Archive for the 'Movie Reviews' Category
February 4th, 2012 by Aaron Neuwirth
If Superman: The Movie made you believe a man could fly, Chronicle will make you believe that three boys can hold their own up in the air as well. Chronicle is a pretty entertaining story about a group of high school kids that discover superpowers. That the film has the added quality of being shot by way of camcorders, cell phones, security cameras, and news footage is an interesting route to take. Setting the film up as a “found footage” flick does suggest some gimmickry is at play, especially when justifying the presence of the camera at times, but the joy of seeing a fresh take on what is both a superhero and supervillain origin story, made on a small budget, makes it worthwhile. Continue reading ‘‘Chronicle’ Shows The Morality Of Superpowers On A Budget’
February 3rd, 2012 by Scott Wampler
Before learning anything specific about Lynne Ramsay’s We Need to Talk About Kevin, I was under the unfortunate impression that Kevin was another “evil kid” movie. One based on a critically-acclaimed novel, sure, but still: yet another “evil kid” movie. Oh, boy. How exciting. And so, I expected the typical “evil kid” plot: upper-middle-class parents have a child that’s supposed to completely reinvigorate a stale marriage, child turns out to be weird, strange things start happening, a neighbor’s dog (or, hell, why not: a neighbor) ends up dead, and somehow it turns out the little kid is “possessed” or “the Devil” or “the Devil’s child” or “the Devil’s son’s tutor” or something equally stupid. Besides the “killer car” and the “killer kitchen-appliance” sub-genres of horror, this might be the most overused and least entertaining plot device ever employed, repeated so many times and with so many tiny variations that it’s long since lost what little punch it might have ever had. Continue reading ‘We Need To Talk About Kevin (Movie Review)’
February 3rd, 2012 by John Hitch
George Lucas reinvented the world of science fiction in 1977 with Star Wars Episode IV, spending around $40 million of present-day currency to produce the lucratively profitable space epic. He was 33 when Greedo didn’t shoot first and still a god among geeks. At 30 years and with $30 million, director Neil Blomkamp gave us the instant classic, District 9, a sci-fi mockumentary set in Johannesburg, South Africa — a more terrestrial and hostile version of Tattooine. In this politically conscious alien adventure, humankind plays the evil Empire. After watching Chronicle (opening Feb. 5), essentially a sublime hybrid of both, it appears a padawan director named Josh Trank has reached cinematic Nerdvana much younger (he turns 27 on Feb. 19), spending around one- third less than Lucas. Continue reading ‘Chronicle: Reckless in Seattle (Movie Review)’
February 2nd, 2012 by Aaron Neuwirth
I kid around in my title, but really, when you are the lead in one of the most popular film franchises of all time and now star in a completely different film, it is hard not to call attention to this fact. Daniel Radcliffe stars in an old fashioned horror film (actually produced by Hammer Film Productions), that is steeped in effective atmosphere and does a lot right, without having to resort to blood and gore, in place of actual scares. The story is very simple (which is common in Hammer Horror films), with fairly predictable plot beats and scares, and when the film is not trying to scare you, it is basically trying to depress you, but with all that in mind, it is a solid effort in regards to haunted house/ghost stories. Continue reading ‘Harry Potter And ‘The Woman In Black’’
February 1st, 2012 by Gregg Senko
I remember a handful of years back when word got out that a third Underworld movie was in production. Then word arrived that series star Kate Beckinsale would not be a part of the film. I, along with many other fans, felt the unfortunate sting. Thankfully, Underworld: Rise of the Lycans was a great-fitting prequel spelling out the history of the werewolf/vampire rivalry. With a trilogy in the books, fans still wanted another movie, but this time with Kate Beckinsale. I give you Underworld: Awakening. Continue reading ‘‘Underworld 4′ a Rude Awakening (Movie Review)’
January 27th, 2012 by Aaron Neuwirth
There is a great film out there that seems to be about one thing, but is actually a lot more like another thing entirely. It involves a man who must place himself in a precariously high position on a building, with a plan to accomplish a certain task. Despite having this task in mind however, the film actually plays out by having more in common with a heist movie. The film I am referring to is Man on Wire, the Oscar-winning documentary about a man who performed a high-wire walk across the Twin Towers in New York during the 70s. Man on a Ledge is similarly about a man perching himself outside of a building, with a heist-like situation occurring at the same time, but is also vastly inferior. There is certainly some enjoyment to be had, but not enough to look over the incredible amount of suspension of disbelief involved in taking the central scheme and plotting of this film seriously, let alone recommend the film. Continue reading ‘‘Man On A Ledge’ Jumps To Ridiculous Conclusions’
