Please enable javascript to view this site.

Image Image Image Image Image Image Image Image Image

Movie Reviews

Jack Rico

By

2010/10/07 at 12:00am

Secretariat

10.7.2010 | By |

Secretariat
Jack Rico

By

2010/10/07 at 12:00am

I Spit on Your Grave: Unrated (Movie Review)

10.7.2010 | By |

How does one recommend a torture film to women? What does one say? “Dear, you’ll love that scene where five men rape a woman silly?” Obviously not, but as a critic, one hopes that the female in question is one whose tastes in macabre films entertain her. For those who are sensitive to bloody images, this review is irrelevant to you. Read More

Jack Rico

By

2010/10/05 at 12:00am

Splice

10.5.2010 | By |

Rating: 1.5

Rated: R for disturbing elements including strong sexuality, nudity, sci-fi violence and language.
Release Date: 2010-06-04
Starring: Vincenzo Natali & Antoinette Terry Bryant
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://www.splicethefilm.com/

 Go to our film page

‘Splice,’ is in this critic’s opinion, one of the worst, if not arguably the worst movie of 2010. There are so many wrong things with it on so many levels I don’t even know where to begin. Actually, I do know where to begin. Let’s start with the plotline that Warner Bros. has up on their press website for the film:

Superstar genetic engineers Clive (Adrien Brody) and Elsa (Sarah Polley) specialize in splicing DNA from different animals to create incredible new hybrids. Now they want to use human DNA in a hybrid that could revolutionize science and medicine. But when the pharmaceutical company that funds their research forbids it, Clive and Elsa secretly take their boldest experimentation underground — risking their careers by pushing the boundaries of science to serve their own curiosity and ambition. The result is Dren, an amazing, strangely beautiful creature of uncommon intelligence and an array of unexpected physical developments. At first, Dren (spelled ‘NERD’ backwards, wink, wink). exceeds their wildest dreams. But as she grows and learns at an accelerated rate, her existence threatens to become their worst nightmare.

The story sounds compelling and gripping, piquing ones interest of the outcome. Regrettably, when you finish experiencing this disjointed effort, the results are baffling and incomprehensible. There are numerous leaps of logic – instances when the protagonists act in a fashion that only characters in a comedy would. It’s as if the screenwriters wanted to hammer home how idiotic these scientists really are. Ultimately, our heroes actions in the second act are aberrations of consistent implausibilities.

The character of Elsa played by Sarah Polley is a vexing figure who is pigheaded, ambitious and arrogant. She’s not a likable character, you don’t root for her but rather against her. Her behavior towards volatile situations and tense moments are obtuse and supercilious. Brody on the other hand is cautious, correct in his ways, but eventually turns out to be a milksop of a man who lets his unstable woman take charge of critical situations and of his morals. The movie finally collapses when several Freudian occurrences transpire without any rhyme or reason. I can only describe them as some of the most preposterous, unlikely and outrageous twists I have seen in movies (‘Orphan’ by Spaniard director Jaume Collet-Serra comes a close second).

The fright horror we were putatively in for was diminished to only special effects editing and dimwitted risible scenes of absurdity, nothing more. Not once was I scared (unlike The Strangers or The House of The Devil recently). I kept placing my hands on my face, but in disbelief for the inanity unfolding before my very eyes. The trailer is patrly the culprit. It misleads us into expecting a flat out terror film full of suspense building sequences matched with high-intense graphics. Rather, it delivers a science fiction drama of the likes of Species, to be exact. Horror is only a secondary thought here.

Guillermo Del Toro served as a producer and did a descent job in creating Dren and most of the special effects with the budgets he was provided. Director Vincenzo Natali shot a beautifully dark and mysterious production that is visually appealing, but the payoff is painful not only to the viewing experience but to the pocket as well. If you can, stay away from this film, unless you want to see how bad it is. That sometimes happens to me too.

