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Reviews
Bang Bang You're Dead (2002)
Yeah, This Movie Was Nice
What Fast Times was to the 80s, Bang Bang may be to 2002. Entirely different films tone-wise, these two titles may, nevertheless, present each decade's primary concerns revealingly.
Bang, Bang, You're Dead gets its title from a play of the same name. That play examines the conscience of a fictional high school boy who went on a killing rampage not dissimilar to the fairly recent all to real ones.
Bang, Bang, the movie provides us with a reason to believe that the play is a necessary one. Trevor, the main character, seems to be (to have been) on the brink of the kind of meltdown that could lead to columbine type violence. We encounter Trevor in the middle of his story, as the previous year saw him in trouble for a threat of violence. As a result of this outburst, Trevor is looked upon with suspicion by almost all of the other members of his community. Instead of receiving support from those tasked with being concerned about his welfare, he instead is objectified into a certain kind of _character_ whose options are limited.
Mr. Cavanagh gives us a fine performance of what is more or less his TV character, Ed, thrust into the well-meaning and perhaps wiser than the rest of the community, theatre teacher who believes in Trevor's fitness for high school. Despite the outrage of the community, he wants to cast Trevor as the lead character in the play Bang Bang, You're Dead. Unfortunately, the folks in the town only know the basic elements of the play, as is indicated by their systematic failure to correctly recite the title.
A study of the tenuous connections that hold a community together, and how those connections can lead to tension that pushes the breaking point, Bang, Bang shows us that we are not always as free from responsibility of our outcasts as we might suppose.
Where the film "Bully" gave us a fairly unsympathetic case of teenage power dynamics and the explosive results, Bang Bang takes an intensive (and realistic) look into the conditioning done within high school halls. In the present mood of paranoia about the threats from outside of US culture, it's important for us to see that even in what might seem to be the most protected of our inner sanctums, we may force some elements of ourselves into an almost violent desperation. That this could occur to a middle class white male in a most similarly raced and classed environment, hopefully gives us pause when we think about the marginalization we force on those further from the so-called center.
Sex Drive (2008)
Ezekiel Is Hilarious, I Love His Sarcasm.
Since this film was a comedy let's look at it in that light first. I saw this movie about a week ago and it had about two hilarious moments which I am having a hard time remembering. The rest of the film most of the audience sat there in silence, with sporadic giggles throughout. My friends whom I watched the pre-screening with said they were amused in general but didn't find the film very funny. This is probably because this film strongly uses clichés and old ideas that have just been reshuffled with relatively little originality.
The originality is this: The two main characters (the lead and his goofy friend) are in some sort of role reversal where their bodies and personalities are flipped and it's very hard to believe either can be themselves the way they are. The whole film I felt this way and and it was quite distracting, this may to some degree be attributed to the actors and Director failing to create believability and instead creating teen-comedy caricatures, but to the actors credit the three leads showed promise and could do better in a different movie.
The comedy itself has a lot of preteen raunchiness that appears so often and so strongly that if you were to see a naked old man showing his gonads like in the movie "Borat" you wouldn't be very shocked or surprised. Normally this would be funny, like in the scene in "American Pie" with the the pie; but since this film holds very little meaning below the obvious surface gags, the comedy punch doesn't land strongly if at all that often.
This film was also full of young beautiful actresses meant to portray the regular public as they cameo over and over again through most scenes. I don't recall one average looking young woman in the whole movie. This was slightly annoying because perhaps I was looking for something like "Dazed and Confused" and felt like was I was watching something a little better than "American Pie 3". What I mean is that this film is like "Superbad" where it's laden with raunchy teen comedy and some teen sexual angst. But unlike "Superbad" it doesn't have the deep underlying truths that elevate the script above boorish crude gags. If it weren't for those two hilarious scenes I failed to describe and perhaps the saving grace of the lead actors this film would be garbage. But it's not, and kudos to the Donut costume! If you are between the ages of 13-19 you'll probably like this film a bunch. Everybody else prepare to be mostly silently amused.
6/10
Meet Dave (2008)
Don't Follow The Critics, This Is Not That Bad
You know, these critics need to go easy on these kinds of family movies, because the bad reviews really made me underestimate the film. But when I saw it, I really enjoyed it. For a family movie, Meet Dave is great. Although it was a bit superficial, it kept me laughing almost throughout. I don't even know why it's getting such bad reviews. I do know though that bad marketing is the main cause of the film being so unsuccessful .
Meet Dave focuses on a bunch of miniature aliens who land their human-sized spaceship on earth on the lookout for their lost "orb". Eddie Murphy plays both an alien and a spaceship perfectly. Especially the first part of the film as he is getting accustomed to earth people is just hilarious. The things he does and how he does them are really funny.
Usually I somewhat believe what the critics say about a movie. But this is one film that certainly made me not believe in what they say.
