Hey dudes. It's been an interesting year. I'm still in school (gross), I still work at Best Buy (ew), and I'm still married to the same person ( who?). I did, however, begin writing movie reviews for an actual website. That exists. It's been a pretty cool experience so far, one that should continue into the new year, but as I do with every new year, I hope to get on here more often to talk about every other movie I watch that isn't included on Carycitizen.com.
So hey, let's start with American Hustle.
This is a really, really good movie filled with really, really good performances that for some reason I just can't make myself really, really like.
I love David O. Russell. Three Kings, I Heart Huckabees, Flirting With Disaster, The Fighter. I LOVE The Fighter. I also greatly enjoyed Silver Linings Playbook, even though the awards attention it got was a bit much ( I know awards don't matter anymore, but I still obsess and fret over them so SHUT IT!). But there is a safeness to American Hustle that bothers me.
But first, the cast. My love for Christian Bale is quite well known at this point, and his comb-over here is further proof of his legend. Also, he gets the rare chance to show off his comedic chops. Like the similarly crime themed The Wolf of Wall Street, it's not really fair to call American Hustle a comedy, but the film doesn't shy away from the absurdness of the situations and characters that it fills itself with.
Speaking of absurd, Bradley Cooper rocks a perm like a true professional and turns in a great coked out performance. His Louie C.K. impression alone is worth the price of admission.
However, this is the Amy Adams show all the way. Fierce, determined, and boobies, Adams steals every scene she's in with an intensity and fake British accent that can't be ignored.
I really didn't like Jennifer Lawrence when she first started out, but with The Hunger Games films and even Silver Linings Playbook she's pretty much won me over. She's really good in Hustle too, but her accent is all over the place and next to the perfect accents by Bale, Adams and even Jeremy Renner it makes her stand out in the not so best way.
As good as the cast is though, it's director Russell that really keeps the flick from being great. The film is based on the true Abscam story from the late 70s, but Russell cleverly puts "Some of this really happened" at the opening of his film, admitting right off the bat that liberties have been taken. To me, that says that he is more concerned about entertaining the audience rather than educating them, which is by no means a bad thing. I prefer it really, if I want an accurate and educational film about the subject, I'll watch a documentary. (I will not, however, read a book about it. Because that's stupid.)
It's just that Russell leans a little too far on entertainment. As likable as Bale and Adams are, their characters are crooks. Maybe not the worst of crooks, but crooks none the less. They get themselves in the horrifying situation of being used by drug addicted F.B.I agent Cooper, and while it's entertaining to watch Bale squirm as Cooper asks for more and more, it also undermines some of the actual drama the film creates with Jeremy Renner's character, a genuinely decent politician that's being conned by Bale and Cooper.
I guess it's that Russell likes these characters too much. Everyone seems to have ulterior motives and despite all the back stabbing and seemingly increasing chance of everyone being killed by each other or even the mob, everyone walks away relatively unscathed. It's all a little anticlimactic.
I really don't hate American Hustle. I laughed a lot and enjoyed seeing the talented cast have a blast with these outrageous characters. But I really wanted to love this movie. Even more confusing is that I can't call it a disappointment either. Just a good movie brought down a peg by its really talented director. Weird.
I plan on talking about my favorite films of 2013 on here soon. Unfortunately I still have like 424 movies to see so it might not be for a little while. Either way, I'm seeing Anchorman 2 later this week ( I know, why haven't I seen it already?) so I'll hop on here and tell you guys my thoughts on it whether you want to hear it or not.
Tuesday, December 31, 2013
Sunday, July 7, 2013
Streets of Fire, White House Down, oh and Armageddon.
Streets of Fire is one of many movies that I've been meaning to watch for what feels like forever. It's directed by Walter Hill, who also did 48 HRS, Last Man Standing, The Warriors and who also had a significant hand in creating the Alien franchise as well as producing and directing a few episodes of Deadwood. So yea, I'm a fan.
I had always heard that Streets of Fire was something special, and it had been in my instant queue for quite a while, but somewhere somehow I had grown an aversion to watching new things, especially when school was in session. I can't defend myself really, but with school and work destroying me I only wanted to watch stuff that was familiar and distracting. Pathetic, I know.
I've turned a corner this summer though, and have plowed through a number of awesome films, but Streets of Fire sticks out. As I mentioned above, Walter Hill has done some damn fine work, and this movie was right in the middle of a streak for him. He had done The Warriors in 1979, which had led to 48 HRS in 1982. If Lethal Weapon is the pinnacle of the Buddy/Action film as we know it, then 48 HRS is the creation of it. Hill took that freedom granted by the success of 48 HRS and poured it into Streets of Fire. And man, what a movie.
