film – and it is noticeable.

The demise of ‘Inkheart’ comes at the misuse of its premise, the director Iain Softley could have trounced us with creativity, it also manipulated the laws of storytelling to suit the story’s shortcomings and the it had the inconsistencies of a stale and uninspired script.

It’s interesting to note, the movie’s message is to have us indulge in the journey of our imagination, but all it achieves is to be lifeless and forgettable.

Jack Rico

By

2009/06/17 at 12:00am

Friday the 13th

06.17.2009 | By |

Rating: 2.5

Rated: R for strong bloody violence, some graphic sexual content, language and drug material.
Release Date: 2009-02-13
Starring: Damian Shannon, Mark Swift
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: www.fridaythe13thmovie.com

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Cinematically, ‘Friday the 13th’ is an awful film parceled with some terrible acting, an uninspired script and unimaginative direction…but god damn was it fun! And that’s what these movies are all about – zoning out, laughing out loud with your buddies and enjoying an innocuous time at the theater.

Relating this premise to you is useless since there really isn’t one to relate. It possesses all the cliches of hundreds of slasher films: bare breasts, gruesome decapitations and laughable dialogues. Not mush else to it. The producers missed a big chance to create something special with Jason and his origins.

 

The first 15 minutes are perhaps the best the film has to offer since it’s very fast paced, but then it slows down and any tension that was established is doused. Nevertheless, it is fun and that’s what people who watch these type of films are looking for.

Jack Rico

By

2009/06/09 at 12:00am

Crossing Over

06.9.2009 | By |

Rating: 2.5

Rated: R for pervasive language, some strong violence and sexuality/nudity.
Release Date: 2009-02-27
Starring: Wayne Kramer
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: Not available.

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“Crossing Over” had the potential to be one of the better films of the new year. It possesses some strong acting by a talented cast led by Harrison Ford and a socially relevant story line, but unfortunately it was all squandered away in the hands of helmer Wayne Kramer (The Cooler). Ultimately, the film feels like a counterfeit version of ‘Crash’ and ‘Babel’ from mexican director Alejandro González Iñárritu. There are some commendable and engaging moments, but not enough to ignore the defects of its second hour.

Here’s the plot – ‘Crossing Over’ is a multi-character canvas about immigrants of different nationalities struggling to achieve legal status in Los Angeles. The film, seen from the perspective of the INS, deals with the border, document fraud, the asylum and green card process, work-site enforcement, naturalization, the office of counter terrorism and the clash of cultures. There are several stories that eventually intertwine at the very end.

A noteworthy mention should be given to Kramer’s implementation of immigrants as not just poor, working class Mexicans, but as a distinct representation of classes and nationalities. Also, perhaps the best acting scenes of the film came from Summer Bishil, who is part Mexican, playing Taslima Jahangir, an Iranian teenager who approves of the motives behind the 9/11 attacks. Just in case you’re looking to see Brazilian Alice Braga, she is scarcely seen. It was all working out nicely as a dramatic and enticing piece of film until it suddenly became an action thriller, giving way to Ford summoning President James Marshall from ‘Air Force One’. Where did that come from?

In an effort to not reveal too much, I’m limiting myself to saying this – Kramer would like us to believe that the lives of these characters are crisscrossed and interwoven by accident or fate, but halfway thru the end, you can sense the manipulative machinations and moralistic intent of the calculated plot. There goes Hollywood again trying to insult our intelligence.

A remake of this film in the hands of director Alejandro González Iñárritu would be interesting to see, but I highly doubt that idea is an option. At best, ‘Crossing Over’ is halfway engaging, but not worth the ticket or the time. Wait for it on Netflix.

Jack Rico

By

2009/06/09 at 12:00am

The International

06.9.2009 | By |

Rating: 2.5

Rated: R for some sequences of violence and language.
Release Date: 2009-02-13
Starring: Eric Singer
Director(s):
Distributor:
Film Genre:
Country:USA, Germany
Official Website: http://www.everybodypays.com/

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The International is a complicated film with an intricate plot line and lackluster acting. It’s only redeeming qualities are its action sequences and fast paced direction.

