I went to see Legion in theaters for it's midnight release. My movie ticket cost $10.50, and I was excited enough to bring a friend along and pay their way as well. I want those two hours of my life back even more than the $21.00 I wasted.
The plot asks us to believe many things, and sometimes it simply asks too much. We are told that these demonic creatures are attacking humans because God is disappointed in people and has decided to eradicate the entire race. This goes directly against Christian lore, as the Bible claims God will never try to end humanity again after that whole thing with Noah and his ark. I'm guessing the writer just didn't do his homework there. And why are the angels possessing people? Just for a bit of fun? Most of all though, I couldn't believe that God- The Almighty, The Creator- couldn't figure out how to get past this gang of stereotypes. This “God” is getting his metaphysical booty kicked by a bunch of dumbasses. This film seemed to have everything it needed for success: all of humanity in peril, the ever-beautiful Paul Bettany, a director boasting visual credits from Sin City and Jurassic Park, angels sword fighting, and various other Bible-related allegories. What we got was a lead actor who could not seem to close his mouth when he wasn't spouting nonsense in the Joseph role, a kinda slutty Mary, Dennis Quaid paying his mortgage, and a host of talking bodies fulfilling the need for demon-fodder. The plodding plotline is uneven and, for the most part, actually pretty boring. The fight between two archangels should be epic, but it doesn't even make it to entertaining. It leaves you feeling the same way you would if your guy friend, who has always bragged about how good he is in bed, finally convinces you to come home with him after that last mixed drink, and three minutes after you've entered his bedroom he's asleep: that was it? If you like Dennis Quaid, go watch Far From Heaven, or Smart People, or even the '98 remake of The Parent Trap. If you like Lucas Black, get Sling Blade or Jarhead. If you like Tyrese, go buy his albums. Adrianne Palicki has been in a host of great television shows, and Charles S Dutton has probably made 80 movies better than this one. Paul Bettany must be friends with this guy. And, if you are either a sucker for an underdog or Scott Stewart's mother, you can watch Priest, another religious sci-fi action flick starring Bettany. Thankfully, something in Stewart's two years away from directing helped him make Priest a film superior to Legion in every way.
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The penultimate film in the Harry Potter film series (based on a series of books of the same name by author J.K. Rowling), Deathly Hallows Part One is quite possibly the best movie in the series. The script is well written, the plotting and pacing are very tight, and the acting has a quality of realism that seems to come from having played the same characters for many years. Daniel Radcliffe as Harry and Emma Watson as Hermione in particular shine in this film, conveying emotional depth and quality of acting at the highest level.
This film picks up right where its predecessor left off; Dumbledore is dead and Harry, Ron, and Hermione are preparing for their quest to find and destroy the Horcruxes which are keeping Voldemort alive. Events in the film gain speed as it progresses and reach a quite frenetic pace after the fall of the Ministry of Magic. This fast pace suits the film well, as it adds to the tension which we in the audience are meant to feel. The film comes off extremely well in comparison to the book. There are two main reasons for this; the first is that there are events in the book which, when read, are fairly monotonous. The film however, is able to show these events rather than tell them and the pacing of the story is improved because of this. The second reason is that the book does not fully explore the emotional journeys of all the characters involved. The film is able to explore these journeys because having actors depicting these emotions on screen allows us an insight into characters besides Harry himself. The film’s ability to show rather than tell makes it a substantial improvement over the book, and showcases the brilliant work of everyone involved. That said, the film is not without its problems. The largest problem is one of accessibility. There are many characters, places, and things in this movie which were introduced in previous films and so do not receive a new introduction in this one. Obviously, this movie is intended as part of a series and as such can be forgiven some of this, but it is a noticeable issue. The second problem is one of intended audience, because when Rowling was writing the books upon which these films are based she began by writing what is essentially a children’s story. However, as the books developed more mature themes made their way in – with the result that the final books in the series are actually quite dark. This progression is mirrored in the films but its effect is heightened because the films show events rather than telling them; it is one thing to read about Bellatrix torturing Hermione, it is quite another to see and hear it. These minor problems aside, this is an excellent film and I would recommend it to anyone, so long as they've seen the previous films in the series. When Steve Coogan was invited by The Observer to tour and review English fine dining establishments, he expected to bring along his girlfriend. Unfortunately, his girlfriend backs out on him, forcing him to take Rob Brydon, his best and most irritating friend. This chronicle is the shortened film release of the original six part television series, which aired on BBC.