January 26th, 2012 by Aaron Neuwirth
It seems like Liam Neeson has been given quite the upgrade from tall, steadfast lead actor to confident, ass-kicking action start in recent years. Neeson has certainly been reliable in years past, but since Taken, no one seems to question whether or not Neeson has the capabilities of taking someone down if he has to. The Grey reunites Neeson with A-Team director Joe Carnahan for a film that is almost an opposite of that ridiculous (ly fun) action flick for a gritty survival story that is every bit as focused on being a study of Neeson’s personal mental anguish as it is an intense journey for he and the other unfortunate souls to survive in the icy cold wilderness, with wolves looming on the horizon. There may be some backlash from those expecting a more wolf-bashing-focused tale, but I really appreciated the dark level of maturity combined with the visceral nature of the survival effort, along with what I consider a top tier acting performance from Liam Neeson. Continue reading ‘Jack London Would Be Proud Of Neeson’s Fight For Survival In ‘The Grey’’
January 25th, 2012 by Aaron Neuwirth
In times past, when it comes to certain horror movies or thrillers, I have noted that the “creepy kid” subgenre is one that usually gets to me pretty easily. We Need to Talk About Kevin is not quite a horror film or thriller, but more a psychological drama surrounding the mental state of a mother dealing with her son who is, for lack of a better term, a psychopath. While his actions certainly escalate to creepy, it is the way this plot unfolds and how we see all of the things the mother has to deal with that kept me involved on an incredibly frustrating level regarding Kevin’s growth from a young child onward. We Need to Talk About Kevin is certainly well acted, but it very much became an unlikely chore for me to not attempt to reach into the screen and slap Kevin. Continue reading ‘Swinton Excels, While Talking About ‘Kevin’ Can Be Soul Crushing’
January 21st, 2012 by Aaron Neuwirth
Red Tails is like a bad, unironic comic book movie come to life. It could have been a number of different things, including a thrilling war-time action/adventure or a moving depiction of the turmoil faced by African American pilots during wartime, as they had to prove themselves in the face of segregation. The film actually plays out as a really bland, by-the-numbers action/war film that is rife with clichés and one-note characters. There is no real look deeper into its message beyond “racism is bad” and the elaborately designed aerial dogfights feel almost too overproduced to actually have any dramatic weight to them. All of this and I haven’t even mentioned how dreadful the dialogue is. Continue reading ‘‘Red Tails’ Crash Lands’
January 20th, 2012 by John Hitch
Haywire’s protagonist, Mallory Kane, played by statuesque Mixed Martial Artist brawler Gina Carano, looks a lot like a younger version of America’s undisputed girl next door, Sandra Bullock. Too bad in her leading “lady” debut, she has all the charm of the door. Not that any of this will matter to moviegoers not burned out by the “burned spy out for revenge” genre. Continue reading ‘Haywire’s a Misfire’
January 20th, 2012 by Aaron Neuwirth
Once again, the month of January has actually managed to deliver some disposable fun, this time in the form of an action thriller from director Steven Soderbergh. Haywire falls into the director’s category of more mainstream, but it certainly boasts a strong cast and enough offbeat qualities to make it stand out a bit. Of course, the main thing to take away from this film is that star (and MMA fighter) Gina Carano can kick all of our asses, and look good doing it, which is especially important, given that the story is stripped down to basics and does not rely on having much complexity or originality in the narrative. Haywire is held together by its cast, authentic and brutal fights, and its style, which feels like a throwback to 70s revenge flicks. Continue reading ‘‘Haywire’ Is Streamlined, Offbeat, And Brutal’
January 13th, 2012 by Aaron Neuwirth