Jack Rico

By

2010/10/05 at 12:00am

A Nightmare on Elm Street

10.5.2010 | By |

Rating: 2.0

Rated: R for strong bloody horror violence, disturbing images, terror and language.
Release Date: 2010-04-30
Starring: Wesley Strick, Eric Heisserer
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://www.nightmareonelmstreet.com/

 Go to our film page

If anyone remembers the original ‘A Nightmare on Elm Street’ from 1984, you’ll most likely remember how scary it was. Not the case with this vapid, inconsequential remake.  Like Rob Zombie’s Halloween, this film is part prequel, part remake. This re-imagining of the horror icon Freddy Krueger, a serial-killer who wields a glove with four blades embedded in the fingers and kills people in their dreams, resulting in their real death in reality, is bland and absent of the fright the original possessed.

The reason this version doesn’t work is mostly due to miscasting. Jackie Earle Haley is too small and frail for the part, in contrast to Robert Englund’s lanky, slim frame. Haley looks like the “classic” Freddy in silhouette, but the illusion disappears in close-up. His make up appears vaguely reptilian, like an old guy with a bad skin condition. I’m not going to get too in depth with this, but know that Haley isn’t scaring anybody.

For those of you that love the Krueger and are curious to see for yourself how unscary this new Nightmare is, go ahead and watch it. It’s fate should’ve been the DVD shelves to begin with.

Jack Rico

By

2010/10/01 at 12:00am

Let Me In (Movie Review)

10.1.2010 | By |

For those who have not seen ‘Let the Right One In,’ you’ll like it’s Hollywood remake – ‘Let Me In.’ If you’ve already seen the Swedish original, this new version will feel choppy and uninteresting, only until the second half where it really picks up. Read More

Jack Rico

By

2010/09/29 at 12:00am

The Social Network

09.29.2010 | By |

The Social Network

Although ‘The Social Network‘ isn’t a masterpiece, this film will undoubtedly be the film that defines our generation. Each decade had a film that captured the zeitgeist of the times such as ‘Saturday Night Fever‘ in the 70’s, ‘The Breakfast Club‘ in the 80’s and ‘Reality Bites‘ in the 90’s. ‘The Social Network’, based on the origins of Facebook.com, the popular global social network, possesses clever dialogue, entertaining performances, and a captivating and inspiring story that draws you in. Director David Fincher (The Curious Case of Benajmin Button, Fight Club, Panic Room) and writer Aaron Sorkin‘s brilliant script have created a biopic that will easily be nominated for several Oscars including Best Director, Best Adapted Screenplay and Best Picture.

The plot is about the origins of Facebook, through conflicting viewpoints of two of the most intelligent young people who claim to have been there at the moment of its conception – Mark Zuckerberg and the Brazilian financier Eduardo Saverin. The result is a drama full of creation and destruction, intentionally avoiding having a single point of view. The characters are Mark Zuckerberg (Jesse Eisenberg), the brilliant Harvard student who designed a site that seemed to redefine the social fabric of our days overnight, Eduardo Saverin (Andrew Garfield), who used to be the best friend of Zuckerberg and provided the money to start the new company, the founder of Napster, Sean Parker (Justin Timberlake), who led Facebook to venture capitalists in Silicon Valley, and the Winklevoss twins (Armie Hammer) who claim that their idea was stolen are suing Zuckerberg for their intellectual property. But the chaos of creation leads to conflicting passions about how it all happened and who deserves recognition for what is  clearly is the most important idea of the century. Tensions reign that divides friends and unleash legal action.

I must say that the real magic of the film does not come from the actors but from Fincher and screenwriter Sorkin. Fincher’s direction is refreshingly consistent. He has always been obsessed with antisocial and rebellious characters, but now, in mid-career, he has become more subtle, more eloquent in their arcs, both comic and tragic. Sorkin on the other hand, is a master of the written word. His script is smart, witty and absorbing. He made an impressive amount of research to get to the core of the story. He read legal statements, court documents, which offered the best possible material. The only thing that could be a detriment to the film is that it might have felt long in some parts.