The premise is hard to follow: Interpol Agent Louis Salinger (Clive Owen) and Manhattan Assistant District Attorney Eleanor Whitman (Naomi Watts) are determined to bring to justice one of the world’s most powerful banks. Uncovering myriad and reprehensible illegal activities, Salinger and Whitman follow the money from Berlin to Milan to New York to Istanbul. Finding themselves in a high-stakes chase across the globe, their relentless tenacity puts their own lives at risk as their targets will stop at nothing – even murder – to continue financing terror and war.

Naomi Watts gave the worst performance in her career. It’s as if she has become worse over the years beginning with King Kong. Clive Owen is no Jason Bourne, but is believable enough that the credibility of the film isn’t compromised.

Be ready for what will be the most talked about action sequence of the early new year – the Guggenheim museum shooting frenzy is well worth the watch.

For a production that aspires to be so much more than a typical thriller, The International’s convoluted premise and Naomi’s painful acting achieves only to convey an average movie experience.

Jack Rico

By

2009/06/09 at 12:00am

Gran Torino

06.9.2009 | By |

Rating: 3.5

Rated: R for language throughout, and some violence.
Release Date: 2008-12-12
Starring: Nick Schenk
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: NULL

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Gran Torino is an amazingly over-the-top anti-racism parable but, despite its obvious shortcomings, it is nevertheless effective and affecting. The storytelling style is old fashioned in what it does and unsubtle in the way it goes about doing it, and Eastwood doesn’t plumb any new depths in his stereotyped portrayal of the film’s central character. Yet, perhaps because the ending doesn’t unspool quite as expected and perhaps because the film has something to say (even if it is presented with a heavy hand), it’s hard to deny that Gran Torino works on a certain level. This is far from Eastwood’s best work as a director, but it’s a respectable effort and is more successful that his tepid earlier 2008 effort, Changeling.

 

Walt Kowalski (Clint Eastwood) is an unpleasant old coot. Following the death of his wife, he has lived alone with his dog. He is barely on speaking terms with his sons and grandchildren, and the neighborhood in which he lives is changing, becoming more ethnically diverse and troubled by gangs. He has a less-than-cordial relationship with the Asian family next door, and it becomes even colder when the son, Thao (Bee Vang), attempts to steal Walt’s 1972 Gran Torino as part of a gang initiation. He fails when Walt shows up with a rifle. Later, when the gang members arrive to give Thao a “second chance” and a fight breaks out, Walt and his rifle are again on hand and he drives the gang-bangers off. This results in Walt playing the role of reluctant hero. He is soon visited regularly by Thao’s smart and spirited older sister, Sue (Ahney Her). And Thao, as a penance for his attempted theft, is forced to work for Walt. This leads to some bonding and a growing realization on Walt’s part that, as long as the gang is around, Theo’s future is not secure.

 

Gran Torino uses the familiar cross-generational buddy formula as its foundation. As Walt imparts important life lessons to Thao (including how to interact with others in a “manly” fashion), Thao opens the heart of the bigoted misanthrope. Ultimately, this becomes a story about overcoming prejudice. In this, the film lathers things on a little too thickly. The transformation occurs too easily and with too little motivation. Yes, Walt gains his redemption – which is the point of the movie – but it’s questionable how effective the screenplay is in selling that redemption. Maybe we buy into it because of Eastwood or because we always like to see Scrooge wake up on Christmas morning and save Tiny Tim.

 

Speaking of Eastwood, his name has been mentioned alongside the phrase “Best Actor nomination” in a number of places, but to award the venerable filmmaker/actor with such a tribute in this case would be an injustice. Eastwood is playing a variation of Dirty Harry – a hard-bitten loner who at times is so over-the-top nasty that he borders on self-parody, such as when he literally growls when someone does something of which he disapproves. While it’s true that the character arc forces Walt to exhibit a new open-mindedness, there’s nothing exceptionally complex in Eastwood’s approach to the material. He played a similar role to better effect in Million Dollar Baby.

 

While Eastwood may not deserve acting plaudits, a case can be made for his two Asian co-stars. As Thao, Bee Vang shows more growth and development of personality than Walt. He and Eastwood evidence the right amount of chemistry – certainly enough to allow us to believe that they care for each other against all odds. Ahney Her is a real find – bright and energetic, she brings pizzazz to the role and shines brightest during a scene when Sue is giving Walt a walk-through of her house and parrying his racist remarks with well-aimed quips. Walt and Thao may be Gran Torino‘s lead characters, but Sue is the one we’re most likely to remember long after the end credits have expired.

