Or, reviews of movies that have been written so long after I've seen the films, that by now, you've had plenty of time to see them yourselves. So, read on and be sure to tell me what you thought!
NARC (***1/2) - A adrenaline-fueled cop story that I saw twice. Ray Liotta and Jason Patric drive this movie with daring, energetic performances that are equally matched by a kinetic directing job by Joe Carnahan. This movie has the second-best ending of the year (second to “About Schmidt”) that puts a fitting, unique spin on the dirty-cop storyline we’ve seen before. “Narc” takes place in Detroit, and if anyone has seen a movie that takes place in Detroit that makes Motown look beautiful, tell me about it, ‘cause between “True Romance”, “8 Mile” and even parts of “Beverly Hills Cop”, it’s a nasty place. (Now I’m pretty sure “Narc” was shot in Toronto, but it’s just how the filmmakers CHOOSE to portray the city. They always choose NASTY). Ray Liotta has always had a personality that lends itself to playing high-energy, almost manic characters, and his Henry Oak in this film is a volcano of vehement intensity. Oak’s on a mission to bring down his partner’s killers, and his passion instantly grabbed me. In brilliant contrast is Patric, employing his usual brooding to excellent effect, and countering that with a blowhard quality when needed. The two do everything in the cop partner book (chat while on stakeout, interrogate bad guys, investigate crime scenes) and, together with Carnahan, manage to make it look refreshing. Damn good stuff.
CATCH ME IF YOU CAN (***) - This movie is a rollicking good time, but I believe it keeps itself from being as good as Spielberg’s best due to a lengthy ending. In fact, this is Steven Spielberg’s third movie in a row that didn’t seem to know when to end. “Minority Report” took a while to spell out it’s inevitable ending, and “A.I.” just wouldn’t END for the love of God. “Catch Me if you Can” seems to tack on extra scenes to wrap up it’s two plots. The two plots are DiCaprio’s con man running from the law and his relationship with a semi-successful father. Once dad’s out of the picture, however, DiCaprio’s family scenes lose a lot of steam, and take too long to conclude. Always interesting, however, is Tom Hanks chasing Leonardo DiCaprio. DiCaprio’s character Frank Abagnale is a con from his early teen years, and his father is attempting similar cons to keep the family financial situation above water. Christopher Walken is marvelous as DiCaprio’s dad, and it’s more proof what this actor can do with a good role, it’s a shame he whores around in stuff like “The Country Bears” and “Kangaroo Jack”. Walken and DiCaprio share a great scene early on when young Frank is caught impersonating a substitute teacher. Jennifer Garner is in this film, but I don’t know why. Her scene is pretty irrelevant. Obviously much more important is Tom Hanks as Handratty, an F.B.I. agent hot on the trail of Frank, and he’s hilarious, finding a perfect blend of by-the-bookishness and befuddlement at the continued failure to catch up with DiCaprio’s con man. And the whole film is caught up in a whimsical ‘60s and ‘70s setting that is teaming with art deco and bright colors and constantly reminding us that this was a long time ago, and Abagnale could never get away with this stuff today. It remains a fun postcard from a few decades back that works best when it remains frothy and kitschy. Also worth noting are the exciting opening credits which play with animation similar to “Vertigo” meets “The Pink Panther”, they’re a mini-film unto themselves. And John Williams score is a jazzy departure from his usual bravado and should’ve won the Best Score Academy Award.
