| Movie | Rating | Review | Date | Your Rating | Match | |
|---|---|---|---|---|---|---|
| Cirque du Freak: The Vampire's Assistant - PG-13 |
''Vampires don't need cellphones.'' A young boy named Darren Shan meets a mysterious man at a freak show who turns out to be a Vampire. After a series of events Darren must leave his normal life and go on the road with the Cirque Du Freak and become a Vampire. John C. Reilly: Larten Crepsley It's very easy in this day and age to dismiss any film based on a successful young adult book series as just a studio's attempt to throw something up against the wall that could effectively begin a franchise and seeing if it sticks. You have every right to be suspicious of that, based upon the number of fantasy books that have tried it and been mostly unsuccessful - The Seeker, The Golden Compass, Narnia, The Spiderwick Chronicles, The Bridge to Terabithia, Eragon(Shudders!), thus the list could go on and on and on. One begins to feel as if the studios are really becoming desperate to attempt to launch something new into the genre thus make more profit from it. I'm sure that's what everyone is thinking about this adaptation of Darren Shan's Cirque du Freak books. It probably doesn't help that the movie features vampires that don't have fangs and seem to have one side not wanting to kill humans and the others do. Believe me, I'm getting tired of this story-line since Twilight. But that's pretty much where the comparisons end here, all the alternative vampires featured in the film definitely have a lust for human blood and the main bad guy, Murlough, actually files his teeth into fangs. This is also not just a story about fighting vampires; Yes, the main conflict in the film is between two groups of the bloodthirsty undead; factually there are many different types of characters that we run into on our way through the film. You've got Patrick Fugit as a snake-boy, Salma Hayek as a bearded lady with psychic powers (and an amazing rack/body I might add!), Tom Woodruff, Jr. as the Wolfman, Orlando Jones as a guy with his skin missing and his ribs exposed, and an extremely evil fellow that seems to play everyone against each other to get what he wants named Mr. Tiny. He seems to have some kind of bizarre magical powers that weren't completely explained. ''College! Job! Family! And one day, if you're really lucky, you'll be standing here yelling at a teenager of your own.'' Just with the names above, you can see that there was no expense spared in pulling together a pretty impressive ensemble cast. Then add to that Willem Dafoe as a rather eccentric acting vampire and a very unexpected John C. Reilly as the freak show vampire Larten Crepsley. Reilly really delivers in the role, being witty and slightly scary in the as Crepsley. He almost veers completely off his normal path of the idiot friend or relative that he has paved for himself by being in Stepbrothers, Talladega Nights, and Walk Hard. The reason I say almost is he still retains a sense of humour, but in a more traditional manner confined to the storytelling. I found Cirque du Freak: The Vampire's Assistant to be a pretty enjoyable, and entertaining film. It had a darkly comic, richly sarcastic vibe that many of the films based on these types of books seem to miss out upon. I haven't read the books of this series, but this film definitely seemed to incite me to do so. Will this be one of those times where the film will make enough money for the studio to kick off a new franchise? Who knows. Darren Shan: So do I turn into a bat Larten Crepsley: NO! NO! That is Bullshit. |
November 20, 2009 | N/A | |||
| Twilight - PG-13 |
''And so the lion fell in love with the lamb.'' A teenage girl risks everything when she falls in love with a vampire. Kristen Stewart: Bella Swan After reading so many positive reviews of Twilight from Critics and friends alike, I was more than willing to give the apparently awesome Teen Vampire story a chance. After actually seeing this seemingly appetizing vision I'm somewhat baffled as to what everyone is going on about. Either the critics are on drugs or they have succumbed to the swarms of angst ridden female fans, (and some male supporters) being payed off in the process. It would seem to me that as soon as this so called Twilight, I was bored to tears with it's sloppy narration and poorly structured plot. Having not read the book previously the film has done a thorough job of putting me off reading it. The acting is truly abysmal, for a start, not helping me to take it seriously at all. Pretty boy Robert Pattinson portraying the sulky Edward Cullen, is a pouting, emotionless, pale faced lout whom will have the girls drooling over for his feminine looks. We have him weakly formulating a strange romance with Kristen Stewart as new arrival Bella Swan, who doesn't so much as act but only utilizes her looks and nothing else. I'm actually shocked how critics have been fooled by this disgusting piece of film, and I'm sure a few jobs will be lost when audiences see what a drab, unsophisticated piece of shoddiness this is. Twilight could have been the next best adaptation since Harry Potter but ends up being a cross between Underwold, Buffy & Covenant. If you do go and view this at the cinema, more than likely, the majority will be either A fans of the book, or B girls who after a soppy romantic fix. God knows, after hearing some comments, how people can endure this monstrosity multiple times and not resist the need to systematically vomit or succumb to sleep. It honestly, in the politest way possible is like watching newly used paint on a wall dry. ''I know what you are. You're impossibly fast. And strong. Your skin is pale white, and ice cold. Your eyes change colour, and sometimes you speak like, like you're from a different time. You never eat or drink anything. You don't go out in the sunlight.'' Twilight abuses the Vampire lore in many ways, opting for our sucker friends to have glittery skin in sunlight(More like sweat visually), playing baseball in stormy weather, and also being able to have a reflection in a mirror. All of these and more crash this nightmare into unbelievability and beyond, causing me to lose hope for Vamp films in general. Being a fan of Bram Stokers Dracula and Interview with the Vampire, this Twilight is a wet dream of teenage hormones realized. It's got no class of a sophisticated vampire whatsoever, also lacking a decent nemesis or threat throughout. When a problem is presented in the guise of three evil Vampires, we are too bored to even give a damn about our characters or even what is to transpire next. Granted Twilight isn't a complete catastrophe, it's got some good qualities here and there, that seperate tedium from torture. The music for one seems to be good in places, as is the parts where Bella visits Edward's family. It just takes too long for these to kick in. Before we even get to the juicy segments we are given supposedly romantic encounters between our pair. Their acting and slushy antics are about as frozen as Edward Cullen's facials appear to be. A frosty love that's about as easy to believe, as blooming Freddy Kruger or King Kong materializing before us from a hurricane of misconception. Which in other words is unbelievable, in every formulated way possible. Billy Burke as Charlie Swan also seems to be lost throughout these strange happenings as Bella's mistreated father. Not to mention Native American friends who are brushed aside with Bella's infatuation and dazzling romance with Edward. After seeing this it's fair to say, you will want to grow up fast if this the most imagination they can conjure up on the screen for us. The realism has just sizzled from view and burst abruptly out the window. As for Director Catherine Hardwicke, has she even bothered to read the book? Or watch any Vampire films of late? I'd say she hasn't bothered doing much if this is the best she can give us. Her direction to me, seems to be poorly threaded together, resulting in a rushed, heightened, chaotic jumble of genres that makes me embarrassed to bear witness to. I mean Melissa Rosenberg screenplay is as flimsy as paper in a storm, it seems to move at a slug's pace, while Stephenie Meyer Novel is systematically raped by this on-screen apparition. You could say that I'm not easily impressed but I'm having on by a thread as to what to be impressed by as I come out of this venture. My girlfriend is as confused as I am, as it finishes, and she was the one that wanted to see this. I'm at a crossroad as to what to think. It's nearly Christmas and Twilight seems to be the only film people talk about. Simply put God help us if this is the best we can get. Hopefully in the next few weeks a certain two films will redeem my flattened cinema viewing and give me something better to feast upon. ''Death is peaceful - easy. Life is harder.'' |
