Friday, March 28, 2008

Doomsday (2008)


The third film from Neil Marshall, director of the under-rated DOG SOLDIERS (2002) and the unexpected success hit THE DESCENT (2005), he returns with this messy homage to such sci-fi/horror/fantasy films like THE ROAD WARRIOR, ALIEN, and MAD MAX.

Basically, the film is about Eden Sinclair, a flinty female cop (RHONA MITRA) who is tasked to go in and find the human survivors of a virus that decimated most of Scotland in 2008 and has now crossed the border into LONDON, 25 years later (2033). The virus renders those who are infected as undead zombies (DAMN, can we get off the undead zombie virus as a plot point. Um, HI, Danny Boyle wore this OUT in 28 Days Later (2003), and executive produced the solid, critically ravaged, yet profound 28 Weeks Later (2007). Why are folks copying? And copying BADLY?) and London government higher ups believe that the blood of these human survivors is the key to saving London.

Nothing to say about the film: The entire cast was wasted, the writing was poor, and the attempts at a self-indulgent, "edgy" sci-fi update of such classic sci-fi films fell FLAT.

Memo to Neil Marshall: regroup, and give us unrestrained brilliance in sci-fi/horror with the sequel to THE DESCENT you are executive producing (woo hoo! Allegedly, this one will start six weeks after the end of the first film and Sarah will be forced to go BACK to the caves to investigate the species of creatures she narrowly escaped from. The new cavers will find the creatures--and an unexpected survivor from the first film. WOO HOO! JUNO is coming back to kick Sarah's ASS for leaving her to die! LOVE THIS STORYLINE IF IT HAPPENS!) and the Hugh Jackman project (supposedly) post Wolverine called DRIVE (2009/2010)

Grade: C-/NE

STOP-LOSS (2008)


Stop-loss, in the United States military, is the involuntary extension of a service member's enlistment contract in order to retain them beyond the normal end term of service (ETS) or the ceasing of a permanent change of station (PCS) move for a member still in military service.

This is basically the idea behind STOP-LOSS, the new movie out this weekend by Kimberly Peirce, the director of Boys Don't Cry (2000). In the film, Ryan Phillippe is Brandon King, a decorated Iraq war hero and Sargeant who makes a celebrated return to his hometown from his second tour of duty in Iraq.

Brandon assumes he is "getting out" and is looking forward to life as a civilian. However, as all people know, war veterans have extreme difficulty returning to "regular" life. Brandon has nightmares about a routine mission of finding insurgents in an Iraqi turning foul as members of his squad are killed or badly injured while in the line of duty; Steve Shriver (Channing Tatum) digs ditches in his front yard every night, fighting imaginary insurgents, and hasn't yet realized that he's back at home in Texas. Brandon and his fellow war buddies slowly adjust to life at home.

Yet, that ends when Brandon is sent back to Iraq for a third tour of duty and is "stop-lossed"--essentially sent back to the war without his consent. Rather than go back, Brandon attempts to find a way to fight the stop-loss rule and takes a determined trip to Washington, DC to get help from the Texas Senator (Josef Sommer, criminally under-used here) who offered to give him anything he needed now that he is at home. The film chronicles a three day journey Brandon takes with Michelle (Abbie Cornish), Steve's girlfriend and Brandon's best friend, to find a way to get out of this policy and somehow manage to live his life.

Stop-Loss fictionalizes a policy most Americans dont know anything about, yet it is a policy that has affected the lives of over 80,000 soliders since the war began over six years ago. It is Peirce's details and determination to show the murky ambiguity this policy has for soliders fighting in the war is very evident in the film.

Kimberly Peirce is in top form, as usual. The film is well written and shot. The opening scenes of Brandon's last tour of duty in Iraq are powerful, graphic, and cinematically beautiful. You can't help but feel the tension the soliders are experiencing when tracking the insurgents who shoot at them during a routine checkpoint. Also, Peirce captures the small town feel of America in Texas, where the majority of the movie was shot.

However, the performances were uneven and all over the place and took away from the film as a whole. I will say that I am not a fan of Ryan Phillippe's: save for some exceptional work in Crash (2004), Gosford Park (2001), and Breach (2007), he hasn't shown a lot of range in his choices of film roles. However, he is spot on as Brandon King. Phillippe nails the anger and confusion King has in trying to do the "right thing" for himself. Phillippe managed to show much depth and complexity as the main character. Also, relative Australian newcomer Abbie Cornish (Candy, Sommersault, and Elizabeth: The Golden Age) is one of the few real standouts here. As Michelle, she conveys the kind of quiet strength and power one would have as a young woman who is holding down the fort, waiting for her man to come back from war, knowing full well she will never have her husband because he is married to the Army. Cornish gives a restrained, yet full-bodied performance--one that really should be remembered come awards season.

