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Movie Reviews

Jack Rico

By

2009/11/12 at 12:00am

The Messenger

11.12.2009 | By |

The Messenger

The first 20 minutes of ‘The Messenger’ should remind you of the power movies can have on anyone. It is very well acted, but a tough movie to watch. This film is not for most people, but if you can stomach it, it is worth the watch and money to see. It’s not every day war movies are released and less so when they have to do with such a gut-twisting premise as this.

In his first leading role, Ben Foster stars as Will Montgomery, a U.S. Army officer who has just returned home from a tour in Iraq and is assigned to the Army’s Casualty Notification service. Partnered with fellow officer Tony Stone (Woody Harrelson) to bear the bad news to the loved ones of fallen soldiers, Will faces the challenge of completing his mission while seeking to find comfort and healing back on the home front. When he finds himself drawn to Olivia (Samantha Morton), to whom he has just delivered the news of her husband’s death, Will’s emotional detachment begins to dissolve and the film reveals itself as a surprising, humorous, moving and very human portrait of grief, friendship and survival.

Let me tell you why the film is good and worth the watch. The Messenger will jolt you emotionally, close to the way Precious does. It’s emotionally raw with situations that feel very real and unsettling. It’s brutal. You say “why do I want to see that?”, but it’s like watching a car wreck on the highway – you slow down to see the post carnage. It’s the macabre part in all of us. Once the story reels you in, the film hits you with excellent acting from Foster and Harrelson. They own the screen and you are absorbed by their lives, problems and thoughts. Just when you can’t take enough drama, Harrelson breaks the tension with off the cuff humor which reminds you that this is just a movie. However, the pacing is off and it feels choppy at times. It goes off into tangents sometimes the way a conversation with a friend might. You can reel him back in, but you can’t do that to a movie. Part of those tangents that didn’t work were the bizarre romantic scenes with Morton and Foster which just didn’t match the level and intensity of the rest of the film, then a wedding crash by the protagonists which seemed out of place.

Credit goes to first time Israeli director Oren Moverman and Italian co-writer Alessandro Camon for creating a script that effectively captures the tribulations of post war trauma and the complex scenarios they harbor within them.

You won’t find many films that shake you ardently the way this does. Even with some of its flaws, it was a satisfying piece of work that you can for sure be pleased with.

Alex Florez

By

2009/11/11 at 12:00am

Fantastic Mr. Fox

11.11.2009 | By |

Fantastic Mr. Fox

As daring as it might seem for director Wes Anderson (Rushmore, The Royal Tenenbaums) to switch gears and take a crack at an animated film for the first time, adapting a best selling children’s book from a legendary author is arguably the bigger gamble. Or so you would think. With FANTASTIC MR. FOX, a film based on Roald Dahl’s book of the same name, Anderson rarely steps out of his comfort zone.  The risks are few simply because he’s managed to inject enough of his own personality into Dahl’s work to make it his own. In retrospect, the movie fits perfectly into his filmography.  

Those familiar with his work will instantly recognize his trademark humor, wit, the familiar voices he casts for his films and his penchant for putting together an amazing soundtrack of folk and classic rock.

Nevertheless, as an animated film it is quite refreshing to look at. The stop motion techniques used are a welcomed break from the computer generated animations we’re so accustomed to seeing nowadays. Anderson’s attention to detail doesn’t go unnoticed either, and the work of the animators should also be recognized given the challenges of animating real fur.  

One other note: if you’ve grown up with Dahl’s work, which also includes Charlie and the Chocolate Factory and James and the Giant Peach, you might not welcome the notion that Anderson takes many liberties with the ‘Mr. Fox script’, going as far as adding several scenes to make it work as a feature length film.  

As it plays out in the film, Mr and Mrs Fox (George Clooney and Meryl Streep) live an idyllic home life with their son Ash (Jason Schwartzman) and visiting young nephew Kristopherson (Eric Anderson). But after 12 years, the tranquil lifestyle proves to be too dull for Mr Fox’s wild animal instincts. Soon he slips back into his old ways as a sneaky chicken thief and in doing so, endangers not only his beloved family, but the whole animal community. Trapped underground and with not enough food to go around, the animals band together to fight against three evil farmers.

In the end, the film never quite grabs you emotionally the way a Pixar movie will, but I’m not sure that any of his live action films have either. Regardless, Fantastic Mr. Fox is very kid friendly and fun watch for the whole family.