The film couldn't match the success of his earlier movies, but it's easy to see why it has found a second life among film lovers. Streets of Fire oozes with confidence from the very first frame, depicting an 80s version of the 50s. Or maybe it's a 50s version of the 80s. It doesn't really matter though, as Hill plants familiar faces like Willem Dafoe, Rick Moranis, Diane Lane and the films hero, Michael Pare, to help guide us through this weird and unplaceable timeline.
The story goes like this- Diane Lane is a teen rock sensation that gets kidnapped by the local biker gang leader, played by Dafoe. Enter Michael Pare, Lane's former lover and military man to the rescue. That's about it story wise. Sounds thin I know, but each character is so well played and defined, and the world so well realized that you really don't need anything else. Best of all, it really just boils down to a guy who can't do anything but the right thing.
I'd like to focus on that for a second. I miss those kinds of heroes in films. The ones who are just compelled to be good. They don't have to go through an entire movie learning what it means to be heroic, they simply are from frame one. Now, I know there are plenty of examples of recent films that have that exact hero. Captain America, for instance. ( I also know there are numerous films I have loved recently that went down the exact road I just scolded, but shut up). But I mean normal guys, not superheroes. Michael Pare in Streets of Fire really reminds me of that kind of hero. He's a guy that knows how to handle a situation. Hell, the first scene he's in he takes care of an entire group of bikers that are harassing his sister in a diner, and it's a beauty of a scene. He's tough, funny and just intimidating enough for you to realize you shouldn't mess with him. Love it.
Which brings me to White House Down. First things first, the movie is basically a carbon copy of the first three Die Hard movies rolled into one. There a scene in an elevator shaft, underground tunnels, Channing Tatum in a wife beater and Jamie Foxx in the role of Samuel L. Jackson. And that is completely OK.
Those are just a few of the similarities though. Another glaring one is Tatum's character John Cale, a divorced dad who is just trying to impress his politics obsessed teenage daughter with a tour of the White House when all hell breaks loose and Cale is forced to take action and save the day simply because if he doesn't, who will? Look, of course it's not as good as Die Hard, but I love that the movie's hero is just a good guy in the wrong place at the wrong time. Not to mention that the film is a total blast through and through and director Roland Emmerich knows exactly how to push all the right patriotic buttons, having previously made ID4 and The Patriot. It's a bit silly at times, but it's never boring.
Speaking of Die Hard, I can't talk about everyday heroes without mentioning Bruce Willis. Obviously, Die Hard is the template for that kind of character, but after White House Down I was drawn to Armageddon for absolutely no good reason. But again, it's a movie with multiple guys who are forced into an impossible situation and still they step up and do what's asked of them. Also, Aerosmith.
I can't quite explain my obsession with these kinds of characters right now. I mean, I've always loved heroes, especially when depicted as an everyman. Maybe it's the summertime, or maybe it's this beer I'm drinking right now, but god damnit I just want to believe in heroes. And Bruce Willis.
I had always heard that Streets of Fire was something special, and it had been in my instant queue for quite a while, but somewhere somehow I had grown an aversion to watching new things, especially when school was in session. I can't defend myself really, but with school and work destroying me I only wanted to watch stuff that was familiar and distracting. Pathetic, I know.
I've turned a corner this summer though, and have plowed through a number of awesome films, but Streets of Fire sticks out. As I mentioned above, Walter Hill has done some damn fine work, and this movie was right in the middle of a streak for him. He had done The Warriors in 1979, which had led to 48 HRS in 1982. If Lethal Weapon is the pinnacle of the Buddy/Action film as we know it, then 48 HRS is the creation of it. Hill took that freedom granted by the success of 48 HRS and poured it into Streets of Fire. And man, what a movie.
The film couldn't match the success of his earlier movies, but it's easy to see why it has found a second life among film lovers. Streets of Fire oozes with confidence from the very first frame, depicting an 80s version of the 50s. Or maybe it's a 50s version of the 80s. It doesn't really matter though, as Hill plants familiar faces like Willem Dafoe, Rick Moranis, Diane Lane and the films hero, Michael Pare, to help guide us through this weird and unplaceable timeline.
The story goes like this- Diane Lane is a teen rock sensation that gets kidnapped by the local biker gang leader, played by Dafoe. Enter Michael Pare, Lane's former lover and military man to the rescue. That's about it story wise. Sounds thin I know, but each character is so well played and defined, and the world so well realized that you really don't need anything else. Best of all, it really just boils down to a guy who can't do anything but the right thing.