November 20, 2009 | N/A | |||
| Megalexandros, O, (Alexander the Great ) - Unrated | November 20, 2009 | N/A | ||||
| Le Voyage dans la lune (A Trip to the Moon) - Unrated | November 20, 2009 | N/A | ||||
| Liebelei (Flirtation) (Light O'Love) (Playing at Love) - Unrated | November 19, 2009 | N/A | ||||
| La Habanera - Unrated | November 19, 2009 | N/A | ||||
| The Seven Year Itch - Unrated | November 18, 2009 | N/A | ||||
| M - Unrated |
''I can't help what I do! I can't help it, I can't... '' When the police in a German city are unable to catch a child-murderer, other criminals join in the manhunt. Peter Lorre: Hans Beckert ''I... I can't help myself! I have no control over this, this evil thing inside of me, the fire, the voices, the torment!'' In the world of film, there is certain subject matter that is just too taboo to be explored by mainstream filmmakers. Even now, with Hollywood's shameless predilection for blood, sex, and drugs, some topics are still just too incredulous to address. Movies that contain serious portrayals of homosexual romance, scenes of rape, or strong anti-governmental themes are certainly unusual in Hollywood; but the biggest way to guarantee a permanent shun from most film studios is to make a film regarding child murder. Better yet, why not make the child murderer a sympathetic character whom has no memory of his killing? This is exactly what Fritz Lang did in his phenomenal 1931 feature, M. M was truly ahead of its time, and not simply because of its early use of synchronized sound or the use of voice-over narration which was a groundbreaking new technique at that time. What amazed me most about M was that it featured a character whom when introduced, is utterly despicable. The audience quickly learns of his unforgivable crimes, and although none of the murders are actually shown, they are talked about in grim detail, with the camera often focusing; unbearably on the reactions of the distraught parents as they speak of their children's demise. As the film progresses, however, our perceptions begin to change, and we start to take pity on this man, all the while coming to the realization that the vigilant mob who wants to beat this man to death is no better than the murderer himself. After all, is mercilessly pummeling a defenseless man to death somehow more civil than killing a child? To some, the answer may be yes; but to me, murder cannot be divided into degrees of acceptability like that; it is wrong, no matter who does it or who it is done to, just as the concepts of freedom are extreme resolutes; one cannot be half free or half dead, only one or the other. ''Just you wait, it won't be long. The man in black will soon be here. With his cleaver's blade so true. He'll make mincemeat out of YOU!'' But it goes much deeper than that. Aside from just feeling sympathy for the murderer simply because an entire town wants his head on a stick, you can't help but be affected by his genuinely sorrowful personality. After all, he honestly cannot control what he is doing, and he is just as horrified learning about his crimes, as the parents of the children he kills; perhaps even more so, since the shock of discovering that you are the one responsible for such evil is enough to want to die. His speech at the end, is not only heartfelt and pitiful, but it's thought-provoking as well. A speech comprising of substance rather than length, it provides a great deal of insight into the relatively simple mindset most people have regarding issues like these. Another fascinating quality about M was its constant, almost overwhelming references to angry mobs and vigilante forms of justice. Even before the final chase segment, there are many scenes wherein a dominant force bullies an innocent person or group of people with little or no justification. The scene that sticks out most in my mind is one where a man is beaten down by some nearby pedestrians, simply because he asked a child if she knew the time. The main purpose behind this particular scene is obvious: it serves as a harrowingly realistic portrayal of the dangerous type of hysteria that can infect a highly emotional group of people. But the more I think about it, the more I realize that these types of scenes were probably meant to be sly referendums to the recent existence of the Nazi party in Germany, at the time. Lang seems to be commenting not only on the steadily growing support of the party, but also his disdain for their violent and often extreme dictatorial methods of government and international relations. Obviously, Lang succeeds in hitting a nerve central to the heart of Germany, unsurprisingly the Nazis banned the movie in July 1934. Other reasons crediting to the ban was matters of nationality; the main actor Peter Lorre was Jewish and fled Germany in fear of Nazi persecution shortly after the movie's release. Fritz Lang, who was half Jewish, fled two years later. Contrary to popular rumour, Fritz Lang did not change the title from The Murderers are Among Us to M due to fear of persecution, by the Nazis. He actually changed the title during filming, influenced by the scene where one of the criminals writes the letter on his hand. Lang thought M was a more interesting, more mysterious title. M is a movie that not only forces you to think, but to feel as well. Peter Lorre's portrayal of the murderous antagonist (or is he indeed, the protagonist?) is both frightening and heart-rending, and Fritz Lang's script and direction are both exceptional in execution, it's no wonder Lang has claimed that M was his favourite film of all those he had directed, presumably for it's controversial nature and success in causing timeless debate.M's cinematography marvelous, not only helping to tell its story in a fluid, stylish manner, but also causing the film to have an ominous, unsettling vibe. Fritz Lang's M retains its ability to shock almost 70 years after its conception. Some of the images are unforgettable, the sounds echoes of brilliance, and Lorre gives the performance of his career. Do not be allowed to be swayed or put off by the use of subtitles because you will miss out, this film, this story, is a first rate character study and one of the most profoundly disturbing psycho thrillers ever created. ''This won't bring back our children. We, too, should keep a closer watch on our children.'' |
November 18, 2009 | N/A | |||
| The Elephant Man - PG |
