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For the past 10 or 15 years, Woody Allen (Melinda and Melinda, Anything Else) has been trying, both consciously and subconsciously, to regain his status as one of the premier auteurs in the filmmaking business.  For many of these attempts, Allen looked to the successes he had earlier in his career and tried to replicate them, but the public mostly ignored them, not really wanting to see him do films they’ve seen before, only less effective.  It’s interesting to note that Allen finally achieves success by finally doing something he’s really known for, as Match Point is only an opening credits sequence and quaint opera score away from being devoid of many of the Allen staples we’ve come to recognize. 

My theory regarding his success here come mainly due to a combination of Allen’s strengths, and als  a weakness in the genre he has chosen to dabble in here — dramatic thrillers.  Allen’s forte has always been in interesting dialogue and well-rounded characterizations, which are two things that suspense vehicles are usually devoid of, as they are generally mounted on heavy emphasis in plotting, music, and camera techniques.  It is because of Allen’s strong character development that Match Point becomes such a refreshing change of pace in a very derivative field, as the suspense is generated by involving us deeply into the characters and their motivations.  While symbolism abounds, as well as choice motifs, the subdued way in which Allen approaches the material leads to a fascinating character study, and even when we know where things will eventually lead, the way in which things proceed is elegant, skillful, and richly developed.

Rhys-Meyers (Bend It Like Beckham, Velvet Goldmine) plays a former professional tennis player, Chris Wilton, a firm believer in luck that sees good fortunes come his way when he marries into a wealthy family.  His new wife, Chloe (Mortimer, Formula 51), adores him, and so does Chloe’s wealthy businessman father, Alec (Cox, The Bourne Supremacy), who secures Chis a cushy job in the company.  As good are things are going, Chris still can’t help but be madly attracted to his brother-in-law Tom’s (Goode, Chasing Liberty) fianc?e, a struggling American actress named Nola Rice (Johansson, In Good Company).  After a bit of resistance, they both give into their temptations, although his obsession with Nola soon puts a damper on his relationship with Chloe, who has been focused on conceiving a child. 

The plot summary above isn’t quite complete, as providing any further details would probably lead to a few spoilers, so I’ll refrain, since they aren’t important to the overall review.  While touted as a thriller, Match Point isn’t really out to thrill in the traditional sense.  It is more of a study in obsession, lust, guilt, and the madness that can occur when easy solutions that will alter the course of one’s life seem completely out of reach. 

Allen’s writing is smart and assured, as it always has been, and unlike most Allen dramas, it isn’t tempered with any comic relief.  Match Point is a straight-faced, somber affair, dealing with dark subject matter in very composed fashion, and Allen does a masterful job in drawing in allusions to tragic operas from which the main story of the film draws inspiration, namely, "La Traviata" and "Rigoletto", even playing musical pieces from the operas themselves for dramatic effect.

While Allen is on point here, I have to mention that the film would probably not have been nearly as effective were it not for the performance by Jonathan Rhys-Meyers, who effectively captures the coldness of his feelings and the distracted nature of a man conflicted between doing what’s right in his mind and doing what’s right in his heart.  He treads the line between being likeable and despicable so well, that we are conflicted in our feelings as to whether or not we should root for him to get caught in his illicit deeds, or if he should be successful in pulling the wool over the eyes of the ones he loves.  Even without being painted as particularly sympathetic, we can’t help but secretly hope he comes out of it unscathed, almost implicating us in his crimes right along with him.

While I realize that many critics are lavishing Match Point with praise, I do feel the need to hold back overdoing this to some extent.  Perhaps not so coincidentally, Match Point is Allen’s most acclaimed film since 1989’s Crimes and Misdemeanors, which has a nearly identical plot of a man carrying on an affair with a woman that insists that he leave his wife, which he is reluctant to do, resulting in stagnation to the point where it all threatens to fall apart on all sides.  Even if Match Point is the most un-Allen-like film, it is still ground he has covered to some extent before and, dare I say, he did it better in Crimes than he does here.

That’s not to take away from my recommendation of Match Point as an absorbing drama about crimes of passion, as it is well-made, superbly acted, and crafted with a deftness that Allen hasn’t fully displayed in many years.   While Allen will probably be most remembered for his comedies, and to some extent, his serious dramas, with Match Point and Crimes and Misdemeanors, arguably Allen’s best two films in the post-Hannah and Her Sisters phase of his career, he shows that he could also be one of the best filmmakers in the thriller genre working today if he were so inclined.  Match Point is Allen’s most bleak film, full of conflicted loyalties and a skewed sense of morality that is disturbing yet fascinating at the same time.  Carnal passions and morbid thoughts are all in the mix, and, as it also is in the game of tennis that is regularly alluded to in the film, love means zero. 