I'd like to focus on that for a second. I miss those kinds of heroes in films. The ones who are just compelled to be good. They don't have to go through an entire movie learning what it means to be heroic, they simply are from frame one. Now, I know there are plenty of examples of recent films that have that exact hero. Captain America, for instance. ( I also know there are numerous films I have loved recently that went down the exact road I just scolded, but shut up). But I mean normal guys, not superheroes. Michael Pare in Streets of Fire really reminds me of that kind of hero. He's a guy that knows how to handle a situation. Hell, the first scene he's in he takes care of an entire group of bikers that are harassing his sister in a diner, and it's a beauty of a scene. He's tough, funny and just intimidating enough for you to realize you shouldn't mess with him. Love it.
Which brings me to White House Down. First things first, the movie is basically a carbon copy of the first three Die Hard movies rolled into one. There a scene in an elevator shaft, underground tunnels, Channing Tatum in a wife beater and Jamie Foxx in the role of Samuel L. Jackson. And that is completely OK.
Those are just a few of the similarities though. Another glaring one is Tatum's character John Cale, a divorced dad who is just trying to impress his politics obsessed teenage daughter with a tour of the White House when all hell breaks loose and Cale is forced to take action and save the day simply because if he doesn't, who will? Look, of course it's not as good as Die Hard, but I love that the movie's hero is just a good guy in the wrong place at the wrong time. Not to mention that the film is a total blast through and through and director Roland Emmerich knows exactly how to push all the right patriotic buttons, having previously made ID4 and The Patriot. It's a bit silly at times, but it's never boring.
Speaking of Die Hard, I can't talk about everyday heroes without mentioning Bruce Willis. Obviously, Die Hard is the template for that kind of character, but after White House Down I was drawn to Armageddon for absolutely no good reason. But again, it's a movie with multiple guys who are forced into an impossible situation and still they step up and do what's asked of them. Also, Aerosmith.
I can't quite explain my obsession with these kinds of characters right now. I mean, I've always loved heroes, especially when depicted as an everyman. Maybe it's the summertime, or maybe it's this beer I'm drinking right now, but god damnit I just want to believe in heroes. And Bruce Willis.
Tuesday, June 4, 2013
Superman Returns
Hey dudes. Man of Steel comes out in less than two weeks. I suppose it goes without saying that I am beyond excited for that movie. I love Superman almost as much as I love Batman. Almost. So I figured I'd watch a few of the older Superman flicks again and get on here and have at it. So here. We. Go.
Superman Returns is probably my second favorite film based on the Man of Steel, sometimes third depending on the day. It's certainly a flawed film, and there are numerous things in it that make me cringe when I think about them *cough* Superboy *cough*. But as a direct sequel to Richard Donner's original film from 1978 and it's production troubled sequel, Superman Returns succeeds entirely in recreating that sense of awe and wonder in a way that is just not done very often anymore.
One of the biggest complaints about the film I've heard the most is it's lack of action. First off, what? The dude lifts a landmass off of the planet. A MASS OF LAND. I guess people really just want to see Superman punch stuff. And I get it. Him punching stuff would be a lot of fun on screen, especially with today's special effects. In fact, it looks like Man of Steel is going to be filled with exactly that. So that's why I don't mind at all that director Bryan Singer decided to focus on Superman's sheer strength and power rather than his punching abilities. I mean, the airplane sequence is one of the great superhero action scenes out there. Not only is it a great re-introduction of the character in this particular movie-verse, but it's also a genuinely exciting and tense piece of action film making. Again, Singer focuses on the characters brute strength to an awesome degree.
Also, Brandon Routh is a great stand in for Christopher Reeve. No one can match Reeve in the suit, and it's possible no one ever will, but Routh does a damn good job matching that all American goodness inherit in both Superman and Clark Kent. I'm genuinely bummed out that his career hasn't gone farther since Superman Returns. He popped up in Scott Pilgrim Vs. the World and was great, though it's hard to find a bad player in any Edgar Wright feature. Still, I think Routh has an extremely likable presence onscreen, and I hope he keeps at it.
Kevin Spacey is great as Lex Luthor. I mean, duh. Like Reeve, it's hard to top Gene Hackman ( HACKMAN!) but Spacey is about as good as it gets. However, it is kind of a bummer that he didn't have some better motivation here. Yes, it's cool that it's the same motivation as the original movie, LAND LAND LAND. But it falls a little flat. Oh well, Spacey rules. I'm curious to see who plays this role next. I don't think it's quite as hard a role to fill like Superman, but Hackman (HACKMAN!) still leaves a big shadow.
