Thenamesbanana

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• 
  I recommend you see...

  Max Payne

  by Alexander

  ''I don't know about Heaven, but I believe in angels.''
  
  Coming together to solve a series of murders in New York City are a DEA agent whose family was slain as part of a conspiracy and an assassin out to avenge her sister's death. The duo will be hunted by the police, the mob, and a ruthless corporation...
  
  Mark Wahlberg: Max Payne
  
  Let's start of by saying I really loved the Max Payne video games, in their simplistic nature of fast paced shooting accompanied by an interesting concept of Matrix styled Bullet Time shoot outs. Also a hero with so much pain and anguish, so much so he has to take pain killers to numb himself from the experience. So how does the film live up to these expectations everyone asks? Well quite frankly it does not in the slightest match any of the games. The script is appalling, for it's genre there is no action, there is no decent dialogue, there are no similarities to the game for us to latch onto apart from the superficial visual ones we gained from the trailers.
  
  Recalling my mind back to the action sequences in question, I can only recall only two main ones of consequence. Director John Moore succeeds in giving us no wish for any sequels and a comical rendition of Robbie Williams Angels song on the Credits, just to put salt upon the wound.
  The Score and music on Max Payne is poor and executed to a point where it is hardly memorable or effective, some scenes being totally void of any music that would emphasis a standard fare of happening to a higher perspective of sorts. Yet no, we are given chaotic alternative loudness of no specific genre that gives the film no soul or resonance that it sorely needs. To say the least what I expected and what I was given on teasers was mysteriously missing from the proceedings.
  
  So Max Payne begins with a segment that is such a rip off, of the Bourne series, its untrue. Underwater and a growling excuse for narration, we are pummeled into boredom before things even begin to take flight. It starts to look up when we have a cool looking 'One Week Later' motto on a building come up, then some cool angles and shots, which happen to tell us the rooms of the Police Station, for us dumb Viewers which we assume the Director assumed. When we see Max Payne in his office, I'm scrambling my brain trying to decipher this filth...I mean how can this BE Max Payne when he resembles nothing of the games magnetism. If the story, plot and action had been the same as the game, there would be no problem. If it had some of the frantic action that drowned the first Max Payne, if it had the flaming romance and passion of Max Payne 2, then we would have a fine film in the bag, but it's worryingly void of all these, even bending the plot out of context. When we see a film that has nothing to keep us glued to the Screen we ask ourselves why? Maybe if the age restriction had been higher then the Makers would have had more reign to do more, but yet, I still doubt it.
  
  Max Payne may look like a variety of different films, but unlike Hitman, Constantine, or Bourne Ultimatum it falls flat on it's face regarding originality and keeping its audiences interested. This film will anger fans of the game and non-fans in equal measure in all likely hood, with it's uneven threaded story that results in a jigsaw thats unfathomable.
  
  The actual cast actually display some of the worst acting I've seen in a fair while. Mark Wahlberg emulates his The Happening choice of film, with this dud to follow.
  Mark Wahlberg refused to play Rockstar's Max Payne game before performing in this film, but, in addition, I must assume that neither the director nor the screenwriter ever played this game before either. If there weren't so many shots of the background scenery that tied in with the game (although they were never fully or, in some cases, partially explored, such as the Subway, the absent dream sections, or Police Station or even Ragnarok), I would assume that no one involved in the movie had even seen cut scenes from the game. I would have assumed that they got a one paragraph synopsis on the game, with character names, and just made up their own story that barely connect to the games.
  
  So the first problem with Max Payne is heavy handed and droning attempt to develop a two dimensional character? Why? It's not like Max Payne needs alot of development, he's a dude with a vengeance on, shut up and let it happen. Instead you're walked through all of these really bad scenes filled wit the worst dialogue put to page. It's like watching soft-core blue movies without a nut to bust. That's just the first 20 minutes. The movie continues, but first let me tell you how they open the film, because it really set the bar for the rest of really badness of it all.
  
  We open on a man walking down a hallway towards a door cracked open and light bleeding through it? A baby is crying in the distance. The man moves closer to the door and on that door a big sign reading "Baby" is hung on it. If they're assuming that an audience is that dumb; they didn't just put a big old title on the screen, or put an interpreter up there to point and say ''Baby Come back'' I know it ties with the video game, but this is an adaptation, some changes for the sake of not raping the audience's intelligence have to be made. And, believe me, it doesn't stop there, the film is filled with some of the most heavy handed art direction, really bad sound design and some of the worst editing I've seen since Happening. It's that crud basically.
  
  Later on in the film Max and the Mila Kunis, playing a Russian girl, supposedly to move the plot forward, but ultimately becomes a tragic and unfulfilled, unresolved and disjointed piece.
  They stop into a goth tattoo parlor, where they go through a catalogue of tattoos and stop on the reoccurring one they see. They question the proprietor and at the drop of a hat, he pulls out an old book about Norwegian mythology and starts talking about Valkyrie's, the symbol and the significance of the mark/tattoo. This brief wikipedia presentation ends with such a blatant inconsistency with Mark Walberg/Max Payne asking one more question and then the shop proprietor responding with a really big and dumb "Huh?" So in one single turn he goes from Mythology and theology expert into dumb goth guy.
  
  The movie spends so much time building to a conflict, but without any tension, just trivial scene after scene.
  
  There were points in the movie that we were really laughing, but they really weren't supposed to be funny. Dramatic tension was the goal, but the exact opposite occurred. In particular Mila Kunis talking to Max about how much of a dark time bomb he is. The dialogue is all, poorly written that the scene becomes comedic, a piss take.
  Beau Bridges(Podge) is also laughably bad.
  Other miserable notes? Chris O'Donnell(Robin) is awful.
  Nelly Furtado's cameo? Was one of the most laughably bad moments on the screen and the first shot of Ludicrous, was also really funny. Like ludicrously laughable.
  It wouldn't be so bad if not for the fact that Payne tramples the detective genre for clichés that only someone who has never seen a movie before would be surprised by. Someone dies after ripping off another character and thus pinning suspicion on him, another leaves a frantic phone message about meeting up to discuss new details in a cold case and is found murdered in that other guy's home, and it turns out that you can't really trust anyone(obviously). Again, obviously the filmmakers tried to study the works of the detective genre of old, they just didn't bother to do anything new, which means it fails.
  
  Thorne's script is so short on explanations that it barely holds together. The movie throws drugs, hallucinations, a murder mystery, attacking birds, a devil's army, and the cover-up by a pharmaceutical company and for the most part I felt like an ass for even trying to make sense out of anything this silly. The rest of the plot can be seen coming a mile away and the dialogue said is some of the most ridiculous I've heard all year long. A character says of Payne, "He's looking for something even God wants to stay hidden." What will probably disappoint fans, however, is how few scenes of actual action are really in the movie, and how utterly devoid of excitement those few scenes are. Moore is a hack director in every sense of the word, relying on senseless, video-game style shootouts (accompanied by vile mood lighting) that don't thrill as much as glorify the violence. Is there a more overused action shot than turning to slow-motion to present a gun battle? Most of his computer visuals smack of being stolen from Francis Lawrence's far superior "Constantine," except they look messier and far too overdone to really respect. And how many times can we see digitally created snow falling on the city in the dark night? This movie is style over-drive at its worst.
  
