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The Other Guys
Ever the old fall-back of comedy writers looking to push their budgets a little higher, the mismatched buddy-cop routine has had a steady stream of releases over the last 40 years. Most recently, Kevin Smith's 'Cop Out' proved to be exactly that, reminding audiences that wit, words and set-up still rule in the land of a thousand one-liners. Given that truth, director Adam McKay ('Anchorman: The Legend of Ron Burgundy', 'Step Brothers') has assembled a scenario ripe for laughs – and some thinly-veiled social commentary for good measure.
Essentially an underdog story – always a formula for riling up arm-pumping audiences, McKay's 'The Other Guys' traces the titular other guys in New York's Finest – the men behind the scenes, filing paperwork for the action-hero detectives who steal the headlines and drive muscle cars. Rather than turning the clichés and conventions inside out, 'The Other Guys' steps back and presents a fairly straight-forward anti-action movie. It builds on classic action sequences we've all seen before – cars ploughing through buses, high speed chases and so on – but does so from the perspective of two characters least likely to be involved.
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The first 'reality blockbuster' is a winner. Cloverfield is a lean, brisk roller-coaster of a monster movie, buoyed by the lack of story gimmicks and absurd characterizations that weigh down most movies of this ilk, no offense to you personally Mr. Broderick. In the aftermath, it will dawn on you that it's actually quite traditional -- every character has an arc -- but it doesn't feel that way. Nor does it feel like 'found footage', but something in between. Watch the prologue carefully, as our narrator/cameraman, whose point of view we'll share, is trying to make a standard going-away party commemoration tape interesting by sniffing out some sex gossip and self-consciously creating his own drama with a girl who wishes he'd get lost. This guy has filmmaking instincts, and when circumstances change and he becomes a 'character' in a disaster movie, he goes with it. He's not just pointing a camera -- he's making Cloverfield: The Movie. Ten years ago, we would have said 'it's not realistic that this guy would keep the camera rolling,' but those days are long gone.
Tomorrow, When the War Began
Seven teenagers from a small Australian country town called Wirrawee – Ellie, Corrie, Homer, Kevin, Lee, Robyn and Fiona – decide to pack a Landrover and go bush for the weekend. They don their packs and venture into the wild, little-visited, cliff-encircled gorge called Hell: flirting with members of the opposite sex, mucking about, and generally enjoying themselves so much that they think little of the fleet of planes that fly overhead one night.
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Crackdown was about audacious, skyscraper-clearing leaps; Assassin’s Creed opted for nimble parkour, its protagonist dancing across rafters, swinging between jutting flagpoles. In both cases, scaling a city in any manner you chose made the game. With freerunning superman Cole, Infamous falls somewhere between Altaïr’s procedural elegance and the Agent’s unsubtle, ground-pounding zeal. The player can scamper up anything with a handhold, mastering nearly any structure in the sprawling acreage of Empire City, before plummeting back to street level without so much as a sprained ankle.
American Teen, which has captured audience awards and drawn standing ovations at film festivals from coast-to-coast, is the latest example of a growing genre called "DINO" (Documentaries In Name Only). Combining candid footage with staged events, DINO directors assemble everything in the editing room, freely scrambling the chronology and cutting as they see fit. The goal is less to provide a slice of reality than it is to approximate a fictionalized version of that reality. DINOs are the motion picture equivalent of reality television, and American Teen is among the most accomplished to come along yet. In fact, it's so adeptly assembled that it has been picked up by a major distributor (Paramount) with an eye toward opening it in more than just art houses. The target audience isn't the usual "stodgy" crowd but the MTV post-music video generation. This is The Real World on a more ambitious scale.
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Untraceable engenders a reaction that is one part fascination, one part disappointment, and two parts frustration. The film, which has the ingredients for a thoughtful, tense thriller throws away a compelling first half so it can descend into silliness and clichés. For a movie that works overtime to establish credibility during its first half-hour, Untraceable leaves no predictable, formulaic stone unturned in its rush to a jaw-droppingly stupid conclusion. It's almost as if the filmmakers who made the first two acts were replaced by Uwe Boll collaborators for the final 40 minutes. Then again, it's possible to believe this of director Gregory Hoblit, who achieved something not dissimilar with his previous feature, Fracture.
