Reviews

It's predictable, it's crass, it's hilarious. First time director Rawson Marshall Thurber, the creator of one of greatest ad campaigns of all time with Terry Tate, Office Linebacker for Reebok, scores big at the box office and on the laugh charts in his feature debut. The story is extremely simple, the gags are alternately crude and clever, and Ben Stiller turns in perhaps his greatest performance of all time. There isn't a lot to say except that it is very funny from start to finish. If you like comedies in the mold of the Farrelly Brothers, you will certainly like this. If not, best to stay clear of it. But if you like this sort of thing, it's the best comedy of its type in quite some time. Let's hope that Thurber can build on this and create a real name for himself.

Dark Fury picks up right where Pitch Black ended, with Riddick, Jack and Imam being captured by mercenaries, the leader of whom has some strange and sadistic intentions in regards to Riddick. In a bit of a baffling business move, Universal decided to release this after The Chronicles of Riddick. If they had released it a week or two earlier, some of the questions posed in Riddick that confused a good number of people would have been clearly answered. This short gives us the answer of some key events that occurred in the five years between Pitch Black and The Chronicles of Riddick, as well as some insight into why Riddick, Jack and Imam interact the way they do in CoR. It also introduces the character Toombs, who plays a key role in Riddick's plight.

Aside from its value as an answer provider, Dark Fury is also a highly entertaining piece of animation. The graphics are top notch, the storyline is interesting, and the action is very well done. The plot moves along at a quick pace and it is a lot of fun to watch Riddick kick some @$$ in animated form. I highly recommend seeing this before watching The Chronicles of Riddick, not only is it a good movie but it also explains some key elements of the story.

Shot on a shoestring budget of $27,000 worth of credit card bills, Clerks remains the pinnacle of Kevin Smith's filmmaking career. The plot is engaging and is very simple but very original. The story chronicles the plight of Dante, a young man called into work on his day off and the problems that follow.

The cast, comprised of total unknowns at the time it was shot, is absolutely perfect. Brian O'Halloran is spot on as the disaffected, eternally frustrated Dante. Jeff Anderson is great as his best friend who prides himself on being the ultimate slacker and @$$hole. And of course, this is the film that introduced the world to the infamous drug dealing duo Jay and Silent Bob.

What makes this film work so well is the great combination of comedy and drama. Contained with in are some of the funniest situations and dialogue ever put on screen. But beyond that, it provides characters who are interesting and realistic. It also provides some very truthful and honest commentaries on life in general. We can relate to Dante's relationship struggles and his unsatisfying job, and the relationships between the central characters are very believable. Ultimately, this movie is effective because it is both hilarious and honest.

While Kevin Smith has created some very funny films in the time since Clerks., this is the one he will be remembered for most, and rightfully so. Perhaps the very small scale is why. In a movie with such limited settings and so small a budget to work with, the weight must be carried by the actors and the script. In this case, both came through magnificently, and the end result is one of the greatest cult classics ever made.

To begin, you should see Pitch Black before watching Riddick. Undoubtedly this film will shatter Pitch Black's performance at the box office and a large number of people will see this without seeing the original Riddick movie which would be a mistake. On to the review.

This is without question a film that will polarize audiences. To begin with there were a large number of people who wanted to dislike this movie. Some people wanted to dislike it because it was the mega-budget follow up to the modest, small scale cult favorite Pitch Black. Others because they hate Vin Diesel. Then again, there were a great deal of people heavily anticipating it because they loved Pitch Black and the Riddick character, or because they like grandiose sci-fi movies. So before the film was even released, a lot of people had already for the most part formed their opinion. I layed somewhere in the middle of these two camps, as someone that enjoyed Pitch Black who was somewhat skeptical about how the character of Riddick would transfer into an epic story. I can't say that I was disappointed.