25th HOUR (***) - I’m never one to miss a Spike Lee film, he is usually a sure thing for something different. And in “25th Hour”, he is one of the first major filmmakers to deal with New Yorkers in a post-9/11 environment. The recent tragic events in NYC hang over all the characters we meet in this film, but this isn’t a movie about the terrorist attacks, or about anyone who had direct involvement with the events that day. But Ground Zero is practically a character in the film, setting a tone of melancholy that haunts the NYers in Lee’s film, and reminds them of the importance of life. That theme is especially brought home to Monty, played perfectly by Edward Norton, who’s recently been brought up on possession charges and is bound for prison. He gathers his friends together for one last night out before he’s got to go away for seven years. Tensions and secrets rise as they talk, reminisce and plan for a future without Monty. Now, Spike has never been one for subtlety, and here he’s fashioned an ending that may be a little too grandiose for it’s own good, as it undermines the personal story we’ve dealt with up to that point. The idea for the film’s ending is good, but it’s played out a little too pompous. Also the score is not the least bit subtle, Terence Blanchard adds a horn-blasting-heavy musical exclamation point to a lot of visuals. But this works more than the ending. I’ve always found Lee’s uncommon use of music very intriguing and unique. The performances are great throughout. Norton’s got another role that suited for him, likable guy with a streak of brashness. Philip Seymour Hoffman is very good as a teacher in love with one of his students (his character, it seems, has carpe diem inherent in him after 9/11). Barry Pepper is really, really good as a fast-talking trader who is asked a difficult favor from Norton. You can sense his depression at the thought of the whole idea of Monty going away, yet he remains tough guy throughout. Barry, this makes up for “Battlefield Earth”, OK? Lee’s last GREAT film is still “Malcolm X”, but he continues to put out solid dramas that are always quite impressive.
EVELYN (**1/2) - Pierce Brosnan stars in this by-the-books weepie that has a lot of charm stuck in a know-how-it-ends-at-the-opening-credits plot. The government takes Brosnan’s working class Irishman’s children and he spends the film in a fight to get them back. Yeah, it is very Lifetime Network. And Brosnan isn’t convincing in all of his scenes. He shows a new side as a pub singer that’s really appealing, but his dialect wavers and the plot doesn’t help him as the film starts, plodding along and setting things up either too simply or melodramatically. Later, Brosnan puts together a law team of Stephen Rea, Aidan Quinn and Alan Bates, and the movie gets a jolt of life. In any film, it’s always fun to hang out with a bunch of bubbly Irish folk (except in “Bloody Sunday”), and when these fun characters are hammering out a defense for Brosnan’s plea to reunite with his daughter Evelyn, the result is just what the movie needed. There’s nothing surprising or even exceptionally imaginative in “Evelyn”, but it gets the simple job done.
NICHOLAS NICKLEBY (****) - I suppose one of the criticisms of a film adapted from a novel must endure is how faithful it is to the original text. However, I have numerous magazine subscriptions that take up a lot of reading time, leaving me only time for Michael Moore, Dennis Miller and George Carlin books as quick-reads. As I don’t expect “Entertainment Weekly: The Movie” to come out any time soon, many of the only visitations of most classic literature I get are on the Silver Screen. Such it is with the massive Charles Dickens novel “Nicholas Nickleby”. In the ‘80s, there was a theatrical adaptation of “Nickleby” that supposedly ran eight hours and was tremendous. Coming in at around two hours, it seems that the film version of the novel is trimmed quite extensively, but whatever is left behind is absolutely fantastic. The richest element of Dickens’ story is the wide array of extremely colorful characters. The fact that they’re bolstered by a stellar cast only makes them richer. Jim Broadbendt immediately comes to mind as a horrible schoolteacher - he’s the slime of the earth. Nathan Lane is hilarious as an outrageous actor who takes Nicholas under his wing. Charlie Hunnam as Nickleby is an ass-kicker. I didn’t know that going in, but Nicholas really doesn’t put up with anybody’s shit, and EVERYONE is dishing out shit in Dickensland. And Jamie Bell, so good in “Billy Elliot”, is equally good and heartbreaking here. Keep an eye on him. Technically, the sets capture both the beauty of some of England’s rolling hills, and the squalor of the poorest places in the country. The costumes recreate the Victorian age properly and the cinematography is lush. Don’t miss this film, as it’s most likely doomed to slip under the radar.
