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Movie Reviews

Terry Kim

By

2009/11/05 at 12:00am

The Men Who Stare at Goats

11.5.2009 | By |

The Men Who Stare at Goats

The Men Who Stare at Goats is based on a book by Jon Ronson of the same title, and judging by his track record—Ronson wrote books with titles like Out of the Ordinary: True Tales of Everyday Craziness and Them: Adventures With Extremists—it isn’t surprising that Heslov’s movie is an hour and a half of paranormal activity (or something like it) inside the U.S. Military. Bob Wilton (played by Ewan McGregor), at first searching for a way out of his heartbreak (his wife and college sweetheart leaves him for his one-armed editor), lands himself in uncanny situations that cannot possibly be real… or are they?

 

Bob begins his adventure in Kuwait City, where he runs into Lyn Cassady (played by George Clooney), who will ultimately be the link to the story behind the First Earth Battalion. When the Cassady-Wilton duo courageously ventures into the deserts of Iraq, the first big thing that happens is a car crash, and into a glaring boulder in the middle of the road, no less. Not to mention that the first “help” they acquire is a group of petty thugs that want to sell this clueless American pair. For Wilton’s first big adventure, he’s doing pretty great. Once he starts to glean out some of Cassady’s stories, however, he realizes that the U.S. Military isn’t as tough as it looks.

 

Meet Bill Django (Jeff Bridges), leader of the First Earth Battalion, who uses his “education” (if naked hot tub sessions count as education) to get his men in touch with Mother Earth. Lyn Cassady is Django’s main protégé, and when a fellow Battalion member, Larry Hooper (Kevin Spacey) enters their Garden of Eden, things go terribly amiss: Django gets a dishonorable discharge, and even worse, Cassady stares at a goat so intently that it drops dead. Lyn has thus traversed into the dark side, and to top it off, Larry taps him with the “death touch.” But not to worry; all ends well, with Bill’s vision of Timothy Leary, and some military breakfast laced with LSD. Thus Bob Wilton emerges, cured of his heartache, and in tune to his inner hippie.

 

The director of The Men Who Stare at Goats is Grant Heslov. This is his feature debut behind the camera, but not his first opportunity to join forces with Clooney. He co-wrote (with Clooney) and produced Good Night and Good Luck and filled similar producing duties for Leatherheads. The two men clearly know each other and work well together, and it shows in the easy way this movie unfolds. Heslov is not performing without a net. Who better than Clooney to lend a helping hand – a man who has learned from Soderbergh and the Coens and directed three films in his own right (two of which he collaborated with Heslov)?

 

George Clooney seems to have walked off the set of Burn After Reading and straight into this one: the expressions and the speech are identical. Comments on the acting aside, the laugh-out-loud moments are worth the psychedelic overload. The attention, however, appears to have gone mostly into the dialogue, and the audience knows all too well that dialogue alone does not carry a whole movie. If you’re looking for more reasons—as if there aren’t enough already—to scoff at our former president, look no further than The Men Who Stare at Goats. It’s always fun to make fun.

P.S. Warning to all hamster owners: remember to keep your furry friends away from glaring men.

Alex Florez

By

2009/11/03 at 12:00am

Paraíso Travel

11.3.2009 | By |

Rating: 3.5

Rated: Not available
Release Date: 2008-04-26
Starring: Jorge Franco Ramos, Juan Manuel Rendon
Director(s):
Distributor:
Film Genre:
Country:Colombia
Official Website: http://www.paraisotravelmovie.com/

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Jack Rico

By

2009/11/03 at 12:00am

The Taking of Pelham 123

11.3.2009 | By |

Rating: 3.0

Rated: R for violence and pervasive language.
Release Date: 2009-06-12
Starring: Brian Helgeland
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://www.catchthetrain.com/

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“The Taking of Pelham 123” is good summer film fare, but it isn’t great. Not that this is a bad thing. The only reason you should go out and see this film is if you are a fan of either Denzel Washington or John Travolta, and are looking for some respectable acting. Otherwise, the action sequences are scant, and even though the premise is captivating, some implausible moments occur that deter you from investing too much of your time and brain power.