Among the performances, actor Armie Hammer impressed. His role was a tough one. He played the Winklevoss twins – by himself (courtesy of special effects). Two of the best lines in the film, and perhaps of the year, were delivered by him. Another one that stands out is Jesse Eisenberg, who has undoubtedly done the best work of his career. His role as Zuckerberg – full of awkward moments, quick and extended philosophical monologues – was fierce, sad and brave. Basically, he gave us a soup of personalities and emotions that ultimately proved difficult to decipher – was Zuckerberg a hero or a villain?

Many are curious to know how things went with Justin Timberlake. I say this with all sincerity, he wasn’t so bad. The role fit him like a glove. His performance did not cause any kind of hysteria in the theater I saw it in – unlike his musical performances. His performance is modest at best, nothing to criticize.

Our new Spider-Man, Andrew Garfield, who played Eduardo Saverin, shows that has the acting chops to become an excellent actor for years to come.

I’m sure you’ll like ‘The Social Network’. Why? Because it moves quickly, no scene is wasted, the theme is current and compelling, the performances are magnetic and riveting and the dialogue is engrossing and unforgettable. What more do you want from a film!

Jack Rico

By

2010/09/28 at 12:00am

Get Him to the Greek

09.28.2010 | By |

Rating: 3.5

Rated: R for strong sexual content and drug use throughout, and pervasive language.
Release Date: 2010-06-04
Starring: Nicholas Stoller, Jason Segel
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://www.gethimtothegreek.net/

 Go to our film page

‘Get Him To The Greek’ is perhaps the best comedy of the year… so far. It’s competition in 2010 doesn’t match up against it – MacGruber, Hot Tub Time Machine, Cop Out.  Even last year’s ‘Forgetting Sarah Marshall.’ is not as good. ‘Greek’ has much more likable and interesting characters and a mix of clever and low brow humor to titillate the senses. Also, the music industry is much more appealing and much more fun than the aforementioned flick.

‘Greek’ has nothing to do with mythology, but instead with a record company assistant (Jonah Hill) who is hired to accompany an out-of-control British rock star, Aldous Snow (Russell Brand), to his 10th anniversary concert at L.A.’s Greek Theater.

I’m not a big fan of British comedian Russell Brand due to the vexing complexity he is. But there is a side to him I like, I just don’t know if it is an act. The first bag of exasperating tricks he bundles is his uncontrollable zest for being annoying (I saw an interview with him on Craig Ferguson, hated him), an accent that doesn’t allow you to understand anything he says and I feel he has no charm on the mike (thought his hosting duties at an MTV Video Music Awards show was pretty lame). So why then did I like him in his first full length feature? Unbelievably, he stops being a bane nuisance and becomes contagiously eloquent with a marvelous rhetoric that can pounce any argument. So which one is he really? I like the Aldous Snow character much better and less the real Brand. But if he continues to create work that resembles Aldous’ nuances, logic and verbiage and dramatic layers, I’ll seriously consider becoming a fan. For now, I’m a swing voter. His character Aldous Snow, a caustic British musician, had his first appearance in ‘Forgetting Sarah Marshall.’ He was actually one of the highlights of that film along with Paul Rudd. I thoroughly enjoy his film performances.

Jonah Hill on his part, plays the innocent and impressionable Aaron Green, who is a fan of Aldous. I’ve also never been a fan of Hill, I just don’t think these guys are good actors. But again, Hill’s character surprised me. He nailed the personality of what guys trying to make it in the music industry are like and the humiliations they sometimes have to go through to get there. I worked in radio and MTV for several years and these execs really get a joy in making you suffer. This movie’s comedy relies on those moments that are very funny here in ‘Greek’.

There is this one funny scene in the limo where Hill is taking Brand to the Today Show. It’s perhaps the funniest piece in the film along with the ‘Jeffrey’ moment. You must watch out for them.