  And the actors don't seem to care. They seem to be approaching this movie with all the subtlety and dramatic weight of a porno. Wahlberg walks through the movie with a bored puss on his face, never digs deeper to show the character's tortured soul, and throws out lines like he could really give a crap what he's saying. I don't really blame him either cause I felt the same way. Milla Kunis (That 70's Show) is in the movie for some unexplainable reason, and she puts on her tough face in a performance that can only be described as laughable. Chris "Ludicrous" Bridges seems to be playing a detective in this movie but for the most part he just seems to be playing Chris "Ludicrous" Bridges. Amaury Nolasco (Prison Break) is a charismatic young actor who I wish could string together some decent movie roles, but that string isn't going to start here with his performance in the role of "crazy guy who likes to stare at people and sometimes look down on them from stairwells and rooftops." I have no idea what happened to Chris O'Donnell but he's taken a sharp decline since Batman and Robin. Clooney seems to have surpassed it and made up for it, as has Arnie. And Beau Bridges comes off the best here but that's like saying that a half-eaten hamburger(Podge) in a bag full of soiled nappies, is the best.
  
  What really bothers me about movies like this is that it's all just violence and how best to package the violence in enticing, simple-minded wrapping paper. The villains are a collection of junkies, prostitutes, pimps, killers, and thugs who wallow in the gutter and the hero isn't that much better because all he wants is vengeance and blood. Both shoot their guns with as much care as if they were shooting in a video game. Both savagely beat on other people, sometimes doing it till death. Is there a difference between the two? Are we supposed to care here or just watch the bullets fly? Why is it that a movie featuring characters that are just violent and bloodthirsty can get a PG-13 but a movie that dissects the violence and ideas of vengeance like "Unforgiven" gets an R? It doesn't make sense to me and it sends out the wrong messages. I wish the MPAA would learn that.
  
  Overall, the real problem of this project(and why I was so disgusted by it) lies in the fact that they took a deep, layered and emotional story and made it into a big, dumb, boring action movie. Well, at least to a degree. On one hand, you've got ridiculous Matrix-indulgent action sequences. I realize this was part of the game, but at least in the game they were entertaining. If this had been done years ago, maybe it would've had some sort of impact. As for the other side of the movie, it tries to capture the game's mood-setting film noir storytelling, but ends up one big bore. Few of the important details at all are revealed in the entirety of the film, leaving a sort of Lost effect stagnating the air. But who knows... maybe they intend to save that for the sequel, God help us.
  Best thing about this film was that they had the Watch-men Trailer at the start beforehand, which pretty much says it all really.
  
  ''There's an army of bodies under this river, people who ran out of time, out of friends. I could feel the dead down there, reaching up to welcome me as one of their own. It was an easy mistake to make.''

  AgentLexi2132 (Moderator)

  Deary me. Fans or non-fans should bring a pillow, and some pain killers because this is one serious mess. The Script is absolute turd, with all politeness I can muster, an abysmal adaptation of one of my fave Game Series. The shame. The Happening 2.
  
  3/10

  posted 1 day ago
• 
  I recommend you see...

  The Exorcist

  by Craig

  Directed by: William Friedkin.
  Starring: Ellen Burstyn, Max von Sydow, Linda Blair, Jason Miller.
  
  << "Mother, whats wrong with me?" >>
  
  The film shows us three stories. One follows an actress, who is at the top of her game. She has to temporarily move to Washington D.C with her 12 year old daughter Regan to film a new movie. Although her husband and she have divorced, she still manages, after a days worth of shooting, to come home and have a very healthy and strong relationship with her daughter. Before long, Regan's innocent personality and behavior start to change dramatically. The second shows a priest/psychiatrist, one who is slowly starting to doubt his faith in god and at the same time, having to deal with his mother's terminal illness. And the 3rd follows an elderly priest, one who appears to be long retired and is slowly withering away when he is summoned upon to fight this threat that he might have just battled before.
  
  Many that know me should know this by now...I truly respect and love horror, but I am always saddened by the fact that it's a misjudged genre. Filmmakers of this time think that to make a horror film, you treat the audience like there stupid with a similar stupidity. Lack of character to the point of insulting our intelligence, all so the script can create situations that rely on cheap, talentless "jump scares" and "loud noises" to try and scare an audience...along with a lack of vision and skill. There are many ways a horror film can work; the three main elements should be considered...atmosphere, tension and overall, genuine scares...but also a greater understanding of character and exactly what sort of point you are trying to get across, enough to truly scare an audience deeply...The Exorcist is one of those rare classics that has it all.
  
  The Exorcist, even after 30 or so years, still stands the test of time and is still classed as "The Greatest Horror Movie Ever Made", and I have to completely agree with them and feel pity for those who are blinded of its true greatness. The fact that people can't seem to see the film for what it truly is and always refer to the fact that it has been parodied many times over the decades. Of course, these people are in the minority thankfully. The great thing is that it still manages to shock after all these years. With a lot of older horror films, they tend to lose there momentum and that "spark" that made them so great when they were released, usually because of a decline in quality, the enhancements of CGI and the like nowadays and sometimes, the fact that a more modern film has done better...this still is no case with The Exorcist, which is the reason it will remain powerful.
  
  I'll start with the visual aspects of the film. William Friedkin's direction is something to cherish and is highly underrated. He understands the material so well, managing to push the characters presence as the driving force underneath the slick production values and amazing atmosphere, while balancing all those with the shock value moments to bring out the most intensity available. The cinematography is pure brilliance. Having now worked more in that area through film school, I can really sit down with this film and drool over the moody lighting, the amazingly shot moments where simple pools of light, dark shades and frames covered in such an amazing hues, it really is a dazzling achievement and another driving force for the movies quality.
  
  The screenplay remains one of the best in its genre without any doubt. Intertwining three different stories, three different backgrounds isn't the easiest of tasks, but Blatty has done so with such skill and understanding, where every character is given its due and none are ever left in the dust, each given fully fledged stories and backgrounds. The combined stories make up the darkest of dramas and that is really what it is, underneath the shock values. Sympathy is still kept at arms length when most characters do become victims to help the films frightening moments, but each character is shown as something stronger. The mother is the more powerful of the bunch, a truly caring woman who even with a failed divorce and a big career as an actress that drains her, she still manages to find the time to come home and be with her daughter...and that relationship in the film is fully realized and a real gem. The daughter is the hardest to watch, obviously. An innocent and creative girl with such love and kindness for everything and everyone around her, ultimately pulled into this abyss. Even amongst the layers of evil put through you, you can still see a small girl pushing to get out. The young priest who is losing his faith and struggles to care for his aging mother and the elderly priest, withered beyond repair, a man who still adventures, is put up against a familiar power for the last time.
  
  The performances are brilliantly fitted and really push these characters forward. Ellen Burstyn has always played the estranged figure put through traumas, watching her inhabit the character here with such a deep understanding for motherly love and what can be seen as the deepest of traumatic experiences, she blew me away. Max von Sydow is always a force onscreen and he carries such a presence and warmth as this character, that when the time comes, we as the audience feel his power. Linda Blair...is simply remarkable. It's a performance that will stay with everyone for many more years to come. Its quite sad to know that it wasn't easy for her to grow up after such a performance, but what she had to go through, from what can be seen as a lot of physical assertion, a lot of makeup and dialogue and ideas that should be shielded from someone so young, she truly pushes through and delivers something you would see in the most seasoned actors, a hallmark performance indeed.
  
  The Exorcist stands up to its title of "The Scariest Movie of All Time", even to this day. A film that still stands the test of time and will for many years to come, A film of such visual excellence and intensity, a film that truly scares underneath all the shock values with its powerful storytelling and its full characters, matched with outstanding acting by all.
  
  A masterpiece of cinema.
  