The film might not have the most original plot, but there is not much in the realm of science fiction that hasn't been done time and time again. Also, this movie doesn't make excessive attempts to be deep or philosophical unlike, say, the contemporary Matrix which failed as often as it succeeded in that regard. Sure, there are some underlying themes about faith, the dual nature of religion, destiny and the whole MacBeth inspired plot line, but these things are not force fed to the audience as the movie plays out. And finally, the plot is somewhat complex as far as the history and mythology involved, although it is not very hard to understand. Even so, I've seen several reviews already that featured complaints about a lack of understanding for certain things, such as why Riddick went to the slam. This is clearly explained in the film and should be evident to anyone who actually watched it, even if they didn't catch the actual explanation.

The long and short of it is that this film set out first and foremost to to entertain. It wasn't so much about character development and excessive drama as it was about action and adventure. In my opinion it succeeded in providing a good time, watching Riddick kick butt in front of a grand atmosphere. While some might dislike it for the same reason, I applaud Twohy for not attempting to be too ambitious in terms of drama. In most films like this, the attempts at drama end up being so heavy handed and sappy that they make you cringe. In this one, the only truly emotional moment was fairly honest and well done. Much more would have been too much to ask. Afterall, Vin Diesel is cool when he's fighting and shooting, and is entertaining when shooting off the Arnold, Stallone-esque intentionally cheesy one-liners, but an actor capable of extended dramatic scenes he is not.

So it isn't the second coming of Star Wars or Alien. But it's still a very good and entertaining take on sci-fi action. Twohy creates a stunning, otherworldly atmosphere combined with a pretty interesting if not particularly original story, as well as great effects and action sequences.

You won't see much in Pitch Black that hasn't already been done a few times before, but that doesn't mean it isn't entertaining anyway. The basic premise is that a ragtag group of space travelers crash on a planet that has three suns and no nights. Or so they think. Adding to the problem of escaping this seemingly deserted planet is the problem of Riddick, a serial killer who survives the crash and almost immediately escapes from the man who is supposed to be watching him. But, as they find out, there is an alien organism lurking in the shadows that is much more of a threat to their survival than Riddick is.

What makes this movie good boils down to David Twohy and Vin Diesel. Twohy's resourcefulness is showcased here, by the fact that he made this film on a $23 million budget when films that cost twice as much often look much worse. His visual stylings and guiding hand create a spooky atmosphere, and the deliberately paced film consistently builds tension as it moves along. And Diesel, who might not be the best actor in the world, is however perfectly cast in the role of Riddick. He is imposing and intimidating all the way through.

To enjoy this one you have to accept it for what it is, a B-movie concept with a modest budget that is well executed by its director and cast. It's a given in a movie like this that there will be some shaky acting, cheesy dialogue, and plot holes. You just have to be willing to let that slide. Beyond those flaws Pitch Black is a very slick, entertaining sci-fi horror movie with a lot of excitement and a some good laughs, some intentional and some not, along the way. All in all a fun update of grade-B science fiction.

Caddyshack is a comedy classic. It's one of the few movies that actually gets better every time you see it. It has the perfect cast, and the genuine behind the scenes animosity between the actors who played rivals in the movie carried over onto the set. The humor may be sophomoric at times but so what? It's still funny. This is a timeless film that has countless laugh out loud gags mixed together with subtle jokes that you have to watch the film multiple times to really notice. It's also one of those rare comedies that's humor does not seem the least bit dated even twenty plus years after it was released. A must see, must own for anyone who loves to laugh, even if you've never set foot on a golf course.

Tony Scott has displayed his extraordinary stylistic vision, in a genre that most directors handle with a very ordinary treatment. While the constant camera movement, fast cuts, and unorthodox editing will inevitably receive a love-it-or-hate-it response, you must at least respect Scott for having the courage to take a chance and do something different here. He has taken what is a pretty standard action-suspense yarn as far as material and storyline and turned it into an intriguing visual piece.

