MOVIE REVIEW: BEVERLY HILLS COP: AXEL F

 

After his daughter's life is threatened, wisecracking Detective Axel Foley teams up with a new partner and some old pals to turn up the heat on a conspiracy.

Director: Mark Molloy

Cast: Eddie Murphy,  Judge Reinhold, John Ashton, Paul Reiser, Bronson Pinchot, Joseph Gordon-Levitt, Taylour Paige, Kevin Bacon

Release Date: July 3, 2024

Genre: Action, Comedy, Crime, Thriller

Rated R for language throughout, violence and brief drug use

Runtime: 1h 55m

Review:

Beverly Hills Cop: Axel F is a nice dose of nostalgia that doesn't strive for anything other than bringing back some of Eddie Murphy's 80's era comedic energy which he's more than capable of still doing.  Coming 30 years after the last entry into the series has served the series well, making it easier to overlook the razor thin plot and characters in order to enjoy some old school Murphy.  Mark Molloy directs the film with a laid back ease as he sets things on cruise control and lets Murphy do his thing.  The one liners zip out in rapid succession as you get a sense that Murphy is genuinely happy to revive this particular character just through the confident bravura he delivers onscreen.  The action sequences are fun even if they are fairly generic with one in a helicopter leaving the biggest impact.  A steady doses of the classic theme throughout drives home the point that the cast and crew isn't here to reinvent the wheel but just to remind you that it was a fun ride the first time around.  Judge Reinhold, John Ashton, Paul Reiser and Bronson Pinchot from previous entries all come back in supporting roles hammering the nostalgia nail home.  Judge Reinhold initially appears to have a large role in the film only to be taken off the screen for a large chuck of the film's runtime.  Newcomers, Joseph Gordon-Levitt, Taylour Paige and Kevin Bacon get more substantial roles but the characters are clichéd types rather than fully formed characters.  Bacon does the most with his screen time as he delivers his best 80's dirty cop impression.  Still him and Murphy aren't given enough time together to really foment a believable antagonism especially as the film hits every predictable beat it can.  Murphy carries the film almost in spite of itself especially in the final act as it becomes readily apparent that some judicious trimming could have shaved a good 20 minutes off the film's runtime.  Ultimately, your enjoyment of Beverly Hills Cop: Axel F is dependent on how much joy you derive from seeing Eddie Murphy unbound in his vulgar speed talking glory.  

C+

MOVIE REVIEW: PROJECT POWER

A former soldier teams up with a cop to find the source behind a dangerous pill that provides temporary superpowers.

Director: Henry Joost, Ariel Schulman

Cast: Jamie Foxx, Joseph Gordon-Levitt, Dominique Fishback, Colson Baker, Rodrigo Santoro, Amy Landecker, Allen Maldonado

Release Date: August 14, 2019

Genre: Action, Crime, Sci-Fi

Rated R for violence, bloody images, drug content and some language

Runtime: 1 h 51 min

Review:

Project Power is the type of film that instantly feels dated even though it’s trying so hard to be edgy and kinetic.  Henry Joost and Ariel Schulman direct this film like they are trying to emulate early 2000 era Michael Bay.  It’s not as garish or stylized as those films but it gets really close.  The weird part is that Bay’s bombastic style typically elicits some sort of reaction whether it be enjoyment or revulsion.  Project Power though doesn’t do that, instead it leaves you generally disinterested.  The conceit is basically a superhero movie mixed with the same general idea from Limitless.  The film’s logic is spotty at best and the actual plot feels generic and tired.  There’s not a single moment during this nearly 2 hour mess that feels fresh or new.  It’s all been done before and typically much better than presented here.  The film’s saving grace is Jamie Foxx and Joseph Gordon-Levitt who dive into the film and roles with noticeable gusto plus a strong supporting turn from Dominique Fishback keeps it from being a total mess.  It’s a shame because Project Power could have been a much more fun movie than what’s on the screen. 


C-

Cindy Prascik's Review of Snowden

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dearest Blog: Yesterday it was off to Marquee Cinemas to check out the latest from Oliver Stone: Snowden. 