Coogan and Brydon, both playing versions of themselves, are fantastic. They have great chemistry, and the myriad brief guests in their strange little bubble have a great time dealing with these man-children. The Michael Caine impersonations are especially entertaining (especially considering they get one of the quotes wrong). You get the feeling, watching these guys just eat and talk and roam about the countryside, that this is what you and your most annoying good friend would be like, were you both much more funny than you actually are. The 70 plus minutes cut from the miniseries are missed, causing the pacing to be altogether skewed. However, the end result is certainly easier viewing, as the cut scenes were largely on the somber side. I have a feeling much of the American audience will be utterly lost watching this film, and it may not have found distribution here in the first place had it not been edited down. I found Coogan and Brydon to be hugely entertaining, both during their improvised comedic scenes and their melancholy ones. These men do not lead easy lives, but they are certainly striving to look on the bright side. If you are not a fan of British film, need lots of action to keep you interested, have never heard of James Bond or Michael Caine, or actively dislike either of the main actors, this is definitely not the film for you. On the flip side, if you've a taste for British comedy, enjoy impersonations, or wish to be entertained and maybe even slightly touched at the end of a film, rent this one. Set during the crusades in the 12th century, this Ridley Scott film is epic in scope and full of quite breathtaking visuals. The time period of the film puts it several years before King Richard’s crusade, at a time when European Christians still control Jerusalem. The film centers around Balian (Orlando Bloom), the bastard son of Godfrey (Liam Neeson), who is a Baron of the kingdom of Jerusalem. Balian’s wife has killed herself and he sets out from France with his father on a journey of religious redemption.
The journey to Jerusalem is a hard one and Godfrey dies along the way; however other characters are met, and after much difficulty Balian reaches Jerusalem and the movie truly begins. Balian (now a Baron after the death of his father) is thrust into the turbulent politics of Jerusalem. Which are complicated by increasing tensions between Christian zealots and adherents to other religions, the failing health of Jerusalem’s leprous king, and the threat of the Muslim armies of Saladin which surround the kingdom. The story unfolds around Balian as he tries to adhere to his princicples in the face of these issues. At its heart this film is about principles and the ultimate danger of fanaticism. To this end Balian is an interesting compass, first as a Christian who is losing his faith, and later as something of a secular humanist. The film contains many moral lessons but rarely feels “preachy.” Excellent acting by an all-star cast allows the characters to seem human even while playing through the moral messages of the film. However, there are some serious problems with the film, especially with the theatrical release. The most egregious of these problems is that there are holes in the plot. Some characters’ actions are left largely unexplained and the motives of many others are murky at best. These problems sometimes make the story hard to follow, and certainly make it harder for audiences to sympathize with characters whose actions they simply cannot understand. Thankfully, there is a director’s cut of the film which utilizes approximately half an hour more material to address these issues. I would recommend this film strongly – even in its theatrical release it is worth watching as the acting and the visuals are top notch. If you can get the director’s cut version and have the time to watch it, do yourself a favor and get it. Another Year follows a middle-aged couple, Tom and Gerri (they think it’s funny too), through a year in their life together. Along the way, we meet their son, their friends, and their employees and clients.