THE LORD OF THE RINGS: THE TWO TOWERS (**1/2) - MY feelings for this film can be summed up in one of it’s main characters - Gollum. Gollum is a ground-breakingly impressive all computer-generated character that represents some of the best yet CGI in terms of believability. Gollum blends in seamlessly with the real life sets and locations and is one of the first CGI characters to be a decent actor. However. Am I right in thinking that he was really obnoxious? I don’t feel he overACTED like the ridiculous Jar-Jar Binks, but he was just kind of annoying. I can’t think of one CGI character that just acts like the other characters in the movie. Maybe I don’t know the source material, but is Gollum that annoying in the books? I can understand his attraction to the ring, but the not-always-understandable voice and continued hyperaction just turned me off. This mix of technical brilliance and frustration with the story has troubled me this whole series. Loved the battle scenes, was bored by the politics. Dug the talking, walking trees, could always do without the pace-deadening Liv Tyler. So it exists for me as an uneven franchise. “The Two Towers” is filled with good HUMAN actors (although I find it odd that they are any match for the hulking Urak-hai). Viggo Mortensen looks even more comfortable than before as Aragorn. I can totally buy his transition to king. Ian McKellen is always good, as is Elijah Wood in these films. I thought it was an odd choice to have John Rhys-Davies play the voice of the old tree, seeing as how he also plays Gimli. Maybe you’ve got to be a geeky as me to recognize his voice, but he was still quite good in both roles. The climactic battle at the end of “The Two Towers” is impressive, and there’s an assuredness in Peter Jackson’s direction that shows that his expansive vision would never be denied. I just missed the connection that made me care as much as I did in other fantasy movies like the original “Star Wars” trilogy. This franchise is certainly admirable, but it’s yet to arouse my passion.
GANGS OF NEW YORK (***) - Martin Scorsese has always been in love with New York. I’m sure if he could have, he would’ve set “The Last Temptation of Christ in Queens. But unlike his other NY-loving filmmakers Woody Allen and Spike Lee, Scorsese is taking a trip back to one of the city’s roughest historical rides in “Gangs of New York”. This is another in a trend of big, historical epics that really involves, at its core, a revenge tale. “Braveheart” did that plot brilliantly, “Gladiator” ripped it off, and “The Patriot” did it not quite as successfully. In my “LOTR: The Two Towers” review, I mentioned that lack of emotional connection I had with that film. All three previously mentioned films and “Gangs” connect with me on a high charged emotional level because of the visceral power of the revenge tale. In this case, Leonardo DiCaprio seeks revenge against the man who murdered his father. One flaw in “Gangs” is that the history is so interesting, and there’s not enough of it. Crooked politicians, competing fire fighting units, draft riots and Irish immigration made for very interesting segments of the movie. However, they are intermingled with a love story involving main character DiCaprio and Cameron Diaz. Diaz’ involvement with villain Bill “The Butcher” fuels the film’s conflict, but the love story is the least exciting or developed segment of the movie. What’s continually exciting is Scorsese’s kinetic scope and direction. And as usual, Mahty is dabbling heavily in excess. This movie is A LOT. A lot of blood, a lot of grandeur, a lot of set decoration, a lot of pageantry. If you’re up for the in-your-face-ed-ness of it all, it’s a hell of a ride. In fact, the movie’s climax is so chaotic and insane, I had to hit the internet to read up on the facts behind the story. New York was indeed a crazy place back then. Embodying all of that craziness is Daniel Day-Lewis in a bravura performance that’s so focused, it’s scary. He manages to make sick freak William Cutting likable! Day-Lewis can be as believable making an argument against immigration as he can be carving up a rival gang member. And he pulls out all the stops, from a glass eye to making a top hat look evil. DiCaprio, in comparison, is pretty straight-and-narrow. He’s the focal point of the narrative, but gets a little lost in the shuffle of the Day-Lewis show and Scorsese’s excess. Brendan Gleeson, John C. Reilly, and the GREAT Jim Broadbendt add quality support. The streets of New York in this film were built from scratch at Italy’s Cinecitta Studios. They’re very impressive, as are the costumes which look blood-stained and lived-in. Like, three or four lives lived in. There’s no shortage of atmosphere in Scorsese’s epic, but it even, at times, seems like a lot for me to handle. And my “handle it” meter is pretty high. But if you can weather the onslaught, Mahty’s latest opus is a wild ride.