Flags of Our Fathers
Flags of Our Fathers is Clint Eastwood's homage to the honored dead of World War II as well as a meditation upon how an icon is formed. Based on the book by James Bradley and Ron Powers, the movie centers around the Battle of Iwo Jima, one of the key late war conflicts in the Pacific Theatre. However, unlike other films that have trodden similar ground (in particular, the John Wayne vehicle The Sands of Iwo Jima), Eastwood's movie does two things differently. First, it uses the Saving Private Ryan approach to battle (not surprising, since Steven Spielberg is a producer) by showing all the blood and viscera older war movies kept hidden. Secondly, it intercuts the Iwo Jima sequences with those happening Stateside several months later, where key events are transpiring.
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According to several of the roughly 100 talking heads in The Aristocrats, The Joke has been around for a long time, dating back to the days of vaudeville. In addition to being called "The Aristocrats," it has other names, like "The Sophisticates." It goes something like this: A man walks into a talent agent's office and says, "Have I got an act for you! It's the most incredible, original act you'll ever see. My family goes on stage and does… [insert a variety of unspeakable acts, often involving incest, sexual deviancy, bestiality, necrophila, and scatology]" When he's done, the talent agent replies, "That's quite a show. What are you called?" The response (and punch-line): "The Aristocrats."
Non-demanding fans of the original The Matrix will likely be enthralled by the second installment in the series. More demanding aficionados will likely have a few reservations, some of which will not be addressed until the release of the third feature, Matrix Revolutions. I fall into the latter category. Although there are things about The Matrix Reloaded that I like, the movie is so open-ended and riddled with gaping holes that it's virtually impossible to view this as a finished project. Writing this review makes me feel like I'm putting pen to paper after seeing only half of a motion picture. At this time, I recommend the movie for what it is, but I reserve the right to revise that opinion in six months. It is possible – perhaps even likely – that the shadow of Matrix Revolutions will be so long that it will fundamentally impact the effectiveness of The Matrix Reloaded.
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The Incredibles may become the first Disney/Pixar film not to dominate at the box office. That statement has nothing to do with the film's quality - in fact, The Incredibles is among the best of Pixar's digitally animated movies. However, it's going up against The Polar Express, which has a number of advantages, not the least of which are its built-in audience and seasonal appeal. More than anything else, The Incredibles is likely to be a victim of bad timing. Don't shed any tears for its makers, however. The film will still keep the cash registers ringing until it attains "blockbuster" status, although it won't be the runaway hit that Pixar's last production, Finding Nemo, was.
The Outlaw Josey Wales
Clint Eastwood has directed, played in or starred in a lot of westerns. We all have our favorites and this my favorite Eastwood western, along with the more set-in-modern-day western, "Bronco Billy." (The latter is really a drama more than a western.)
This is simply an extremely entertaining story with two lead characters - played by Eastwood and Chief Dan George - who were fascinating to watch. Also, as in most westerns, I enjoyed the good photography and was surprised, considering the year of release, that the language was pretty tame.
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Pirates of the Caribbean: The Curse of the Black Pearl
As Governor Weatherby Swann (Jonathan Pryce) and his 12-year-old daughter, Elizabeth, sail to Port Royal, Jamaica, their vessel encounters a shipwreck with a sole survivor, the young Will Turner (Orlando Bloom). Elizabeth hides a gold medallion that the unconscious Will is wearing, fearing it will identify him as a pirate. She glimpses a ghostly pirate ship, later identified as the Black Pearl.
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Living a Zombie Dream
A man who witnesses his brother plowing his wife, takes him out drivingin order to kill him, with the help of some random psycho wearing onlya loincloth, whom the cuckolded brother then kills off. But the psychorises from the grave to kill him. My god this film was atrocious onevery level. I think it might have been going for aventgarde, butfailed miserably.Even at little over an hour, the movie still succumbsto massive repetition. I consider it to be among the worst zombie filmthat Ive ever seen and trust me if youve read my other reviews youllknow Im not prone to mindless hyperbole. So trust me and stay awayfrom this waste of celluloid.
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Love Thy Neighbor
Plagued by flashbacks of a violent home invasion, Laura Benson is on the brink of a nervous breakdown. Looking for a fresh start, she and her husband sell their house and relocate to a seemingly idyllic gated community. But, little do the Bensons know, evil not only dwells in the neighborhood...it lives next door. As strange and terrifying events unfold, Laura doesnt know whether her sinisterly sweet neighbor is to blame, if shes been targeted for revenge...or if shes losing her mind.
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My Life Without Me
Ann, 23 years old, lives a modest life with her two kids and her husband in a trailer in her mothers garden. Her life takes a dramatic turn, when her doctor tells her that she has uterine cancer and only two months to live. She compiles a list of things to do before she dies.
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