  

  92/100
  
  << "There is one outside chance for a cure. I think of it as shock treatment - as I said, it's a very outside chance... Have you ever heard of exorcism? Well, it's a stylized ritual in which the rabbi or the priest try to drive out the so-called invading spirit. It's been pretty much discarded these days except by the Catholics who keep it in the closet as a sort of an embarrassment, but it has worked. In fact, although not for the reasons they think, of course. It's purely a force of suggestion. The victim's belief in possession is what helped cause it, so in that same way, a belief in the power of exorcism can make it disappear." >>

  SilentWar

  A film I just had to rereview, a film I am surprised to see by a minority as nothing special...and those who haven't seen it...what can I say to you that is nice?

  posted 3 days ago
• 
  I recommend you see...

  The Midnight Meat Train

  by Dean

  For some reason I was expecting full on greatness when I finally got to see this film which was so mistreated by Lionsgate and theaters alike.
  Perhaps it was because I love Clive Barker's books so much (Imajica and the Books of the Art being my favorites) Perhaps it was because all my horror freak friends told me that it was amazing.
  Be that as it may, it had to live up to the short story which I had read many years ago. I wondered how this was going to play on the big screen in a full-feature being that it didn't seem to have too much to flesh out (no pun intended).
  The fact is that the translation for me was quite mixed.
  The gore factor was high and inventive. The stress factor and tension was taut and inviting to those of us who visit the darkened halls within ourselves.
  The acting was really quite good and the characters pretty well developed.
  The climax was somewhat lacking though and lastly the ending was...well...kind of impotent.
  I can't say what it was that I would have changed in this, but the foray into the supernatural was left veritably untouched and only barely alluded to until the end. I can only imagine the confusion and letdown for the viewer who watched this all the way through and with eyes that never saw the written word.
  I give this almost 4 stars for some really great work, but it gets in its own way at the end and really needed to choose a path so to speak or go much further than it did in reaching the end.
  A good movie that missed too much to be great.

  Camus123

  Hey, you should really see this!

  posted 6 days ago
• 
  I recommend you see...

  Seven (Se7en)

  by Alexander

  ''What's in the box?''
  
  Police drama about two cops, one new and one about to retire, after a serial killer using the seven deadly sins as his MO.
  
  Brad Pitt: Detective David Mills
  
  Se7en obviously is a very complex and deep movie, while also being quite disturbing. Andrew Kevin Walker created one of the most original spec screenplays of all time, but it is the kind of story traditionally used more as a writing sample than actually made into a movie. But the creative team of director David Fincher believed in this extremely dark, uncompromising story, and made it just the way Walker wrote it.
  In the end, it is only John Doe, the serial killer, who can teach Mills and us the truth...that this world is very often shockingly vicious and senselessly cruel. Doe and Somerset actually have similar views of society and the world, up to a point. But while Somerset still cares about his fellow human beings, Doe hates them, and takes out his rage in a series of gruesome murders based on the seven deadly sins.
  
  Se7en is about the investigation Mills and Somerset undertake of Doe's murders, his "sermon" to the world through serial killing. Ultimately, Mills and Somerset can only do so much to try to stop Doe; the killer always seems at least one step ahead of them, and stays that way until the very end of the movie. In a normal Hollywood film, Mills and Somerset would "win" in the end by catching Doe and setting the world right again. But Andy Walker had a quite different ending in mind, and Fincher and his team take the shocking conclusion all the way to the limit of tension and drama.
  
  ''If John Doe's head splits open and a UFO should fly out, I want you to have expected it.''
  
  This Se7en, like Fincher's Fight Club, was controversial for being overly violent and gruesome. Certainly there are a number of gruesome and disturbing images of murder victims' bodies, and many aspects of the story are very troubling, to say the least, later emulated by the SAW series. But only one person is shown being killed on screen, and by far the worst of what happens in this story happens in the viewer's mind. Unlike most films that have high level acts of violent means, including, for example, Reservoir Dogs or Silence of the Lambs, this Se7en genuinely attempts to grapple with the moral implications of what is being shown at specific times. In direct contrast with, say Quentin Tarantino, who uses extreme violence for shock factors and to gain notoriety, Fincher actually shows less violence on screen and raises far more psychological warfare in the viewer's mind, giving alot to chew on mentally and alot of appetizing questions to debate about. I cannot think of any movie that contains as much genuine discussion among the characters about crime and human morality as this one does -- while never becoming dull,preachy or condescending for a second.
  
  Whatever you do while watching it, do not see it as empty or hollow. Se7en is far from it. Many scenes study civilization/present civilization. And its evil, absorbed points. Our society we are part of, isn't a pleasant one. Se7en concentrates mainly on the cops search and case, when it comes to the mystery part in finding the killer, we discover the policemen's differences in methods, and how the most obvious one does not actually work. Of course, its Somerset(Morgan Freeman), the one with the most experience who has the best methods. He tries to find out why, not to enact vengeance or revenge but for a true sense of justice. Why some man is killing these people using a specific punishment.
  While Mills(Brad Pitt) tries, unsuccessfully, to find out how by studying the crime scene for clues. He ends up bored and frustrated. With the help of knowledge from the library, Somerset gets closer to the killer.
  It may seem as though the role of Tracey(Gweneth Paltrow) is a pointless part, but she is more important in alot of various ways. She is the one who brings the men to being more personally bonded to each other. Notice how in the dinner scene she is the one to introduce them by name, making the climax tense and difficult.
  
  ''If we catch John Doe and he turns out to be the devil, I mean if he's Satan himself, that might live up to our expectations, but he's not the devil. He's just a man.''
  
  Mills is the kind of guy to pull his gun out before his torch. He has an arrogant, rushed sense of guidelines to follow, though this can be said to be his weakness. Somerset has never even fired his weapon. He sees the evil round him. And he wants to leave it alone and get away from it's unrelenting viciousness, even though, he is a cop, so he has the power to do something about it, but the problem is, he isn't doing anything about it. John Doe is doing it instead. The reason why society is tainted and evil is because we are allowed to fall into the depths of sin. There is now nothing to stop us or stand in our way becoming common-place in our lives, and there should be something. This is why John Doe thinks his behaviour is acceptable and how he can do the things he does,resulting in the problem, that he is being stopped and pursued instead of the crime happening unperturbed, equaling the harsh reality we live in. Perhaps morally how John Doe goes about making a difference is controversial and questionable but it definitely attracts everyones attention making a vast impact on the media, the Police and the people.
  
  There are seven deadly sins. Gluttony. Greed. Sloth. Pride. Lust. Envy. Wrath. And seven ways to die. Reminders of the decadence and complacency of our squalid lives and the laziness we have allowed ourselves to become stuck in. Many may think these Sins are strictly meant in a religious sense, but they are however you want to perceive them as. We learn that our Society or the Society in Se7en has become compromised by all the sins and that our way of life is a serious joke of proportions hard to quit or change.
  
  ''People don't want a hero, they want to eat cheeseburgers, play the lotto and watch television.''
  
  Kevin Spacey is amazing as John Doe, portraying insanity laced with cunning genius, perfectly. Equaling one of the greatest supporting/cameo performances of all time already. And he's only in it for half an hour. Brad Pitt delivers a kind of forced performance which adds to the Hollywood effect of the film though I couldn't imagine anyone else for the part. Morgan Freeman played his role with the greatest concentration. Throughout he needed a look of woe on his face. And he did just that.
  The writing reaches dizzying heights. The genius, Andrew Kevin Walker took an interesting subject and created an instant classic. But most credit has to go to Fincher. Who took aspects you wouldn't even think of glancing at and filming it with a passion rarely seen. Together they project a film of meaning on our screens that no-one should miss. In one scene near the end, he makes it so when a word is spoken we cut to a character as that gives us clues to their fate. A feast for the brain. One of the most imaginative scripts of the 90s. Fincher also knows exactly how to shoot the film. Whether it be steady-cam for the slow and easy parts or the hand-held camera for the adrenalin pumping scenes. Later filming other extraordinary pieces I love such as Zodiac, Panic Room, and the before-mentioned Fight Club.
  