P. Diddy is good, but he’s no actor and makes Hill and Brand look like Academy Award winners. He is not as good as other critics and bloggers say he is. He has some good lines, but they could’ve been magic in the hands of a more experienced actor like Michael Shannon in ‘The Runaways’ (he was brilliant in that film).

Judd Apatow and Jason Segel are the producers of ‘Greek’ and did a damn good job. The director Nicholas Stoller created some snappy and attractive shots that I’m sure you’ll guys enjoy whole heartedly. I didn’t necessarily laugh in every single scene, but I must confess I had fun seeing all the tomfoolery unfold on this poor kid Aaron (Hill). The pop-rock soundtrack was infectious and catchy and I entertained myself, which is the point of going to the movies. I recommend you spend your flow and go with your friends. If you don’t like Brand or Hill, you’ll like them after you see this movie. Good times!

Jack Rico

By

2010/09/28 at 12:00am

Babies

09.28.2010 | By |

Rating: 2.5

Rated: PG for cultural and maternal nudity throughout.
Release Date: 2010-05-07
Starring: Not applicable
Director(s):
Distributor:
Film Genre:
Country:France
Official Website: http://www.focusfeatures.com/focusfeatures/film/babies/

 Go to our film page

 

I’m a fan of documentaries. It’s a great way to learn, in-depth, about a specific topic in a quick and efficient way. ‘Babies,’ unfortunately, wasn’t very insightful. It was extremely cute and adorable, but to pay $12 to see this, I’d rather recommend you string together 2 hours of cutesy YouTube videos of cuddly baby stunts and call it a day. Or just call your sister or friends who just had one and have them pop out their digital portraits of them. I’m sure the collection is already prepped and ready to go!

Because this is a documentary, there is no concrete plot, except that it focuses on one year in the life of four babies living on different continents: Namibia, Mongolia, Tokyo and San Francisco.

The cameras capture the social, economic and cultural contrasts that each baby is provided. We also have a peek at how their parents raise them with the resources that life has made available to them. Besides the lovely tender moments of these infants, the film depends solely on the innocence of its four protagonists. The target audience is newly parents who will appreciate the idiosyncrasies that they have lived with their own children. It’s difficult to recommend you pay to see this in the theater. The wiser option for your pocket will be YouTube or when it comes out on DVD.

Jack Rico

By

2010/09/28 at 12:00am

Iron Man 2

09.28.2010 | By |

Rating: 3.5

Rated: PG-13 for sequences of intense sci-fi action and violence, and some language.
Release Date: 2010-05-07
Starring: Justin Theroux
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://ironmanmovie.marvel.com/

 Go to our film page

‘Iron Man 2’ is very fun, but the story in this sequel isn’t as interesting as the first origin story. It also felt longer than the original. Why? Dialogue was heavy and the action sequences weren’t as prevalent. Overall, an entertaining experience, but my main criticism of the first one was that it needed MORE action at the beginning and in the middle. This new film has a brief stint of action a quarter of the way in, but then becomes laughable halfway through.

With the world now aware of his dual life as the armored superhero Iron Man, billionaire inventor Tony Stark (Robert Downey Jr.) faces pressure from the government, the press, and the public to share his technology with the military. Unwilling to let go of his invention, Stark, along with Pepper Potts (Gwyneth Paltrow), and James “Rhodey” Rhodes (Don Cheadle) at his side, must forge new alliances — and confront powerful enemies (Mickey Rourke, Sam Rockwell).