''I am not an elephant! I am not an animal! I am a human being! I am a man!'' A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous facade, there is revealed a person of intelligence and sensitivity. Anthony Hopkins: Frederick Treves ''My life is full because I know I am loved.'' If one was to turn on David Lynch's The Elephant Man midway through, without knowing what it was, one might be startled at the appearance of the main character. One might even be tempted to make fun of the character. But if one was to watch the film from the beginning, sympathy with John Merrick (John Hurt), The Elephant Man, would be strong enough to deny that the former situation was ever a possibility. Lynch does not allow his audience to glimpse Merrick albeit mask, until his appearance has been built up substantially. When we the audience are at our zenith of anticipation, we see him: no dramatic music, no slow motion; a simple cut and he's there. There he is. And it's not made out to be a spectacular introduction. This is the beauty of Lynch's direction. We are led through our morbid curiosity at the same rate the characters in the film are. We develop alongside them. More specifically, we develop alongside Frederick Treeves, played with an astounding sublimity of emotion by Anthony Hopkins. Next to Treeves we pity Merrick, respect him, pity him again, and then ask ourselves with him, 'is he just a spectacle to me? Am I a bad person?'... Lynch certainly doesn't let us bypass this question easily. Are we bad people for being intrigued or are we good people for pitying? Certainly there is a mix of intrigue and pity with every character who first meets John, and we are not excluded. However, as with almost every character who truly comes to know John and confer with him, we learn to respect him as a human being and not as a spectacle. Nonetheless, this issue never finds close in the film, nor do I feel it ever can be closed in actual life. Hopkin's Treeves is never fully sated in how he feels about this dilemma, and so, neither can we be. ''People are frightened by what they don't understand.'' Technically, The Elephant Man is a beautifully shot piece. In crisp black and white, the film recalls the cinematic technique of American cinema circa the 1930s. The scenes dissolve into one another; there is no brisk editing. The lighting is kept low-key during dark scenes, balanced during daytime scenes-this is standard film-making of the era. The one digression from this form are the distinctly Lynchian surrealities-pseudo-dream-sequences of commendably original imagery that break up the film and serve as distinct mood-setters for the audience. These are, for the most part, fairly intimidating side-notes. We as an audience are caught off-guard because in these tangents we are not identifying with Treeves, we are put instead into Merrick's shoes. It is unsettling. But Lynch has never been a director to flinch at unsettling prospects. We must watch Merrick beaten, abused, harassed, humiliated, and tormented. We may feel a surge of happiness when he finally stands up for himself, but by that point we still have to cope with what we've already, what he's already, experienced. I suppose that is the greatest and most devastating aspect of the film-empathy. Every moment is heartbreaking. Yet no matter how hard it gets, and how much better it then turns, there is always the threat of another jab. And those jabs only get more and more painful. The Elephant Man is a perfect film. It is sorrowful but it doesn't apologize for what it is. It is a film about where our empathy stems from, a film that asks you to feel sorry for it's victim but rebukes you for your blind pity. It asks you to respect Merrick, not cry for him, alas you cry anyway. The Elephant Man is a film that treks you through despair and asks for your hope in the end. It asks you to hate humanity but to love the humane. It asks you to look at a man who appears sad and know that inside, he's righteous, he has a soul. ''Never. Oh, never. Nothing will die. The stream flows, the wind blows, the cloud fleets, the heart beats. Nothing will die.'' |
November 17, 2009 | N/A | |||
| Terminator 2: Judgment Day - R |
''3 billion human lives ended on August 29th, 1997. The survivors of the nuclear fire called the war Judgment Day. They lived only to face a new nightmare: the war against the machines. The computer which controlled the machines, Skynet, sent two Terminators back through time.'' The cyborg who once tried to kill Sarah Connor must now protect her teenager son, John Connor, from an even more powerful and advanced cyborg. Arnold Schwarzenegger: The Terminator ''Hasta la vista, baby.'' The first Terminator project was a modest success at the box office in 1984; by 1990, millions of people were anxious for a sequel. James Cameron granted their wish and again exceeded expectations with his effort. The sequel is 10 years later, based upon the age of the central character (played by newcomer Ed Furlong from American History X). Cameron was provided with a budget exceeding the original picture a hundred fold over, and used this to his advantage. Notably, this was an early use of computer FX which are prevalent today; back then, they were simply amazing to behold (this was before even Jurassic Park, and each instance of their use was mind blowing). Most of the best examples of effects used in T2, revolved around the T-1000 super-villain (Robert Patrick), a revolutionary approach to depicting a fantastic menace. Arnold was back as another durable cyborg, a multi-layered hero this time, the big man was on the side of good. The film was another impressive progression of action and suspense, interlocked with the theme of nuclear holocaust. More than just building on the threat of nuclear annihilation from the 1st pic, the picture throws the concept at the audience with some striking images. It slows at about the halfway point when the heroes evade the pursuing super-killer for a time, but then you see that nuclear bomb going off, still about the best such depiction ever seen. Just when you think you can relax for a few minutes, a city blows up. By this time, the definitive version of this film is the extended cut Cameron presented a couple of years later. The extra scenes accentuate the plot and elaborate the story wonders, not that they needed it, but it's a nice little dessert for fans. ''I need your clothes, boots and your motorcycle.'' Like all the best sequels, it presents characters which progress and advance. This is especially true of Linda Hamilton's character; she's really lived those past 10 years and is a much older, much stronger mother figure here, moulded by ceaseless struggle. She really does turn out to be the mother of the future, as mentioned in the original Terminator, obsessed with saving us all from a nuclear Armageddon. Arnold, of course, has to play a more human-like, more understanding cyborg, very different from the mono-syllabic droid he interpreted in the previous installment. The film pulls another fast one in the beginning, still keeping the audience guessing as to which is the heroic protector, Arnold or the T-1000(the T-1000 actually seems more human than Arnold in the first segment). When the hero turns out to be Arnold, the viewer claps in appreciation for a fine role reversal. We had to wait another dozen years for the next one, but it could never match this baby. Overall, Terminator 2: Judgement Day is not like other typical actioners, which are usually mindless, moronic and are little more than an excuse to eat snacks and put on in the background as mindless accompaniment. Instead, it's got depth, emotion, character and is highly memorable, and keeps you glued to the screen throughout; as well as boasting some astounding action and suspense while flaunting state of the art effects at the time, which still look good to this day. T2 is quite possibly the best action film and a unrivaled sequel, in existence, and I'm predicting that it will hold that honour for all time...Lastly, just picture this; Patrick Patrick running; his arms going up and down; his hands straight; that droning, mesmerizing sound of toned dread pounding in the background. This is a thrilling, timeless piece of action/thriller art which squeezes at your heart strings. Just writing about T2 makes me want to watch it again, then melt everytime...and hear those iconic lines...Arnie will be back! and thus viewers will be back for repeated viewings everytime. ''The future's not set. There's no fate but what we make for ourselves.'' |