 

The film gets points for its unconventional resolution, which I will not disclose here. Suffice it to say that this is a rare movie that doesn’t implode during the last reel; the filmmaking team obviously put some thought into the best way to construct the conclusion. There are some emotional moments and tears are not necessarily inappropriate although, as previously mentioned, it’s questionable whether the movie earns all of the tissues that will be used on its behalf. As parables go, this one is almost shockingly obvious but, in thinking about it, it’s not that far away from Million Dollar Baby, with both films featuring key interactions between Eastwood’s character and a priest. And, while Eastwood may not turn in a great performance, he’s a strong reliable presence whose participation somehow makes it okay to shed those tears. Despite its flaws, I appreciate Gran Torino, although I do so more with my heart than with my head.

Alex Florez

By

2009/06/02 at 12:00am

Revolutionary Road

06.2.2009 | By |

Rating: 4.0

Rated: R for language and some sexual content/nudity.
Release Date: 2008-12-26
Starring: Justin Haythe, Richard Yates
Director(s):
Distributor:
Film Genre:
Country:EE.UU, Reino Unido
Official Website: http://www.revolutionaryroadmovie.com/

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Revolutionary Road is the dissection of an imploding marriage and a contemplation about life in surburbia. It’s a sad, grim movie that asks pointed questions about the compromises we make and the lies we tell in an effort to maintain a sense of equilibrium. And is it more courageous to face up to one’s responsibilities or to follow a dream, no matter how impossible it may seem?

It’s western Connecticut in 1955. Frank Wheeler (Leonardo DiCaprio) and his wife, April (Kate Winslet), are entering a dark period in their marriage. Communication between them has broken down and Frank has begun to stray with a co-worker (Zoe Kazan). He’s not happy with his job; he hates the work but needs the money to support April and his two children. Then, on his birthday, April presents Frank with a plan: sell their cozy house on Revolutionary Road and move to Paris. There, after leaving behind the “hopeless emptiness” of their current life, they can begin anew. April can work while Frank takes some time for self-discovery. He is initially enthused by the idea, but reality begins to intrude on the fantasy. Frank is offered a major promotion, and with it comes more money and more responsibility, and April learns that she is pregnant with the couple’s third child. Suddenly, Paris seems like a fairy tale and the union that had been buoyed by a spark of elusive hope, crashes and burns.

 

A lot of marriages are like this, with many of the fundamental problems not having changed in 50 years. Too many unions begun with hope and optimism degenerate into stale existences with two disconnected individuals living under the same roof. Today, many such couples divorce. In 1955, divorce was less common, so husbands and wives would argue and find ways to make temporary peace. It’s unfair to claim that the happy suburban family was (or is) an illusion, but the reality is not as perfect as the illusion. There are challenges to be overcome, one of the most prominent of which is the battle between following a dream and bringing home a healthy income. In the Wheelers’ marriage, Frank is the pragmatist and April is the dreamer. Their most searing conflicts are born out of the inherent opposition of those two natures.

Watching DiCaprio and Winslet, it’s hard to remember that these were the star-crossed lovers in Titanic. Their on-screen relationship here is more real and brittle – not the kind of marriage some viewers would hope for from Rose and Jack. The actors use their chemistry (they are great friends) to forge an underlying sense of affection between Frank and April, but the fractures are deep and widening. These are believable, flawed people and, as in situations like this, fault can be generously apportioned. It’s possible to understand both sides. Assigning blame is as difficult as determining the solution. Winslet’s performance is more emotive than DiCaprio’s, but that’s because of the nature of her character. Both portrayals are credible and, while Winslet’s performance in The Reader is probably more likely to gain Oscar consideration than her work as April, it seems unfair to single out one over the other.

Revolutionary Road is dramatically potent material and, although it poses a number of philosophical questions, it works best as an unsentimental examination of a marriage in crisis. Because the actors are expert, Mendes understands the subject matter, and the source material is so meticulous, we are left emotionally impacted but without a sense of having been manipulated. Revolutionary Road is a fine motion picture, but it’s not a good choice to lighten a burden or brighten a night. It rewards in the ways that only tragedies can.

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