Denzel Washington stars as New York City subway dispatcher Walter Garber, whose ordinary day is thrown into chaos by an audacious crime: the hijacking of a subway train. John Travolta stars as Ryder, the criminal mastermind who, as leader of a highly-armed gang of four, threatens to execute the train’s passengers unless a large ransom is paid within one hour. As the tension mounts beneath his feet, Garber employs his vast knowledge of the subway system in a battle to outwit Ryder and save the hostages. But there’s one riddle Garber can’t solve: even if the thieves get the money, how can they possibly escape? That is what the film is all about.

If you ever had the chance to see the original ‘The Taking of Pelham 123’ with Walter Matthau and Robert Shaw, you’ll see in this new version that there are many changes to  the storyline. Director Tony Scott, who we spoke to in New York before the release of the film, commented how this project is not a remake but a new movie altogether. The changes do make the film better, but there is something to be said about the tone of the original that made it a good watch. Nevertheless, both stand on their own as good films, not great.

Latin actors Luis Guzman and Ramon Rodriguez played role characters and had some visible screen time, but not enough to for me to engage you in this particular review.

If I had to pick from the original and the new version to watch tonight, I’d go with the new one, because it provides more entertainment than the first. It won’t blow your mind away, but it’ll keep it from getting bored.

Namreta Kumar

By

2009/10/29 at 12:00am

Michael Jackson’s This is It

10.29.2009 | By |

Michael Jackson's This is It

Like much of anything Michael Jackson this film is a landmark. This Is It will immediately capture your heart.

The film takes you on a roller coaster ride. It opens with the tears of joy of the opportunity to work with the man who has defined music and dance in so many ways. While watching the film you almost forget that Michael Jackson is not here anymore. His vibrance, humor, and spirit leap off the screen and touch you.

This project developed by the archived videos of Michael Jackson’s last concert reveal art-making as an unfinished masterpiece. Kenny Oretga’s mosaic of Michael Jackson’s last days and dreams will undoubtedly inspire Michael Jackson fans. The raw images never hinder, as other documentaries may, but deliver the energy of another thrilling performance.

Through the eyes of these rehearsal lenses every music fan is delivered to the stage. The respect and L-O-V-E, love, that Michael Jackson works on every detail with is sure to move anyone. It is almost hard to judge the film objectively, because it seems to have another quality about it altogether.

Whether you look at it from a subject point of view or from a genre point of view This Is It is unique. You get a lot more than what you bargain for – A Film, A Concert, A Journey – This Is It honors the entertainer of entertainers.

Ted Faraone

By

2009/10/23 at 12:00am

Saw VI

10.23.2009 | By |

Saw VI

In an extraordinary move the Spanish government have restricted “Saw VI” (not surprisingly the sixth installment in the Jigsaw horror series) to the nation’s eight theaters that are allowed to show porno.  While this begs the question, “Are Spaniards really into Pay Per View?”  Your critic says that it is an over-the-top judgment call.
 
Your critic entered the screening room expecting something akin to a snuff film that would arouse men who harbor violent thoughts against women.  Fortunately such was not the case.  However, pic contains moments that those with weak stomachs should avoid.
 
“Saw VI” meets or exceeds all standards on a technical level.  Sound recording works.  Lensing is competent.  Special effects don’t look expensive, but work.  Editing delivers just the right amount of tension.  Where it falls down is in storyline and acting.  There are three thesps who turn in creditable performances:  Tobin Bell, who created the role of Jigsaw John, Betsy Russell as his wife, addiction doc Jill, and Peter Outerbridge as William, a medical insurance executive who is pic’s evil capitalist.  The rest, notably Costas Mandylor as crooked detective Hoffman, either sleepwalk through their roles or need to go back to acting school.  In Mandylor’s case, those who remember him from TV’s “Picket Fences” will be disappointed to know that he has both gained weight and lost talent.  Dialogue is subpar.  Plot leaves a ton of loose ends.  Most of them have to do with the question, “Why?”
 
While dying of a cancer for which William’s insurance company refused to cover treatment (pic is at least timely) Jigsaw John has developed a very nasty post mortem revenge plot cloaked in pseudo human decency.  He sets up William, the insurance VP who refused coverage for an experimental procedure, in a catch 22.  He has to save himself by killing others.  Instead of building suspense, plot is an excuse to string together a series of bloody vignettes.  It’s a sort of “Galaxy Quest” on acid.  Such clues as exist are telegraphed.  Surprises surprise without any credible setup.
 