  The cinematography is what makes this an excellent movie. Everything is dark. The world out there is rough, raw, grim and gritty. It does just that. The effect it makes is astounding and truly works. The sinister music that is added keeps the heart pounding throughout and keeps the audience uncomfortable, in a good way. As that's what the film tries to achieve. The opening credits are upon the greatest segment of film I have ever seen. The jumpiness makes you feel uneasy yet intrigued to keep watching. Every scene, due to the effort put in it, is masterful and is what makes the film a joy to watch and observe.
  
  Se7en reveals the best glimpse we have seen of the disturbing underworld. One of my darkest favourites and always will raise questions and a puzzling after taste in the deep recesses of my mind.
  
  ''Ernest Hemingway once wrote,
  
  "The world is a fine place
  and worth fighting
  for.''
  
  I agree with the second part.''

  AgentLexi2132 (Moderator)

  Another Fave Completed Review.
  
  10/10

  posted 6 days ago
• 
  I recommend you see...

  Taxi Driver

  by Alexander

  ''You talkin' to me? You talkin' to me? You talkin' to me? Then who the hell else are you talking... you talking to me? Well I'm the only one here. Who the fuck do you think you're talking to? Oh yeah? OK.''
  
  A mentally unstable Vietnam war veteran works as nighttime taxi driver in a city whose perceived decadence and sleaze feeds his urge to violently lash out, attempting to save a teenage prostitute in the process.
  
  Robert De Niro: Travis Bickle
  
  Quite simply, Taxi Driver is one of the best films ever made. This is one of those films that you do not get tired of seeing and every time you watch it you realize a little detail that you have not seen before. Excellent actors, a good director, an impressive soundtrack and a real story are the main appeals of this film.
  
  Taxi Driver is about loneliness, about the isolation of a man in a society full of scum. His objective is to finish with the scum of the streets. The story uses a taxi driver as a metaphor of loneliness and it has definitions of irony because we can see that a city which is full of people can be the most lonely place for a man to be. The long nights in the city, the night environment full of whores, junkies, pimps and thieves are the main elements of the world in which Travis Bickle lives. Travis is a misunderstood guy who is seeking desperately for some kind of companionship because as he says ''Loneliness has followed me all my life, everywhere'' but at the same time he seems not to do anything to avoid his situation and it is seen when he goes with Betsy(Cybill Shepherd) to a porn cinema. At the end of Taxi Driver the character makes real his most violent visages and dark recesses of fantasy, with a burning scope of various soldiers from fighting in Vietnam, and he behaves like this because of his loneliness, his alienation and because he does not find any purpose to his seemingly empty life. The violent behaviour evolves and shapes Travis into a hero, although he had killed many people and he could on a whim or for a purpose resort to doing it again. Although he acts with an extreme violence the spectator understand him and the reasons why he acts that way. The soundtrack of the film, which is composed by Bernard Herrmann, inspires that same kind of loneliness and isolation, sometimes mistyfying into an absolutely haunting horror film genre. This music and the slow camera showing the streets all help to introduce the spectator into the world of Travis, to know what he is thinking and to know what he is doing, it's beautiful.
  
  So put into an equation of sorts, Martin Scorsese wisely teams up with one of the most intense actors of the time to create a masterpiece of urban alienation. Paul Schrader's magnificent script paints a portrait of loneliness in the largest city of the world. Travis never once enters into a meaningful relationship with any character anywhere in the material given. He is the most hopelessly alone person in celluloid.
  
  ''Loneliness has followed me my whole life. Everywhere. In bars, in cars, sidewalks, stores, everywhere. There's no escape. I'm God's lonely man... June 8th. My life has taken another turn again. The days can go on with regularity over and over, one day indistinguishable from the next. A long continuous chain. Then suddenly, there is a change.''
  
  He is alone with his thoughts, and his thoughts are dark ones. The film fools you on a first viewing. Is Travis an endearing eccentric? Sure, he's odd, but he's so polite, and he's got an enduring sense of humour. His affection for Betsy is also pleasant and kind. But on more viewings, you see it for what it is. The audience comes to see Travis's psychology gradually, but there's actually far less development than one might assess. When he talks about cleaning up the city, the repeat viewer knows he doesn't mean some sort of revolutionary change. This is less a film about a character in development as it is a kind of snapshot into the psyche. To be sure, it takes the stimulus to provoke the response, but does that imply some kind of central change in the character?
  
  Tremendous supporting roles are brought to life through vivid performances by Keitel and Foster especially. Shepard's character, Betsy, is little more than a foil to highlight Travis's utter alienation from society, but she is still impeccably portrayed. With only two scenes that don't center on Travis, it is unavoidably De Niro's show. The life with which the supporting cast imbues their characters is a credit to themselves, and to the director's willingness to let the film develop from the intersection of diverse ideas and approaches. What would the plot lose by eliminating the Albert Brooks character (Tom)? Nothing at all. He makes almost no impact on Travis's life, which is where the plot lives. But his inclusion makes the film as a whole much richer and fuller.
  
  ''You get a job. You become the job.''
  
  What makes the film even better is De Niro showing the type of form that makes his recent form such a major disappointment. He is outstanding as he moves Travis from being relatively normal to being eaten up from the inside out. His eventual implosion is impressive but it is only as impressive as the gradual slide he depicts over the course of the film. Although he dominates it, others impress as well. Foster stands out in a small role, while Keitel makes a good impression as the pimp. Shepherd is not quite as good but her character was not as well written as the others so it isn't all down to her. Regardless, the film belongs to De Niro and although the quotable scenes are the ones that are remembered it is in the quieter moments where he excels and shows genuine talent and understanding.
  
  Overall an impressive and morally depressing film that deserves its place in cinematic history. The portrayal of a city and a man slipping into moral insanity is convincing and engaging and it shows how well anyone can spiral into modern madness and the effects of a moral void in certain or all levels of Western society. Scorsese directs as a master craftsman, despite this being at an early stage in his career and De Niro is chillingly effective as he simply dominates the film in quiet moments and quotable moments alike.
  Vietnam war veteran Travis Bickle is a lonely, lonely man and I cannot stress this point enough. His mind travels through sleepless nights , but he then takes a job as a taxi driver in New York City. As DeNiro's Travis drives around at night as Bernard Herrmann's beautiful and subtle score plays, you can't help but just stare and gaze at the wonderful cinematography which puts you in the spot as if you are there.
  
  ''I think someone should just take this city and just... just flush it down the fuckin' toilet.''
  
  A true milestone and blessing for 70s American Cinema. In essence, one of the greatest achievements ever put into Modern Cinema, a modern Classic. Martin Scorsese's direction is just absolutely superb, he makes it unique and wonderful. Herrmann's score, in which he shortly died after completing the score is by far, one of the best. He was passionate and let his soul pour out here. Paul Schrader's career-defining script is just widely unique and fantastic. So many memorable quotes, incredibly unforgettable. From "You talking' to me?" to "Taking me to a place like this is about as exciting as saying to me "Let's f*ck." Said to be semi-autobiographical of Schrader (paranoia, obsession and porn), Schrader sang his whole heart out as he wrote this masterful creation.
  