If you’re looking for an exciting, in-your-face plot, or action, or regular Hollywood drama, you have come to exactly the wrong place. As far as plot is concerned, nothing really…happens. Thankfully, due to the superb performances (which are superbly directed) by all of the actors, you’re never bored while you’re watching. The gardening projects, the idle chatter, the car troubles- every minute is a miniature disaster or adventure that is wholly relatable and absolutely real. You, reading this right now, could be any of these characters at that age; hopefully, you end up more like funny, self-effacing Tom or lovely, open-hearted Gerri than any of their friends, each with a story a bit less happy. The wonderful part of the writing is that nothing is explained. There are several points where, in a film by anyone but Mike Leigh, a writer might try to give a little back story, so the audience is exactly up to par the whole time. Instead, Leigh simply keeps the pace moving, assuming you’ll twig the gist of it, and it makes you not a part of an audience viewing a film, but a part of this circle of friends. With simple conversational writing, Leigh has accomplished what every 3D producer has tried and failed to create: making an audience feel as though there is no screen, and that this is our life now. At the end of the film, you will be left to draw your own conclusions as to the futures of these people. I was not particularly sad or happy, but I was surely enriched by adding these new friends to my personal life. I took a chance on another new comedy, this time choosing Take Me Home Tonight, starring Topher Grace (That 70s Show). The plot revolves around Matt, who has graduated from MIT, but hasn't done anything so far except work at a video store (sounds like my life! :) ). His parents, especially his father, want him to do something more with his life, and stop being so scared about what to do and the potential for failure. In addition to his indecisiveness about his life decisions, there's one other thing that has him hung up: he still has a crush on a girl from high school. They by chance run into each other the night of a big party, so he has a shot at finally getting the one he let pass him by. Matt's sister Wendy (Anna Faris) is having a college-related struggle of her own, as she keeps putting off opening her letter from Cambridge to be with her popular jock boyfriend and worrying that leaving LA will ruin their plans for a life together.
This was an enjoyable comedy set in the '80s, with common themes such as post-college crisis, overcoming fears, and taking control of your own life. Matt's best friend Barry (Dan Fogler) is great comic relief and his scenes really made the movie funny. It's a ridiculous comedy that goes over the top and strays from reality, but so did the '80s. Just as they say in the movie, it's not a night for thinking, but doing- or, in our case, watching. I'd say this is a movie aimed at folks in their late teens and early 20s, and will make for some good entertainment. For younger children, keep in mind there is drug use, language, and a small amount of nudity. An overall fun movie with some knee-slapping scenes. Check it out! If you like this I recommend: Hot Tub Time Machine, Dazed and Confused Super is an interesting little indie superhero flick, right between Blankman (hilarious) and Defendor (depressing). It also has a fairly high violence quotient, which is to be expected from James Gunn (Tromeo & Juliet, Slither). Be prepared for a wacky ride with this film.
The film follows Frank (Rainn Wilson) as he loses his wife (Liv Tyler) to her drug dealer (Kevin Bacon) and, after a weird series of events, decides to fight his way back to her by destroying all the criminals in his city. He picks up a delightfully maniacal sidekick along the way, which pretty much makes up for all of the unnecessary gay jokes. It does not, however, make up for the creepy, rapey sex scene between two of the main characters, and viewers should be ready for some Cohen Brothers/Robert Rodriguez-esque deaths. I personally would've edited out one particular scene, but the rest was pretty gripping. There is a lot of comedy in the film as well though, and it balances pretty nicely. The ending pretty much ties up all the loose ends, so it seems realistic but doesn't leave you with a hokey, “and they all lived happily ever after” sort of feeling. Super is also immensely quotable, giving you lines like, “All it takes to be a superhero is a choice to fight evil,” and the wonderful, “Shut up, crime!” If, however, any viewer sees this film and decides, “Hey, I could totally fight evil,” go watch Kick-Ass and remind yourself that you'll probably get your ass kicked and then get shot in the face. But, maybe every neighborhood would be a little safer at night if everybody followed this rather touching sentiment: “You don't butt in line! You don't steal! You don't molest little children! You don't deal drugs! The rules haven't changed!” Tonight I decided to check out the new Farrelly Brothers comedy Hall Pass, starring Owen Wilson and Jason Sudeikis. Wilson and Sudeikis play typical married men struggling to grow up and be mature husbands. Their wives, who are just as good of friends as the guys are, are on to their antics of gawking at other women and having sexual fantasies that don't include their significant others regularly. Their wives, played by Jenna Fischer and Christina Applegate, hear about this thing called a "hall pass" from their psychiatrist friend, played by Joy Behar, who claims it did wonders for her marriage. Rick and Fred's wives are not happy with the guys, and after a few embarrassing (hilarious) displays, decide to grant them each a hall pass to essentially let them have the freedom they had when single. So they try their hand at picking up women, and while they're having their hall pass week, their wives also decide to have some fun.