 

Spoiler level here will be mild, nothing you wouldn't know from the trailers. Convinced the US government's spying has gone too far, a CIA consultant steals information to expose its secrets. Snowden is awards bait at its most obvious. 

 

Timely, contentious subject matter combines with decorated talent to peg it an early contender, but that doesn't necessarily make it a great movie. 

 

Joseph Gordon-Levitt is compelling as Edward Snowden, though his deliberate method of speech is nearly as distracting as his French accent was in The Walk. Rhys Ifans and Nicolas Cage turn in terrific performances as Snowden's CIA mentors, and Melissa Leo, Zachary Quinto, and Tom Wilkinson are fantastic as the journalists who helped break Snowden's remarkable story. 

 

While Snowden's tale is undoubtedly fascinating, the movie seems to drag. Your attention isn't likely to wander too far, but you'll be getting mighty fidgety by the second act. A political story by default, Snowden may annoy both sides of the aisle equally. 

 

Unlike last weekend's pristine cinema hero, Sully, Ed Snowden is no squeaky-clean good guy; his reasons were brave and selfless, but he still broke laws intended to protect the country he loves so much. Is he a heroic villian? A villianous hero? The movie asks the questions, but isn't all that convincing in its answer. Snowden is distractingly desperate for awards, but there are some great moments to be found. 

 

A scene where a video-screen Ifans looms cartoonishly-large over Levitt's doubting Snowen is particularly effective. 

 

The film maintains tension throughout, but a cheesy ending leaves you feeling like it was all for naught. Snowden clocks in at 134 minutes and is rated R for "language and some sexuality/nudity." Snowden is a reasonably entertaining outing, but its heavy-handedness is ultimately its downfall. Of a possible nine Weasleys, Snowden gets five and a half. 

Fangirl points: Timothy Olyphant! Until next time... 

 

MOVIE REVIEW: THE NIGHT BEFORE

Every Christmas Eve for the last decade, best friends Isaac (Seth Rogen), Ethan (Joseph Gordon-Levitt), and Chris (Anthony Mackie) have reunited for a wild night on the town in New York City. But since the guys are getting older and have to face new responsibilities, their tradition is about to come to an end. As a result, they plan one last epic night together, which includes finding their way to a legendary party called the Nutcracka Ball. Lizzy Caplan, Miley Cyrus, Mindy Kaling, Jillian Bell, and Michael Shannon co-star. Directed by Jonathan Levine. ~ Jennifer Lackman, Rovi

Director: Jonathan Levine     

Cast: Joseph Gordon-Levitt, Seth Rogen, Anthony Mackie, Lizzy Caplan, Michael Shannon.

Release Date: Nov 20, 2015    

Rated R for

Runtime: 1 hr. 41 min.    

Genres: Buddy Film, Holiday Film, Comedy    

Review:

The Night Before is a solid stoner comedy that never really hits its marks consistently enough to elevate it above better comedies of its ilk.  Jonathan Levine moves his film along at a brisk pace which helps when we run into one of the many dead spots in the film.  When it hits its mark it’s really funny with Seth Rogen and Michael Shannon delivering the best bits.  Joseph Gordon-Levitt and Anthony Mackie are decent but they don’t quite have the comedic timing that Rogen pulls off so well.  The film is pepper with plenty of comedy stalwarts and each takes advantage of their time on screen.  It has all the hallmarks of what should be a classic comedy but it just never gets there for some reason.  

B-

Cindy Prascik's Review of Pan & The Walk

 

 

 

Dearest Blog: With an insanely busy weekend looming in front of me, it was down to Friday afternoon to cover cinema duties. 

 

On the agenda were two movies that, if we're being honest, I'd have been just as happy to skip: Pan and The Walk.

 

Spoiler level here will be mild, nothing you wouldn't know from the various trailers and IMDB listings.

 

First up: Pan, a Peter Pan origins story. (Yes, Hollywood is apparently *that* desperate!)

 

By now you've undoubtedly heard that Pan is terrible, and, even worse in many people's eyes, a box office flop. Both of these statements are undeniably true, but there are some qualifiers, so, first, let's get to the positives...