 

Alex Florez

By

2009/11/10 at 12:00am

Up

11.10.2009 | By |

Rating: 4.0

Rated: PG for some peril and action.
Release Date: 2009-05-29
Starring: Bob Peterson
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://disney.go.com/disneypictures/up/

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With its 10th film, Disney-Pixar adds to what is an already impressive collection of animated features that have delighted kids and adults alike since the mid 90s.  In the tradition of its predecessors, UP not only stretches the imagination, but through the familiar qualities we see in their characters, also manages to galvanize our hearts into action. Quietly, and simply put, Pixar has become the brand we can trust to inspire.

UP, follows the touching story of a 78 year old balloon salesman Carl Fredricksen (Ed Asner), who finally fulfills his lifelong dream of a great adventure when he ties thousands of balloons to his house and flies away to the jungles of South America. But he soon discovers that he won’t be alone on his journey – an 8 year old ‘wilderness explorer’ named Russell is inadvertently on board.

Despite its impeccable record of hit films, Pixar doesn’t simply follow a formula that has worked for them in the past.  They continuously explore new territory and with last year’s Wall-E even go as far as making daring social political commentary.  Of course it’s all hidden underneath a score of lovable characters and a hilarious string of jokes. 

 

UP however, seems to push the envelope even further by introducing some sobering moments we’re not used to seeing in ‘kid movies’.  Trust me, you’ll know what I’m talking about when you see them.  While navigating between these type of scenes and the lighthearted ones is something director Pete Docter (Monsters, Inc.) does swiftly, it also presents the film’s most challenging and uncomfortable moments. Notwithstanding, you’ll be in for an hour an a half of absolute fun.

It is hard to say where UP ranks among the other Pixar classics, but as of now it is one genre-bending unpredictable animated family action comedy for all age groups.

Jack Rico

By

2009/11/10 at 12:00am

The Ugly Truth

11.10.2009 | By |

Rating: 2.5

Rated: R for sexual content and language.
Release Date: 2009-07-24
Starring: Nicole Eastman, Karen McCullah Lutz, Kirsten Smith
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://www.theuglytruth-movie.com/

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The Ugly Truth sells a fantasy about putting together two attractive individuals and telling the audience they’re falling in love rather than taking the time to develop interesting characters and build the romance. The only thing that differentiates it from far too many other uninspired rom-coms is that some of the material is funny and there is an occasional edge to the repartee. Beyond that, however, it’s a cookie-cutter movie, and the cookies are pretty stale.

A romantically challenged morning show producer (Heigl) is reluctantly embroiled in a series of outrageous tests by her chauvinistic correspondent (Butler) to prove his theories on relationships and help her find love. His clever ploys, however, lead to an unexpected result.

The two stars, Katherine Heigl and Gerard Butler, are the next coming of Kate Hudson and Matthew McConaughey. They’re both photogenic and their chemistry is hit-and-miss, but I can’t help wonder if this is more symptomatic of problems with the direction of Robert Luketic (Legally Blonde) and the weaknesses in the screenplay. When they’re given a full scene in which to interact, there’s something there, but those moments are few and far between.

One thing The Ugly Truth has going for it is that, unlike many romantic comedies, this one is actually funny – not consistently, but there are enough laughter-inducing scenes to keep things from becoming too tedious. Much of the humor is of the sex farce variety, with some of it falling into the Benny Hill school of funny bone tickling. For the most part, The Ugly Truth is PG-13 material (with the only nudity being a male butt), but some profanity and a few descriptive sex terms push it over the line into the realm of the soft R, which makes no sense from a marketing standpoint.

The Ugly Truth is a neatly packaged product that comes with all the consumer friendly safety labels. The comedy, as sophomoric as it often is, relieves some of the boredom of the generic love story. The movie is more like a re-make than something new, but many viewers find comfort in the familiar, and this is for them. For my part, if I want to re-visit this formula, I’ll head for the DVD shelf, where better interpretations of the same basic story exist. And that my friends is ‘The Ugly Truth.’