The only bit of casting that really fails in Superman Returns is Kate what's her face as Lois Lane. Bland, bland, bland. And Lois Lane is anything but. Actually, the writing for Lane is pretty good here, but Kate doesn't have the chops to really bring the character to life. Amy Adams should have a field day in Man of Steel.
Superman Returns is a bit of an anomaly in today's standard of superhero movies. It's almost a romantic drama first and action movie second and it doesn't completely work. However, there is some amazing film making on display here, and it's great to see Superman on screen after almost 20 years. Man of Steel will probably ( and hopefully ) knock this out of the water, but I like this version of Superman, and it feels good that no matter how the character changes onscreen, this version is always around.
Superman Returns is probably my second favorite film based on the Man of Steel, sometimes third depending on the day. It's certainly a flawed film, and there are numerous things in it that make me cringe when I think about them *cough* Superboy *cough*. But as a direct sequel to Richard Donner's original film from 1978 and it's production troubled sequel, Superman Returns succeeds entirely in recreating that sense of awe and wonder in a way that is just not done very often anymore.
One of the biggest complaints about the film I've heard the most is it's lack of action. First off, what? The dude lifts a landmass off of the planet. A MASS OF LAND. I guess people really just want to see Superman punch stuff. And I get it. Him punching stuff would be a lot of fun on screen, especially with today's special effects. In fact, it looks like Man of Steel is going to be filled with exactly that. So that's why I don't mind at all that director Bryan Singer decided to focus on Superman's sheer strength and power rather than his punching abilities. I mean, the airplane sequence is one of the great superhero action scenes out there. Not only is it a great re-introduction of the character in this particular movie-verse, but it's also a genuinely exciting and tense piece of action film making. Again, Singer focuses on the characters brute strength to an awesome degree.
Also, Brandon Routh is a great stand in for Christopher Reeve. No one can match Reeve in the suit, and it's possible no one ever will, but Routh does a damn good job matching that all American goodness inherit in both Superman and Clark Kent. I'm genuinely bummed out that his career hasn't gone farther since Superman Returns. He popped up in Scott Pilgrim Vs. the World and was great, though it's hard to find a bad player in any Edgar Wright feature. Still, I think Routh has an extremely likable presence onscreen, and I hope he keeps at it.
Kevin Spacey is great as Lex Luthor. I mean, duh. Like Reeve, it's hard to top Gene Hackman ( HACKMAN!) but Spacey is about as good as it gets. However, it is kind of a bummer that he didn't have some better motivation here. Yes, it's cool that it's the same motivation as the original movie, LAND LAND LAND. But it falls a little flat. Oh well, Spacey rules. I'm curious to see who plays this role next. I don't think it's quite as hard a role to fill like Superman, but Hackman (HACKMAN!) still leaves a big shadow.
The only bit of casting that really fails in Superman Returns is Kate what's her face as Lois Lane. Bland, bland, bland. And Lois Lane is anything but. Actually, the writing for Lane is pretty good here, but Kate doesn't have the chops to really bring the character to life. Amy Adams should have a field day in Man of Steel.
Superman Returns is a bit of an anomaly in today's standard of superhero movies. It's almost a romantic drama first and action movie second and it doesn't completely work. However, there is some amazing film making on display here, and it's great to see Superman on screen after almost 20 years. Man of Steel will probably ( and hopefully ) knock this out of the water, but I like this version of Superman, and it feels good that no matter how the character changes onscreen, this version is always around.
Saturday, June 1, 2013
High Fidelity
Alright guys, I have to first apologize for this post because it's going to be cheesy, schmaltzy crap about how High Fidelity has quietly played a major part in my life in terms of emotions and things.
Before I delve into that history though, let's talk about how good a movie High Fidelity is. For those who haven't seen it, it stars John Cusack as a record store owner who is going through a brutal break-up with his current girlfriend and how he uses music and talking to the camera to fill the audience in on how he ended up where he is.
A large part of the way this movie works is it's love and use of music. I mean, duh. I know next to nothing about music, as is the case with most things, but I certainly appreciate it. Thankfully, it doesn't matter if you love music or not when it comes to this movie because at its core, High Fidelity is addressing fandom and elitism and of course relationships all at once in a way that makes both the elite and the casuals feel included.
It's weird knowing that I loved this movie at the age of 14. I immediately responded to the notion of loving and knowing so much about something that I couldn't even relate to most people. Forget about relationships, I loved movies in a way that no one else could. And John Cusack talking directly at me about how intimate and special it is to have such a love struck a chord. Again, I really didn't care about music, but having a ridiculously likable actor in a ridiculously likable movie tell me how meaningful it is to truly care about something special just resonated with me.