In the 2000 remake of Gone in 60 Seconds, starring Nicolas Cage, actor Giovanni Ribisi played Cage’s younger brother, who was in over his head after losing out on a big heist, while working for an evil gangster. His big brother, who retired from the life of crime, is forced to come back to the life of crime in an effort to keep his little brother out of danger. Over a decade later, in Contraband, Ribisi has now grown up into being the evil gangster character, forcing another unfortunate little brother to do his bidding and bringing back the reluctant older brother. This is all to say that both films are clear examples of a fun enough genre film. Contraband has a bit of an edge (and not just ratings-wise) however, as I was quite pleased with how the film came together, utilizing every character and minor plot point in an economical sense. Especially given the early 2012 release date, this is solid escapist fun that doesn’t aspire for anything greater. Continue reading ‘You Can Smuggle A Little Bit Of Fun Out Of ‘Contraband’’
January 12th, 2012 by Aaron Neuwirth
A Separation is a lot of things, but it can be boiled down to a domestic drama mixed with a courtroom drama. The film is Iranian and it is the country’s official submission for awards consideration (and it will likely win the Oscar, among other awards). It has been well regarded all over and was at the top of many Best of 2011 lists. Knowing all of that going in, I was not really thinking this film had a lot to live up to, nor was I skeptical about how good it could be. My main concern was how a film like this could be gripping enough to really elicit such a strong response. With that in mind, coming out of the film, I found myself to be completely transfixed by how gripping this story was. The different ways more layers involving the characters and themes of the film were revealed over the course of the run-time kept the film engrossing and the strength of the low-key, but precise direction made it all the more effective. Saying “simplistic” in terms of the style of this film would be a misnomer, because there is a lot going on in this fantastic film. Continue reading ‘‘A Separation’, A Great Film’
January 2nd, 2012 by Aaron Neuwirth
It’s easy to write off sentiment. Having a sweet-natured sensibility is apparently a negative for films that wear their hearts on their sleeves these days. I don’t feel this way when the film is both effective and presents more than just these qualities. Before seeing Spielberg’s beautifully made War Horse, I had recently seen The Help for the first time. That’s a film that cuts down a significant struggle to simplistic storytelling and plays up the sentiment factor, but it works because of the strong acting present throughout. Similarly, War Horse does not present an agenda or have the need to delve into true darkness like past Spielberg films set during wartime. The goal of this film is to simply cover the lifetime of an equestrian protagonist and how he effects those around him, during the film’s various segments. Continue reading ‘Melodramatic ‘War Horse’ Is Beautiful And Stirring All The Same’
December 29th, 2011 by Aaron Neuwirth
About 45 minutes into this Russian-set alien invasion movie I realized that I had no idea what the names of the characters I had been following were. That probably sums up the character work done in this film to keep you hoping for their survival, even though the leads are fairly likable. I should also note that at this point, I’ll only refer to the actors by their real names. Nothing makes this badly timed release (Christmas Day, really?) an abysmal film, it just feels like an incompetent one, with a noticeably bad handle on its editing. As a result, The Darkest Hour is not as laughably bad (making it almost good, but not really) like Skyline, but it’s also not full of serviceable grit and over-the-top (but still kinda enjoyable) gusto like Battle: LA. It just sits in the “this will soon be available for $4 in a bargain bin” territory. But hey, at least it was shot in 3D, right? Continue reading ‘‘The Darkest Hour’ Didn’t Quite Brighten My Day’
December 23rd, 2011 by Aaron Neuwirth
We Bought a Zoo is a movie made to make you feel good. There is no other way around that. It features nice performances, a nice score, stakes that are enough to keep you involved, but never to really put you in a tense place, and an overall sweetness that is enough to make your teeth fall out. It is certainly nothing I hold against the film, especially given that it is based on a true story, but the joyful optimism seen in this film can only take one so far, before the level of interest starts to fade. Still, We Bought a Zoo is perfectly acceptable for families to watch together during the holiday season and at least possesses a confidence in the acting and filmmaking to keep it ahead of other, similar family friendly features. Continue reading ‘‘We Bought A Zoo’ Sure Is Sweet…’
December 22nd, 2011 by John Hitch