November 17, 2009 | N/A | |||
| Léon (The Professional) - R |
''Revenge is not good. Once you're done. Believe me.'' Professional assassin Leon reluctantly takes care of 12-year-old Mathilda, a neighbor whose parents are killed, and teaches her his trade. Jean Reno: Léon From the opening musical score, which is phenomenal throughout the entire piece, Luc Besson gives us one of the most stylish Character introductions seen to date. The Cinematography is outstanding as the camera focuses on Leon (Jean Reno) and his Italian Mob friend (Danny Aiello), with subtle shots that pan onto his dark sunglasses or the glass of milk he's drinking (which actually becomes a running theme for the film). Almost as soon as we are introduced to the seemingly cold, calculating Leon, the heat is on and we discover that he is unstoppable, untouchable and lethal as a professional hitman. The way in which he displays his expertise, is visually spectacular as he picks off targets like flies one by one, appealing to all fans of action, gore and suspense. It is also gripping to see Leon hunt down the last remaining 'client', making the vulnerable man sweat with fear and me be riveted to my seat in anticipation. As the gloriously original plot continues, Leon rescues a 12 year old girl named Mathilda (Natalie Portman) from imminent death, which begins an awe inspiring relationship between the two. It's very rare to see such impressive characterization, and Besson manages to reveal the warmer, caring side to Leon, without clouding the believability of a ruthless and fearless killer. Without sounding too sentimental, it has to be said that their relationship and love for each other is beautifully realized, and is always accompanied by the captivating score. ''I haven't got time for this Mickey Mouse bullshit.'' Apart from the skilled and apparent capability of Reno, Portman's portrayal of Mathilda really is astonishingly authentic, albeit the stars of Leon: The Professional are obvious but without Gary Oldman's performance, the film would have lacked the depth and tension that is so essential to the story. Oldman plays a crooked, psychopathic Drug Enforcement Agent named Stansfield, with a penchant and liking for classical composers such as Beethoven and Mozart. Stansfield is significantly agitated by Leon's diligent trail of death and destruction. The scenes in which his anxiety pushes to the extreme, commands your attention, this is a crazed villain who wants blood at any cost, and he wants this problem in the guise of Leon to disappear. It is a meritorious accomplishment for a film of this genre to have such a rich plot and character development. The transition of Leon, devoid of any feelings, to him embracing Mathilda's affections is a paramount example. There is a strong universal appeal to all movie-lovers for this extraordinary film and it is totally justified. I personally found it a delight to watch and I'm sure a classic for repeated viewings. Leon: Revenge is not a good thing, it's better to forget. Mathilda: Forget? After I've seen the outline of my brother's body on the floor, you expect me to forget? I wanna kill those sons of bitches, and blow their fucking heads off! In "The making of The Professional", Besson says "If I imagine somebody in the street try to knock on my daughter, I kill the guy, in five seconds. I kill him, and I think "It's in me, I'm a beast!". On this part we can't forget that a part of us, the genetic things inside are much, much older than The Ten Commandments". He certainly uses visceral scenes to create very strong emotion in the movie - the blood running from Mathilda's nose or Stansfield's unforgettable "EVERYONE!" are just a couple of examples. The music and the sound are excellent and are used in a masterly fashion - you can hear Fatman's heart beating desperately or a low claustrophobic sound when Stansfield turns to look at Mathilda's father. This stark portrayal of humanity and inhumanity is produced with the style and finesse that one expects from Luc Besson. In addition, the combined talents of Jean Reno, Natalie Portman and Gary Oldman provide not only an unmatched on-screen chemistry, but also three perfectly created characters, the like of which are rarely seen in today's cinema. This film has my personal recommendation of being one of the best practitioners of action and platonic examples of love, of the day. I have not seen anything that matches it in terms of intensity or emotion for a story of it's type, it really succeeds in being unique and indulging. I found myself caring for the characters involved, an unique experience in itself. This is not the type of film for an uncaring, boisterous audience, but nevertheless, it is an unforgettable piece of cinematic history. [after the building explodes] ''Hey, what the fuck is going on up there? I said take the guy out, not the whole fucking building!'' |
November 14, 2009 | N/A | |||
| From Paris with Love - PG | November 14, 2009 | N/A | ||||
| Taken - PG-13 |
''If you let my daughter go now, that'll be the end of it. I will not look for you, I will not pursue you. But if you don't, I will look for you, I will find you, and I will kill you.'' A former spy relies on his old skills to save his estranged daughter, who has been forced into the slave trade. Liam Neeson: Bryan Mills Director Pierre Morel, you have picked a rocket ship of thrilling intensity to cling upon, parnering up with Luc Besson just works every single time. I'm sad that his declaration of being finished with the director's chair may be true, however, his scripts are mounting and pumping out many action packed, entertainment laden efforts. If one can get the Transporter series to make money from its wit and smartly executed action, you know you are doing something correct. I've yet to see these two guys' first collaboration, District B13, but as far as the solid effort goes, Taken, I have one more reason to finally seek it out. Released in Europe, in recent months, and finally making its way stateside at the end of January, the tale places a retired US government preventer agent, with the Albanian captors that stole his daughter in Paris. His job ruined his marriage, strained the relationship he had with his child, yet gave him the specific skill set to get it all back. All he has to do is pulverize some very bad men, kill countless thugs and criminals, without a glimpse of remorse, and call in a few favours, while burning some old bridges in the process. Liam Neeson shows the physicality that George Lucas must have seen when casting him as a Jedi warrior, but didn't utilize or harness that power correctly. Well, Morel sure opened the floodgates and Neeson does not disappoint. The European flair shows face right at the start with the film's opening credits. Sure the star gets top billing, but who do you ask gets second and third? That's right, the director and writers, then followed by the title. Someone understands the true creativity behind a feature film. Well, not just someone, a continent. It's a shame that the name Luc Besson won't fill the seats by itself in America, because I'm sure if you mention alot of his filmography to a film fan and ask what they all have in common, the answer would be, "films I really connect to and enjoy". And yet the person answering probably has no idea what the common factor is allowing