And then I had a relationship. And then it ended. And then I watched this movie again. DEVASTATION.
High Fidelity had officially become the ultimate " I feel sorry for myself" movie for me. It didn't matter that the movie actually ends ( SPOILER ALERT ) with a very natural and not entirely definite conclusion for the main couple. The bulk of the movie was about the pain of a major break-up and how an elitist of the Nth degree deals with such an event. Anytime I felt emotional I put either this or The Notebook in. ( The Notebook was reserved for especially " I'm sorry nobody loves me!" bouts) .
But then something happened. I met someone. His name was Bruce. Bruce Willis. Turns out I loved him all along. Then I met some girl named Katy. And four or five years later I gave High Fidelity another shot.
And it's just as good, but in an entirely different way. Like I said, the movie is about elitism and dealing with people and changing relationships, and over the course of time has come to resemble the artifact of a couple trying to keep it together.
I love my wife. I don't need an awesome movie or monologue to tell me otherwise. But I sure don't mind a good movie like High Fidelity to remind me of it.
I should be clear here. Nothing that happens to John Cusack and his girlfriend in High Fidelity has happened to myself and what's her name. No cheating ( besides guys for me ) and no abortions ( that I know of ), but just average everyday couple shit that happens. And it's nice to see a ridiculously likable actor in a ridiculously likable movie tell me how meaningful it is to truly care about something or someone special in a way that completely resonates with me.
I might still have nights where I want to put in High Fidelity for entirely self loathing reasons, but at least now I have someone who is legally forced to deal with me and my emotions. Thanks, you. *winks*
Before I delve into that history though, let's talk about how good a movie High Fidelity is. For those who haven't seen it, it stars John Cusack as a record store owner who is going through a brutal break-up with his current girlfriend and how he uses music and talking to the camera to fill the audience in on how he ended up where he is.
A large part of the way this movie works is it's love and use of music. I mean, duh. I know next to nothing about music, as is the case with most things, but I certainly appreciate it. Thankfully, it doesn't matter if you love music or not when it comes to this movie because at its core, High Fidelity is addressing fandom and elitism and of course relationships all at once in a way that makes both the elite and the casuals feel included.
It's weird knowing that I loved this movie at the age of 14. I immediately responded to the notion of loving and knowing so much about something that I couldn't even relate to most people. Forget about relationships, I loved movies in a way that no one else could. And John Cusack talking directly at me about how intimate and special it is to have such a love struck a chord. Again, I really didn't care about music, but having a ridiculously likable actor in a ridiculously likable movie tell me how meaningful it is to truly care about something special just resonated with me.
And then I had a relationship. And then it ended. And then I watched this movie again. DEVASTATION.
High Fidelity had officially become the ultimate " I feel sorry for myself" movie for me. It didn't matter that the movie actually ends ( SPOILER ALERT ) with a very natural and not entirely definite conclusion for the main couple. The bulk of the movie was about the pain of a major break-up and how an elitist of the Nth degree deals with such an event. Anytime I felt emotional I put either this or The Notebook in. ( The Notebook was reserved for especially " I'm sorry nobody loves me!" bouts) .
But then something happened. I met someone. His name was Bruce. Bruce Willis. Turns out I loved him all along. Then I met some girl named Katy. And four or five years later I gave High Fidelity another shot.
And it's just as good, but in an entirely different way. Like I said, the movie is about elitism and dealing with people and changing relationships, and over the course of time has come to resemble the artifact of a couple trying to keep it together.
I love my wife. I don't need an awesome movie or monologue to tell me otherwise. But I sure don't mind a good movie like High Fidelity to remind me of it.
I should be clear here. Nothing that happens to John Cusack and his girlfriend in High Fidelity has happened to myself and what's her name. No cheating ( besides guys for me ) and no abortions ( that I know of ), but just average everyday couple shit that happens. And it's nice to see a ridiculously likable actor in a ridiculously likable movie tell me how meaningful it is to truly care about something or someone special in a way that completely resonates with me.
I might still have nights where I want to put in High Fidelity for entirely self loathing reasons, but at least now I have someone who is legally forced to deal with me and my emotions. Thanks, you. *winks*
Monday, May 27, 2013
Fast and Furious 6
I love this series. Like, really love it. Somehow this franchise has gone from two mildly popular racing movies to a seemingly in name only sequel set in Tokyo to 3 back to back entries that not only embraced the previous films' history but successfully turned itself into one of the biggest and best action series we have today.