 

Kid actors. Even when they're good for kid actors, they're not always GOOD, but Pan lucked out with its Peter, Levi Miller. A movie riding on a kid star walks a fine line between precociously adorable and annoyingly snotty, but Miller falls firmly on the good side. Pan boasts some lovely locations and sets, and costumes and makeup--while not always to my taste--are unique and interesting. Pan's best feature by far, though, is a soaring score by John Powell that is good enough to make the movie's many other failings almost entirely forgivable.

 

Now the bad news...

 

While Hugh Jackman's booming delivery and exaggerated mannerisms might serve him well on the stage, here he'd have done better to dial it back a notch or ten. 

 

Garrett Hedlund's Hook bears no resemblance to the pirate of lore, but rather looks like a poor-man's Indiana Jones and sounds like someone doing the world's worst impression of Dr. McCoy from the newest Star Trek movies. It's so awful it'll give you a start every time the man opens his mouth. Odd choices that would have looked like genius, had they played well, only end up providing a couple WTF moments. (Some old-school punk or 90s grunge, anyone?) 

 

Finally, the movie is so dark that even bright daylight scenes appear dingy, a possible side-effect of seeing a 3D movie in 2D because the schedule said so. It's clear the folks who crafted Pan threw as much money as they could at the screen, and it's clear they wanted that to be garishly obvious, so the middling box office was bound to be a disappointment; Pan was a "flop" before it ever got out of the gate.

 

Pan clocks in at 111 minutes and is rated PG13 for "fantasy action violence, language, and some thematic material."

 

It may be terrible, and it may be a flop, but Pan is still strangely enjoyable at times. 

 

Of a possible nine Weasleys, Pan gets five.

 

Next on the docket: The Walk.

 

French high-wire artist Philippe Petit captivates the world with a daring illegal walk between the Twin Towers of the World Trade Center.

 

Dear reader(s): I'ma be straight: My preconception of The Walk was the same as Gravity, that is, I expected the movie to be visually stunning and boring as hell. 

 

As with Gravity, though, I was too hasty in judgment.

 

The Walk IS visually stunning. When you hear the 3D is making people throw up, BELIEVE IT. I was forced by the schedule to endure 3D myself; I'm not particularly skittish about heights--this is not to say I'm eager to do a high-wire walk anytime soon, either!--but I still I had to look away more than a few times. The visuals from both ground and air level are quite spectacular. Joseph Gordon-Levitt pulls double-duty as Petit, the movie's star and narrator, and his supreme charm is once again in full effect. It's literally impossible to dislike Gordon-Levitt, though I found his French accent to be a bit distracting. 

 

He does a fine job of it, but, as with David Tennant's American accent in Gracepoint, it's just so weird coming out of his face that it feels very noticeable all the time. 

 

The supporting cast, outside of Ben Kingsley, will be mostly unrecognizable to fans on this side of the pond, but they are uniformly solid. The Walk would have been smart to take a page from Gravity's book and rein it in at about 90 minutes, but other than a bit of bloat, it's a pretty fantastic film. 

 

Where the movie is most successful, though, where it's really, really effective, is not with top-notch 3D or engaging actors. At its heart, The Walk is a love letter to the Twin Towers, a heartbreaking declaration of affection from Petit and the filmmakers to those big, beautiful buildings that now live only in memory. I didn't anticipate that aspect, so for me it was a pleasant surprise that turned a good movie into a great one (and left me a blubbering mess).

 

The Walk runs 123 minutes and is rated PG13 for "thematic elements involving perilous situations, and for some nudity, language, brief drug references, and smoking."

 

The Walk is a film of great visual magnificence, but it's real beauty is in its heart. 

 

Of a possible nine Weasleys, the Walk gets seven and a half.

 

Until next time...