TWO WEEKS NOTICE (**) - We should demand more of two high-quality charmers like Hugh Grant and Sandra Bullock. It seems as if the teaming of these romantic comedy veterans alone may get butts in seats, so why work too hard thereafter, right? The “You’ve Got Mail”-esque plot is predictable as can be. Here, I’ll make some space where you can print out this review and write in what happens next yourself. Grant is a corporate heel and Bullock is a liberal hippie trying to save a building on his property. They really don’t like each other. Then, ________________________________________. Well, you’re right. There are even moments of desperation here, such as the ‘ol hair-caught-in-the-zipper-routine. UGH. What’s a shame is that much of Grant’s dialogue is funny, but his delivery seems as if he couldn’t be bothered to invest enough to give them real zing. He’s going through familiar territory with a familiar approach, and longtime Bullock director Marc Lawrence isn’t asking for anything more. Maybe it’s time for Bullock to pair up with new blood. Bullock hasn’t lost any of her beauty, but I see no reason why her character would even want to be FRIENDS with Grant. So, I’m to blame for wanting more, I guess. Can $93 million at the box office be wrong?
YES! (sorry, I cant’ just let my sarcasm lie...)
THE RECRUIT (***) - Welcome, Colin Ferrell. I always question a big star’s “arrival” as to whether it’s worthy or not. Gwyneth Paltrow was on the cover of every glamour mag in the world while in the midst of a 10 crap film run. Finally, her hype was justified with “Shakespeare in Love”. When Gretchen Mol was in “Rounders”, she was splashed all over the place. Yet, I’m still waiting for her to really impress. Colin Ferrell couldn’t be a hotter topic right now, but the good news is that his performance is worth the hype. He’s a solid leading man with a good look, sense of humor and brimming with confidence. Teamed with a non-constantly-screaming Al Pacino (that’s certainly the better of the two Pacino's currently getting cast in films). The plot is a bit too cool for its own good, so constantly reminding you that “nothing is what it seems” that you don’t extend your belief for shit half way through the movie. That doesn’t mean the script is lame. There are smart spy twists all over, and it remains a fairly plausible adventure throughout. It’s just a shame that it’s hell bent on reminding you to be skeptical. Technically, “The Recruit” is slick and fun, with high-tech gadgetry, shiny, metallic production design, and hip dialogue. I found it exciting and well-paced. I hope future Colin Ferrell projects don’t suck.
SECRETARY (*1/2) - I really didn’t give a rat’s ass about this supposedly “quirky comedy”. It may be ‘cause I don’t relate in the slightest with S&M. In hearing about it, I thought people might have fun with S&M. However, according to the world of “Secretary”, S&M apparently means acting like a total asshole. Maggie Gyllenhaal plays a self-abusing, disturbed young woman who gets a job with abusive, dominant boss James Spader. S&M antics ensue, but it just seems like they never have any fun. As a result, neither did I. I saw a film about six years ago by Kirby Dick called “Sick: The Life and Death of Bob Flanagan: Supermasochist”. Now, this DOCUMENTARY about S&M, and Bob’s relationship with dominatrix Sheree Rose was superb. Perhaps because instead of just being pricks to each other all the time, Sheree and Bob used their antics to beat cystic fibrosis and inspire art. Watching the always creepy Spader just be mean to Gyllenhaal for 104 minutes is just lame. Gyllenhaal’s performance is decent, however, as a typical guy, I’d rather watch someone a bit more voluptuous in an S&M romp. Ooops, was that said in my outside voice? Her character grows as the story progresses, as does her love with Spader. It culminates in a media circus that seemed from another movie. As craftily as the movie was made, it just never won me over.