The movie explores the themes of "be careful what you wish for" and "you don't know what you have until it's gone" as the two experience the freedom they thought they wanted, and the wives have fun as pretending they're back in college. As with a lot of these marriage/buddy comedies, the writers paint a depressing picture of marriage in its dullness, the lameness of middle aged dudes, and the extreme lack of intimacy with the wife. The movie has funny parts for sure and has a good message and ending, but it's definitely not the Farrelly Brothers best work (i.e. Dumb and Dumber, There's Something About Mary, etc.). It's a decent comedy worth watching on a slow night for some easy entertainment. Owens and Sudeikis are always good for some laughs. Recommended if you like this one: Cedar Rapids, You Me and Dupree, and Swingers If you haven't seen Hackers before, it's awesomeness is comparable to that of The Fifth Element and Real Genius. The film opens on a SWAT takedown of a tiny boy, Dade Murphy, or "Zero Cool," who has committed various felonious acts by hacking into computer systems and planting a virus he designed. His parents are fined a ridiculous amount of money and he is banned from using a computer or anything close to one until his 18th birthday.
Flash forward to high school. Dade meets the smokin' hot Angelina Jolie in one of her very first films, as well as young versions of future stars Jesse Bradford, Matthew Lillard and Renoly Santiago. They discover a secret plot to plant a supervirus by a super douche in the business, and must use all their skills together while avoiding the Secret Service, who has noticed that the craziest hacker of all time is back on the web, and trying not to dry hump Jolie every time she says something sarcastic. The best part of this film is the special effects of "the internet." Whoever made this film obviously thought that all business and personal networks were connected somehow on the web, and that you could access them and, at the same time, unlock a tiny screen world of rolling colorful characters similar to the cover of a little indie flick called The Matrix (don't worry, you probably haven't heard of it). The prank sessions and the secret hacker show are close runner ups on the scale of awesome. This movie is also rife with references to nerdy pop culture, including Transformers, Allan Ginsberg, and the Bible. Hackers is rated PG-13, but it's for language and Angelina Jolie, so I would say somewhat mature tweens would be totally fine watching. As for everyone else: if you haven't seen it, for the love of awesomeness please go rent it; if you've seen it before, go rent it again and show it to your loved ones. I will leave you with this quote: "Spandex: it's a privilege, not a right." - Cereal Killer, Hackers, 1995 Sucker Punch is a film about a young woman, Babydoll (Emily Browning), who is sent to an insane asylum after she accidentally kills her sister while trying to kill her stepfather who tries to rape her sister. It's very convoluted. She arrives at the asylum and meets the director, Dr. Gorski (Carla Gugino) and the head orderly, Blue (Oscar Issac). Babydoll's world changes when she discovers that Dr. Gorski is actually the dance instructor in charge of the young ladies and that Blue is actually the man in charge. Obviously unhappy, Babydoll is forced to dance for the asylum to "prove her usefulness." As we learn, her dancing is so hypnotic that people who watch are unable to focus. While she dances, she sees a foreign world in her mind where a mysterious man gives her the clues to escaping from her prison. With the help of the other girls, she goes an a journey to discover the secret to freedom. Both Zack Snyder (the director) and Tyler Bates (the composer) worked on 300 together. That movie was amazing. Sucker Punch was as terrible as 300 was awesome. The plot was unnecessarily complex. Now, I know about the dumbing down of America via film and television, and I love films that make me think, but I don't appreciate movies that are complex for no reason. Sucker Punch exists within three different mental spheres that you don't really understand until the end, and even then you leave thinking, "What just happened?" Even the credits don't make sense in the context of the movie. The graphics were amazing. The acting wasn't terrible. The plot was really the death of this movie. Some people have enjoyed it, yes, but it's 110 minutes of my life that I wish I had back. |
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