  Disturbing, dark, subtle... So many words to describe the wonderfulness that is of Taxi Driver. Beautiful music, the amazing cinematography that makes you feel as if you are there. The acting from our leading man, Robert DeNiro is honest, compelling, dangerous and wonderfully structured. This movie will change your life. Scorsese's masterpiece. Incredibly thought-provoking. As we ground upon the final act, Taxi Driver just leaves you standing still...
  
  ''Loneliness has followed me my whole life, everywhere. In bars, in cars, sidewalks, stores, everywhere. There's no escape. I'm God's lonely man.''

  AgentLexi2132 (Moderator)

  Completed fave film review.
  
  10/10

  posted 6 days ago
• 
  I recommend you see...

  Army of Darkness

  by Alexander

  ''Ok you Primitive Screwheads, listen up! You see this? This... is my boomstick! The 12-gauge double-barreled Remington. S-Mart's top of the line. You can find this in the sporting goods department. That's right, this sweet baby was made in Grand Rapids, Michigan. Retails for about $109.95. It's got a walnut stock, cobalt blue steel, and a hair trigger. That's right. Shop smart. Shop S-Mart. You got that?''
  
  
  A man is accidentally transported to 1300 A.D., where he must battle an army of the dead and retrieve the Necronomicon so he can return home.
  
  Bruce Campbell: Ash
  
  Army of Darkness is a perfect rendition of a cult classic. If you go anywhere and ask if anyone has heard of it, they'll give you a puzzled expression. But search the web or meet any Horror enthusiast and you'll see that there are Evil Dead maniacs lurking out there, and I am proud to say that I am among these individuals.
  Most trilogies tend to turn sour by the third film, Godfather 3 and The Mummy Series to name a few, but here Darkness manages to make itself a stand alone film and a fine damn one at that. It still has it's nods to the original Evil Dead, but if you're looking for the ultimate horror experience, then this film may not be it. Instead Darkness is full of comedic dialogue and antics. Our hero Ash spits out classic one-liners that so many people try to copy today...I'm looking at Austin Powers here.
  
  Bruce Campbell is ASH. His character evolves throughout the trilogy and it's in this third installment that he is the ultimate kick ass hero. It's in this third installment that everyone remembers him from. It's in this third installment where he has the chainsaw, the boomstick, the one-liners, the sugar, the hot damsel. Campbell will always be known for this one character. He's such a coward and yet we still feel the need to cheer him on. Campbell is the master of physical comedy and he uses it to his advantage here, fighting an army of mini Ashes, splitting away from his evil self and getting his face sucked down an unknown demon hole from a book.
  
  ''Oh you little bastards! All right, I'll crush each and every last one of ya! I'll squash you so hard you'll have to look down to look up!''
  
  Speaking of which, that's what makes the film even more enjoyable. It's insane bizarre comedic tone. Whether you like slapstick comedy or have a dark funny bone, this film is delightful for all. I never thought I would laugh so much at someone pouring boiling hot water down their throat. Then to have the thing grow inside of you and try to detach itself from your body, only in a movie like this can you watch that and laugh with it. Granted, it would help if you've seen the first two films and in order as well. The opening does give you a recap of what's happened, but you feel more for the film and Ash if you've been through the horrors alongside him.
  
  Much like Peter Jackson got his start in the horror movie genre, so did Sam Raimi, as stated in other reviews of Evil Dead. You know, the guy that went on to direct such big hits as Spiderman,Spiderman 2, even Dark Man. Army of Darkness has the little Sam Raimi magic touch. Once you see it you can tell that it's Raimi behind the lens. Raimi has his brothers scattered throughout the film, playing many different characters at that. As well as Three Stoogies get ups and the POV of certain objects, such as arrows being shot or forks being thrown.
  
  ''Into the pit with those bloody-thirsty sons of whores!''
  
  The first movie was Evil Dead then came Evil Dead II and finally this little rare gem, Army of Darkness. The first one was almost pure horror, while the second interjected some humor here and there, but was still mainly a horror while this one has very little horror at all and is more of an action comedy. Once again this movie sort of picks off where the previous movie leaves off, sort of as we have our hero Ash transported back to medieval times where he is mistaken for a member of an opposing army. The previous movie had him hailed as a hero right away, but here he is taken prisoner and forced to fight the evil dead in a very cool pit fighting scene. He quickly wins the respect of the ones who tried to kill him and he is sent on a quest to fetch a book that has the ability to send away the evil dead and help him get back to his own time. What ensues are some very funny scenes and a rather big battle at the end which is also rather funny, lets face it seeing a guy picking up obvious fake skeletons and acting like they are attacking is just humorous. Bruce Campbell is great in this movie, however no one else in the cast really sticks out all that much except for the main villain who also just happens to be Bruce Campbell. Still he carries this movie and he is enough for one funny action horror movie.
  
  One aspect saves Army of Darkness from being ridiculous, and that is it's fully aware of it's own flaws. Sam Raimi is by my opinion a genius in every sense, and manages to turn the sometimes terrible special effects into a vital part of the movies sick dark humour. It's not bad, it's just not taking itself very seriously because that is the point! This movie is far from a low budget blunder. It's got a great plot, a great cast and it's got countless laughs. Also an option for two alternative endings, my favourite being a futuristic twist one that is also Sam Raimi's preferred conclusion.
  
  ''Gimme some sugar, baby.''
  

  AgentLexi2132 (Moderator)

  Thought I'd share a rec of Army Of Darkness, just to annoy (joking!), it's hilarious, Love this fabulous fave flick!
  
  Was gonna send a rec for the Necronomicon but couldn't find it wahhhh! then again it is an undead book and this is a Movie Site, so yeah that ends that, right...
  
  10/10

  posted 6 days ago
• 
  I recommend you see...

  You Don't Mess with the Zohan

  by Joel

  Ok Its been a while sense I have writing anything on flixster (due to a busy schedule) but I had to review this movie because of all the bad reviews this movie got. I watched it thinking the worse and ended up having a great time watching it. I think people today have a hard time relaxing and just have a good time watching a silly comedy the a couple friends siting around thought ""wouldn't be cool if...." and they go out and do it. People expect to much from movies now days if you want to see a 200 million dollar budget movie don't see this one but if you want to relax and take a joke for what it is then watch this movie. (n)

  joelvallie1

  Hey, you should really see this!

  posted 7 days ago
• 
  I recommend you see...

  V for Vendetta

  by Alexander

  ''I told you, only truth. For 20 years, I sought only this day. Nothing else existed... until I saw you. Then everything changed. I fell in love with you Evey. And to think I no longer believed I could.''
  
  
  A shadowy freedom fighter known only as "V" uses terrorist tactics to fight against his totalitarian society. Upon rescuing a girl from the secret police, he also finds his best chance at having an ally and maybe a companion.
  
  Natalie Portman: Evey
  
  Hugo Weaving: V
  
  ''The only verdict is vengeance, a vendetta, held as a votive not in vain.''
  
  Set in a fascist controlled Britain, V is inspired by the graphic novel by Alan Moore. Resulting in this superb grand masterpiece.
  
  Scarily enough it also has parallels with what is actually happening now, and how this country really is on the same spiraling road into a hell of its own making. Notice the Gordon Brown look alike, the dictator Police-State, the controlling system, propaganda laden News and Terrorists being blamed for the own Governments evil doings. IT's thought provoking aspects like these that make V a very interesting piece indeed. This paralleled state of existence not far from our blurry own.
  