Get Smart (2008)
Great Laugh Movie, Carrel Is Hilarious
With loads of action, quirky humor, jazzy music, and shoe phones, Get Smart has admirably mimicked the blend of genres and innovations that made the original series so memorable, and while die-hard fans will likely pick apart what this re-envisioning doesn't get right, it's almost impossible not to laugh at Steve Carell's ludicrous on screen antics.
Over-analyzing analyst Maxwell Smart (Steve Carell) dreams of becoming an official Agent for the top secret government organization CONTROL, and longs to execute action-packed spy missions like his idol, the charismatic Agent 23 (Dwayne Johnson). When CONTROL headquarters is attacked by longtime nemesis group KAOS and many of the Agents' identities are compromised, Smart is promoted to Agent 86 and partners with the unwilling Agent 99 (Anne Hathaway) to thwart the villainous group's latest plan for world domination.
Whether or not Steve Carell perfectly embodies Maxwell Smart, he certainly knows how to handle his comedy. Excelling at both physical and verbal-stemmed laughs, Carell makes the tumbles look as easy as his notable style of quick quips and clever observations, and the funnyman seems to garner chortles even when the rest of the crew can't quite muster an equal energy. Anne Hathaway provides the good looks and serious attitude to counter Agent 86's incessant jokes, and the pair's on screen chemistry gels nicely throughout the majority of the film. A few slips and failed retorts interrupt the flow of their characters' progressions, but are quickly forgotten in the grand scheme. Alan Arkin furnishes several of the funniest moments in the movie and the Academy Award-winning actor never misses a beat when the camera turns his way. Dwayne "The Rock" Johnson again confirms his status as a reliable comedic presence and laudably supports the leads. Many interesting cameos perforate the film, and while they're amusingly recognizable, they're also regrettably wasted. Few draw laughs with clever dialogue or comedic prowess, but rather produce a quick smile for those that get the reference or enjoy the recognition.
The humor throughout Get Smart always orbits around Carell and his singular style of comedy. Those that don't take a liking to his brand of wit will undoubtedly be less amused, as he is clearly the driving force behind the vast majority of the entertainment value present. While Carell's lines are rarely delivered without a magnetic humor, many of the conversations lose their luster midway, due to faltering dialogue and a lack of focus on creating the biggest laughs. Several of the extravagant set-pieces end with many a missed opportunity to supply more hilarity, and lots of little laughs spread the truly uproarious moments too thin. While a healthy dose of romance, drama, and some truly spectacular action scenes appears commendable, the devotion to these components often shortchanges the comedy.
From exotic locales to storm drains, and Moscow to Disney Hall, the action and humor follows Maxwell Smart at breakneck speed. A few feeble gags and missed chances at grand hilarity can't ruin the fun; and while they might have "missed it by just that much," it's not enough to detract from Carell's dynamic performance and the inspired comedy that trails closely behind.
The Wackness (2008)
Well Made, Great Story, Just Fun, Not Special.
The Wackness is an extremely difficult movie to figure out. On one hand, writer/director Jon Levine paints a captivating story around the friendship of two identifiable protagonists in depressed teenage drug dealer Luke Shapiro, played by an up-to-the-task Josh Peck, and eccentric shrink, Dr. Squires, played by a barely up to the task Ben Kingsley. On the other hand, the script itself struggles to find a tone largely fumbling the 1994 NYC setting and ultimately dabbling with dark comedy, philosophy 101, and drug/party filled 90s teenage musings without really nailing down any thematic voice. The movie does succeed in escaping its hazy plot lines and sophomoric personalities with several great one-liners, some decent character development, and a conclusion that left me satisfied but nevertheless a bit sad --which is not a bad thing. Of the 80% filled NYC theater I saw it in, 10 people walked out, the rest applauded at the end. Its that kind of movie.
One of the biggest problems with the movie is its failure to use the 1994 New York City setting to its fullest. As a product of this time and place I felt cheated because Mr. Levine chooses to exploit tid-bits of the culture without ever really showing any substance. We hear references to Kurt Cobain and Phish, we see Luke playing Nintendo NES, we hear a good selection of Biggie, Wu-Tang Clan, and Tribe Called Quest and several references to the Guliani gestapo police, but Levine failed to create a teenage period piece to rival Dazed and Confused, Kids, or Mallrats to name a few more recent ones. The cinematography is good, and adds a vintage type feel to the NYC background, but as a cultural snapshot of a time in NYC history, this movie falls flat.
However, Levine was perhaps preoccupied with a greater goal than a period piece. Shapiro and Dr. Squires are not easy characters to support. Shapiro is a bulk sales weed dealer, with no friends, and a stunted sex life. I think many people will be able to relate to him either directly or indirectly and will enjoy following his teenage "coming of age" tribulations as I did. Kingsley, as Squires, has a tough role and at times plays the stoner shrink as though he has early onset Alzheimer's disease. Its not an easy role, his character is a walking contradiction who mixes decent psychological advice with occasional moments of idiocy. At times he nails it down, at others he comes across as the drunk uncle at Thanksgiving dinner that we are all a bit embarrassed for, but this was probably Levine's intention. Amidst writing that ebbed and flowed at a mediocre level, the dialog between Shapiro and Squires had some knock outs and worked its way up to a satisfying conclusion. The peripheral characters perform admirably when asked, except for Famke Jannsen who failed to show up for her role as Squires' numb to life wife.