Joseph Gordon-Leavitt, who has become quite the adult actor these days, gives an equally award worthy turn as Tommy Burgess, a fellow war veteran in Brandon's squad who never fully recovers from life in Iraq. His downward spiral is quick, and the viewer is left watching this ticking time-bomb of a person eventually explode. As always, Leavitt gives a great performance.

The rest of the cast: Rob Brown, Ciaran Hinds, Victor Rasuk, Mamie Gummer, Linda Emond, etc. all give fine, supporting performances.

Unfortunately, the one dark spot on this film was Channing Tatum as Steve Shriver. Woefully miscast, he was wildly uneven the entire film. It was hard for me to fully invest and believe that he was this man who was blindly devoted to being a solider. When he had clear moments of dramatic heft (the funeral scene near the end of the film), I found myself laughing at his attempts to bring forth the emotions necessary. I don't know if he hasn't had chances to flex some dramatic chops or if he can't fully commit in his performances, but he came off as ridiculously wooden and flat. It is a shame, because in the hands of someone more experienced (ala Colin Farrell, etc.), that role could have been great. But, I am sure with his upcoming roles in GI JOE (2009), The Stanford Prison Experiment (2008 TBD), Fighting (2008/TBA), Tatum will get the chance to flex. Sure he will.

Overall, STOP-LOSS is a very good film that will hopefully encourage people to do more research about this murky policy and hopefully have a better understanding of what our soliders face when coming from Iraq.


GRADE: B+

Monday, February 11, 2008

The 25 Most Important Films On Race?

I have to admit, this is a thorough list. But, I feel like there were some omissions:

Julie Dash Daughters of The Dust (1991)
Haile Gerima's Sankofa (1993)
Spike Lee's Malcolm X (they included Do The Right Thing and Bamboozled,but should have included this)
John Sayles Brother From Another Planet (sorry, but this film SHOULD be included for it's very direct and on point handling of race)

I wonder what their criteria was, or should there have been a criteria at all?

But, I am happy CRASH (2005) was not on the list.

Check the article out: 25 Most Important Films On Race

Any thoughts?

Friday, February 8, 2008

Courtesy of Entertainment Weekly....

Okay, so I'm not sure if I'll be able to see ALL of these movies, but I can tell you which ones I have seen though: No Country For Old Men, Juno, There Will Be Blood, Michael Clayton, A Mighty Heart, Eastern Promises (have it from Netflix..will be watching it this weekend), Hairspray, Gone Baby Gone, Away From Her (taught my 12th graders the Alice Munro short story this film was adapted from and its in my netflix queue), The Assassination of Jesse James, 3:10 To Yuma, and La Vie En Rose (i need to rewatch it though). I am planning to catch a few others before the end of the month, and Persepolis (which isn't on this list), is playign in theatres out here in Pittsburgh.


Any other films on the list you think I should check out on DVD? Let me know....

The 25 Movies You Need To See Before Oscar Night

Check out nominated films like ''Juno,'' ''No Country for Old Men,'' and ''Atonement''

(Ranked in order of their likelihood to be nominated)

1. No Country for Old Men

2. Atonement

3. Juno

4. Michael Clayton

5. There Will Be Blood

6. Into the Wild

7. American Gangster

8. The Diving Bell and the Butterfly

9. Sweeney Todd

10. Charlie Wilson's War

11. The Kite Runner

12. Away From Her

13. Eastern Promises

14. La Vie en Rose

15. I'm Not There

16. A Mighty Heart

17. Gone Baby Gone

18. The Assassination of Jesse James...

19. Lars and the Real Girl

20. Hairspray

21. 3:10 to Yuma

22. The Savages

23. Enchanted

24. Before the Devil Knows You're Dead

25. Ratatouille

Monday, January 21, 2008

Oscar Nomination Picks


Best Picture:
There Will Be Blood 5
Juno 4
No Country For Old Men 3
The Diving Bell And The Butterfly 2
American Gangster 1

Best Director
Joel & Ethan Coen No Country For Old Men 5
Ivan Reitman 4
Paul Thomas Anderson There Will Be Blood 3
Julian Schnabel The Diving Bell And The Butterfly 2
Sarah Polley Away From Her 1

Best Actress
Julie Christie Away From Her 5
Ellen Page Juno 4
Marion Cotillard La Vie En Rose 3
Angelina Jolie A Mighty Heart 2
Jodie Foster The Brave One 1
Nicole Kidman Margot At The Wedding 1*