 

 

MOVIE REVIEW: FRANK MILLER’S SIN CITY: A DAME TO KILL FOR

Robert Rodriguez teams with Frank Miller to direct this follow-up to Sin City from a script by Miller and William Monahan based on preexisting stories along with new ones written for the big screen. Josh Brolin stars in the adaptation of the comic miniseries (Sin City: A Dame to Kill For), which tells the backstory of Clive Owen's Dwight character as he is wrapped up in the thralls of femme fatale, Ava Eva Green. Also new to the series is Joseph Gordon-Levitt, who plays Johnny, a mysterious gambler set on taking down his sworn enemy in a high-stakes game of life and death.  Mickey Rourke, Rosario Dawson, Jessica Alba, and Jaime King return for the Dimension Films release, with Jamie Chung and Dennis Haysbert stepping into roles left by Devon Aoki and the late Michael Clarke Duncan. ~ Jeremy Wheeler, Rovi

Director: Frank Miller, Robert Rodriguez 

Cast: Josh Brolin, Mickey Rourke, Joseph Gordon-Levitt, Eva Green, Jessica Alba.

Rated R for pervasive violence, sex, nudity, smoking, and drugs

Release Date: Aug 22, 2014

Runtime: 102 min

Genres: Crime Thriller, Post-Noir (Modern Noir), Crime

Review:

The follow up to Sin City from Frank Miller and Robert Rodriguez goes well with its predecessor even if it’s lost a bit of its bite this go around.  The style, violence and attitude carry over keeping the film visually interesting but kind of a mixed bag in terms of a story.  The good part of the film involves anything that contains Mickey Rourke who slips back into Marv’s skin with incredible ease and the always impressive Eva Green.  Green has a second Frank Miller sequel she’s single handedly props up.  Eva is always the most interesting person on screen as chews up scenery as the man eating black widow.  It’s an over the top performance but hints of subtly showcasing Green’s talent and a fair amount of self awareness.  She knows exactly what kind of film this is and what the directors are aiming for, as a result she knocks it out of the park.  On the opposite end of the spectrum is Jessica Alba who misses the mark badly.  Even worse, she seems totally unaware about how badly she’s doing.  Rourke is great but his role is greatly reduced here since he’s more of a supporting player for Josh Brolin who’s surprisingly unmemorable and bland.  Dennis Haysbert fills in capably for the late Michael Clarke Duncan while Jamie Chung is fairly distracting filling in for Devon Aoki for some reason, it might be obnoxious amount of make up they piled on her.   The biggest disappointment is Joseph Gordon-Levitt and it has nothing to do with his performance which is fine.  The problem is that his entire segment and character is utterly pointless.  It makes the entire film feel longer than it actually is, making it a bit of a slog even for fans of the series. 

C+

[Trailer] Sin City: A Dame to Kill For

It's been a long wait but we finally have our first look at the follow up to the original Sin City.  This sequel has been talked about for years but stuck in perpetual production hell until it finally gained traction in the last year and half.

This teaser is likely to thrill fans but probably won't convert newcomers.  Since the sequel is being released around the same time as this past year's Machete Kills, I get the feeling that Rodriguez and Miller are going all out.....

Cindy Prascik's Reviews of Prisoners & Don Jon

Dearest Blog, today it was off to the cinemas for a double-feature of strange bedfellows, Prisoners and Don Jon.

Spoiler level here will be mild, nothing the trailers didn't reveal.

First up was last week's number-one box office draw, Prisoners.

Two young girls go missing on Thanksgiving day, and while locals and law enforcement attempt to find the girls and the culprit, one father takes matters into his own hands.

To be perfectly frank, I wasn't buying much of the hype about Prisoners. It looked like a good enough whodunnit, but nothing special. Sadly, it didn't surprise me.

Dear reader(s), by now we know one another well enough that I don't need to tell you

Prisoners is too damn long. It clocks in at two and a half hours, and starts feeling like it's never going to end somewhere around the 90-minute mark. The mystery itself is interesting, if nothing new, but the pacing is slow and never really gains any momentum.

The bleak late-fall/early-winter landscapes (Georgia masquerading as Pennsylvania) set the perfect tone for what is a humorless, miserable film. I'm not a fool, and I don't expect pratfalls and belly laughs in a story about child abduction, but there's a sort-of graveyard humor that's common among folks who work in grim circumstances, and the movie could have used some of that.