them to be such. Lenore: You sacrificed our marriage to the service of the country, you've made a mess of your life in the service of your country; can't you sacrifice a little one time for your own daughter? Bryan: I would sacrifice anything for her. Shot with a kinetic pace, not quite Tony Scott, more Bourne Supremacy, but even slightly clearer than that, the action excites at every turn. Neeson is a man on a mission; a man with everything on the line, to find and save his daughter before the estimated 96 hours are up and she is lost forever on the black market human trafficking scheme. Friends, enemies, strangers, you name it; they are all potential targets to be shot at. Neeson's Bryan Mills is the ultimate badass working from his heart through to using his head, but only to survive, and to get one step closer to the truth. He gave it all up to rekindle a relationship with his seventeen year old, yet I'm sure never thought that the only way to do so would be to use all that training. The flip remark from Leland Orser, calling him Rambo, is more appropriate than you may think. The supporting cast is definitely a necessity to keep the plot moving, but, in the end, it's all about Neeson moving forward and bull-rushing his way through extras. Maggie Grace can sadly get very tired, but I don't fault her as much as casting. She is a 26-year old playing 17, so her overly annoying, girlish tendencies are overblown because she is overcompensating for the age difference. Famke Janssen and Xander Berkler, are solid in small roles, while my favorite supporter is Olivier Rabourdin's Jean-Claude. Playing a French Internal Government agent, an ex-associate of Neeson, he portrays the duality of wanting to help his friend while still keeping his job and financial influx intact. He knows that whatever is uncovered in the one-man vigilante escapade could potentially harm his paycheck by exposing illegal dealings with criminals on the part of the police force, so he is never completely open. And that guardedness leads to a fantastic dinner scene. Overall, Taken is a film not to be under estimated. It carefully addresses the subject of human trafficking which does take place in todays modern world. It also intriguingly makes cleverly placed stabs at immigration, criminality, and the scum which lurk in societies shadows. Liam Neeson's interaction, with a group of Albanians sums up the level of corruption allowed behind the lines, in a democratic country such as France. Of course, the real question being one of money, and treating girls like pieces of meat, as such a commodity. Taken therefore doesn't just entertain, it educates, and ultimately makes you think even harder if you the viewer happens to have children of your own. The only shame I felt about Taken was the poorly constructed ending which felt rather artificial, considering Maggie Grace fails to make us feel that this girl has even remotely been effected by this terrible ordeal. One would have thought Director Pierre Morel, may have cleverly shown a change in her character but rather we see her being ''spoiled'' again with a singing session with Holly Valance. Everything up until this confusing conclusion, does thrill, does excite and ultimately does makes us think and root for Liam. Again a story in which one man takes on corruption all by himself is admirable and certainly courageous. Taken is definitely a pleasure for action fans and fans of thrillers alike. ''You come to this country, take advantage of the system and think because we are tolerant that we are weak and helpless. Your arrogance offends me. And for that the rate just went up 10%.'' |
November 14, 2009 | N/A | |||
| Eichmann - Unrated | November 13, 2009 | N/A | ||||
| Invictus - PG-13 | November 13, 2009 | N/A | ||||
| Conan the Destroyer - PG |
Jehnna: I go where I feel myself led. Conan: So I've noticed. Conan leads a ragtag group of adventurers on a quest for a princess. Arnold Schwarzenegger: Conan The first outing, Conan the Barbarian, really is a classic. It is unpretentious, raw, and mythical. It is an adult fantasy action film. However Conan the Destroyer was made for a younger crowd - children to teenagers to perhaps young adults. Despite the PG rating, it does have plenty of rolling heads and blood, though to satisfy the adult audience. The difference in this film is that there is an emphasis on humour and the characters are not as interesting. It IS the weaker film, but it still is a good film. With a clear minded vantage point, as every film should be viewed, this is a nice little fantasy. The scenes with the evil wizard in the ice palace are wonderfully mythical and the sword-fighting is simply chivalrous and true to the Conan character. The musical score, by the returning Basil Poledouris is still on form too. It really adds to the credibility of the film project. Schwarzenegger is memorable here too also. He seems to be having fun and he definitely enjoys returning to the role. Just as good is the return of Mako as Akiro the Wizard. He is definitely Conan's best ally and he turns in a much better performance than the rest of his team. Chamberlain is good enough and it was smart that he doesn't have too much dialogue. He gets to look imposing. Sarah Douglas is terrific as the sexy evil queen and the only shame in her character is that we do not see more of her. She has a certain dignity and mystical quality that a beautiful evil temptress should have. Jehnna: I suppose nothing hurts you. Conan: Only pain. What doesn't work as well in the film is the acting of the supporting cast, thus the people I mentioned. Most of all, it is weakly directed, and poorly constructed, restricting sexual scenes and extreme violence. There just doesn't seem to be a driving force in what the film is trying to be. It feels as if wanders along trying to please all audiences instead of focusing on the appreciators of the franchise, the fan-boys. It would also be a realistic train of thought, to see what makes the princess choose the course that they take. The film lacks a certain credibility for purpose and motive. Overall, though, this film entertains and is still a worthy sequel to Barbarian. It rates slightly lower though, almost solely based on the lack of directing strength that John Milius gave to the first film. He is what is sorely missed in this one. On its' own, however, this is still a fun realized film. Malak: Why are they trying to kill us? Conan: Maybe they want to capture us, and torture us to death. |
November 13, 2009 | N/A | |||
| Conan the Barbarian - R |
''Do you want to live forever?'' The epic tale of child sold into slavery who grows into a man who seeks revenge against the warlord who massacred his tribe. Arnold Schwarzenegger: Conan ''What daring! What outrageousness! What insolence! What arrogance!... I salute you.'' Conan the Barbarian is one of Schwarzenegger's fun movies. Forget the big budget blockbusters and special-effects-tour-de-force-romps of the eighties and nineties. Along with `Pumping Iron,' his bodybuilding documentary, CTB represents the perfect showcase for Arnold's natural talents (including the self-confidence of ten action film stars, a commanding physical presence, and a whip smart sense of humour). It does not hurt that Conan the Barbarian follows a predictable, albeit proven formula, the three classical unities of the kung-fu genre: wrong doing ? the snake cult massacres Conan's family; rebirth ? Conan learns the 'riddle of steel' during his years as a pit fighter; and revenge ? Conan goes after the snake cult to avenge the killing of his parents. CTB also boasts several veterans of the screen, including Max Von Sydow and James Earl Jones, and a moving and powerful score by Basil Poledouris. ''For no one - no one in this world can you trust. Not