SHANGHAI KNIGHTS (**1/2) - The charm in this Owen Wilson/Jackie Chan sequel doesn’t come as easily as it did in “Shanghai Noon”. In “Knights”, Wilson and Chan travel to England to avenge the death of Jackie’s father and retrieve one of China’s precious jewels. More culture-clash jokes abound, but many of Wilson’s lines fall flat, and there are many references to our heroes bumping into famous people and events that seem forced. It seems as if the writer and director were nervous in the face of recapturing the magic of the original film. That being said, I would certainly go to “Shanghai Dusk” or “Shanghai Times” or whatever movie they put out next, ‘cause I did enjoy watching these two and their crazy adventures. As with every Jackie Chan movie, the bad plotting is saved by incredible fight scenes. Jackie floats through four or five major brawls that are as inventive as ever, with Jackie making weaponry out of umbrellas, and ladder and a revolving door. But even the umbrella fight is accompanied by Gene Kelly’s “Singin’ in the Rain” as if we wouldn’t see that it resembled Kelly’s famous dance on our own. Again, I think the filmmakers were more nervous than they needed to be. More confidence seemed to be behind the first film. To sum up, it’s enjoyable, but like most sequels, suffers inevitable comparison to the first, and hit’s below the sweet spot just a touch.
THE LIFE OF DAVID GALE (***) - Wow. This film got REAMED when it opened. I think Karen (my wife for those of you who don’t know) and I were the only people to land on the positive side of the fence on this one. It’s a challenging drama, no doubt, and has drawn the wrath of critics for its subject matter and mainly for its harsh twist at the end. Kevin Spacey plays Gale, an anti-death penalty activist on death row for the murder of a colleague, played by Laura Linney. He enlists the help of journalist Bitsey Bloom (what an awful name), played by Kate Winslet, to free him. SPOILER ALERT - some things may get mentioned here that affect the plot, but it’s tough to talk about this movie without bringing up the ending. This film is about the death penalty, but something about it doesn’t make me assign it a certain side of that ongoing argument, whereas a film like “Dead Man Walking” is definitely anti-death penalty. “David Gale” chooses, I believe, simply to be provocative, and I thought it succeeded in doing that. The choices Gale and Linney’s characters make in the film are HARD CORE. They aren’t necessarily likable, but I was fascinated with the lengths they were willing to go to argue their case against the death penalty. Sickening lengths, but always fascinating. The plan put under way by these cause activists is so flawed and reliant on things working out PERFECTLY, that it seems too flimsy to risk what they risked on it’s success. But, nevertheless, all the details are thought out, in place and make sense. It’s an enthralling story. Spacey is OK, but his usual cold demeanor doesn’t work as well as a warmer approach to the character might have. I’ve got a thing for Kate Winslet, so even when she’s downright bad, as is the case here, I like watching her. No nudity, however, which is always a plus for me (even that piece of trash “Iris” was better when she skinny-dipped). Alan Parker’s direction was solid, but he hasn’t quite returned to his “Mississippi Burning” mode since that ALL-TIME GREAT racial drama. But Parker likes to be provocative, as “Angel Heart”, “The Wall” and “Midnight Express” have shown, and “The Life of David Gale” can stand with that good, daring company.
IGBY GOES DOWN (**) - This film no doubt achieved notoriety because of its crackling dialogue and, like “Rushmore” before it, it shows a rebellious and empowered youth tackling youth issues with an adult style. Well, style is prevalent throughout “Igby Goes Down”, but I didn’t feel that heart necessarily was. Icy cold teenager Igby (played impressively by Kieran Culkin) is sent to military school by his family. He goes AWOL and has adventures in NY City. Well, these adventures don’t teach anything, they don’t have a point and really don’t go anywhere. That leaves the plot just meandering around for something to do. Interesting characters, played by interesting actors, come in and out of Igby’s life. Most notably, the triumphant return of Bill Pullman, great as Igby’s father, Amanda Peet in the best performance of she’s ever given, and the GREAT Jeff Goldblum, who can make anything entertaining, even “Holy Man”. Ryan Phillipe has never seemed real, with his upper-crust, snotty demeanor, and the dialogue here (which is spoken only in the movies) doesn’t do much to change that. By the time Igby’s getting his ass beat up, he certainly had it coming and I wondered why we didn’t follow somebody else around Manhattan. Maybe Kevin McCallister?