The cast is a who's who of Awards season darlings: Hugh Jackman, Jake Gyllenhaal, Terrence Howard, Viola Davis, Maria Bello, Melissa Leo and Paul Dano. I can't say anyone gave the performance of his or her career, but everyone was more than adequate. I might fairly be accused of some personal bias in Mr. Gyllenhaal's favor, but I thought he captured his stressed and twitchy detective especially well. And I will never complain about two hours of Melissa Leo. Ever.

Prisoners clocks in at 153 minutes (you heard me!) and is rated R for "disturbing violent content including torture, and language throughout."

Prisoners is an average thriller that's blessed with, but ultimately can't be saved by, an extraordinary cast.

Of a possible nine Weasleys, Prisoners gets five.

Lightening things up a bit for the second half of our doubleheader, I sprinted across the cinema to catch Don Jon, starring, written, and directed by Joseph Gordon-Levitt.

A young New Jerseyite is content with his life of working out, clubbing, and watching porn...until he meets the girl of his dreams.

Lest any readers get the wrong idea, and I think the wrong idea easily could be gotten here, I'll state up front that the following thoughts are based on this film only, there's no underlying discomfort with or distaste for the subject matter. (Read: I'm entirely okay with porn.)

Don Jon isn't the straight comedy sold by the trailers. When it's funny, it's very funny. The drama is equally well done, but--not being what I expected--it left me feeling a bit off-kilter about the whole. The film is very crass throughout. It's short by today's standards, but I suspect it would have worn out its welcome long before the end if Gordon-Levitt weren't so charming. Scarlett Johansson is fantastic as his Jersey Shore-esque dream woman, and Julianne Moore, Tony Danza, and Glenne Headly are strong in supporting roles.

Before I saw this, if you'd asked me to list ten ways I thought it might end, I wouldn't have come close to guessing the way it does end. Full marks for one of the best cinema surprises I've had in a good, long while.
Don Jon runs 90 minutes and is rated R for "strong graphic sexual material and dialogue throughout, nudity, language, and some drug use."

Don Jon isn't a perfect film, but it's confident, funny, and charming enough to be worth a rental, if not a trip to the cinema.

Of a possible nine Weasleys, Don Jon gets six.

Now, seriously, I've already had enough of this crap. Remind me when Thor's out again, please??

Until next time...........



If I ever go missing, please send Detective Jake Gyllenhaal!

MOVIE REVIEW: LINCOLN

LINCOLN



Steven Spielberg helms his long-in-the-making biopic of Abraham Lincoln for DreamWorks and Touchstone Pictures. Daniel Day-Lewis portrays the former head of state in the Tony Kushner-penned adaptation of Doris Kearns Goodwin's book Team of Rivals, which chronicles the President's time in office between 1861 and 1865 as he dealt with personal demons and politics during the Civil War. Sally Field leads a co-starring cast that includes Tommy Lee Jones, Joseph Gordon-Levitt, and Academy Award nominee John Hawkes. ~ Jeremy Wheeler, Rovi

Director: Steven Spielberg

Cast: Daniel Day-Lewis, Sally Field, Tommy Lee Jones, Joseph Gordon-Levitt, Hal Holbrook

Release Date: Nov 09, 2012

Rated PG-13 for intense Scene of War Violence, Brief Strong Language and Some Images of Carnage

Runtime: 2 hr. 29 min.

Genres: Drama

Review:

Steven Spielberg’s Oscar bait biopic of Lincoln is that rare features that portrays history honestly with as little sentimentally, for a Spielberg film at least, as possible. At its center it’s a cornucopia of wonderful dialogue performed by some of the finest actors work in the business. In the title role, Daniel Day Lewis once again loses himself utterly and totally into Honest Abe’s skin. It’s not as showy a role as you think; instead it’s a testament to nuance and restraint. Lewis displays his talent to emote a range of emotions through his face and eyes, giving us a look into the man’s heart and soul with only a few rare “splash” scenes. Sally Field surprises with her turn as Mary Todd Lincoln. She gives her an emotionally broken depth that’s palpable, building to a masterful climatic scene with Lewis that gives us a glimpse into the relationship and dynamic. Tommy Lee Jones, even more bulldogged faced than usual, is appropriately sarcastic and single minded in his pursuit of true equality. James Spader and John Hawkes supply some needed levity as a pair of fixers working to “convince” opposition party members to change their mind on the vote. Spielberg keeps to the entire thing together working with restraint and tact throughout. Certain scenes feel like moments from stage plays as watch characters give speeches and pontificate about large issues. Spielberg is able to make it engrossing and engaging, an appropriate tribute to a great leader.