  The plot of V for Vendetta is surprisingly complex and expertly stitched together, and I don't want to divulge any juicy details.
  Suffice it to say that a masked anarchist (Hugo Weaving) must save a young woman (Natalie Portman) during his attempt to expose a corrupt flawed government.
  Weaving is perfectly cast, using his formidable physicality and imposing voice to give gravitas to the insanity of the character.
  Hugo weaving although unseen behind the mask shows depth in his masked vigilante V, he portrays his emotion and passion.
  Portman has gone from child to teen star and is finally emerging as a talented, adult actress following her Oscar-nominated turn in Closer, which I have yet to see. Here, she gives her best performance to date as the orphaned, Evey.
  John Hurt is characteristically impressive as the enigmatic evil government leader, who's more of a dictator than a PM. Stephen Rea gives a wonderful supporting turn as the police inspector charged with finding V - before it's too late. Making us see a flip side and narration to proceedings.
  
  ''Strength through unity. Unity through faith.''
  
  The Wachowski Brothers former colleague, James McTiegue, takes on the directing tasks here and steers an enormously impressive first feature, using every means available, in a manner reminiscent of his mentors breakout hit The Matrix. Unlike Matrix, McTiegue allows the story to be more of a focus, and as a result the film is a tense yet emotional storm, with outbursts of spectacularly filmed and choreographed action. Showing more maturity and restraint than the Wachowskis ever did, McTiegue doesn't show off, and his trickery isn't self conscious. When slow-motion overtakes a late action sequence, it seems extremely natural yet believable. The late cinematographer Adrian Biddle (V is dedicated to his memory) does an outstanding job, Oscar-nominated Dario Marianelli's score is a fantastic accompaniment to the piece, setting your emotions ablaze like V, and the visual effects are astonishing, terrifying, and deeply moving, especially in the climatic moments.
  
  With solid acting, great action, and fantastic technical wizardry, it sounds just like another Matrix clone. But the biggest difference in V is that it is a story of real ideas - not a fantastic, science fiction creation, but a genuine examination of the human condition. The power of fear takes center stage here, the fear of war, of disease, of famine. Fear is a basic human nature, and has been exploited as a weapon, a method of control, for centuries. And for those who would use it against the innocent, a masked avenger waits in the shadows to deal justice and vengeance.
  
  There was also a strange debate over the quality of adaptation the Wachowski Brothers offered to Alan Moore's original graphic novel. Moore has publicly separated himself from the film, quoting in the New York Times at the time, that ''the screenplay's rubbish''. Well, before we all walk away from the project, remember primly that Alan Moore will be the first to tell you himself that he is a selfish, pretentious prick. He knows it, we know it, enough said. Moving on... The screenplay's fine which you may have determained from what I have said already. In fact, it's again a masterpiece, and I cannot stress this fact enough. What the Wachowski Brothers have done is find the right balance between the theatrics of the graphic novel, and the solemnity to the richly Victorian narrative. They form a dynamic that plays to both sides, allowing for a story that sparks both political debate and giddy entertainment. We'll first shake our heads at the sentimental, soft-focus flashbacks and intriguing sub-plot for nuclear human experimentation but when mulled over, we realize it's just the comic book mentality showing its true colours. After all, V wouldn't start all his sentences with v-words had this film shunned its comic roots.
  
  ''A building is a symbol, as is the act of destroying it. Symbols are given power by people. A symbol, in and of itself is powerless, but with enough people behind it, blowing up a building can change the world.''
  
  Revolutionary, thought provoking, V for Vendetta isn't just a comic book/graphic Novel adaptation but a political stab at the world we live in. Yet again a powerful idea can prove the most moving aspect!
  Music is atmospheric and the scene with Natalie in the rain with arms held up in a pose of rebirth is phenomenal. Makes me shudder with the combined piece of music, very emotional.
  Ideas are bulletproof, So says V, I say this film is bulletproof. Thought id add to this review with a proper analysis concluding its greatness and my love for it.
  
  Remember remember the 5th of November! Classic film through and through and definitely a favourite film.
  V for Vendetta is a vividly vivacious and voluptuous volley of very violent proceedings.
  One man's variable quest for Vengeance.
  
  ''People should not be afraid of their governments. Governments should be afraid of their people.''

  AgentLexi2132 (Moderator)

  Remember Remember, the 5th of November!
  Tomorrow people! Have a good one! Penny for the guy anyone?
  (Fawkes could of rid us of BBC Parliament...ah well! Better luck next time...)
  
  10/10
  

  posted 14 days ago
• 
  I recommend you see...

  Quantum of Solace

  by Alexander

  ''Have you ever lost someone you loved?''
  
  Seeking revenge for the death of his love, secret agent James Bond sets out to stop an environmentalist from taking control of a country's water supply.
  
  Daniel Craig: James Bond
  
  Casino Royale was a reboot of the Bond Franchise. Reinventing Bond and making 007 a more believable, grittier, cold Agent of MI6, breathing life into Bond again like GoldenEye did. So why do the film's creators give us this offering of disappointment?
  Quantum Of Solace barely has the authenticity to actually be a Bond movie, with all the equations of previous older installments stripped away, to make this a realistic venture.
  
  So we have no gadgets, no memorable villains, no Q and no Money Penny again like Casino. The result is a violent and sour affair, and 007 has become a uncharismatic charmless thug of sorts.
  As for action, it is fast and extremely realistic but alot of proceedings are too close, too in your face, too dizzyingly incompetent. Like the makers again are trying to make a Bourne film. Let them remember this is BOND not BOURNE, we need a more Gentleman Agent not a lifeless copy visage of another franchise.
  
  So the story of Quantum Of Solace consists of what, I wonder? What was the plot or Story here? It's hard to make heads or tails of the mess that I've witnessed. The scenarios, villains, and threatening action that resided over Casino Royale are curiously absent from this strange sequel.
  The motivation of Quantum appears to be revenge, to be a look into his dark side and his few redeeming ways. He's a shadow of his former self, and this goes for the idea of Bond. It's no longer Bond when you change everything that makes Bond what he is.
  Quite frankly all characters in this installment are 2 Dimensional cut outs that are never fully explored or explained in detail.
  
  ''I am motivated by my duty.''
  
  The so called Story in the light here seems to be mainly concerned in covering Bond's private life, and the romance he had with Vesper from Casino. Did she betray him or not? Well there I was thinking at the end of Casino that she didn't, but Quantum draws the whole affair and plot thread line out even further. Much to my dismay, this unnecessary procedure only succeeds in giving us the audience the answer we had to begin with, feeling like we are going round in a huge circle.
  
  So the new Bond Girls that enter the lime light on this Bond adventure, Gemma Aterton, is completely miscast in a brief, still born role, as an MI6 Junior Agent who comes to get Bond. Perhaps that was a joke I missed in the film.
  A bedroom scene with the pair is not convincing at all and abit awkward. This film needs to be higher than a 12A or push the boundaries, because Bond needs a decent Love Making Scene to make it a Bond.
  Camille(Olga) a Bolivian with her own revenge plot. Is extremely beautiful, has more action scenes than Bond, but the Romance between her and Bond seems to go stale before it even begins, resulting in an unconvincing snooze fest. Even the kiss they share doesn't have resonance or chemistry involved.
  
