I came real close to liking Shutter Island. I appreciated its beautiful visuals, it's attention to detail, it's superb performances, and everything else you can expect from a filmmaker like Martin Scorsese. In the end, however, I felt cheated. This is another one of those movies that is less of a movie and more of an overly long episode of "The Twilight Zone." In other words, it's a complete story set up just for one twist. But, in the set up of this we have a very great character study of Ted Daniels, played by Leonardo DiCaprio. We have a story of a man dealing with his own demons, and coming to grips with his past. The problem is, the twist is supposed to be a twist, rather than a plot point. Martin Scorsese missed the chance of life time by keeping the truth of DiCaprio's past until the third act.
Ted Daniels is a Federal Marshall investigating a decidedly "progressive" mental institution, full of all the criminals (or as the Administrators correct him, the patients) no other facility can handle. One particularly dangerous patient has gone missing. The Hospital staff is almost unwilling to help him, and he soon realizes that they do not wish for him to uncover the truth- That there are shocking, horrific experiments being performed on these patients. However, in true M. Night Shylamalan fashion, this all just a set up for a huge plot twist that is apparent to anyone with an IQ over 40 who has seen the trailer. It's not long before a moody and involving psychological thriller becomes "The Village" right before our very eyes.
There is a lot to love in this film, despite being Scorcese's weakest attempt. I expected a series of disjointed images and an extremely nonlinear motif made up to confuse the audience. Instead the story played out, slowly introducing more and more elements into the story ton prepare us for the big reveal. Wait, why prepare us for the big reveal? Aren't we more interested, at this point, about the story they set up so far? Around the corner is a story that is just as interesting. Unfortunately, its simply one act of the film. When that happens, our original story is left in the dust. So we are left with two halves, both good, but yearning to be something more.
In 2001, I was "A Beautiful Mind", about Mathematician John Nash, who suffers from various illnesses that force him to see these elaborate visions. This is disguised, quite well, for the first portion of the movie. We learn about his delusions before he does. Anyone who knew anything about the person before seeing the movie knew from the beginning, and that did nothing but enrich the film. It's a sad day when Martin Scorsese should be taking notes from the director of "The Grinch."
** out of ****
Thursday, February 25, 2010
Sunday, February 21, 2010
Black Dynamite
Here is a late review, for a movie that received a justifiably limited release, playing in mostly black communities ignoring the fact that Black Audiences today have long since forgotten about the Blaxploitation Genre. Truth is, most people have. Sure, we all know it. Hell, Quentin Tarantino won't let us forget that. Sure, just about anyone can watch Black Dynamite, and laugh at sophmoric humor regarding decapitations and penis reduction, but to really appreciate it, you are going to need knowledge of the seventies exploitation film well outside of "Shaft" or "Coffy".
Black Dynamite is the most badass of the badass. He's a shameless womanizer, but in this sort of film that does not keep him from being the purely righteous, heroic figure. Neither does the trail of bodies he leaves in his wake. He's on a mission to find out who killed his brother, which interestingly enough coincides with his other mission, which is to get the drugs off the streets. Him and a rag tag group of Black Militants soon find out there is something bigger (in a shocking moment of Batman like proportions) at hand.
I, for one, am impressed out how exciting and stylish the intentionally badly shot action beats were. This is wall to wall excitement, even if most fights consist of pose offs and show offs. Only liners are almost 180 per minute, proving that star Michael Jai White has the ability to transcend the boundries of space and time. I'm reminded of films like "Slaughter" or even some of the old New World films.
Characters come in and out randomly, others monolog to the camera. The dialog is delivered half heartedly. It's a risk, making a movie that is intentionally bad. Often times, you'll end up with bad special effects, bad acting, and not a trace of believability. We can't just look at the Lost Skeleton of Cadavra and laugh at the intentionally visible strings. For the joke to work, you need to make it look like an accident. Black Dynamite plays it off fairly well, though the half hearted speeches from the supporting cast do get to be irritating. By the last half hour, the film jumps the shark, and exits the "Blaxploitation" genre by going to places the genre never goes. Sure, it's funny. The movie is absolutely hysterical. But I liked watching Black Dynamite following in the footsteps of Shaft or Slaughter.
The reason Black Dynamite works is because Michael Jai White plays the character earnestly. He can say the most ridiculous lines, and we believe that's just how Black Dynamite talks. He's surrounded by over actors (who do their job well) and the aforementioned sacks who don't even bother. Perhaps if we just kept the first two, the movie could have been just a bit better.
*** out of ****
Black Dynamite is the most badass of the badass. He's a shameless womanizer, but in this sort of film that does not keep him from being the purely righteous, heroic figure. Neither does the trail of bodies he leaves in his wake. He's on a mission to find out who killed his brother, which interestingly enough coincides with his other mission, which is to get the drugs off the streets. Him and a rag tag group of Black Militants soon find out there is something bigger (in a shocking moment of Batman like proportions) at hand.
I, for one, am impressed out how exciting and stylish the intentionally badly shot action beats were. This is wall to wall excitement, even if most fights consist of pose offs and show offs. Only liners are almost 180 per minute, proving that star Michael Jai White has the ability to transcend the boundries of space and time. I'm reminded of films like "Slaughter" or even some of the old New World films.
Characters come in and out randomly, others monolog to the camera. The dialog is delivered half heartedly. It's a risk, making a movie that is intentionally bad. Often times, you'll end up with bad special effects, bad acting, and not a trace of believability. We can't just look at the Lost Skeleton of Cadavra and laugh at the intentionally visible strings. For the joke to work, you need to make it look like an accident. Black Dynamite plays it off fairly well, though the half hearted speeches from the supporting cast do get to be irritating. By the last half hour, the film jumps the shark, and exits the "Blaxploitation" genre by going to places the genre never goes. Sure, it's funny. The movie is absolutely hysterical. But I liked watching Black Dynamite following in the footsteps of Shaft or Slaughter.