men, not women, not beasts. This you can trust.'' [Points to sword] Conan the Barbarian is not restricted or relying upon dialogue or what is spoken between characters. Entire scenes that are central to the plot unfold without Conan even uttering a single line of dialogue. Take for instance the scene where Max Von Sydow charges Conan and his companions with the task of rescuing his daughter; the scene between Conan and Valeria where she tries to talk him out of accepting the rescue mission; the death of Valeria; and the climax where Conan confronts James Earl Jones. But every scene sells itself and Arnold's co-stars are able to fill the void left by Conan's respective,thoughtful silence. After all, Conan is a man of action, not a man of words. Instead, Conan the Barbarian is about the unspoken bond between friends, lovers, and family. Arnold is able to convey with stares, smirks, and laughter what lesser actors and films do with rambling, awkward, unbelievable dialogue. Two shining examples of this, less is more approach, include the scenes where Conan cremates his lover and silences the King's daughter with a menacing look. When Arnold does speak, his timing has never been better and his delivery never more convincing. Arnold seems completely at ease and comfortable in this role. He does not fumble over dialogue and corny one-liners. If Arnold were to make just one more movie, it should be the third installment in this series. Arnold is certainly no Deniro or Spacey, but he is wildly charismatic and easier to understand as a person than either the complex Brando or manical Nicholson. Thus, while Conan the Barbarian never experienced much renowned attention or success, at least it has achieved cult-classic status, which is more than can be said for some dull, forgettable Oscar winners. Anyone who does not like this film simply will not allow themselves to. To Conan the Barbarian detractors, I say give it a chance and do not take it too seriously, Conan the Barbarian is abit of fun, romance, revenge and action all mixed into one fantastical story. Mongol General: What is best in life? Conan: To crush your enemies, to see them driven before you, and to hear the lamentations of their women. |
November 13, 2009 | N/A | |||
| Terminator 3 - Rise of the Machines - R |
''I'm back.'' John Connor is now in his 20's, and a female terminator, called T-X or Terminatrix, is after him. Another T-101 is sent back through time to protect John once again on the verge of the rise of the machines. Arnold Schwarzenegger: Terminator The first two films in this franchise really set the franchise in immortal stone, the first a low budget cult classic, and the second an overblown but ultimately superb blockbuster action movie. But T-3 is a flawed project. First and foremost there was no James Cameron, meaning Jonathan Mostow got the job instead. The Terminator is completely straight-edged and T-2 for all the one liners is serious when it needs to be. T-3 is however a different story. From the moment the TX's chest expands it feels silly, at times a little gratuitous. What I liked about the original and it's sequel was how cold and efficient the Terminators were when it came to the killing. In T-3 the deaths are over the top and pointlessly visceral. Why would the TX choose to carve a victim to death rather than just shoot or stab them? Surely that would save valuable time and attract less attention? For me the TX is a real shame in this picture. A female Terminator could have been poignantly chilling, potentially more terrifying than Arnie or Robert Patrick combines. But for some reason it just doesn't work, she's just not cunning, or relentless enough. The T-1000 remains far more intimidating in my book. My other concern is with John Connor. Okay so Ed Furlong was a little annoying in T-2 but at least he had had heart, a spark and initiative. I could perceive him as a leader because he had some BALLS. Nick Stahl just doesn't have any of that. John Connor is too pathetic, too resigned to things to be the hero he'll turn into. I understand maybe Mostow felt he needed to explore Connor a little, but it doesn't work. ''You are terminated.'' It's not all bad though, in fact far from it. T-3 has much to revive itself. As you'd expect the special effects are exceptional, and the action fast paced and easy to watch. The chase scenes are not as good as in T-2 but hey, it's hard to climb Everest twice. In particular Claire Danes is great as Caroline Brewster. Her resourcefulness and spirit despite not having a clue what's going on are hugely refreshing when placed aside Nick Stahl's Connor. And of course who can forget Arnie? The big man delivers enough solid display as a character it's hard not to like. Arnie also delivers one of the best lines in the series so far, ''Desire is irrelevant. I am a machine.'' My favourite part of the movie though, is the end. No i'm not being sarcastic. The ending scene at Crystal Peak is inspired, a wonderful ending to the film. Wheras The Terminator and T-2 needed positive endings, T-3 needed the opposite. The notion that John Connor and Caroline Brewster were only meant to survive, not change the course of history is a far better concept than having them stop Skynet again. Obviously it's leading into a sequel, and it's a fine way to do it. The ending to me is the only time the whole film really captures the spirit of the original, in which survival was the only thing that mattered. T-3 is a worthy film, but it's not a great film like it's predecessors, and as such will always suffer unfavorable comparisons. Viewed objectively at times, it's very entertaining, but it doesn't do the serious stuff as well as The Terminator or the action sequences as well as T-2. ''Maybe the future has been written. I don't know; all I know is what the Terminator taught me; never stop fighting. And I never will. The battle has just begun.'' |
November 13, 2009 | N/A | |||
| Commando - R |
Cooke: You scared, motherfucker? Well, you should be, because this Green Beret is going to kick your big ass! Matrix: I eat Green Berets for breakfast. And right now, I'm very hungry! A retired elite commando has only a few hours to find and rescue his daughter from an exiled dictator. Arnold Schwarzenegger: John Matrix If there were a number of Arnie movies I would watch as a child and for what they were, it was Predator, Terminator, Last Action Hero, Total Recall and Commando is yet another. There are no pretensions here, as director Mark. L Lester creates a thoughtless, macho, no-nonsense parade of exciting violence with plenty cracking one-liners along the way. The climax especially, as there's no mercy with a rampant Arnie taking on a small army, spectating all opponents dropping like flies in a glorious array of bullets and some garden shed tools. It's entertaining, addictive and yet wittily resourceful. It's a beautiful sight for action and Arnie fans alike. It makes the powerfully violent bloodshed in the Rambo films seem poetically meaningful, as a distant relative perhaps. No flashy edits, too-close camera-work and mechanical staging (found in most latter action films) taint the glorious proceedings. Lester's no hold-bars approach shoots the vigorous activity well with expansive scope in the devastating set-pieces and exhaustingly taut pacing. Steven E. de Souza's silly script makes little headway, but plays it straight with its welcoming humorous tongue. Quotably campy dialogues and a barrage of puns. The cast do a respectable task of bringing the action and story to life. Arnold Schwarzenegger delivers the lines and action with heart-pounding vitality. Rae Dawn Chong perfectly holds her own and Vernon Wells is eccentrically palatable as Arnie's main foe. Dan Hedaya storms in as the head villain and a cute Alyssa