David Fincher’s newest flick, The Girl with the Dragon Tattoo, features an unforgettable opening sequence reminiscent of star Daniel Craig’s other franchise, which coincidently, is also filled with sex, spy gadgets and wealthy super villains. This movie begins by flashing sort-of-nude dancers writhing to a tune related to the movie, like Octopussy or Goldeneye did before it. Here it’s Trent Reznor and Karen Oh’s industrial update of Led Zeppelin’s “Immigrant Song,” which appropriately gears you up for the craziest events ever to befall Sweden, a tedious land of ice and snow, or more recently, IKEA and Volvo. The song choice, along with the assault of slick effects and rapid-fire editing, remind you this is going to be much more like Se7en than 007. Continue reading ‘The Girl with the Dragon Tattoo (Movie Review)’
December 22nd, 2011 by Aaron Neuwirth
The problem I have with a lot of films that are adapted from plays is how they tend to feel a bit too theatrical, yet limited scope. They are movies that feature big performances from the cast, complete with many key monologues, yet only feel like an expansion from the stage into a larger arena, as opposed to a whole new experience brought to a more cinematic format. There are many exceptions to this, with 12 Angry Men and Glengarry Glen Ross standing out as obvious ones, and I think director Roman Polanski’s adaptation of the play God of Carnage stands on sure footing. It is almost entirely contained in one setting and functions as a scathing comedy. While very limited in scope and possessing very little in the way of a true story arc structure, the film features strong performances from the four leads and is quite funny in a fittingly European way, with tinges of Curb Your Enthusiasm-inspired looniness. Carnage is an interesting departure for Polanski, but entertaining all the same. Continue reading ‘Sink Your Teeth Into Comedic ‘Carnage’’
December 21st, 2011 by Aaron Neuwirth
After all the lighthearted fun I have had with the adventure films of December, 2011, it is now time to sink to someplace darker. The biggest curiosity I have with the self proclaimed, “feel bad film of Christmas,” is how the three groups of people will respond to it. The groups I refer to are those who have read the books, those who have seen the original films, and those who are completely new to the series. As The Girl with the Dragon Tattoo is based on the first book in an internationally best selling series, which has already spawned a popular film, there seems to be plenty of elements to consider. The main reaction I have taken away is that the film is efficiently constructed and features a lot of specific elements that make it very watchable. I have some issues with this film’s personality versus the original, but at the very least, it is a well done, hard-R film, with an atypical female lead, for those who enjoy dense mystery thrillers. Continue reading ‘‘Dragon Tattoo’: An Almost Too Expected Use Of Fincher’s Talents’
December 20th, 2011 by Aaron Neuwirth
I was very excited when it was first announced that Steven Spielberg and Peter Jackson would be collaborating on film adaptations of the popular “Adventures of Tintin” comic book series by Hergé. Having long been a fan of the series, both in comic form and in its HBO TV series format, putting these two master filmmakers behind the camera for a new, big screen adaptation was a pretty easy way to get me amped. Now as a friend of mine wisely put it, the popularity of Tintin in America is similar to the popularity of soccer. The character is much more of an international icon and the character’s depiction skews pretty broadly. Opposed to the gritty rough and tumble nature of many American heroes, Tintin tends to find himself in lighthearted adventures and peril resolved with playful coincidences. As a result, The Adventures of Tintin is a fairly lighthearted adventure that happens to be incredibly well made thanks to Spielberg’s directorial handle on a 3D motion capture film. Continue reading ‘‘Tintin’s Adventures Never Cease To Astonish, No Matter How Unexpected’
If Superman: The Movie made you believe a man could fly, Chronicle will make you believe that three boys can hold their own up in the air as well. Chronicle is a pretty entertaining story about a group of high school kids that discover superpowers. That the film has the added quality of being shot by way of camcorders, cell phones, security cameras, and news footage is an interesting route to take. Setting the film up as a “found footage” flick does suggest some gimmickry is at play, especially when justifying the presence of the camera at times, but the joy of seeing a fresh take on what is both a superhero and supervillain origin story, made on a small budget, makes it worthwhile. Continue reading ‘‘Chronicle’ Shows The Morality Of Superpowers On A Budget’