The reason Black Dynamite works is because Michael Jai White plays the character earnestly. He can say the most ridiculous lines, and we believe that's just how Black Dynamite talks. He's surrounded by over actors (who do their job well) and the aforementioned sacks who don't even bother. Perhaps if we just kept the first two, the movie could have been just a bit better.
*** out of ****
Friday, February 12, 2010
The Wolfman
The Wolfman is a film that does everything right, but still comes up short. Benecio Del Toro is perfectly cast as Lawrence Talbot, who becomes the titular Wolfman in this remake of the Lon Chaney classic. His Father, played by Anthony Hopkins, knows what he is early on in the film. This is Hopkins at his most chilling since "Silence of the Lambs". Despite his well delivered dialog, his character seems to lack the human element that would allow audiences to connect. Meanwhile, Hugo Weaving is on the trail of the beast, from a Gothic town called Blackmoor all the way to a brooding turn of the century London. This is a vision of London that would make Jack the Ripper squeemish. Then again, the Wolfman is so brutal and merciless he makes Jack the Ripper look like the gentleman he allegedly appeared to be.
The camera angles in the fog mislead you, giving a false sense of space. This creates unease, and sets up wonderful scares. I must confess, however, I am still waiting for those. Very often a loud noise preceeds a terrifying vision. Haven't we seen that before? Other times, the mysterious growling is nothing more than the faithful dog. Universal may not have invented the horror film, but they certainly gave it the prominence it has now. So why do they resort to, in a remake of one of the greatest horror films ever made, doing the same old tricks? Even in films like "Gremlins" they try a new spin. Or in more effective chillers like "Drag Me to Hell", they actually do them so well the manage to provoke an actual jump. Hitchcock said the thrill isn't in the bang, but the anticipation of the bang. Again, I have to confess, I can't recall a moment where the anticipation was more than "So, are we going to see Rick Baker's wonderful make up again?"
I do not mean to be too harsh to a film that I thoroughly enjoyed. What it lacked in suspense it made up for in mood. What it lacked in terror it made up for in action. This film plays to director Joe Johnston's strengths, which is both a blessing and a curse. He crafts characters wonderfully, and has an award-worthy sense of style and adventure. This is the perfect man to helm much bigger, grander projects than this. Or even just another dumb and lovable Mummy film.
As it is, this movie stands alone. It's a carefully made tribute to the classic Universal Monster flick, while also pushing the combined franchises into new directions. Blood and gore are constant in this movie, but not gratuitous. People died by the boatload, cities are devestated, yet you find yourself hoping that Emily Blunt's Gwen Conliffe reaches Talbot before the show stealing Hugo Weaving. You want Inspector Abbeline (Weaving) to redeem himself before the time runs out. He is perhaps the most multidimensional character in this film. He's skeptical about the Wolfman, but upon learning the truth appears to be the slightest bit sympathetic. Of course, there isn't time for that, he's got a Werewolf to kill before it kills again.
This is a very near miss. It's action packed, furious fun, with just enough black humor to satisfy. It's full of great visuals and a wonderful cast. Too bad it just isn't that scary. It's definitely an enjoyable film, and gets my recommendation. Unfortunately I'll have forgotten about it tomorrow.
**1/2 out of ****
The camera angles in the fog mislead you, giving a false sense of space. This creates unease, and sets up wonderful scares. I must confess, however, I am still waiting for those. Very often a loud noise preceeds a terrifying vision. Haven't we seen that before? Other times, the mysterious growling is nothing more than the faithful dog. Universal may not have invented the horror film, but they certainly gave it the prominence it has now. So why do they resort to, in a remake of one of the greatest horror films ever made, doing the same old tricks? Even in films like "Gremlins" they try a new spin. Or in more effective chillers like "Drag Me to Hell", they actually do them so well the manage to provoke an actual jump. Hitchcock said the thrill isn't in the bang, but the anticipation of the bang. Again, I have to confess, I can't recall a moment where the anticipation was more than "So, are we going to see Rick Baker's wonderful make up again?"
I do not mean to be too harsh to a film that I thoroughly enjoyed. What it lacked in suspense it made up for in mood. What it lacked in terror it made up for in action. This film plays to director Joe Johnston's strengths, which is both a blessing and a curse. He crafts characters wonderfully, and has an award-worthy sense of style and adventure. This is the perfect man to helm much bigger, grander projects than this. Or even just another dumb and lovable Mummy film.
As it is, this movie stands alone. It's a carefully made tribute to the classic Universal Monster flick, while also pushing the combined franchises into new directions. Blood and gore are constant in this movie, but not gratuitous. People died by the boatload, cities are devestated, yet you find yourself hoping that Emily Blunt's Gwen Conliffe reaches Talbot before the show stealing Hugo Weaving. You want Inspector Abbeline (Weaving) to redeem himself before the time runs out. He is perhaps the most multidimensional character in this film. He's skeptical about the Wolfman, but upon learning the truth appears to be the slightest bit sympathetic. Of course, there isn't time for that, he's got a Werewolf to kill before it kills again.
This is a very near miss. It's action packed, furious fun, with just enough black humor to satisfy. It's full of great visuals and a wonderful cast. Too bad it just isn't that scary. It's definitely an enjoyable film, and gets my recommendation. Unfortunately I'll have forgotten about it tomorrow.
**1/2 out of ****
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