The plot of this film is nothing particularly new or interesting. But screenwriter Brian Helgeland, most famous for scripting LA Confidential and Mystic River, has done a nice job of creating a set of interesting and sympathetic characters and unfolding the events in such a manner that the viewer is never entirely sure of what will happen next.

Another strong point of this film is the excellent cast. Denzel Washington was a perfect choice as the taciturn and troubled Creasy. Dakota Fanning is one of the better child actors to come along in some time and proves it in providing a key performance as Pita. Mickey Rourke is perfect as the sleazy family lawyer. Christopher Walken is great as usual as Creasy's close friend. Even Marc Anthony, better known for his music career, does well in his role as Pita's father.

Despite it's strong points the film is not without flaws. It runs about 15 minutes longer than it needed to, and some of the more sentimental moments are a bit cheesy. But the overall product is a good one. Scott, as always, handles action with a deft hand but beyond that he proves that he has made many strides forward as an artist with his bold approach to this film. This combined with the strong performances of the actors involved provides an end result that is an interesting, violent, and ultimately different film. As previously stated, this is a film that people will either strongly like or dislike. I enjoyed it a great deal.

To begin, I must state that this film is not for people who can't take unrealistic and over the top action, or accept medically scientifically impossible medical procedures. If you can't take in a moive and realize that it is taking place removed from reality, this film is not for you. In my opinion, action movies should not be realistic. I watch them to escape from the real world, not to go over and over and point out what couldn't or wouldn't happen in real life.

If you can accept that, then you will love Face Off. Action maestro John Woo, best known by his ardent followers for his over the top and incredibly kinetic Hong Kong action films such as A Better Tomorrow 1 and 2, The Killer and Hard Boiled, and most famous in the US for his box office smash Mission Impossible 2, delivers a film that, while not quite on the level of his best work from Hong Kong, is clearly his best American film to date. And beyond that, a film that blows most other American action films out of the water.

Woo has the inate ability to make almost anything look good from a purely visual standpoint. He takes a simple thing like Nicholas Cage exiting a car and makes it look incredibly stylish and cool. Give him this kind of budget and R-rating, and look out. The action scenes in this movie are dazzling, replete with Woo's trademark slow motion shootouts and his one on one stand offs between enemies with guns pointed at each other at point blank range. This is bolstered by the resources he had at hand for this project, and he spares no expense in massive explosions. And the final boat chase is one of the best staged action sequences in years.

He also does a nice job handling the more dramatic moments in the film, aided by the very strong performances of both lead actors. Travolta and Cage both play the roles of the narcissistic, sadistic, over the top Castor Troy and the depressed, work obsessed family man Sean Archer very well. And while the script certainly has a few corny moments, especially the final scene, but it also includes some very funny dialogue and one liners, and provides the viewers with characters that are interesting and sympathetic.

This movie is not perfect from an overall standpoint, but as a major studio action movie it is about as close as you're going to get. Watching it just reminds us the massive impact that John Woo has had on action cinema worldwide, and his style has perhaps lost some of its impact now because of the host of imitators he has, most notably Michael Bay who directed The Rock and Bad Boys 1 and 2, and The Wachowski Brothers, famous for The Matrix trilogy. Unfortunately John Woo's career has been sidetracked by studio execs unwilling to compromise and allow him to make the types of movies he really wants to make, and Face Off remains the only great action film he's made in America. But it is a great one.

Despite being thoroughly panned by critics - many of whom praised the equally brutal Kill Bill Volume 1 - as being relentlessly grim and excessively violent, as though they didn't realize that's exactly the point. Anyone who goes to see this movie for anything other than seeing the title character kick ass shouldn't be in the theater anyway. Most others will probably like what they see.

Hensleigh's directorial style is very bare bones and it works very well. Unlike most action films of this era, there is no CGI and no flashy camera work, these are replaced by real stunt work, simplistic but hard hitting action, and plenty of gigantic explosions. In this respect it is very much like the Lethal Weapon and Die Hard series'.