  The real engine and star of the show is M who shows us a character who seems to know what they are doing. Although I do admit over-using M lessens her power and ranking. A sure sign that the director is clutching at straws.
  Daniel Craig does the same thing he did in Casino Royale minus the one-liners and charm he seemed to send out with Campbell at the helm.
  No smiles, no jokes and a very serious man makes for a very wide miss of the target as far as capturing Bond. It's almost as if I would beg on my knees for Martin Campbell to come back and fix all the wrongs Solace has committed by giving us this dire offering.
  Marc Foster who's done The Kite Runner just doesn't seem like an ideal candidate for a Bond film, and it shows.
  An attempt at political sophistication and debatable questions raised, are shots at cleverness. American and British Governments collaborating with Greene really is the icing on the cake. Not to mention having the names and characters ''Fields'' and ''Greene'' in the same movie. The whole Political side of things are done better in Bourne and it's depressingly apparent when you see this.
  
  The villain Dominic Greene played by legend Mathieu Amalric, the star of Diving Bell & The Butterfly, but on this with all due respect, is the weakest excuse for a villain I've seen in a Bond film for an age. He's short, he's not menacing and has no charm or level of danger like Lechiffre did in Casino. Granted he's a human foe but he has no qualities to make him memorable or even interesting.
  
  Overall Quantum Of Solace leaves alot of questions, no respective answers and gaping holes concerning what actually happens. If anyone can tell me what this ''Quantum'' was meant to be, I'd like that. Or the fact there seemed to be a shroud over the leak ending, and the shoddy song at the beginning sandwiching the whole affair together.
  Bond kills indiscriminately, Bond is cold, and Bond's reputation has been tarnished and ruined slightly by Forster. Hopefully the next one will redeem matters, or we wait for the day Campbell comes back to reignite our beloved James Bond. And for Gods sake bring back some gadgets, charm and gentile ways while you're at it, otherwise I may as well be watching a Bourne...
  
  ''I think you're so blinded by inconsolable rage that you don't care who you hurt. When you can't tell your friends from your enemies, it's time to go.''

  AgentLexi2132 (Moderator)

  Quantum Of Solace is no longer bond, but rather a cheap lackluster imitation of Bourne. After Casino Royale I expected more, but no Martin Campbell and the choice of Marc Forster as the new director, seems to have proved a futile choice.
  No romance and no traces of what Bond is meant to be. No gadgets, no emotion, and a lack of humour.
  
  4/10

  posted 16 days ago
• 
  I recommend you see...

  Sick Nurses (Suay Laak Sai)

  by Duncan

  It's like And Then There Were None meets Ju-On: The Grudge as directed by Quentin Tarantino.
  
  Considering that it's a horror movie, I guess the fact that the scares are few and far between is kind of a drawback. Still, a surprisingly sexy antagonist toy around with the lives of a bunch of vain nurses and the pig of a doctor they work for is surprisingly fun to watch.
  
  File Sick Nurses under "Guilty Pleasures".

  DuncanRR

  Before I head back to facebook, I figured I'd send out one more recommendation.
  
  People I'd recommend this for:
  *Fans of J-Horror (real J-Horror, not the American remake crap)
  *Fans of slasher flicks
  *Fans of B movies and/or Grade Z flicks
  *Fans of black comedy
  
  People I'd NOT recommend this for:
  *Squeamish parsons, or people who get bored with gore
  *People who want a deep story and character development
  *People looking for a good scare (unless you thought the recent remake of Prom Night was scary, this ain't gonna set your teeth a-chattering)
  *People with eating disorders or poor self-esteem when it comes to their bodies (one of the nurses is a fitness freak, and another one's bulimic)
  *Homophobic parsons (the twist at the end is -and I mean this in the least derogatory way possible- pretty gay)
  
  So, if you fit the criteria, give Sick Nurses a rent.
  
  Have a Happy Halloween everybody. And remember kiddies, have your parents check your candy for poison or razor blades.

  posted 18 days ago
• 
  I recommend you see...

  Sleepy Hollow

  by Duncan

  If you're expecting a faithful re-telling of the classic short story, look somewhere else. If you're expecting darkly lit, mildly humorous, entertaining Halloween fare that's not too gory for the little ones but still packs some grizzly scares, then you're in for a treat.
  
  The names of people and places are the same, but that's where any connection to Washington Irving's tale stops. Ichabod Crane, masterfully played by Johnny Depp, is a skeptical forensic scientist in this incarnation, rather than a superstitious schoolteacher. The Headless Horseman is an actual vengeful ghost rather than an envious Brom Van Brunt in disguise, and the Van Tassel's ... well, to prevent giving anything away, let's just say they aren't quite what they seem.
  
  Yes, boils and ghouls, this isn't Washington Irving's legend. This is Tim Burton's tale, and although it's not quite as good as some of his other work, it's still a helluva lot of fun. The cast is superb, the cinematography is gorgeous, and the music is excellent. Throw in the occasional "Nightmare Before Christmas" homage and a straightforward plot rife with witty dialogue (or, in one characters case, a monologue), and you got yourself a nice little fairytale for a Hallow's Eve night...

  DuncanRR

  Hello again, everyone. Just want to wish you all a happy and safe Hallow's Eve, and let you all know that I'll be managing all my flixster stuff from my facebook profile from here on out.
  
  So, if you want to send me movie recommendations (and vice versa), add me as a friend on facebook if you haven't already. And once you do, make sure that you add the "flixster movies" application so that you can still send me recommendations.
  
  http://www.facebook.com/people/Duncan_Ryan-Ross/630579507

  posted 18 days ago
• 
  I recommend you see...

  Get Smart

  by Dean

  Thoroughly enjoyable and staying true to the vision of both Mel Brooks and Buck Henry (listed as consultants for this movie) "Get Smart" delivers the right mix of laughs, high tech, fun, and intrigue.
  The perfect casting of Steve Carell as Maxwell Smart and Alan Arkin as The Chief bring great laughs and the plot along as we watch Smart bumble and fumble about making just the right moves to get the job done. A little "smarter" than the original Max, but still a great character portrayal and an homage to Don Adams taking some infamous dialogue streams and gadgetry and bringing it to us in a newly wrapped package.
  Speaking of package, Anne Hathaway is absolutely gorgeous as Agent 99. She has taken this character and made it her own. The script completely alters the relationship between Smart and 99 from the series, but it works and the back story plays well into the plot.
  This movie is a very fun watch and if you are up for a silly, sexy, fun movie or are a fan of the original series (as I am)...or both, you will enjoy this.
  So I am happy to say that this movie has not-"missed it by...that much."
  Enjoy.

  Camus123

  And a good time was had by all.

  posted 19 days ago
• 
  I recommend you see...

  Ghost Town

  by Alexander

  ''Come back soon.''
  
  ''What a terrible thing to say in a hospital.''
  
  Bertram Pincus, is a man whose people skills leave much to be desired. When Pincus dies unexpectedly, but is miraculously revived after seven minutes, he wakes up to discover that he now has the annoying ability to see ghosts.
  
  Ricky Gervais: Bertram Pincus D.D.S.
  
  Well my expectations weren't high on Ghost Town before seeing it. Sometimes I find it hard to get into certain comedies especially US ones. What I got from GT was a massive pleasant surprise that never stops making you smile, laugh and entertained throughout.
  
  Whats clever about GT is the blend of interesting characters, environment and music all thrown together to give us this film which at first you think it's not to be taken seriously, but under all its multitude of layers, there is a recurring message about life and death.
  The other area that comes into play is the fact that the main hero, Pincus, a Dentist, dislikes people, they annoy him and he prefers his own company.
  
  ''Ooooh..err...No talking!''
  