ANTWONE FISHER (***) - Denzel Washington’s directorial debut is wise material to start from. Denzel knows human drama, whether it’s “A Soldier’s Story” or “The Hurricane”, Denzel’s got it down. By not choosing an intense sci-fi script or a complex period piece, we get to see Denzel’s strength and confidence in every frame of “Antwone Fisher”. The story and scope of the film never got away from him. Speaking of confidence, who is this Derek Luke dude? Outta nowhere, he’s headlining a Hollywood film and he puts in a very controlled, emotional performance. I wish Joy Bryant, as his love interest, was as strong. But the heart of “Antwone Fisher” is in it’s ageless story, a man’s search for the family he never had. Sound hokey? Admittedly, the film slips into melodrama on more than one occasion, especially the ending, but by the end I really cared about the characters and any histrionics didn’t distract. Denzel acts in the film, too, as Antwone’s therapist and his storyline doesn’t get the attention it deserves. By grazing over it, it remains interesting enough to care about, but too interesting in that it’s disappointing to see it underdeveloped. Antwone Fisher wrote the screenplay himself, and the whole production has the same gentle hand guiding it that someone would handle their ‘baby’ with. There are some things that seem suspect, such as a military therapist inviting his client to dinner at his home, but I rolled with it. Fisher either knows how it happened, or sanctioned truth stretches himself in adapting his story for the screen. This is a very engaging, uplifting story for everyone, handled smartly by one of Hollywood’s most talented actors. Make that actor/DIRECTOR!!
(too melodramatic?)
BLOODY SUNDAY (****) - One of 2002’s best films that never found that audience it deserved. SEEK IT OUT!! This Irish film recounts the 1972 killings by British soldiers of Irish marchers at a Civil Rights rally. The filmmakers go one step beyond by shooting the film documentary-style, and I’ve never seen that device used so brilliantly. From the camera work, to the expert acting in EVERY role, to the masterful re-creation of place and time, the documentary-style feel of the film is never, ever gimmicky. Historically, I didn’t know a whole lot about that event from thirty years ago, and was impressed with how director Paul Greengrass brought me into conversations with the Catholic marchers, the British army and the Derry politicos and families equally. James Nesbitt plays Ivan, the founder of the rally, and his assurance to the townspeople that there will be no bloodshed at the rally is heartbreaking. And the aftermath is equally harrowing, as angry masses lay down the groundwork for what will be the next thirty years of violence in Ireland. The “shaky-cam” with which this story is shot is some of the shakiest yet, but it contains urgency in every shot. Most shaky-cam these days is shaky for the sake of shaking. This film is also another good example of the you-are-there film making that set apart “Saving Private Ryan” and “Black Hawk Down”. The actors never have confessionals, it’s documentary-style as fly-on-the-wall type movie-making. Every actor is to be commended for pulling this movie off without once seeming stagey. A great film.
UNFAITHFUL (*1/2) - I saw this film at a SAG screening to support Diane Lane’s SAG award nomination. So, by now, it’s been out about a year, so I won’t spend too much time on it. I love Diane Lane. Love her. She’s my kind of mature, brunette hottie. And now showing her mettle as a damn good actress! Unfortunately, she’s being showcased in a severely sub-par thriller. This movie is hampered by the same thing that plagues many crime of passion movies lately: the main character’s risk A LOT for someone not worth the effort. Look at “The Quiet American” or “Charlotte Gray”. Make the subject of Diane Lane’s “Unfaithful”-ness worth it! Please! Instead, he’s just skeevy and creepy, and his pick up moves are dumbassed. She must’ve really wanted to cheat on Richard Gere. If she’s that desperate, make her cheat with Abe Vigoda. Who doesn’t like Abe Vigoda?! That would’ve been at least worth another half a star (nudity excluded). Despite her bogus so-star, Lane is very good. Hell, I loved her in “Judge Dredd”.