Another plus is the casting and the acting, which help overcome several cheesy moments that pop up along the way. Jane is perfect as Frank Castle, Travolta great as Howard Saint.

From start to finish, this is a very dark but moves along at a fast pace and entertains. This movie is not for the squeamish, do not see it if you are sensitive to onscreen violence and brutality. But if you want a guilty pleasure, update of an old B-movie exploitation formula, then this is the perfect form of violent escapism.

In what I would call their third "all out" comedy following Raising Arizona and The Big Lebowski, the Coens have once again concocted a screwball comedy with a style all their own, and once again they have succeeded in creating a genuinely funny film.

The premise here is, by definition, unoriginal. Not only is it a remake, but the same basic story (minus the old woman) has been told countless times. The reality is, this doesn't really matter. The Ladykillers is unlike any other heist film ever made, including the original. The Coens have created a truly bizarre and hilarious cast of characters, with Hanks masterfully playing the incredibly anachronistic ringleader, a man whose vocabulary is unmatched and who is endlessly sly and cunniving. Irma P. Hall does excellent work as Hanks' adversary, the old woman whose room he is renting. The clash of the characters' personalities and the onscreen chemistry between Hanks and Hall is perfect.

The rest of the crew consists of a ragtag bunch of stereotypes who have absolutely nothing in common besides their goal of robbing the casino vault. All of these characters are well cast, and the constant bickering between J.K. Simmons' Garth Pancake and Marlon Wayans' Gawain McSam is the source of amusement throughout.

In the end, this is a movie where the storyline doesn't really matter; each point in the plot serves more as an excuse for amusing character vignettes. It works because the Coens have once again come through with a script filled with dialogue that switches between witty and excessively verbose to crude and crass, yet remains funny all the way through. But this is a film that will either be loved or hated. The Coens brand of humor is not for everyone, and I imagine that a large number of the older moviegoers who went to see it just because Tom Hanks was starring will be offended by a good deal of the language, and I'm sure others will be offended by the very intentional stereotypes that are portrayed throughout the movie, but anyone who is a fan of the humor in Raising Arizona and/or The Big Lebowski will enjoy this off the wall Coen brothers creation.

"Paycheck" had some of the ingredients to be a very good and perhaps great science fiction/action movie but there are several things that keep it from achieving that status. Dean Georgaris, whose only previous credited work was the script for the inane and uninspired Tomb Raider sequel, delivers another listless product here. Some of the dialogue is laughable, almost all of it is rather dull, none of it interesting or humorous. This is amplified by the fact that there are several very long stretches with no action scenes. The premise, as well as the situations the characters face, are very interesting but the writing is so wooden that it makes certain parts drag. Had a more skilled hand adapted Philip K. Dick's short story for the screen, the film would have stood on firmer ground from the beginning.

Another issue is the role of Ben Affleck in the lead. Mr. Affleck is a solid actor who, despite delivering two duds with Daredevil and Gigli this year, does have some strong performances to his credit in the past and will undoubtedly have more as his his career progresses. But he seems out of place in the role of Mr. Jennings. It is difficult to explain why this is, although the dismal screenplay likely has something to do with it. And Affleck is not the biggest problem by any means as Aaron Eckhart turns in a dreadful performance as one of the key villains in the film. I have seen Eckhart in several films prior to this and he was equally bad, meaning that poor casting rather than anything else was most to blame for this problem.

But despite these problems the film is not without merit. John Woo proves again that he is one of the best action directors around, delivering several riveting action sequences filled with slick chase scenes, gunfights, and plenty of explosions. Woo's visual style creates tension and excitement where many directors would have failed given the poor writing they would have had to work with, and this saves the film from being a total bust. Is it worth multiple trips to the theater or a purchase when it's released on DVD? Not in my opinion. But I do feel that it is worth seeing if you are a fan of action and science fiction movies, if you're anything like me you won't be astonished but you won't be completely dissapointed either.