  The performances in Ghost Town are a treat to watch. Especially Ricky Gervais & Greg Kinnear who steal the show.
  Ricky Gervais as Bertram Pincus D.D.S. has some of the best dialogue in GT and rightly so, he's got charisma, he's got acting capabilities, and he's got a sardonic sarcasm that results in belly rumbling laughter. Whether it be Star Dust, Night At The Museum or his series The Office Ricky is bound and already on the course for greatness.
  We see his character, a dentist who's only looking out for himself at first, who undergoes a procedure at Hospital, which results in him being dead for 7 minutes.
  However after this altering experience he has the ability to see the deceased. Everywhere and anywhere. Much to his annoyance, Bertram hated living people let alone dead ones too contacting him.
  So when he's faced with a mob of Ghost people following him home like some Zombie hordes staggering after him, he meets another pivotal character that will link him to a lady in his apartment building.
  Greg Kinnear as Frank Herlihy is this character. He fits the role of a recently deceased guy who's trying to get rid of his wife's new fiancée, with the help of Bertram. Greg always seems to be electric when it comes to these types of films. As Good As It Gets, Little Miss Sunshine instantly come to mind, now Ghost Town shows what a charismatic feel good yet serious in places, actor he really is.
  Needless to say as Ghost Town progresses so does the complications and plot details, which have a new perspective and spin on proceedings.
  I must also mention Téa Leoni as Gwen, the love interest and lady on the scene. Who ironically plays an Archaeologist, and Gervais & Leoni have a fair few funny scenes including one with a mummy, one with a huge dog and another with the duo and her new fiancée.
  GT is ripe with a supporting cast chock-full of recognizable faces, Alan Ruck and Bill Campbell are both fleeting presences, while Kristen Wiig repeats the Knocked Up process.
  What I also noticed was Aasif Mandvi as Dr. Prashar, who I recognized from Spider-Man 2, took me a few minutes to realize he's that Pizza guy from the beginning of SM2.
  
  ''Sorry you babbling idiot can we talk about my bowels?''
  
  So Ghost Town ultimately results in not just being a comedy or supernatural tale but one of romance and love also. One where it will proceed to make you laugh over and over until your cheeks hurt from too much.
  
  The script and plot is fairly well conceived for this type of genre film, it even elvates further into an evolved state of mind, as plot threads are tied together towards the climax. Pincus becomes more human, Leoni finds inner peace, and the dead pass on to heaven/afterlife just like other Ghost Type flicks The Sixth Sense, Ghost, Hearts & Souls...
  Director David Koepp has created a comedy satire that just works for all the right reasons and has a warm heart that also warms us the audience to it's meaningful conclusion. Koepp's last offering Stir Of Echoes was deeply insightful, while Ghost Town does it in a light and breezy fashion, it also shows Koepp has a sense of humour and can do comedy.
  
  So overall Ghost Town is a feel good movie that isn't one to be taken so seriously like a few pro critics have, and just to sit down and appreciate it for what it is. A light refreshing comedy that isn't too serious, thats designed to make you laugh, not designed to be an explanation of what happens when we die. We all have an imagination surely to come to our own conclusions to that effect.
  
  ''I've got a very sensitive gag reflex...''

  AgentLexi2132 (Moderator)

  A pleasant surprise. Don't believe the critics, it's a decent film for it's genre.
  
  8/10

  posted 22 days ago
• 
  I recommend you see...

  Saw V

  by Alexander

  ''...I want to play a game. Right now, you are feeling helpless. This is the same helplessness you bestowed onto others. But now, it's unto you. Some would call this karma, I call it justice...''
  
  A detective who seems to be the last person alive to carry on the Jigsaw legacy must now work his way to protect his identity before it is revealed.
  
  Tobin Bell: Jigsaw / John
  
  ''Today, five people will become one, with the goal of surviving.''
  
  The SAW franchise starts up again in this fifth installment, what I expected from SAW V was an equation of parts that ultimately offered something fresh and new to all the other chapters. What I actually got from the whole experience wasn't a enlightened twist at it's end like SAW, nor a range of multiple characters all pieced together like SAW II. It wasn't a dysfunctional family man's torment followed by more revelations and trials like SAW III offered. Nor a jumble of inspiring confusion like SAW IV.
  What I actually got from the whole affair was that each future installment takes the whole film to explain the previous film, but this is where this installment ultimately fails.
  
  We the Audience aren't treated to more gore, or even better traps, devices and ways that shock us the viewers. In essence SAW is supposed to be psychological also...So where I ask is the thinking material? Where is the twists and belated answers?
  What we get is a mess, more questions, more excuses for back tracking and pointless flashbacks which make the whole franchise start to appear faded. It's resulted in a good cop bad cop routine where Jigsaw isn't even in the equation anymore.
  
  ''He was supposed to be the hero.''
  
  We are indeed treated to more people we don't have a clue about, trapped in a similar predicament to SAW II's set up. Only problem is we can't actually feel sorry for them when they have no redeeming qualities.
  
  The opening cracker of a trap that sets the ball rolling for SAW V also isn't shocking enough. We expect something to top off the previous film and for me it just doesn't cut it, pardon the pun. Either increased gore or increased puzzlement/twists required, for a film about a anti-hero of sorts called Jigsaw it seems to be missing it's vital pieces. Where the vital piece seems to be the Director's ability to hold his creation together. David Hackl seems to have waltzed onto this project and not actually looked at the other pieces properly, it's meant to be better not gradually declining in quality.
  
  The cast also seems to be detached from each other.
  Tobin Bell as Jigsaw is having a ball with his iconic Jigsaw, who must be having a a bellowing chuckle at home with his flashbacks. I mean a character who's been dead for the duration of 2 films already still has the main chunk to do here. It's like Jigsaw is always trying to be explained in each film we see, it's like the makers don't seem to realize, we get it already. So let's get that message across, he doesn't kill people, he sets a trap to test people then if they fail they die, if not then they are rehabilitated. I'm surprised some places haven't adopted Jigsaw's legacy into a law format already, which cannot be denied, there are indeed gaps in the law and loop holes in the system. When Tobin Bell says this as Jigsaw, thanks to his manipulative nature and disposition, you can believe what he's saying. You can even relate to his cause on some levels. Although this has been done in detail through all 5 chapters, how many times does it take?
  Scott Patterson as Agent Strahm, is the main character, who opposes the new nemesis in town, but as with all the films the supposed hero never fares well in a SAW film.
  Costas Mandylor as Mark Hoffman, seems to have his actions and meeting with Jigsaw explained in detail for all those who wondered why he did what he did in SAW IV. He's a character like Jigsaw we can sympathize with, yet also at the same time condemn his choices and actions.
  So we find he's had bad luck with the system of laws and convictions when we find out that his sister was killed and her murderer only sentenced to five years because of a technicality. We already see just from this he's going to have a connection and seduction to Jigsaw's way of seeking justice.
  All the other people involved in his game, which apart from a lady getting her head chopped off and a man getting blown apart which amused, didn't really impress me much. The cast ultimately are B Grade more at home at some late night television slot.
  Amusingly also five people, five more excuses to have some formulated reason onto how these individuals are connected to each other, and five being the number of SAW films now. They think it's clever doing this...It's not.
  
  ''A technicality gave you freedom, but it inhibited you from understanding the impact of taking a life.''
  
  This SAW V results also in the most boring installment of all of them. I felt compelled to yawn repeatedly half way in due to the fact there wasn't enough going on to engage my brain. Long gone is the compelling kills and back stabbing, who's done this and that but more of a festering game of cat and mouse that never achieves substance. Even SAW IV had a lightening pace at times, while SAW III had truck loads of gore and aggression. This one seems to be like a snail on a hot day then suddenly it pours down and the film can't wait to end. The ending is meant to be the highlight yet it is for all the wrong reasons. The resulting c