Best Actor
Daniel Day Lewis There Will Be Blood 5
Josh Brolin No Country For Old Men 4
George Clooney Michael Clayton 3
Ryan Gosling Lars and The Real Girl 2
Phillip Seymour Hoffman Before The Devil Knows Your Dead 1*
Denzel Washington American Gangster 1

Best Supporting Actress
Cate Blanchett I'm Not There 5
Amy Ryan Gone Baby Gone 4
Tilda Swinton Michael Clayton 3
Jennifer Jason Leigh Margot At The Wedding 2
Jennifer Garner Juno 1*
Ruby Dee American Gangster 1

Best Supporting Actor
Javier Bardem No Country For Old Men 5
Casey Affleck The Assassination of Jesse James 4
Tommy Lee Jones No Country For Old Men 3
Philip Seymour Hoffman Charlie Wilson's War 2
Ethan Hawke Before The Devil Knows Your Dead 1
JK Simmons Juno 1*

Best Adapted Screenplay
No Country For Old Men 5
There Will Be Blood 4
Atonement 3
Away From Her 2
Sweeney Todd 1

Best Original Screenplay
Juno 5
I'm Not There 4
Michael Clayton 3
Lars And The Real Girl 2
The Savages 1
Margot At The Wedding 1*

Here are my picks. The ones with stars next to them are dark horse picks...the nominations are in several hours, and these performances and films could slip in and take a spot given their buzz or star power , i.e. Margot At The Wedding was savaged by critics, but Kidman gave a ridicilously on point, severely comic turn as Margot. And, Noam Baumbach wrote and directed a, for the most part, a very good film (I loved the movie, even if it disturbed me in some places)

Let's see how this plays out in the morning. Will Ellen Page best Julie Christie at the awards? Will Jennifer Garner slip in as a Dark Horse candidate?

Will the Coen Brothers FINALLY get their just due with awards for adapted screenplay, best picture, and best director?

Will Diablo Cody bring home the gold for Juno in the best original screenplay category?

Will the awards even HAPPEN??? What do you think?

Post your comments here

Tuesday, January 15, 2008

An Advance Screening: CLOVERFIELD (01-18-08)


Okay, so the hype on this film has been deafening. And, can you blame it? It was executive produced by J.J. Abrams (ALIAS, LOST, FELICITY, MI:3) and his BAD ROBOT PRODUCTIONS. The youtube, jaimeandteddy.com, etc sites as well as the leaked footage and various trailers/faux trailers would lead up to probably one of the most intense and mind-boggling films of the year, right?

NOT...JJ is 0 for 3 with CLOVERFIELD/1-18-08 in terms of product he's produced or directed that was worth the hype and turned out to fall VERY SHORT of expectations--both audience and not.

The basic premise of the story is this: Five New Yorkers throw their friend a going away party the night a monster the size of a skyscraper descends upon the city. Told from the point of view of a video camera, the film is a document of their attempt to survive the most surreal, horrifying event of their lives.

So, I walked in with no expectations. I knew the cast was comprised of virtual unknowns (with Lizzy Caplan from CBS' cancelled The Class and 04's Mean Girls as Janice Ian being the most known), which is a great plus. I do give JJ credit for finding talented actors to be in any of the projects he directs, writes or produces (Jennifer Garner from ALIAS, Kerri Russell from Felicity, etc.) And, I knew that SOMETHING was being shown in the movie.

But, I wasn't expecting the film to be a complete and utter disappointment. I guessed that the "something" that was part of the hype was a monster. But, I wasn't expecting it to be a cracked out Godzilla imitation. Yes, there were some clear homages to Godzilla and some of the more classic sci-fi films of recent note: One of the main characters, Rob Hawkins (Michael Stahl-David, is going to Japan for a job. Where did the original Godzilla take place? Japan. T.J. Miller plays Hud, the wisecracking and occasionally spineless "fifth wheel" that grows a pair of balls while documenting the carnage. Hud is a shortened form of HUDSON, the wisecracking, somewhat spineless, and ultimately bad-ass character Will Paxton played in James Cameron's classic, ALIENS (1986), and so on and so forth.

Don't get wrong...I LOVE the pop culture references and winks. But, don't rely on those at the EXPENSE of story.

There was no explanation of where the monster came from: Was it the result of a bad government experiment gone wrong? The result of centuries of pollution and waste being dumped into the East and Hudson River? Was the monster an alien from another planet and are there more coming? How was it able to birth "babies"? Was it male? female? both? neither?