If you have ever turned to the recreational consumption of drugs or any other vice as an escape from life or to just 'deal' with life, you will find both Shapiro and Squires much much much more sympathetic and in some ways touching characters. The story of the young Shapiro and old Squires blends the themes of 'soothing your growing pains through drugs (mostly marijuana)' versus the 'trying to go back to your youth and escape your adulthood' through drugs. People who can appreciate or relate to such plot lines will find this movie much more touching than those who cant.
Monster's Ball (2001)
Good Act Make This Watchable
After a series of hardships Hank (Billy Bob Thornton) finds himself alone in the world, with his only son committing suicide and his ever-nagging father always riding him about every little thing. Hank is a prison guard that works on death row at a maximum-security prison where his son was also a guard. While at one of his favorite diners, he comes across a waitress whose luck is no better than his own. Leticia (Halle Berry) has also recently had to deal with the death of her husband who was on Hank's watch on death row. Leticia's son passed away shortly after his father when a car hit him as he was walking home from the diner with his mom. Hank helps her out the night he died and they form an emotional relationship. Director Mark Forster did a wonderful job showing us how in every situation some good can come out and to never give up when it seems all is lost. The character choice was great, Billy Bob Thornton is a passionate actor along with Halle Berry's flare. Tragedies like these happen every day and it was good to see some of the struggles each character faced and the positive that came from this. Monster's Ball had little suspense but all of the tragedy made up for that. Seeing outside of the box is what made this movie so interesting. Hank's father was racist toward the African American race which made the plot a little more suspenseful. The interest that I had in this movie was that it showed a person's will to move on even after a life shattering experience. The story line was catchy but for me the movie started off kind of slow. Once the plot got going, it seemed to hold me in my seat and I didn't find myself wanting to leave the room. All in all, this was a good movie. I wouldn't have given it a five out of five stars, but it earned a firm three. With this, I would definitely watch this movie again.
The Shawshank Redemption (1994)
A Unique Film That Has That Lovely Feeling
Misery and Stand By Me were the best adaptations up until this one, now you can add Shawshank to that list.
This is simply one of the best films ever made and I know I am not the first to say that and I certainly won't be the last. The standing on the IMDb is a true barometer of that. #3 as of this date and I'm sure it could be number 1. So I'll just skip all the normal praise of the film because we all know how great it is. But let me perhaps add that what I find so fascinating about Shawshank is that Stephen King wrote it.
King is one of the best writers in the world. Books like IT and the Castle Rock series are some of the greatest stories ever told. But his best adaptations are always done by the best directors. The Shining was brilliantly interpreted by Kubrick and of course the aforementioned Misery and Stand By Me are both by Rob Reiner. Now Frank Darabont comes onto the scene and makes arguably the best King film ever. He seems to understand what King wants to say and he conveys that beautifully.
What makes this film one of the best ever made is the message it conveys. It is one of eternal hope. Andy Dufresne, played by Tim Robbins, has been sent to prison for a crime he did not commit. But he never loses hope. He never gives up his quest to become a free man again. His years of tenacity, patience and wits keep him not only sane, but it gives his mind and a spirit a will to live. This film has a different feel to it. There has never been anything like it before and I don't know if there will again.
I'm not going to say any more about this film, it has already been said, but just suffice to say that I am glad that Forrest Gump won best picture in 94. I would have been equally glad if Pulp Fiction or Shawshank would have won. It is that good of a movie and one that will be appreciated for years to come.
Running Scared (2006)
This Is Why They Call Them Motion Pictures!
I was a big fan of Tarantino after seeing "Resevoir Dogs" and "Pulp Fiction". "Running Scared" is certainly in that same vein, and it also reminds me of John Woo's "The Killer". But where this film lacks the dialog of a Tarantino film, it is a lot more visually stylish than anything QT has ever done. There are great transitions, effective dynamic time warping (speed up or slow down a shot, like a bullet flying through the air), and if you thought Maynard, Zed, and the Gimp were bizarre in "Pulp Fiction", wait until you meet the creepy married couple who through their sick hobby make every other evil character in this film look like Buddhist Monks. It's a fast, furiously-paced film, certainly aptly titled. A great cast, beginning with Paul Walker and Vera Farmiga. And certainly the main kids stand their ground, especially Cameron Bright. Also worth mentioning is the end title sequence animated by Gary Hebert. Bottom line, if you were disappointed by films like "Kill Bill" and "Sin City", films you really wanted to like but found them too cartoonishly clichéd, you'll be more than satisfied with "Running Scared". It's sharp and engaging.