Now, as I stated in my old review of Fast Five, six movies in and you're either with theses movies or you're not. If you're in, then Fast and Furious 6 will absolutely not disappoint.
Speaking of Fast Five, I should mention how special that movie is to this particular action series. Director Justin Lin stepped it up in every way possible, effectively putting the Fast and Furious franchise in a league all its own, thanks to the addition of Dwayne Johnson and Lin's acceptance of practical stunts and effects over the franchise CGI norm. In short, it was awesome.
Walking into Fast and Furious 6 I was more than a little worried that it would have a hard time living up to it's immediate predecessor, and for the first hour I thought I was right. Don't get me wrong, I was loving it. Up to that point it was at least as good as part 4, but it was lacking that special something that helped Fast Five soar.
And then it happened. A sensual, flirty car race between Dom and the resurrected Letty. It's a sequence so silly and so ludacris (sorry) that it's easily among the franchises most silly ( and best ) moments.
Look, these movies know exactly what they are and don't ever for a second pretend to be anything else. And no, that doesn't fall into the category of so bad its good. These movies set a goal to entertain and have hit the mark pretty much every time, which is pretty remarkable when you think about it.
Another asset of these films have been its cast, and of course they're all here in this installment. I don't particularly love every single cast member outside of these movies, but they all fit in this universe and I enjoy their camaraderie here. A lot of the goodwill we have for these guys are used up in that first hour as the film takes its time to set everything up and showcase some good if not great action set pieces.
But after that first hour, man oh man. There are two major action sequences in the last half of Fast and Furious 6 that are so over the top and so big and include moments that are so entirely impossible but who cares because they are awesome that I sincerely cannot imagine how they are going to top them going forward. In other words, they deliver the goods and then some.
I also have to say that as a devoted fan of the franchise, that I genuinely got caught up in the few moments where the movie attempts some drama with Dom's insistence of family above all else. But I like movies, so whatever.
Yes, I'm a die hard Fast and Furious fan, and I can honestly say that Fast and Furious 6 has set a high bar for the rest of the summer. Overall, I think Fast Five is still the reigning champ of this series, but FF6 still has it where it counts. Vin and Dwayne make a great duo in a particularly awesome brawl, and even Michelle Rodriguez and Gina Carano ( who is awful at acting but great at fighting) have two especially entertaining bouts. Also, its ending tag finally ties the film to Tokyo Drift, and holy shit it's a doozy. In fact, that end sequence is so good that I dare you to successfully fight the urge to scream " FUCK YES!" as it rolls before your eyes. We might finally get a genuinely menacing villain next go around, which has been a weak point for the series since the beginning. Anyways, Fast and Furious 6 is awesome, so you know, go see it.
Now, as I stated in my old review of Fast Five, six movies in and you're either with theses movies or you're not. If you're in, then Fast and Furious 6 will absolutely not disappoint.
Speaking of Fast Five, I should mention how special that movie is to this particular action series. Director Justin Lin stepped it up in every way possible, effectively putting the Fast and Furious franchise in a league all its own, thanks to the addition of Dwayne Johnson and Lin's acceptance of practical stunts and effects over the franchise CGI norm. In short, it was awesome.
Walking into Fast and Furious 6 I was more than a little worried that it would have a hard time living up to it's immediate predecessor, and for the first hour I thought I was right. Don't get me wrong, I was loving it. Up to that point it was at least as good as part 4, but it was lacking that special something that helped Fast Five soar.
And then it happened. A sensual, flirty car race between Dom and the resurrected Letty. It's a sequence so silly and so ludacris (sorry) that it's easily among the franchises most silly ( and best ) moments.
Look, these movies know exactly what they are and don't ever for a second pretend to be anything else. And no, that doesn't fall into the category of so bad its good. These movies set a goal to entertain and have hit the mark pretty much every time, which is pretty remarkable when you think about it.
Another asset of these films have been its cast, and of course they're all here in this installment. I don't particularly love every single cast member outside of these movies, but they all fit in this universe and I enjoy their camaraderie here. A lot of the goodwill we have for these guys are used up in that first hour as the film takes its time to set everything up and showcase some good if not great action set pieces.
But after that first hour, man oh man. There are two major action sequences in the last half of Fast and Furious 6 that are so over the top and so big and include moments that are so entirely impossible but who cares because they are awesome that I sincerely cannot imagine how they are going to top them going forward. In other words, they deliver the goods and then some.
I also have to say that as a devoted fan of the franchise, that I genuinely got caught up in the few moments where the movie attempts some drama with Dom's insistence of family above all else. But I like movies, so whatever.
