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Reviews
District 9 (2009)
An interesting new approach to the Sci-Fi Thriller
Watching District 9 was an odd experience.
I was taken back to a time when sci-fi/thrillers relied on the craft of set designers, make-up artists and clever directors to make an ambitious film possible despite a rather limited budget.
District 9 reminds me of sci-fi classics like Alien, in which a team of artists led by a young but apt director work in unison to bring a unique take on the genre to life.
The idea of filming District 9 as a quasi-documentary allows the audience to forgive the lack of fancy special effects and the lack-luster appearance of an alien breed that could have been designed two decades ago. The documentary feel also creates an air of intimacy and realism that is highly engaging.
Despite having a share of weak action scenes and some plot inconsistencies, the movie remains interesting throughout due to a very original script, artistic concept and creative artistic design.
The lead character embodied with great energy and ability by the unknown Sharlto Copley (South-African actor) gives the movie an added aura of realism, placing an average-looking man without the typical chiseled features of Hollywood action heroes.
For some, District 9 will be caricaturesque or even silly in its original approach to a Hollywood subject that has been widely explored: the man vs. Alien battle for supremacy. The truth is that District 9 brings a breath of fresh air to an exhausted genre by making humans the villains and aliens the victims, exploring some ethical and political questions but never being preachy.
District 9 is one of the best movies of 2009. A must-see.
In Bruges (2008)
They didn't know how to end it
In Bruges successfully blends comedy, drama and some action with very powerful performances by Colin Farrel, Ralph Fiennes and, most of all, Brendan Gleeson. Most interestingly, In Bruges appears common and accessible at times, but when everything seems predictable, we are thrown a curve-ball that gives the movie a certain edge and an ever present blanket of dark comedy that permeates all characters, most especially Ray, played by Colin F. Bruges, a medieval city in Belgium, is presented to us as a blend of old and new. Its locals and its buildings set the background, while the characters upfront stand out like sore thumbs within a "fairy tale" place as it is often described. Hidden within the comedy is a very dramatic script that deals with feelings of regret, suicide, murder and love but that never seems burdensome or hard to watch. Especially important to the development of the story is the character of Brendan Gleeson who has come to Bruges not knowing it will be a crucial moment in his life, a setting that will allow him to reevaluate his values and make decisions that go against all that he has done in the past. Ken seeks for redemption, even when he knows he is already condemned and we see the interesting transformation on the screen.
Despite its crafty mix of comedy and drama, In Bruges falls short as it delivers an ending that over-relies in unnecessary action and unsubstantial dialogue. It is the typical case of a story that needs to end but does not know how. There is no better example of this that the final scene and the predictable cyclical ending we are given.
W. (2008)
A critical yet charming and likable portrayal
During the 2 hours of the film, Oliver Stone, the accomplished director of hits like JFK, tried to portray Bush as a personable, likable, amicable cowboy whose rise to the presidency had an immeasurable connection to his relationship with the ex-president and father George H. Bush, and to a team of advisers and friends (the likes of Karl Rove) that constructed the image of a man that Americans could identify with despite his elitist roots.
Stone shows us a man who seems to have matured late, well into his adulthood, one who went from a trouble making alcoholic that was not capable of holding a steady job to one that found love and built a family based on conservative and rather strict morals and values. It would have been easy for Oliver Stone to bash the figure of a president who was terribly unpopular at the time the film was released, but instead, Stone gives us an insight to the soul of this imperfect individual without vilifying him. As most other Americans, Stone despite his best efforts, could not find the truth about the motives behind the decisions of the 43rd president, neither could Stone pretend to know the little details that described the meetings he held with his high staff prior to the Iraq War, as a result, Stone paints for us a possible reality, never pretending to be accurate one, never being overly biased or critical. This portrayal thus follows the reasoning and the train of thought of the movie, not deviating from the main arguments the film attempts to get across.
Stone chose to frame the movie in two periods. The first one, presents us the maturing of Bush before he becomes the most powerful man in the world. Stones does reveal facts with some degree of criticism, inserting a comic relief at the expense of W., but almost never overdoing it. Most importantly, this first period is distinguished by the awkward and somewhat distant relationship between Bush and his intellectual father. The second period involves Bush as the sitting president, surrounded by the likes of Dick Cheney, Condoleeza Rice, Karl Rove, Donald Rumsfeld and Colin Powell. Stone focuses his attention not in Bush's ascension to power nor in his popular moments after 9-11 but rather in those moments prior to the initiation of the Iraq War that will so clearly define his political legacy. Despite an occasional mockery and criticism, Stone does present us a view in which Bush directs the effort to start the war more as a reaction to advisers, rather than a personal vendetta against Hussein, or as an attempt to get the oil of Iraq. It would have been easy to mock and destroy the image of Bush, brilliantly portrayed by Josh Brolin, but the film actually manages to create a likable image of Bush, who despite all of his mistakes and shortcomings, took most of his decisions without meaning harm, thinking it was perhaps the best thing to do.