A-

MOVIE REVIEW: LOOPER

IN THEATERS

LOOPER



A hired gun from the future discovers that his greatest adversary is himself in this twisting sci-fi mindbender starring Bruce Willis and Joseph Gordon-Levitt, and directed by Rian Johnson (Brick, The Brothers Bloom). In the year 2047 time travel has yet to be invented. Thirty years later, however, it has. Though immediately outlawed, time-travel technology is quickly appropriated by the mob, and used to cleanly dispose of anyone deemed a threat. The process is simple: When the mob wants someone to disappear, they simply send them back to the year 2047, where an assassin known as a "looper" quickly carries out the hit, and disposes of the body. Joe Simmons (Gordon-Levitt) is one of the most respected loopers around. Each kill earns him a big payday, and he's got big plans to retire to France. Then, one day, as Joe patiently awaits the appearance of his next target near the edge of a remote corn field, he's shocked to come face-to-face with his future self (Bruce Willis). When the younger Joe hesitates, the older Joe makes a daring escape. Now, in order to avoid the wrath of his underworld boss (Jeff Daniels), young Joe must "close the loop" and kill his older counterpart. Meanwhile, the revelation that a powerful crime boss in the future has set the underworld ablaze pits the two Joes on a violent collision course, with the fate of a devoted mother (Emily Blunt) and her young son hanging in the balance. Paul Dano and Piper Perabo co-star. ~ Jason Buchanan, Rovi

Director: Rian Johnson

Cast: Bruce Willis, Joseph Gordon-Levitt, Emily Blunt, Paul Dano, Noah Segan

Release Date: Sep 28, 2012

Rated R for some Sexuality/Nudity, Language, Drug Content and Strong Violence

Runtime: 1 hr. 59 min.

Genres: Suspense/Thriller

Review:

Looper is the type of sci-fi film that makes a life long genre fan smile. Smart and well thought out, its world is brought to life with vibrant energy and depth that usually missing from most recent fare. Rian Johnson directs this mind bending film with a steady hand and keeps the action moving at a steady pace. He allows things to unfurl in an authentic manner; it’s a methodical process which settles you into the proceedings. In doing so, Johnson creates an atmosphere which lets you feel the grim and despair of this dystopian future. Joseph Gordon-Levitt performance here is a perfect match for this world. He does a fine job showcasing the characters soulless, aimless nature. The heavy prosthetics which are supposed to make him look like Bruce Willis are a tad distracting, sometimes more than others. Willis as the older version of the same character brings a world weariness to it that incredibly appropriate all while being on full vengeance mode. Emily Blunt’s role is kind of disorienting and against type but effective. Pierce Gagnon as her son is as creepy as he is mature for a child actor. Rian Johnson makes a wise decision in casting the impressive Jeff Daniels and Paul Dano in small supporting roles, rounding out his film. If there is small complaint is the film does start to drag a bit in the early part of the 3rd act. Additionally, it takes a somewhat unexpected turn which may turn off some people. Still as a whole is one of the more impressive films genre films in recent memory.

B

MOVIE REVIEW: THE DARK KNIGHT RISES [Spoiler Free]

IN THEATERS

THE DARK KNIGHT RISES




Christopher Nolan's Batman trilogy concludes with this Warner Brothers release that finds The Dark Knight pitted against Bane, an unstoppable foe possessed of tremendous physical and intellectual strength. Nearly a decade after taking the fall for Harvey Dent's death and disappearing into the darkness, a fugitive Batman (Christian Bale) watches from the shadows as the Dent Act keeps the streets of Gotham City free of crime. Meanwhile, an elusive cat burglar seizes the chance to strike, and a masked anarchist plots a devastating series of attacks designed to lure Bruce Wayne out of the shadows. Determined not to abandon the people who he once risked his life to protect, The Dark Knight emerges from his self-imposed exile ready to fight. But Bane (Tom Hardy) is ready, too, and once Batman is within his grasp, he will do everything in his power to break Gotham City's shadowy savior. Oscar-winner Michael Caine and Gary Oldman return in a sequel also starring Anne Hathaway, Marion Cotillard, and Joseph Gordon-Levitt. ~ Jason Buchanan, Rovi