I'm not saying give me an act explaining all of this. A simple shot of someone dumping radioactive waste and pollution into the river and it hitting some organism would have sufficed...It would have made my experience suspending disbelief and enjoying the film even more. This wasn't done, and I just couldn't feel for the story or the characters.

The characters were another issue. I will give JJ and his team this: They know how to write for women. Or, at least female characters that aren't as stereotypical as they normally are in sci-fi/horror films. Marlena (Caplan), Lily (Jessica Lucas, a Canadian actress who was added to the cast of C.S.I. as Ronnie Lake, a possible replacement for Sara Sidle, for the fans of the show), and Beth (Odette Yustman, currently a cast member of ABC's October Road) were all very strong women who, given the circumstances, performed and reacted very realistically. All three were wary of the choices made by the other friends in the film, and all three show serious strengths and guts when needed (Marlena cracking the baby monsters with a pipe in the subway tunnels--ONE-handed--STILL giving us "rising model actress with Lower East Side cred circa 2000 and beyond and WORKING a pair of thigh high wedges..FIERCE, I tell you! FIERCE! :); Lily also kicking ass in the subway and bravely (though irresponsibly) taking the lead to Beth's apartment to find her; Beth bravely handling what happened to her arm at her apartment when the others came to get her) I mean, the women in the film were great!

The men, not so much. I just felt that Hud, Rob, and Jason were annoying as hell. There's a monster attacking Manhattan what would possess you to a) crawl UP the bridge to get a better look JUST as the monster destroys a section of the bridge with YOU on it (Jason Hawkins, played by Mike Vogel), b) decide to blindly run to save the girl who broke UP with you and never loved you in the first place and walk right INTO the path of the monster (Rob Hawkins), c) decide to walk into a subway tunnel (the 6 train) with NO LIGHTS thinking the monsters who were attacking the city outside WOULDN'T be in the tunnel (Rob, Hud, Lily, and Marlena), or, my favorite, d) walk right into the path of the monster..and FILM it as it swoops down to EAT you for breakfast (Hud). I just felt that the decisions the characters made in the film could have SO been avoided. I get that they were there to prolong the action. But, they were boneheaded decisions. And, I just couldn't feel or care enough to be involved in these people's lives. So little was given about them that the viewer kinda wanted them to be eviscerated by the monster JUST so the movie would be better...

Overall, I wasn't impressed at all. Abrams didn't write this, but I just felt like so MUCH of what could have made this an intriguing film was either left on the cutting room floor or was deleted from the shooting script in order to focus more on the monster and the gore...

And, it was gory...Marlena's death was particularly gory (I mean, did you HAVE to make her EXPLODE from being bitten by the baby monsters? Couldn't she have gone out in a better way?), the carnage at the quarantine center was nasty, and the monster itself was very vile and scary in some places.

But. the inconsistences (If Marlena succumbed to the monster bites, why didn't the others, particularly Hud, who appeared to be bitten in the crotch of all places (OOOH, HOW YOU DOIN? ALL RIIGHT?) Like I didn't see THAT ONE! A very nice and OBVIOUS way of suggesting that Hud was TOTALLY emasculated in the face of a powerful woman he liked (Marlena) were just too much in a film that was only 90 minutes long.

I am probably in the minority, but I did not like this film at all. It was a very bad attempt at trying to update the monster flick and make it "edgy" with the shaky hand-held camera work, the monster theatrics, etc. Unfortunately, what was missing was fully fleshed out characters and a realistic story in a sci-fi/horror vein. CLOVERFIELD wasn't it.

For a better monster film, rent the Korean sci-fi/horror/thriller/comedy/drama THE HOST. This movie had many of the things Cloverfield didn't and it WORKED given that it covered issues as varied as race, class, the role of family, environmentalism, language barriers, pop culture.

Sidenote: Whoever did the special effects for the monster and did the set design for the film should get PLENTY of awards for the 2008 Oscars. On a budget of 30 million dollars, they sure as hell made a VERY on point and realistic Lower East Side (most of the film was filmed in studios in LA, but parts of it were done in New York City). Really...they should be.

GRADE: C

Happy Belated New Year!

Sorry I have been away for so long. So much has been happening for me that I haven't had time to post lately...

But, I have been watching LOTS of films. So, expect a MAJOR update starting with the ridiculously overhyped CLOVERFIELD going up soon. And, expect reviews of these films to come up soon after:

GONE BABY GONE (2007)
MICHAEL CLAYTON (2007)
NO COUNTRY FOR OLD MEN (2007)
I AM LEGEND (2007)
JUNO (2007)
THE ORPHANAGE (2007)

Plus, a HOST of dvd reviews...of course, there will be coverage on the oscars..though who knows since the writer's strike is still going on...

Miss you all!