The failures of this movie mostly fall on some strange casting. Thandie Newton as Condy Rice, or Toby Jones as Karl Rove, were awkward choices that fall more on the SNL-satire type of acting than in the serious well-structured comedy type. Another defect is perhaps the overly repetitive connection between Bush father and son, and how Stone tries to portray W. as a son who desperately tried, even as president, to gain the support and admiration of his father. Nevertheless, it is a satisfactory and entertaining movie whose strongest point is Josh Brolin's performance as W.
Quantum of Solace (2008)
A perspiring and unoriginal action movie
If Casino Royale was a departure from the gadgetry-driven, comically conceived plot that characterized almost all previous Bond movies, it will be evident to you that "Quantum of Solace" is perhaps the most radical and extensive departure from the elements that distinguished the Bond series and made it a very unique action/thriller saga. The departure, however, was not a good one. With Casino Royale, the Bond series had taken a turn away from the silly theatrical action of the past to a plot-driven slick thriller. The characters were no longer the unidimensional types of yore: the super-male, the super-villain and the erotically charged superwoman; instead the characters were now believable and realistic, stripped away from the superlatives of the past. With Quantum of Solace, however, the Bond series oversimplifies itself. It takes away the intelligence and realism of the predecessor not by going back into the common Bond traits, but rather by exploring all of the cliché moments of any other Hollywood action movie. Quantum had its share of pursuits, of high-speed mass destruction, of physical manly violence and the slick gunfight that has become the trade of the industry. Quantum does without the popular agent Q (the gadget expert) and manages to rely on a Bond whose only weapons are his talents. At first glance, this could have been a welcomed evolution, but sadly, I could not help but hope that the silly details of the past could lighten up the somber mood that permeated the entire film. We come to believe that the only thing that drives Bond's pursuits is his thirst for revenge, instead of the more rosy and Utopian desire to restore order and peace.
The action-packed film does not provide the comic relief of old and it does not even provide viewers with a last climatic action scene, for the ones that open the movie are far more stunning and complex. The villains are unimpressive, the malevolent plan is rather weak and the many actions sequences seem to have been extracted piece by piece from far more effective and more entertaining action films.
The bright notes of the movie are mostly provided by the cool and slick aura that Daniel Craig is able to give to this hyper muscular post-modern Bond character. Beyond that, Quantum of Solace follows every trick in the long history of action movies without providing the fun silliness of the Sean Connery years, or the vast twist and turns that kept us interested during Casino Royale.
Dog Day Afternoon (1975)
Great acting for a widely entertaining bank robbery
Dog Day Afternoon is by far the most accomplished movie about a bank robbery gone wrong. The plot is based on a true story and is pretty much filmed as if in a theater stage only comprised of a small urban New York bank and its immediate surroundings. One of the highs is found in the amazing cast that so naturally portrayed what was a set of challenging roles. Al Pacino is not only convincing, but in his lunacy and rhythm finds a way to charm us with his wit and the natural quality he manages to give his character. His male lover Leon makes another convincing short presentation that never makes us doubt about the truly dysfunctional lifestyle they have. Sonny's partner Sal played wonderfully by the late John Cazale speaks with the same frailty and emotional instability he gave his famous Godfather character. The movie does well to seem natural, far from the flamboyance that tends to haunt Hollywood when making films about cops trying to take down bad guys. The 2 hour long film also keeps you at the edge of your seat, giving you sufficient thrills along the road to keep you guessing and wishing for the best. The only criticism I have are the unnecessary shots of New York City at different moments in the movie as if watching Manhattan will helps us understand anything more about the movie and its characteristic New York characters.
Un condamné à mort s'est échappé ou Le vent souffle où il veut (1956)
A minimalist, yet electrifying film
What makes a movie great? Sometimes we find it in an actor's performance, sometimes it lies in the plot, maybe is the suspense, or amazing action scenes. "A Man Escaped", a movie by acclaimed director Robert Bresson delivers none of those elements we usually associate with great films. However, the expertise and craftsmanship of Bresson makes for an unparalleled experience, full of non-stop suspense that keeps you at the edge of your seat, captivated by every action and every move. In fact, this is one of the first times in recent memory when I don't end up checking my watch, or looking around, or even exchanging a couple of words with my company. "A Man Escaped" simply doesn't allow you to catch your breath. Bresson is known for his very distinct style, in which his interest goes beyond performances or strong plots, but rather relies on the character of his scenes, in the way he builds each and every take to make you build the environment for yourself. Bresson is the mastermind behind the term "suggestive" cinema. He shows you just enough for you to build the scene on your own and it is such a subtle directing skill, that you don't realize unless you carefully study the art of his direction. Bresson submerges us in a prisoner's routine, inside a process of patience and conviction that eventually pays off. Bresson goes as far as to show us the result of the movie in its very title, fully confident that even when you know what will happen at the end, there is no way you won't feel the increasing tension, and electrifying suspense that starts from the very first scenes. At the end, it is a movie about patience, about the intellect of a prisoner whose will and desire to escape a prison portrays the strengths of the human spirit. However, the movie does not have uplifting phrases that often fall into clichés. This, ladies and gentleman, is what cinema can do for us. Less is more.