Terry Kim

By

2009/11/09 at 12:00am

Pirate Radio

11.9.2009 | By |

Pirate Radio

If you are fan of the 60s, and especially of 60s pop and rock music, then Pirate Radio is a must-see. There are more than fifty songs on the soundtrack, boasting familiar tunes by The Kinks, The Rolling Stones, and The Beach Boys, to name a few. The movie was written and directed by Richard Curtis—most well-known as the screenwriter of Four Weddings and a Funeral and for writing and directing the charming Christmas flick, Love Actually—who displayed his talent for quirky characterization again. It’s hard not to love the crew aboard Radio Rock: the American DJ who identifies himself as “The Count” (Philip Seymour Hoffman), the popular Gavin (Rhys Ifans), “Nutty” Angus (Rhys Darby), “Doctor” Dave (Nick Frost), Thick Kevin (Tom Brooke), Felicity (Katherine Parkinson), Simon (Chris O’Dowd), News John (Will Adamsdale), “Midnight Mark” (Tom Wisdom), mysterious Bob (Ralph Brown), Harold (Ike Hamilton), the newest member, young Carl (Tom Sturridge), and the captain responsible for them all, Quentin (Bill Nighy).

 

Days aboard Radio Rock feel like mere minutes as the crew/DJs takes part in the mantra of the 60s, “sex, drugs, and rock and roll.” On the other hand, certain individuals in the British government, namely Twatt (Jack Davenport) and Sir Dormandy (Kenneth Branagh), spend all their days and nights coming up with more laws to spoil Radio Rock’s chances of promoting their music and joie de vivre to the British public. If Radio Rock’s members are less concerned with personal hygiene and display so-called loose morals, Twatt and Sir Dormandy pout stiff upper lips and sport clean-shaven looks at all times. It proves difficult to bring the Rock cheer down: for every clever deterrant the Twatt-Dormandy team concocts, the rebellious crew conjures up another loophole. In fact, the crew even wavers on the brink of death, and still, this is not a challenge that cannot be overcome. Here, The Beatles’ famous line, “All you need is love” cannot be more relevant; love for music, that is.

 

You may be won over by the characters and music, but the movie’s fairytale-like progression is not as endearing. The camaraderie aboard the ship may be a touch too idealistic. One would like to believe that after a shipmate sleeps with your wife (of only seventeen hours) “to forgive and forget” is not as simple as it sounds. And not to mention young Carl’s revelation that his long-lost father is scruffy, bearded Bob is brought up, and then dismissed almost as an afterthought. It’s a hard-knock life in the rock and roll world, but when all that is displayed is love, loyalty, and too-willing sacrifice for the aforementioned virtues, the pirate rock world is transformed into Peter Pan and the Lost Boys in Neverland.

Karen Posada

By

2009/11/09 at 12:00am

2012

11.9.2009 | By |

2012

If you’ve seen the movie “The Day After Tomorrow” by the same director Roland Emmerich then you’ve seen most of “2012”. It is definitely what one expects after seeing the preview, a movie that has a lot of entertainment value because it is action packed, there is not much more to take from it.
 
Emmerich seems to be stuck in the same genre with the last couple of movies he’s made, movies about the apocalyptic end of the world, this one just adds to that agenda. Not only do they develop a similar plot but the characters also seem to be the same just played by different actors. The movie which lasts 2hrs and 35minutes has a slow beginning and then slowly builds up to the earth cracking and the world sinking in, to comply with a myth from the Mayan calendar about the end of the world. Putting the Mayan calendar into play gives it a good backbone but it is barely discussed in the film, giving a little more thought into it would have made the film less surreal and the ending less utopical and carefree.

 

Our hero John Cusack (Jackson Curtis) was perfect for the role; he delivers every time and seems to be in control despite of the world falling around him. He is in charge of saving his family and what remains of the human race. Jackson is part of the broken family on which the film mainly focuses on; despite of the length of the film there’s not a real connection between these main characters. Amanda Peet (Kate Curtis) fails to convince me of her role as a caring mother. Chiwetel Ejiofor (Adrian Helmsley) who plays the all knowing scientist is pretty believable and takes on the role of leader with ease.
 
Emmerich wanted to make a film to entertain the audience and it does. The movie doesn’t drag but the fact that the world is ending and these few people are smarter than anyone else and are able to surpass a lot of the obstacles, made the film to me ridiculous to the point that I was laughing on scenes that I’m pretty sure I wasn’t supposed to. If you still want to see the movie it might be best to watch it in the movie theater to appreciate the special effects, otherwise save yourself the money and rent any of Emmerich’s latest films.

Namreta Kumar

By

2009/11/06 at 12:00am

A Christmas Carol

11.6.2009 | By |

A Christmas Carol

Every Christmas season we get hit with a multitude of holiday cheer films and every so often that film happens to be a new rendition of A Christmas Carol, so why is this one a cut above the rest? It’s not just because it’s in 3D this time, or because of Jim Carrey’s score of excellent performances, or just because of the cinematography, but because of the wonderment that everyone feels when they leave.