Director: Christopher Nolan

Cast: Christian Bale, Anne Hathaway, Tom Hardy, Marion Cotillard, Joseph Gordon-
Levitt, Michael Caine , Gary Oldman, Morgan Freeman

Release Date: Jul 20, 2012

Rated PG-13 Intense Sequences of Violence, Intense Sequences of Action, Language and some Sensuality

Runtime: 2 hr. 45 min.

Genres: Action/Adventure, Suspense/Thriller

Review:

In a summer of movies where one anticipated film is followed by another, there was only one that truly and deeply had me waiting desperately and impatiently. After having digested The Dark Knight Rises twice now, I can say that Christopher Nolan has created one of the best trilogies of all time for one of the seminal character in pop culture. With TDKR Nolan has made the Avengers look quaint in comparison. Incredibly satisfying and emotionally impactful, this finale ends the series with a real bang. Borrowing pieces from graphic novels like The Dark Knight Returns, No Man’s Land, a sampling of Batman Beyond and even a bad Batman The Animated Series episode, TDKR is a cornucopia of delights for Batfans like me. Little winks and nods of fan service are peppered into the film making me about gleeful as an unsupervised child in a candy store. The story meshes incredibly well with the overall arch of the first 2 films especially Batman Begins. Bale is given the spotlight here, rightfully so, and he’s incredible. Bale portrays Wayne, Batman himself is actually only in about a third of the overall film, as a man dealing with the after effects of the 2nd film’s finale. He displays Bruce’s struggle to find meaning and direction in his life with textured nuance. Tom Hardy, who looks like Brian Urlacher dressed for an S&M party, is quiet impressive as the primary villain here. Sounding like a cross between Darth Vader and Sean Connery, his Bane is a shark to Heath Ledger’s wild dog Joker. Bane is menacing and intimating, brimming with confidence in every scene which is impressive considering Hardy only has his hands and eyes to act with because of the face mask. Equally impressive and perhaps more surprising is Anne Hathaway’s Catwoman. Hathaway just nails the character’s essence and persona right from the start. This is a more traditional Catwoman than the S&M Burton version. As such it feels more in keeping with her character from the comic and animated sources, a real delight. Joseph Gordon-Levitt & Marion Cotillard both do solid work in roles that are vital to the story arch. With all the new faces in this entry some of the series standby take a bit of a back seat but still leave their mark such as Oldman perfect pitch Gordon which is always a joy, as is Morgan Freeman’s Lucius Fox. Michael Caine though deserves special recognition as Alfred even though he’s in this film a lot less than previous entries. Caine has a few scenes that deliver potent emotional punches in his roles as Bruce’s paternal figure. Together this cast creates a lush and vivid Gotham that’s alive and earned through the other film’s set up. The film rolls towards it’s final act which itself is an impressive piece of directing by Nolan since it’s pretty much a very well orchestrated version of the 1966 Batman finale where Adam West was running around with a bomb over his head. Of course that’s an exaggeration but it’s a testament to the strength of the film that it works so well as a thrilling finale giving me many a goose bumps throughout. If there are a few nitpicks they are very minor. Some of the dialogue feels clunkier that the previous entries and some character’s like Matthew Modine’s Assistant Chief serve little to no purpose. Minor issues but apparent. Regardless, you’ll leave the theater wondering how that nearly 3 hour run time passed by so fast and when you can see it again.

A

[Final Trailer] THE DARK KNIGHT RISES

An early gift has presented itself, maybe because Nolan doesn’t want fanboys to forget his little film with all The Avengers hype leading up to this Friday.

This final trailer is incredible, probably up there with the Prometheus trailer. It’s quiet, dark and full of foreboding mixed with plenty of new images to just make a fan like me go batty…..