Yes, I'm a die hard Fast and Furious fan, and I can honestly say that Fast and Furious 6 has set a high bar for the rest of the summer. Overall, I think Fast Five is still the reigning champ of this series, but FF6 still has it where it counts. Vin and Dwayne make a great duo in a particularly awesome brawl, and even Michelle Rodriguez and Gina Carano ( who is awful at acting but great at fighting) have two especially entertaining bouts. Also, its ending tag finally ties the film to Tokyo Drift, and holy shit it's a doozy. In fact, that end sequence is so good that I dare you to successfully fight the urge to scream " FUCK YES!" as it rolls before your eyes. We might finally get a genuinely menacing villain next go around, which has been a weak point for the series since the beginning. Anyways, Fast and Furious 6 is awesome, so you know, go see it.
Tuesday, April 30, 2013
Pain and Gain
Hey dudes. I've seen more than a few movies since Evil Dead, and you can find reviews of those films here.
However, as awesome as it is to have the opportunity to write for Cary Citizen, I have to admit my one displeasure with the experience so far.
They wouldn't let me review Pain and Gain.
Oh well, I went and saw it on my own so here goes nothing.
First things first, I'm a Bay enthusiast. I love it all. I even own the criterion versions of The Rock and Armageddon because duh. He's been busy with robot movies for 6 years now, and while I love robots I was more than ready to see Bay return to the chaotic artistry he so brilliantly displayed in his action masterpiece, Bad Boys II. Thankfully, Pain and Gain does not disappoint and Bay gleefully brings us the true story of 3 bodybuilders who kidnap and torture a local Miami millionaire until he signs all of his riches over to them.
What's most remarkable about Pain and Gain isn't the fact that this really happened, it's how it happened. These guys were absolute morons, and there is no way things should have gotten as far as they did simply due to their own stupidity. Things like buckling up their victim when trying to murder him in a car wreck because it's against the law not to, for example. And Bay could not have found better actors to portray these hulking wanna be thieves.
Mark Wahlberg has always excelled at comedy and has gotten better as a performer as the years went on, but when he goes to full on idiot mode there's no stopping him. His character, Danny, believes he deserves the American dream because well, look at him, he's ripped. Forget hard work and determination, Danny just knows he is worth it and when he sees an opportunity to steal everything from a self-made millionaire douche-bag, he jumps at the chance. Walhberg adapts to director Bay's style of chaotic excess perfectly and nails every ridiculous line after another, my personal favorite being that he can handle the situation because, as he puts it, "I've seen a lot of movies." Just brilliant.
Anthony Mackie also does a great job as Walhberg's co-worker who has recently felt some serious effects from steroid use. Mackie actually has some of the best lines in the movie and in a true testament to his performance, his character almost comes off as likable, a serious achievement considering the things these guys did.
But of course, the one and only Dwayne Johnson steals the show in a hilarious performance that starts at Jesus freak and goes all the way to coke fiend. His scene at a local neighborhood watch meeting is one of the best in the movie, and it convinces me that he can do no wrong as a performer. Seriously, he is amazing and I love him.
I really hope Bay makes more movies like this. Yes, I love it when he does mass destruction with what seems like an unlimited budget, but with Pain and Gain he spent pennies compared to his other movies which allowed him free reign to do exactly what he wanted. The result is a hilarious and unbelievable tale of excess and selfishness that only a director like Bay could deliver.
Oh, and before I go here is a great video from Badass Digest defending Michael Bay in all his glory.
I will be seeing Iron Man 3 this Friday and should have a review on Cary Citizen not too long after that.
So until then, dudes.
However, as awesome as it is to have the opportunity to write for Cary Citizen, I have to admit my one displeasure with the experience so far.
They wouldn't let me review Pain and Gain.
Oh well, I went and saw it on my own so here goes nothing.
First things first, I'm a Bay enthusiast. I love it all. I even own the criterion versions of The Rock and Armageddon because duh. He's been busy with robot movies for 6 years now, and while I love robots I was more than ready to see Bay return to the chaotic artistry he so brilliantly displayed in his action masterpiece, Bad Boys II. Thankfully, Pain and Gain does not disappoint and Bay gleefully brings us the true story of 3 bodybuilders who kidnap and torture a local Miami millionaire until he signs all of his riches over to them.
What's most remarkable about Pain and Gain isn't the fact that this really happened, it's how it happened. These guys were absolute morons, and there is no way things should have gotten as far as they did simply due to their own stupidity. Things like buckling up their victim when trying to murder him in a car wreck because it's against the law not to, for example. And Bay could not have found better actors to portray these hulking wanna be thieves.
