Reviews

It's hard for me to convey the impact of this type of film to those who think it is "cinema". I lived five years in Baltimore, and cut through these neighborhoods everyday on my way home. I am not a junkie nor did I want to be in this neighborhood. I was in school and broke and needed to get from point A. to point B. The gut-wrenching truth of this documentary/film makes me thankful for the advantages I received. Mr. Dutton took a brutal story and directed a brutal documentary that rings so real, it was painful to watch. I could've given money to Gary, or "Fat Kurt", or "Blue". My first year there I was a sucker. I gave a dollar to every cause and every story. They looked like junkies, but I didn't know that at the time. Those were the easy days. I was stopped/accosted/confronted by every type of junkie/thug/moron portrayed in this film in the days following. In fact, the "Wendy's" that Andre works at was less than two blocks from my home. Anyway, This film portrays to America the grip drugs have on our cities. This not a race issue, it's a junkie issue. Drugs don't know color, or age, socioeconomic boundaries. Mr. Dutton has grittily revealed this slice of Americana few want to believe is there. There is no whimsy or exaggeration or sentimentality or cinematic liberty taken here. The gloves are off and the cast are some actors, some real people. If you've ever wondered why our inner cities seem to perpetuate problems, watch this documentary. There is a portrayal of the larceny of childhood, the desperation of the poor, those who wish things could go back to the way they were, The gravity established is unavoidable. And if you think it's a joke, the finale reminds you this was not an episode of some show on a major network. This is not easy to watch. But it's well worth it.

Mr. Fincher, Congratulations on another coup de gras that undoubtedly takes Hollywood by storm, and raises the blood pressure of the P.C. crowd. I can not comment on the truth to the novel as I have not read it. But the version I witnessed was mesmerizing. The two leads, ironically considered two of Hollywood's leading "Pretty Boys" turn in gritty, adept performances that certainly don't ring of "Pretty Boy". Helena Bonham Carter proves she'll do what a role calls for. The remainder of the prominent cast, in their small but important roles provide the necessary gung-ho to make this movie fly. If they remade "Terminal Man", they'd call it "Fight Club". As Brad Pitt calls in the trailer, "Fight Club" takes it up a notch. Those who criticize this movie for it's "brutality, glorification of violence, love of pain" are, I'm sure, the same individuals who looked the other way during "Private Ryan". The violence in this movie is pervasive and graphic. It is not, however, gratutitous or unnecessary. It sets a tone. Think "Clockwork Orange". The plot was NOT predictable, thereby thwarting the normal Hollywood method. I felt like I was watching the European "The Vanishing" when it all played out. And it made me smile and wince. Smile at the surprise, wince at the gripping story. Obviously, I thouroughly enjoyed this movie. And it is not often I think how I can't wait to see it again. To see how the director and cast obviously tipped their hand, and still left me in the dark.

This is what happens when you let "summer blockbuster" directors take a potentially gripping tale and "Big-Time" it. Joel Schumacher takes a talented cast, Nicholas Cage, Jaoquim (?) Phoenix, and (finally getting his due, "The Sopranos") James Gandolfini, and tries to make S. and M. "Lethal Weapon". All of the stars are the types ideally suited to this sort of dark, unsettling tale. The premise is grim, an elite millionaire's widow finds a "Snuff" film among his belongings. She wants to know of whence it came. Creepy stuff. Next thing you know, you're watching Danny and Mel trade jibes while they examine the underbelly of the pornography industry. Then, to make matters worse, the story escalates into the tale of a man driven to the brink. Unfortunately, it comes off less like Travis Bickle than Rambo (II and III). An infuriating quote I read about this movie before I saw it: "Major Studio makes indie-feeling film." Apparently, Schumacher felt he was making Batman, so he added this ridiculous Danny Elfman-ish score "to set the mood" I assume. Try watching this on video and not get annoyed by the background music. In summary, a good idea gone wrong. I just imagine this directed by David Fincher, Bryan Singer, an angry Ridley Scott. Or best yet, a true visual master (the young) Brian DePalma. Hey, wait, I saw "Snake Eyes"? Maybe he wouldn't know what to do with Nicholas Cage.

This film was an engaging and creepy take on a unique approach to storytelling. Set-up a scary situation, and let the audience interpret. Tell me this, does anyone remember a movie with more black screen (sound-only) that you paid undeterred attention to? However, I went in anticipating throat-tightening fear, I experienced a few chills. BLAME IT ON THE HYPE MACHINE!!! IF YOU HAVE OT SEEN THIS MOVIE, STOP READING ANY OF THIS. Just go see the movie, you'll have a more chilling experience. I will say the finale creeped me out...in a big way. But, only because I had previously seen the "Sci.-Fi." Channel Mockumentary. That was super-creepy. My recpmmendation to the viewing audience, watch this documentary on Sci-Fi., THEN go see the movie. Talk about setting up a scary, scary premise. I lived in Maryland for five years, and those backwoods offer enough interesting locals to scare you nonetheless a Witch. My anticipation is the D.V.D. will include/assimilate the Sci.-Fi. documentary...then watch. After that documentary, my skin crawled...then I read too much about this movie. It definitely took away from the experience.

In the tradition of other movies that have come before it with similar outlines, this movie stands on its own. As a Stone movie, it is widely under-appreciated...and MEAN. A well-done tale of snowballing. Little inequities become oversized, PAINFUL thorns. It plays like a dark version of Scorcese's "After Hours". Griffin Dunne's character is played (in a similar pathetic but undeniably endearing fashion) by Sean Penn. Unlike Dunne's bad luck, Penn's involves all manner of atrocities. Where Dunne paid psychologically, Penn pays on all levels. The characters driving his voyage add to the strange uneasiness of his every step. Much better than I expected. Definitely one for those people who need to satisfy their darkside on a late night.

A surprisingly blunt and direct look at the type of Bostonians you don't want to meet in the alley behind "Cheers". The characters played out convincingly, Leary being a local I'm sure helped. Misconception: This movie is not about, or in Southie (of "Good Will Hunting" fame). It is in Charlestown (Chucktown to townies). Monument Ave. runs straight up to...Bunker Hill Monument. However, the film is flawed. The camera work does not add to the movie, Martin Sheen does not add grit or realism, and the climax is overplayed. The set-up, however, is gripping and well-done. The underbelly of these tight Boston communities is exposed to the viewer. Plus, look for the cameos by Boston comedic legend Lenny Clarke ("Laroquette Show" I think) and Greg Dulli ("Afghan Whigs", highly underrated Ohio band).

This is one of those movies that begs your average moviegoer to hate it. Hate it for violence, for racism, for brutality. The truth is, this movie would do more to abrogate racism, brutality, and (maybe) violence if it were shown more widely. Edward Norton proves he is not interested in being a pretty boy, but an actor. Edward Furlong continues to remind us all he's more than that effeminate kid from T2. For those of us old enough to remember the birth of skinheads, this movie portrayed their hateful, baseless stance head-on. If you were ever thrown in a moshpit at a Suicidal Tendencies show, you know how you were kicked. By the biggest group of losers in town. Until they found Derek Vinyard and felt vindicated. However, this movie turns around and displays the other side. The mindless quest to be a gangsta. Without concern. The only downside of this movie is the preachiness which was understandable but overblown. The generational influences in this movie are brilliant. From Dad, to brother, to little brother, hate begets hate. An excellent movie, with balls that movies like "Colors" would have benefited from.