[Trailer] The Dark Knight Rises

The full trailer for The Dark Knight Rises is finally out on the web. I saw it on IMAX this weekend before Mission Impossible: Ghost Protocol and after watching it again I’ve had the same reaction.

The hairs on my arm just stand up as I witness the epic-ness that on display…..

[Trailer] The Dark Knight Rises - OFFICIAL

Poor quality bootleg verison of the teaser trailer for those of you who can't wait like myself.

I'll put up the offical version of the trailer as soon as I have it.

7/18/11 - OFFICIAL VERSION NOW UP...

Tom Hardy As Bane From The Dark Knight Rises

First image of Tom Hardy as Bane has been released and it’s an interesting shot to say the least.

Kind of a tease but enough to give you an idea of what Nolan is doing which is pretty much what’s he’s done the whole series, bring the more “comic” parts to the real world.

I personally think it's pretty cool looking but would love to get a straight up shot of him and that mask....

MOVIE REVIEW: INCEPTION

IN THEATERS

INCEPTION



Visionary filmmaker Christopher Nolan (Memento, The Dark Knight) writes and directs this psychological sci-fi action film about a thief who possesses the power to enter into the dreams of others. Dom Cobb (Leonardo DiCaprio) doesn't steal things, he steals ideas. By projecting himself deep into the subconscious of his targets, he can glean information that even the best computer hackers can't get to. In the world of corporate espionage, Cobb is the ultimate weapon. But even weapons have their weakness, and when Cobb loses everything, he's forced to embark on one final mission in a desperate quest for redemption. This time, Cobb won't be harvesting an idea, but sowing one. Should he and his team of specialists succeed, they will have discovered a new frontier in the art of psychic espionage. They've planned everything to perfection, and they have all the tools to get the job done. Their mission is complicated, however, by the sudden appearance of a malevolent foe that seems to know exactly what they're up to, and precisely how to stop them. ~ Jason Buchanan, All Movie Guide

Director: Christopher Nolan

Cast: Leonardo DiCaprio, Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page

Release Date: Jul 16, 2010

Rated PG-13 for sequences of violence and sequences of action

Runtime: 2 hr. 22 min.

Genres: Suspense/Thriller

Review:

Christopher Nolan’s Inception is like watching someone play make-believe on an epic scale. Everything is large about this film, heady themes mixed with aggressive visual and multilayered story arcs crisscrossing about that one could easily be lost by sneaking out to a quick bathroom break. Nolan’s persistent dedication to playing with the audiences perceptions is very much at play here in this sci-fi thriller that is a really a heist movie at its heart. While Nolan crafts an impressively complex and intriguing storyline it’s also one that bears a lot of hallmarks of previous films, clearly showing Nolan’s inspirations for this endeavor. Sadly, this makes certain aspects of the film fairly predictable. It’s original and derivative at the same type, perhaps a purposely imposed paradox from Nolan. The cast is all in fine form and each make the most of their roles regardless of how limited it maybe in some cases. Leonardo DiCaprio is appropriately dour and determined throughout. He doesn’t quiet let this character breathe as much as he should making his realization at the end come off as a tad artificial. Marion Cotillard is clearly having the most fun in the entire film as she gets top play varied versions of the same person throughout. Her performance runs the gamut of tender and heartfelt to mildly terrifying and selfish. She commands the screen every time she’s on it and makes the strongest impression throughout. Ellen Page gives the smart ass shtick a break and plays her character well with a nice sense of wonder and discovery. Joseph Gordon Levitt, Ken Watanabe and Tom Hardy are all quiet strong in supporting roles each giving their characters recognizable traits in limited screen time. Cillian Murphy isn’t given much too do outside of looking like a mark. As a whole this is another win for Nolan’s increasingly impressive resume, even if he couldn’t resist an open ended finale.

A-

Bluray quality; Video is nearly perfect showcasing the wonderful visuals throughout; Sound mix is impressive across the board, extremely active.

I was hand-selected to be a member of Blu-ray Elite, a beta program from Warner Home Video which has graciously sent me this free Blu-ray disc.