It is never explained why wife Jill goes along with the bloody scheme and why crooked detective Hoffman executes it.  It’s those pesky loose ends….
 
Direction on a technical level by Kevin Greutert is good.  Screenplay by Marcus Dunstan and Patrick Melton should have been sent back for rewrites.  But “Saw” is a franchise.  It functions on a different plane from the rest of cinema.  It has a track record at the box office and a loyal audience.  Lionsgate’s marketing strategy of not showing it to crix until opening day is open to debate, but pix such as “Saw VI” tend not be affected by notices.

Namreta Kumar

By

2009/10/23 at 12:00am

The Wedding Song

10.23.2009 | By |

The Wedding Song

For a film that is so loaded The Wedding Song does not say a lot. Karin Albou structured the film from story to acting with an intimate design in mind.

The story is simple: a tale of the friendship between Myriam (Lizzie Brochere) and Nour (Olympe Borval), and how it grows in the face of their stark differences and the world that is rapidly changing around them. While Myriam is thrust into an arranged marriage in desperation to shield herself from the war, Nour’s “love” marriage traps her within the prejudice views of the times. Design was the cornerstone of this film and its failure. Albou’s design defines the good, the bad, and the ugly of The Wedding Song.

The good: The many layers of a woman’s coming of age are beautifully intertwined with the lesser known hostilities of a War that defines so much of who people became. Albou’s design and technique of the layers of intimacy between two friends in the heat of World War II is so particularly crafted in front of your eyes that your emotions are taken from simple homes through the ages that defined it.

The bad: The craftsmanship and design are forced through every scene. Although beautifully crafted and unique, the story is hard pressed for a slice for everyone to identify with. What makes coming of age stories special are the people we see in them and this art, with its specificity, lacks empathy.

The ugly: The Wedding Song is a heavy-handed art film and the design that faults it defines it. Albou has brought together so much of life and its unpredictable nature into each character set scene and action that it demands an active audience.

In short this film is a beautiful story with a lot of detail but a curtailed base. In the long run it will find itself as a winner with critical thinkers but not with the targeted bathetic audience.

Jack Rico

By

2009/10/23 at 12:00am

Amelia

10.23.2009 | By |

Amelia

If you’ve seen the films ‘Aviator’ from the director Martin Scorsese and ‘Titanic’ from James Cameron, then you will have a good idea of what to expect from ‘Amelia’.
 
The film is a celluloid biography about the real life of Amelia Earhart (Hilary Swank), the first woman that attempted to fly around the world. The movie focuses on her beginnings as a pilot, her voyages in the Atlantic and Pacific, her marriage to George Putnam (Richard Gere) and eventually, her mysterious death around Hawaii in 1937.
 
‘Amelia’ is a good film but it doesn’t deserve too many praises. The cinematography of the film was great and recreated the 20’s and 30’s on point. Acting wise, Hilary Swank was once again splendid, capturing Earhart’s innocent and joyous essence. Her nomination for an Oscar is more than assured. Richard Gere on the other hand, did not move me with his acting, to be franc, he was indifferent to me. I don’t know, I think his best days as an actor are over.
 
Anyway, the film lacked the magic that ‘Titanic’ or ‘La Vie En Rose’ by Olivier Dahan had. Those are movies that you keep in your heart for months, years, even a whole life time after you’ve seen them in the movie theater. As a cinematographic piece I recommend seeing ‘Amelia’. It’s a good film but is not that special.

Jack Rico

By

2009/10/22 at 12:00am

Astro Boy

10.22.2009 | By |

Astro Boy

Since I saw the preview I knew I was going to enjoy the animation. Usually I don’t get that feeling but ‘Astro Boy’ didn’t disappoint. The quality of the computer generated graphics was excellent, the voices were on par and the plot will make any parent tear more than once. Get ready.
 
The film is based on a popular manga and anime series from Osamu Tezuka. The movie tells the tale of a father (Nicolas Cage) who looses his son (Freddie Highmore) in a scientific accident and then recreates him as a super-robot. Sadly, his pain is so great he rejects him completely. The rest of the story has our hero trying to win back his father’s love.
 
Usually anime or manga films don’t have a lot of success in Hollywood but they do on T.V. such as Voltron, Pokemon, Speed Racer, etc… ‘Astro Boy’ is a risk to the Summit Entertainment company since the main character doesn’t have a fan base in the U.S. most of its reputation comes from Japan. I personally liked it and in my opinion you will too.