Mark Wahlberg has always excelled at comedy and has gotten better as a performer as the years went on, but when he goes to full on idiot mode there's no stopping him. His character, Danny, believes he deserves the American dream because well, look at him, he's ripped. Forget hard work and determination, Danny just knows he is worth it and when he sees an opportunity to steal everything from a self-made millionaire douche-bag, he jumps at the chance. Walhberg adapts to director Bay's style of chaotic excess perfectly and nails every ridiculous line after another, my personal favorite being that he can handle the situation because, as he puts it, "I've seen a lot of movies." Just brilliant.
Anthony Mackie also does a great job as Walhberg's co-worker who has recently felt some serious effects from steroid use. Mackie actually has some of the best lines in the movie and in a true testament to his performance, his character almost comes off as likable, a serious achievement considering the things these guys did.
But of course, the one and only Dwayne Johnson steals the show in a hilarious performance that starts at Jesus freak and goes all the way to coke fiend. His scene at a local neighborhood watch meeting is one of the best in the movie, and it convinces me that he can do no wrong as a performer. Seriously, he is amazing and I love him.
I really hope Bay makes more movies like this. Yes, I love it when he does mass destruction with what seems like an unlimited budget, but with Pain and Gain he spent pennies compared to his other movies which allowed him free reign to do exactly what he wanted. The result is a hilarious and unbelievable tale of excess and selfishness that only a director like Bay could deliver.
Oh, and before I go here is a great video from Badass Digest defending Michael Bay in all his glory.
I will be seeing Iron Man 3 this Friday and should have a review on Cary Citizen not too long after that.
So until then, dudes.
Sunday, April 7, 2013
Evil Dead
Hey dudes.
As you may have already noticed, I've started yet another blog. There's nothing wrong with the last one but since I have come across an amazing opportunity to write some reviews for
As you may have already noticed, I've started yet another blog. There's nothing wrong with the last one but since I have come across an amazing opportunity to write some reviews for
Cary Citizen , I figured I'd start a new one that could be linked in those reviews that's slightly less casual. So, from now on expect to find all movie related thoughts here. First up, Evil Dead. I did not have extremely high expectations going into to this movie. At best, I hoped for something fun with some really gory and awesome practical effects. And to be fair, the effects really are amazing. Almost completely devoid of anything CG, the movie goes out of its way to prove that practical is the way to go when it comes to horror. Aside from those amazing effects though, this remake has almost zero tension and not one genuinely good scare. I hate to be that guy, too. That "But the original is always better" guy. But man, The Evil Dead rules. I've met countless fans of that movie over the years, and the most interesting thing about them is that everyone loves the original for different reasons. Some love it because they believe it's so bad it's good and some love it because they believe it's genuinely scary. To be honest, I don't get the 'so bad it's good' argument. I mean, the original just WORKS. Yes, it's cheap. And yes, it's oh so 80s. But it also has two ridiculously young and talented talents working harder than ever before to create something truly special; Sam Raimi and Bruce Campbell. When I first watched The Evil Dead, I screamed and squirmed and had to look away from the screen multiple times. And I loved every second of it. With it's remake though, I never had to take my eyes off the screen. Talk about disappointing. Again, the effects are awesome, but that's the only effort the movie puts in. Every character is bland and makes terrible choices. Now, I know you can't have a cabin in the woods movie like this without at least one person making terrible choices but after a movie like (ahem) The Cabin in the Woods satirized the cliches of horror so well and so lovingly it would seem that filmmakers would take note and at least put an ounce of motivation behind those choices. In the original, I completely bought the way the demons are unleashed. Raimi builds some curiosity and suspense around the moment that the entire movie rests on, and he kills it. In the remake though, one guy just reads a book that almost literally screams "DON'T READ THIS BOOK!". And you know, I could easily forgive such moments if any of the characters were remotely likeable or slightly charismatic. But instead all we get are potential victims. I realize there is only one Bruce Campbell, and the film is wise to completely avoid recreating the character of Ash, but the movie could have at least given me someone to root for. The biggest fault of the film has to be its complete lack of any scares or even tense moments. Instead of building tension and earning any payoff, first time director Fede Alvarez decides that going for the obvious 'Gotcha!' moment multiple times was the best way to go, resulting in a boring and tedious horror film. I was entirely ready to at least have some fun with Evil Dead. I didn't mind just sitting back and enjoying the gore, but there is literally nothing else going for this movie. One last thing, the dialogue over the closing credits and the tag that follows are especially frustrating. On their own, they are ridiculously cool, but paired with the movie that proceeds them it just seems like the filmmakers are making promises they can't keep, or at least live up to.
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