Robert Downey Jr., is once again excellent as Tony Stark. He truly nails the caustic, pithy eloquence of Stark from the comic books. Don Cheadle was equivalently as good as Terrence Howard was in the original playing Rhodes. There was no real difference.  Mickey Rourke was fantastic as the main villain Vanko, and brought the gravitas that Jeff Bridges did in the first part. Scarlett Johansson on the other hand created a spark on screen, she was a highlight. She plays Black Widow (she was the sixteenth member of The Avengers), a sexy Russian femme fatale spy who works for S.H.I.E.L.D and whose job is to make sure Iron Man doesn’t stray for the worse. Sam Rockwell (Moon) was perhaps my favorite after Downey. He single handedly stole some scenes from Rourke and Downey himself. He’s really good and it is just a matter of time before he’s recognized for some gold hardware at the Oscars. Gwyneth Paltrow was slightly irrelevant. Funny enough, director Jon Favreau decided to put himself in the film for a few scenes. He’s funny and it seemed everyone else had a pleasant time shooting the film.

Some issues I had with this sequel had to do with the prolonged periods of comedy, or clowning around, that obstructed the flow of the story. The first Transformers movie did the same in the scenes where Optimus Prime is trying to hide in Sam’s backyard and I didn’t think it necessarily worked. When a film is taking itself serious and subtly injects humor into its storyline, it is fine, but when those moments of humor are prolonged and it becomes a centerpiece scene, then it can harm or ruin whatever solemn and credible moments the film was building from its inception.

The action sequences this time around, also coming in the final scenes as the first one, were more extended and much more action packed. The final half hour hit a climax well worth the ticket price. I saw this film on an mid-level IMAX screen and the resolution and sound were fantastic. If you can afford it, pay for it. Just in case you’re wondering, there is no 3D version of the film. I know, I was surprised too.

The Avengers storyline is in full swing here with Sam Jackson making a full appearance as Nick Fury, Captain America’s shield in another scene and…you must stay for the very, very end of the credits, where there will be a hidden scene about Thor’s Hammer. “Sir, we found it”.

 

Iron Man 2 is an exciting, funny, action summer film that everyone will like, even if it isn’t a classic.

Jack Rico

By

2010/09/24 at 12:00am

Buried

09.24.2010 | By |

Buried

Buried’ is perhaps one of the most emotionally uncomfortable films you will see this year. The idea of walking out of the theater due to its inherent claustrophobic visuals might cross your mind, but try to stay to the end because it will extract an abstruse, if not, enraged reaction from you. You won’t recognize yourself after seeing the final scenes of this movie. You will be an emotionally wreck!

The premise is extremely intriguing. The very first frame has American truck driver, Paul Conroy (Ryan Reynolds), waking up in a coffin six feet underground in Irak. He’s in utter blackness, silence and barely able to breath, but he isn’t ready to die. But with no idea of who put him there or why, life for the family man instantly becomes a hellish struggle for survival.  Buried with only a cell phone and a lighter, his contact with the outside world and ability to piece together clues that could help him discover his location are maddeningly limited.  Poor reception, a rapidly draining battery, and a dwindling oxygen supply become his worst enemies in a tightly confined race against time. Fighting panic, despair and delirium, Paul Conroy has only ninety minutes to be rescued before his worst nightmare comes true.

It is rare in today’s Hollywood spectrum to see a film acted by only one person and Ryan Reynolds pulls it of brilliantly. He had a lot of help from Spanish director Rodrigo Cortés who provides constricted, suffocating shots that’ll make you cringe several times.

If Cortés and Reynolds set out to achieve a film that will stir up your emotions, then I must admit they did a masterful job. I left the screening speechless and unable to formulate or utter an immediate opinion on the film for days. The subtextual, inherently moral and political conflicts the film brings forth questions your very outlook of the world today. Buried is a visceral and powerful film that you will not be able to shake off long after you leave the theater. If that’s not the principal reason you go to the movies, then I don’t know what is.

The one moment where the credibility of the movie suffers is a snake scene that just seemed too random to take seriously. It was obviously inserted to prevent any monotony the pacing could have encountered.

Nevertheless, if Hitchcock were alive today, I truly do believe, he would have indulged in directing this film. I think Cortés and Reynolds pulled off a difficult film to entertain people with. Let’s now see if Danny Boyle’s version with James Franco, ‘127 Hours,’ is better!

Select a Page