Crannicus_Maximus
Joined Mar 2006
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Crannicus_Maximus's rating
From director Luc Besson (THE TRANSPORTER, THE FIFTH ELEMENT), who also co-writes, comes the 1999 historical drama film THE MESSENGER: THE STORY OF JOAN OF ARC, a film which by and large follows in the tradition of other stalwarts in the genre (such as BRAVEHEART.) As the title may suggest, this movie is all about Jeanne D'Arc, the peasant girl who would later claim to have seen visions from God and lead the armies of France to several triumphs over the English during the Hundred Years War.
The film is impressive. Even if it is not perfectly accurate in a historical sense, it does outline the highlights of Joan's campaign, the prominent figures who fought with and against her, and works wonders in capturing the sheer brutality of battle.
Milla Jovovich (RESIDENT EVIL, THE FIFTH ELEMENT) is wonderful as the violent, aggressive, and zealous titular character, with her hatred for the English and desire to do God's will made plain on every shot of her face in battle.
Strong supporting turns from John Malkovich (BURN AFTER READING, BEING JOHN MALKOVICH), Dustin Hoffman (SLEEPERS, RAIN MAN), Tchéky Karyo (THE PATRIOT, GOLDENEYE), and Vincent Cassel (EASTERN PROMISES, OCEAN'S TWELVE) round out the film's acting retinue.
The battle sequences are brilliantly and brutally shot, specifically designed to do away with the glorification of war that is so frequently seen in movies such as this; men are decapitated, blood sprays, heads are smashed to a pulp. The savagery of 15th-century warfare is brought to the fore effectively and honestly.
But the post-capture sequences are equally entertaining, and this is largely because of Dustin Hoffman's spectacular turn as 'the Conscience'. In many ways, Hoffman carries the second act of THE MESSENGER, and his rendering should have been Oscar-worthy.
About the only place the film really suffers is in small areas of scripting. There are times when characters say silly, or outright stupid, lines. This is especially true in the moments leading in to battle.
All in all, the movie was entertaining, and worth buying for anyone who wants to expand their library.
7/10.
The film is impressive. Even if it is not perfectly accurate in a historical sense, it does outline the highlights of Joan's campaign, the prominent figures who fought with and against her, and works wonders in capturing the sheer brutality of battle.
Milla Jovovich (RESIDENT EVIL, THE FIFTH ELEMENT) is wonderful as the violent, aggressive, and zealous titular character, with her hatred for the English and desire to do God's will made plain on every shot of her face in battle.
Strong supporting turns from John Malkovich (BURN AFTER READING, BEING JOHN MALKOVICH), Dustin Hoffman (SLEEPERS, RAIN MAN), Tchéky Karyo (THE PATRIOT, GOLDENEYE), and Vincent Cassel (EASTERN PROMISES, OCEAN'S TWELVE) round out the film's acting retinue.
The battle sequences are brilliantly and brutally shot, specifically designed to do away with the glorification of war that is so frequently seen in movies such as this; men are decapitated, blood sprays, heads are smashed to a pulp. The savagery of 15th-century warfare is brought to the fore effectively and honestly.
But the post-capture sequences are equally entertaining, and this is largely because of Dustin Hoffman's spectacular turn as 'the Conscience'. In many ways, Hoffman carries the second act of THE MESSENGER, and his rendering should have been Oscar-worthy.
About the only place the film really suffers is in small areas of scripting. There are times when characters say silly, or outright stupid, lines. This is especially true in the moments leading in to battle.
All in all, the movie was entertaining, and worth buying for anyone who wants to expand their library.
7/10.
Following in the footsteps of MYSTIC RIVER and MILLION DOLLAR BABY comes another smashing success for director Clint Eastwood, this time in the form of GRAN TORINO.
The film also stars Eastwood in the role of Walt Kowalski, a veteran of the Korean War and former employee of Ford. Walt is intensely racist, and so his world is predictably turned upside-down when a Hmong family moves in to the house next door.
The film unfolds from here, with viewers being exposed to the gradual transformation of a man whose life was structured around being unyielding, unwelcoming, and most importantly unwilling to adapt to the new age of multiculturalism in western society.
Strong supporting turns by Bee Vong, Ahney Her, and Christopher Carley round out the film's strong script and powerful directing and camera-work, and a powerhouse ending leaves viewers thinking about the film for some time after it has ended.
Limitlessly rewatchable. 10/10.
The film also stars Eastwood in the role of Walt Kowalski, a veteran of the Korean War and former employee of Ford. Walt is intensely racist, and so his world is predictably turned upside-down when a Hmong family moves in to the house next door.
The film unfolds from here, with viewers being exposed to the gradual transformation of a man whose life was structured around being unyielding, unwelcoming, and most importantly unwilling to adapt to the new age of multiculturalism in western society.
Strong supporting turns by Bee Vong, Ahney Her, and Christopher Carley round out the film's strong script and powerful directing and camera-work, and a powerhouse ending leaves viewers thinking about the film for some time after it has ended.
Limitlessly rewatchable. 10/10.
Based on the pen and paper roleplaying game of the same name, MUTANT CHRONICLES is a science-fiction action outing in the tradition of ALIEN and other, similar films.
The movie centers around a small, multi-national group of soldiers, led by Thomas Jane (DREAMCATCHER, THE PUNISHER), who are sent on a mission to put an end to the recent and overwhelmingly brutal threat of mutant invasion.
Ron Perlman (HELLBOY, BLADE II), Sean Pertwee (WIlDERNESS, DOG SOLDIERS) and John Malkovich (BURN AFTER READING, THE MAN IN THE IRON MASK) each offer supporting turns, though Pertwee seems tragically underused and Malkovich is disappointing.
The film's saving graces are CGI, large amounts of action, and a willingness to stick to the traditional sci-fi/action formula. There are few to no deviations between this movie and others in the genre, such as ALIEN and PREDATOR, right down to the laundry list of casualties and the improbable situation into which the characters are thrust in the first place.
Though the acting is weak all across the board, it's hard not to have fun when there's so much blood and gore. The film is still watchable, but don't expect any awards come Oscar season.
6/10.
The movie centers around a small, multi-national group of soldiers, led by Thomas Jane (DREAMCATCHER, THE PUNISHER), who are sent on a mission to put an end to the recent and overwhelmingly brutal threat of mutant invasion.
Ron Perlman (HELLBOY, BLADE II), Sean Pertwee (WIlDERNESS, DOG SOLDIERS) and John Malkovich (BURN AFTER READING, THE MAN IN THE IRON MASK) each offer supporting turns, though Pertwee seems tragically underused and Malkovich is disappointing.
The film's saving graces are CGI, large amounts of action, and a willingness to stick to the traditional sci-fi/action formula. There are few to no deviations between this movie and others in the genre, such as ALIEN and PREDATOR, right down to the laundry list of casualties and the improbable situation into which the characters are thrust in the first place.
Though the acting is weak all across the board, it's hard not to have fun when there's so much blood and gore. The film is still watchable, but don't expect any awards come Oscar season.
6/10.