Milano plays Arnie's kidnapped daughter. The support cast are just as interesting with the likes of Bill Duke, David Patrick Kelly, Drew Snyder, Bob Minor, Gary Cervantes, Branscombe Richmond, Matt Landers and a brief Bill Paxton. A muscularly robust engraved music score is courtesy of James Horner. Arius: Your father appears to be cooperating. You will be back with him soon. Won't that be nice? Jenny: Not as nearly as nice as watching him smash your face in. Commando simply stands alone as one of the most overblown, frankly silly pieces of film, which you will ever see. And this is the very reason why I love Commando so much. Schwarzenegger started his nearly decade long winning run of wisecracking hard arses with Matrix. The body parts of who the camera lovingly paws before the opening titles, he is simply a masculine GOD! A paradoxical man who can kill someone with a his little finger alone, shows absolutely no trepidation in taking on a heavily fortified enemy stronghold single handed yet has a doting daughter and is shown feeding a deer with her in the starting credits! Plus, this monosyllabic killing machine has the dry, cutting wisecracks of Oscar Wilde ? come on!.. who are the filmmakers trying to fool?? All the plot-holes and shoddy production values simply add to the film's attraction and appeal. Muscles, guns, knives and bullets, shooting and fighting, blood, bodies, death and black humour. This is just the kind of a lovable movie I enjoy to see Arnold Schwarzenegger in and John Matrix is just the type of crazy macho character for him I could call perfect in every way. The year was 1985, Arnold 38 years old and Twins", "Kindergarten cop", "Junior" and "Jingle all the way were all thankfully, still dormant fantasies of things yet to come. If you want to once again hear that beloved "I'll be back" line, marvel at all that brainless violence and hilarious dialogue..."Remember Sully when I promised to kill you last? I lied"..., then witness that final mass slaughter and see Arnold like the way we all want to remember him as, watch Commando and enjoy the ride. It's FUBAR all the way! Matrix: Don't break radio silence until they see me. Cindy: How will I know? Matrix: Because all fucking hell is going to break loose. |
November 13, 2009 | N/A | |||
| Total Recall - R |
''If I am not me, then who the hell am I?'' When a man goes for virtual vacation memories of the planet Mars, an unexpected and harrowing series of events forces him to go to the planet for real, or does he? Arnold Schwarzenegger: Douglas Quaid / Hauser Total Recall based on We Can Remember It for You Wholesale, a short story from 1974 by Philip K. Dick (and novelized in conjunction with the film production by Piers Anthony), had a laborious history getting to the silver screen. Tens of drafts were written. Production companies were attached then went out of business. Many directors and stars were attached who either changed their minds or who were dropped. Luckily, Arnold Schwarzenegger talked Carolco into picking up the project for him with Paul Verhoeven, who subsequently already proved his dazzling directorial talents on the similarly toned RoboCop(1987). While Total Recall certainly has influences, including The Martian Chronicles(1980),Dune(1984) and the first major movie project based on a Philip K. Dick work, Blade Runner(1982), it's more notable for the films that it has influenced in subsequent years, including The Fifth Element(1997) and many of the "rubber reality" films such as Abre los ojos(1997),Vanilla Sky(2001) and The Thirteenth Floor(1999). It's also yet another film on the very long list that have had various elements "adapted" into part of The Matrix(1999), most explicitly here, the bug that Quaid has to remove from his body with a high-tech machine and the possibility of waking up from a particular reality by taking a red pill. Unless you've been living under a rock for the past 20 years then you probably know that with Director Paul Verhoeven (Black Book), nothing is not doable and he loves to show violence and sex to the extreme. This film is no exception, as the carnage is wonderfully graphic and oddly satisfying similar to Robocop, in terms of violent proceedings. We see people get their arms blown off and their necks snapped in delightful ways. Pleasingly, CGI isn't used to enhance the violence but rather to alternate with make up and prosthetics to achieve the gore factor. Uncertain on this, but I am under the impression, this was the last movie made before CGI overtook the industry, so everything we see in the movie is eclectically real. From the train stations on mars, the three breasted woman, and the mutant living inside a man was all done on set in the camera without any effect wizardry. It really draws you into the story and gives you this sense that this place has been around for an age, and we're just being given a rare insight into this world. The production designer deserves huge credit for the realistic look that attributes to the film in everyway. ''I'll be back!'' Most of the locations used, were successfully created, with the usage of expertly created miniatures and they look fantastical considering when Total Recall was created. It's not as impressive as the work that Alex Funke did on LOTR but it's still pretty successful, in the sense it still manages to hold it's own in todays film making world. The actors all are just perfectly cast in this movie, and while Schwarzenegger may be touted as the star in the movie, the real star is Michael Ironside. This is essentially Ironside doing what he does best which is playing the bad guy so brilliantly and also avoiding all the usual bad guy cliches like speaking with some accent or smoking in every scene. Sharon Stone essentially has a less dazzling role than the other players, but the little she does give every scene she partakes in, is greatly acted and fun to watch. Rachel Ticotin plays the other woman in Schwarzenegger's life and she does an amazing job of playing the woman that Schwarzenegger dreams of. She is smart, cute, and can kick your ass if she has to. Then there's Schwarzenegger who basically does what he does, in every movie which is to run, shoot, make a joke, then run and shoot some more. But you know what, that cliche formula works...So why change a good thing right? A movie no matter how good or well written will be nothing without the support of great music and in this case, the late great Jerry Goldsmith provides a fantastic score that is just pleasing to the ears. Really adore the score he plays in the first 2 mins. of the picture alone, when we see Schwarzenegger walking around on mars. It's these weird dreamlike tones that makes you feel the same way that Schwarzenegger does, it helps us connect with what the character is feeling. The great piece he plays for when Quato tells Quaid to open his mind is without a question an epiphany of grandeur in the score. Usually action music consists of loud brass and strong drums but Goldsmith narrowly avoids that tired cliché and provides a smart intelligent score that enhances the movie at every turn. The great Howard Shore has been the only composer that I know so far that has written a decent action music for a movie and that was the amazing score he did for The Lord of the Rings trilogy. The two composers seem to have a lot in common when it comes to music so someday I hope that Shore will reach that level of respect and admiration that Goldsmith has achieved. This is NOT a family friendly sci-fi flick in the vein of Star Wars, it's rated 18 for a very good reason, so parents can hide the little ones and enjoy. If you want an adult sci-fi movie that doesn't require CGI or confusing dialog, then you'll be in heaven with this Philip K Dick adaptation. ''You are what you do. A man is defined by his actions, not his memory.'' |