Alex Florez

By

2009/10/22 at 12:00am

Cirque du Freak: The Vampire’s Assistant

10.22.2009 | By |

Cirque du Freak: The Vampire's Assistant

The minute a genre becomes popular, Hollywood does its very best to milk it.  To squeeze every last dime out of our pockets.  And it will continue to do it as long as there continues to be an audience for it.  Let’s take ‘SAW’ as an example.  This week, the franchise releases its 6th installment with numbers 7 & 8 already on the way.  Let us remember that the first film hit theaters in 2004. Can they crank them out or what?

However, what seems to be all the rage these days are vampires. They’re everywhere: movies, TV shows, books, toys and on Halloween in every costume party in America.  To what do we owe this resurgence? Why the public obsession with a corpse supposed, in European folklore, to leave its grave at night drink the blood of the living? I have my own opinions about it but Hollywood could care less so long as we keep opening up our wallets.

For those that haven’t yet had their fill, this week you’ll have the option of seeing Cirque du Freak: The Vampire’s Assistant, but do so at your own risk.  The film, based on the popular series of books by Darren Shan, will do little to excite the average viewer.

Here’s the gist: A 16 year-old unknowingly breaks a 200-year-old truce between two warring factions of vampires. Pulled into a fantastic life of misunderstood sideshow freaks and grotesque creatures of the night, he vanishes from the safety of a boring existence, and puts at risk his relationship with his best friend to fulfill his destiny.

Think of Cirque du Freak as the vampire version of ‘Harry Potter’. Unfortunately, the magic just isn’t there.  A supporting cast that includes mexican actress Salma Hayek as ‘the bearded woman’ doesn’t even manage to spice things up. I will say however, that John C. Reilly (Step Brothers, Walk Hard) who plays Crepsely – The vampire who mentors young Darren and shows him how to develop his vampire abilities – shows his acting range and takes on a role we rarely see him in.

Unless you already a diehard fan of the books, I advise to stay away from the film.  The characters are dull and uninviting. You will leave the theater without a care in the world and a few dollars poorer.

One final note: Isn’t actor Chris Massoglia the spitting image of a young Ralph Macchio (The Karate Kid)?

 

Alex Florez

By

2009/10/20 at 12:00am

Transformers: Revenge of the Fallen

10.20.2009 | By |

Rating: 2.5

Rated: PG-13 for intense sequences of sci-fi action violence, language, some crude and sexual material, and brief drug material.
Release Date: 2009-06-26
Starring: Ehren Kruger, Roberto Orci
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://www.transformersmovie.com/

 Go to our film page

‘Revenge of the Fallen’ falls somewhere between ‘American Pie’ and ‘Terminator’.  Yes, I know that covers the gamut of movie genres, but that’s exactly the situation at hand.  Director Michael Bay’s follow up to the blockbuster film based on Hasbro’s action figures, is clearly targeting the graduating class of 2009.  School is out, summer is in and screenwriters Roberto Orci and Alex Kurtzman turn the first half of the movie into a teen-sex comedy, something most fans of the original cartoon series from the 80s won’t really care for.  But somewhere beneath all the sophomoric double entendres, lies a story-line with the potential of whipping fanboys into a frenzy by shedding light onto the ancient origins of the Transformers.

Optimus Prime, leader of the ‘Autobots’ (the good ones), is the ultimate hero to rally around but it is Sam Witwicky (Shia LeBoeuf) the boy responsible for discovering the alien race, who will hold the fate of the world in his hands.  Together with the help of the humans, the ‘Autobots’ engage in a battle of biblical proportions against the evil ‘Decepticons’.  The action here is certainly impressive and the special effects out of this world but it is difficult to enjoy when you can’t quite tell what’s going on – also my biggest concern with the first film. With the exception of Optimus Prime, the hot-rod semi-truck and Bumblebee, the golden Camaro, telling some of these robots apart is a mounting challenge especially during combat scenes.   

At the end of the day, there’s a lot of fat that can be cut out of the film to make it a leaner action-packed extravaganza. I’d start by eliminating a series of extraneous characters that add very little.  John Turturro as Agent Simmons, for instance, feels as out of place as the late Richard Pryor in ‘Superman III’.  And we all know how that franchise turned out.

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