Lions for Lambs (2007)
Nothing new is brought to the table
The latest directorial effort by Robert Redford left me with no new notions, and not a single new idea about a controversial subject affecting America today: the war in Iraq. There is no doubt Robert Redford has a definite stance on the war and we can find plenty of evidences along the movie that depict his opposition. By taking this contemporary problem, he delivers what appears to be a critique in a film format. He raises questions that everyone has been asking for the past few years, he repeatedly falls into a preaching session delivered by Redford to the people who watch his movie. He admires and glorifies the troops as everyone does, and as many other movies have done (and better if I may say). He depicts an "evil" politician, nothing new there, and a reporter who is confronted with a moral dilemma of just publishing to make a profit, or instead doing what is right, again nothing new under the sun. The movie is overly preachy and falls into cliché film statements on bravery, courage and self-sacrifice just to name a few. "Lions for Lambs" is average because of good cast performances and the controversial nature of the subject it tries to deal with, but not on what it exposes, or tries to "teach" you about.
Fight Club (1999)
A good movie, but usually overrated
This is one of the darkest, most graphic and violent movies in years not apt for those with a weak heart. Edward Norton who takes on the dual role of the narrator and main actor delivers another great performance that rivals his stylish take on American History X. However, the movie finds itself lost in its violence, lost in his constant desire to portray a sexual tension that you cannot connect with since all the characters don't seem to have the chemistry necessary, even it is just a strictly sexual one. Brad Pitt lands another very respectable role, but I'm left again with a bitter taste in my mouth wanting a little more out of his performance. The movie is still very stylish and original, a decent adaptation from the book. The ending is what people talk the most about, so I'm not gonna be the only one NOT to comment on it. I agree with the majority of you who think the twist is surprising and at the same time climatic, but, is it a good surprise? I don't think so. To me, it almost seemed forced, I do know it follows a book, but is still inconsistent with the rest of the movie. Fight Club does keep you interested throughout and also keeps you guessing what will happen next, which makes it an above average attempt but not in the slightest a great accomplishment.
Capote (2005)
Great performance, touching movie
What is the best thing about Capote? None other that a truly great and flawless performance from Philip Seymour Hoffman as the late novelist Truman Capote. The movie takes us into the antics of a famous openly-gay writer who has found the possible topic for his next novel: the murder of a family in rural Kansas. Unlike many of today's Hollywood movies, this one focuses entirely on the characters, especially in the relationship that slowly develops between Capote and Perry Smith, one of the brutal killers. Capote uses Smith to get vital information from the killings but as he does, he finds himself at a crossroads, developing a fascination for the man and slowly falling in love. Nevertheless, his ambition to obtain information from Perry to make his new book over shadows the depth of his feelings. The climax of such a profound movie is found when Capote meets Perry for the last time and breaks down before the killer's imminent death. A powerful story and a truly great performance makes for a good movie that lacks intensity and that fails to keep us entertained at some points.
The Departed (2006)
Breath-taking, the return of the original Scorcesse.
It has been a long time, a very long time since we last saw a powerful movie by the revered Martin Scorcesse. Many of us movie goers had been missing the director that made the streets of New York part of Hollywood's history. Amazingly enough, Martin doesn't have Robert de Niro to make him another incredible movie but instead he chose another living legend: Jack Nicholson. After he made sure he had the experienced multiple Oscar winning actor, he managed to secure an all-star cast also composed by Alec Baldwin who apparently has improved his craft with the years. However, it would be unfair not to include Leonardo DiCaprio as the one character that pulls everything together, making the movie worthy of an Academy Award Nomination for Best Picture of the Year. Di Caprio's lands his best role yet and takes it to another dimension. This is a breakthrough performance of a young Hollywood talent that many people doubted after his innocent and naive role in the very popular Titanic movie. Scorcesse goes back to basics, displaying raw characters with clear ambitions in an underground world filled with violence, greed and politics. This is a movie about deception, about loyalty and how it can be broken when you feel surrounded and with no escape. The many twists and turns makes for a unpredictable movie that delivers surprises left and right. The tension of a particular scene where Leo Di Caprio and Matt Damon face each other through a cell phone is the climax of a great movie.
Maybe the only flaw is that the movie lacks a message people could relate to, violence is plentiful and sometimes too much.
Still a great movie. A 9 out of 10.
The Godfather (1972)
Great direction, acting and plot
Amazing acting, amazing direction and screenplay. Marlon Brando at the top of his game with what could be the most recognized performance in movie history. The Godfather introduces us to a very talented cast with a initial wedding scene that presents us with all of the different personalities that are part of the Corleone family. The plot of the movie revolves around Michael Corleone, a role taken by a young Al Pacino personally picked by Francis Ford Coppola even when the studio heads wanted someone else for the role. It was Al Pacino's big break deserving an Oscar Nomination for Best Actor. This movie is first about family, secondly about power and politics and lastly about necessary violence...all summed up to make for a very special movie, one of the best ever, if not the best.