November 13, 2009 | N/A | |||
| Last Action Hero - PG-13 |
''To be or not to be? Not to be.'' A young movie fan gets thrown into the movie world of his favourite action film character. Arnold Schwarzenegger: Jack Slater / Himself Intended to be a huge summer blockbuster, but ultimately becoming a big-time flop, Last Action Hero stars the then-infallible Arnold Schwarzenegger as the fictional action hero, Jack Slater. Jack Slater stars in his own franchise, Slater and is idolized by Danny (Austin O'Brien), a young boy who escapes his real-world troubles with an unhealthy movie-going habit. When an opportunity arrives for Danny to see the upcoming Slater IV prior to its release, he can't refrain from going, thus a magical ticket given to him by the theater owner propels him into Jack Slater's world, where cliches determine the rules of the parallel reality, and anything can happen. Unfortunately, Last Action Hero has been maligned through the years for being both misunderstood and eclipsed by the success of another 1993 blockbuster, Jurassic Park. What many may not realize, until they give it a fair chance, is that it's a brilliant piece of action laced with satire, that serves a double function, one of being action packed and humorous. As Jack Slater, Arnold pokes more fun at himself than any critic ever could achieve, which shows an endearing quality of sincerity. Teamed up with director John McTiernan (Die Hard, Predator), it has countless explosions, stunts and special effects, so much so that it represents the best of 80's/early 90's action film, while simultaneously mocking it. Austin O'Brien plays the young protagonist well, and thankfully, isn't just another annoying kid in a summer blockbuster. The subplot of Danny's escapism will appeal to and hit close home for many a film fan, which is one of the film's greatest triumphs. ''Danny told me not to trust you. He said you killed Mozart.'' If there is one flaw, though, it's that the film is about twenty minutes too long, which means the conclusive joke runs out of steam. It seems that Last Action Hero is simply crammed with almost too many ideas and in-jokes, which is where it loses points. Despite this, though, it's immensely entertaining and unrelenting in its roasting of typical Schwarzenegger fare. Forget the fact that critics hated it and audiences rejected it; Last Action Hero is like a valentine to action fans everywhere, a bold and unique blockbuster that perhaps never found its way to its true audience. Everything about Last Action Hero is designed to spoof and comment upon action movies. It is for the action film genre what Scream was for slasher movies, or Galaxy Quest for spoofing Star Trek. If its a film that seems overblown and over the top, that's only because its making fun of contemporaries, which are exactly the same, only without the self-reflective philosophizing. ''If God was a villain, he would have been me.'' The film opens with a dead-on parody of many an action film. A hostage situation, a crazy criminal, dozens of police cars and guns. A blustering, hot-head of a police chief and then the camera focuses on a glaringly aggressive closeup of a pair of heavy-set boots. It pans reverently up past jeans, a belt buckle, shirt and jacket, until it reveals the face of Arnold Schwarzenegger. Holding what must be the biggest handgun ever constructed, he barges onto the scene and manages to do what the entire LAPD couldn't. He saves the hostages (bar his son), boots people out of his way like they were footballs, defeats the nemesis and saves the day. It's a scene so ludicrous it could only be a fantasy, and it is, because it's a film. Jack Slater III, starring one of the biggest action stars of the time, Arnold Schwarzenegger. Danny Madigan (Austin O'Brien) is the only one in the audience, and he can't wait to see the next instalment, Jack Slater IV. When he acquires a magic ticket from a cinema projectionist(Robert Prosky), it ends up transporting him into the film. The film of Jack Slater IV has become a blinding and bewildering world. And Danny is caught right in the middle. Partnered up with Jack, they must track down Benedict (Charles Dance), the film's classy, intelligent, sadistic villain. Which becomes more complicated when Benedict gets his hands on the ticket, and breaks through to our world. We see how cruel and normal unmoralistic behaviour can be in our reality, and Charles Dance knows how to orchestrate villainy. The art where he shoots a man in a back street out in a public place, shows how unfeeling and real this World is, compared to the 2D predictable film World he echoes from. Anyone who says Last Action Hero is ridiculous and absurd only demonstrating a fundamental misunderstanding of the film and story. The film's excesses are the exact type of thing its mocking its contemporaries for, the film never misses a trick. Any cliché or plot hole, and you can be sure Last Action Hero will assault it somewhere. In fact its nice to see an action film that's fully aware of how inane action movies usually are. Director John McTiernan, one of a variation, of favourite action filmmakers, explores every possible angle available. A typical day in Jack Slater's life is so full of unbelievable absurdities you wonder how he could have survived in the job for so long. McTiernan is quite merciless and scathing when it comes to spoofing action movies. He leaves no stone unturned...The typical gigantic explosions, connect the dots plot lines, villains who talk to they're enemies when they should be killing them, Slater has tons of guns on his person, he is almost never seen without a gigantic cigar, and in the car chase to end all car chases, Jack drives off an overpass and lands on the road with no discernible damage, and then does the same thing in reverse. Last Action Hero even looks suspiciously, like the storm drain from that chase scene in Terminator 2. ''To be or not to be? Not to be.'' There are too many in-jokes and observations to mention in one review. In fact the film is quite exhausting at times with its extensive knowledge of the genre. But just about every pun hits the mark. And it gives Arnie plenty of opportunities to do what he enjoys most, displaying his own image. Last Action Hero is basically one long commentary on action movie clichés. All helpfully provided by Danny, when the film reenters our world, it achieves new and wondrous heights. Jack can actually feel pain, things don't just work out according to plan. And in the film's most inspired moment, Jack meets the man who made him, Arnold Schwarzenegger. Arnie clearly enjoys riffing on his own image, enthusiastically endorsing Planet Hollywood, while his wife Maria Shriver looks off to the side in frustration. Last Action Hero does sometimes feel like it has a few ideas too many (such as an animated cat in Jack's world) and it does perhaps go on longer than it needs to, but this is an exceptionally witty and very involving action movie parody. Packed with in-jokes, surprise cameos (Sharon Stone and Robert Patrick's are particularly inspired) and every joke in the book, Last Action Hero is a real unopened treasure. It deserves high commendation indeed for having the guts to satirize one of Hollywood's biggest breadwinners. And if any genre deserves a bit of spoofing, its the self-important action genre. ''You wanna be a farmer? Here's a couple of acres!'' |
November 13, 2009 | N/A | |||
| L' Âge d'Or (Age of Gold) (The Golden Age) - Unrated | November 12, 2009 | N/A | ||||
| 2012 - PG-13 | November 11, 2009 | N/A | ||||
| Narayama bushiko (Ballad of Narayama) - Unrated | November 10, 2009 | N/A | ||||
| Harakiri - Unrated | November 10, 2009 | N/A |
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