Director Robert Zemeckis previous Christmas classic, The Polar Express, captured audiences with its spectacular 3D animation and classic narrative. And his renewed effort with A Christmas Carol carries that same magic forward with the added Disney spark. From the first scene to the last, every detail is crafted into the cinematography and art that pops forward and engages all audiences.

Jim Carrey’s many roles weave magic similar to that of genie. They melt seamlessly into one another and what comes through is just the Christmas magic that every Dickens fan wants to see. Carrey guides the audience from Ebenezer’s horrifying first moments to his reformed spirit with thrill, excitement, and an ease of sympathy and empathy.

Robert Zemeckis crafts nearly every detail before your eyes and creates a storybook wonder for every age. He brings Charles Dickens classic tale to life in this aesthetically pleasing Christmas production. The magic of the Christmas season seems to begin when you watch this production.

Jack Rico

By

2009/11/06 at 12:00am

The Box

11.6.2009 | By |

The Box

With such a simple title, how can ‘The Box’ end up being so convoluted? Thank director/writer Richard Kelly (the mastermind behind Southland Tales, one of the worst movies I’ve ever seen) for that costly gaffe. This film had the promise to be exceptional, marked by its beginning and ending, but the middle wrapped itself in tangled conundrums and it never managed to fully correct itself.

Norma and Arthur Lewis (Cameron Diaz and James Marsden), a suburban couple with a young child, receive a simple wooden box as a gift, which bears fatal and irrevocable consequences. A mysterious stranger (Frank Langella), delivers the message that the box promises to bestow upon its owner $1 million with the press of a button. But, pressing this button will simultaneously cause the death of another human being somewhere in the world; someone they don’t know. With just 24 hours to have the box in their possession, Norma and Arthur find themselves in the cross-hairs of a startling moral dilemma and must face the true nature of their humanity.

The message at its core is the avarice of men and how its implications will set off the cataclysmic genocide of mankind. This deep philosophical notion was not told well by Kelly. I don’t mind a mental challenge while at the movies, but at least provide me with some clarirty while you tell it. His adapted script is based on the short story ‘Button, Button’ from legendary fantasy writer Richard Matheson (I Am Legend, What Dreams May Come) and it is quite seductive and full of intrigue. Kelly’s version had the chance to be just as good if it weren’t for the occasional hiccups.

On the other hand, Ms. Diaz, of cuban ancestors, and Mr. Marsden (Enchanted, 27 Dresses) did a wonderful job of deciphering the jumbled script to give, in my opinion, strong and compelling performances. Marsden, in particular, is good every time out. Even in family fare such as ‘Enchanted’ (he was hilarious in it), Marsden can be proud of his work. Unfortunately, Langella just didn’t have enough to work from here.

Was it suspenseful? Yes. Was it interesting and compelling? Yes. Did it get so incoherent that it irrevocably lost me? Yes to that! Enjoy the film if you so choose, but remember, you’re also paying more than you should for it. It is not a bad film, but wait, wait, wait for it on DVD. 

Jack Rico

By

2009/11/06 at 12:00am

The Fourth Kind

11.6.2009 | By |

The Fourth Kind

The Fourth Kind has many a scares, but it feels more like a made-for-tv movie than anything else. That doesn’t make it bad, it just makes the decision to wait for it on DVD that much easier. 

 

The film, based on ‘real events’ and shot juxtaposing documentary and reenactment footage, is a good thrill… for a few minutes. The film’s publicity and marketing material suggest that The Fourth Kind is based on actual occurrences , but the reality is that this is as “based on a true story” as Fargo was (not at all). It’s all part of a backstory that extends beyond the screen. The director, Olantunde Osunsanmi, purports include “real” footage of unexplained phenomenon that transpired in Nome, Alaska during the early years of the 21st century, but there are plenty of clues both in the footage and outside of it that debunk its veracity. One doesn’t need to be aware that no one named Abbey Tyler practiced psychology in Alaska to know this woman is not real. The makeup applied to her face during her “interviews” is not convincing and the unidentified actress playing Abbey may cause pause even for those who want to buy what Osunsanmi is selling.

 

Although it’s fascinating to dissect the movie on an intellectual level and examine what pieces and structural choices work and don’t work, I’m sure that’s not how the filmmakers intended their production to be approached. On a purely narrative level, The Fourth Kind offers the occasional “boo!” moment but is too tame (consider the PG-13 rating) to generate any lasting horror and too contrived to work on a dramatic level. The best thing I can say about it is at least it’s not another Asian horror remake.

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.

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