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DOWNLOAD MOVIE Passenger 57 Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Passenger 57 Reviewed By Erik Childress Posted 06/25/02 13:20:40

"Die Hard On A Roulette Wheel" (Pretty Bad)

Original ideas are so scarce in Hollywood that once producers catch downwind of something catchy and successful, they milk it for all its worth. Die Hard was one of those and it?s an inspiration that continues to fly high and low today. Invigorating the high concept of ?Die Hard on a (fill-in-the-blank)?, the sequel to the Bruce Willis masterpiece became ?Die Hard on a plane.? What a great idea until it sunk in later that it was really ?Die Hard in an airport?where there happened to be planes.? That?s when single-thought screenwriters worked overtime to make ?Die Hard on a?? aficionados proud with the true ??on a plane? scenario of Passenger 57. Now, making a copy of a movie is one way to go, but its another to make a copy of a copy (where the Dubbers Union will tell you the quality decreases tenfold) where the side effect is creating an unbearable sub-genre that would plague moviegoers for years ? the Wesley Snipes action movie.Blade and its sequel notwithstanding, Snipes all but buried the actor within just so he could show us how hard he could kick people. The man had some martial arts training and DAMMIT he was going to use it. In P-57 he plays the Syd Field checklist hero. Rule #1 ? Make sure the hero has a cool name, something to signify that he?s a bad-ass and one that reflects what he plans to do with the bad guys. (John Cutter ? CHECK!)Rule #2 ? Give him a job, one where he?s labeled ?the best? and make sure it ties into the main conflict of the plot. (Airline securities expert ? CHECK!)Rule #3 ? Personal baggage. Something that haunts him and either takes him out of the game for awhile (so he can get back on the horse when required) or just so we can parallel a flashback with said horse when the need arises. (His wife was killed as a hostage during a convenience store robbery that he was unable to prevent ? CHECK!)Every hero needs a villain and in the wake of Hannibal Lecter a year earlier, we get Lecter the airline terrorist. He doesn?t chew faces, only scenery and with Bruce Payne behind the wheel of this one, his greatest strength is in his stony expression that may actually cause bullets to bounce off of it. And why shouldn?t they? In the opening moments of the film, as Charles Rain is set to undergo another in a series of plastic surgeries to hide from the authorities, he refuses anesthetic because ?there will be no pain?. This is just one in a series of crazy tough-guy speak that Payne chews up and spits out like a baby sparrow?s mother trying to choke its youngling. In this fabulous psychotic terrorist package we also get the hits ?Never Mention My Childhood?, ?(It Is) The Nature of Man To Confuse Genius With Insanity? and the Top Ten single, ?Charles Rain Is Not Insane.? Take that for a spin, Eliza Dolittle, if you don?t mind the rain in Spain staying mainly in the plane that Charles Rain who feels no pain intends to annihilate.So Rain is captured and ends up on the same plane with Cutter and the stewardess (Alex Datcher) he chastised for being a cowgirl during a hijack training exercise. The fact that she prefers to be called ?flight attendant? rather than ?stewardess? only lends credence to the fact that Datcher looks like a man. I?m sorry, but if her manly yes, but I like her too looks don?t have you looking for an Adam?s Apple, then apologize and order yourself a plate of ribs. And speaking of looking like a man, BABY, yes that?s Elizabeth Hurley as one the stewardi turned terrorists. It was from this one baby-fat full performance that you could tell she was destined for stardom, if you didn?t already sense that from her star-making role in Kill Cruise. The first half hour of P-57 is harmless, brainless enough entertainment to pass the time. Considering it only runs 85 minutes, you?re already a third of the way there. Then IT happens. One of the most unbelievably blatant mistakes in the history of film flubs and one so laughable that you are now thrust into an instantaneous MST3K mode. After Rain is forced to land the plane in bumblefuckhead hick country, pay attention to the moment when he asks the local Sheriff to look out the control tower window. Yes, that is Rain rolling a passenger out the door of the plane and if you follow its body, YES, that is him reflected in the nose of the plane hitting the blue safety mat.From here on out, the film takes a logical bungi jump off the clich? suspension bridge that make the leaps in logic in the first thirty minutes seem positively Spock-esque. Well, at least Dr. Spock-esque. It also antes up the race card to hopefully encourage them simple-thinking black folk to make Snipes the next Martin Luther King, right? How insulting. Naturally, Snipes is arrested and mistaken for a terrorist the minute he steps off the plane. I credit P-57 for bringing attention to the rampant stereotyping in this country with this last straw tactic and it may prove to be the last instance of profiling before it became politically incorrect. He may be a black thang, but he?s also superhuman complete with kung-fu grip and the ability to see the future. How else can one describe why when Snipes escapes from police custody that he steals a motorcycle and heads IMMEDIATELY for the nearby carnival even though there?s no way he could have seen Rain and his cohorts head for a little Gravitron action. He also proves what a cunning master of disguise he can be when he walks through the festival crowd (as virtually the only black guy) and grabs a box of popcorn. Way to blend there, Wesley. Why don?t you just throw some mayonnaise on top? And, of course, everyone remembers the now infamous exchange between Cutter and Rain:CUTTER: Do you ever play Roulette?RAIN: On occasion.CUTTER: Well let me give you a piece of advice. Always bet on BLACK!OK, so let me get this straight. This is obviously some kind of racial poker chip meant to imply that since he?s the hero and he?s BLACK that he?s going to beat the white guy. But the only thing on the roulette table that?s white is the ball, which you can?t bet on. If you don?t choose a number, a row or a column, you?re betting on black or RED! So is Cutter implying that Rain is, in some off-handed way, an American Indian or maybe even worst, a communist? The movie could have very easily been called ?Passenger 57 Who Walks With Popcorn While Kicking People In The Nuts If They Don?t Agree With The Classless System.? OK, I?m sorry, that?s a little ridiculous. Roulette also has the zero/double zero combo where you can bet on the color green. Does this make Rain a coward or just envious not to be a black man?The action is pretty routine stuff, but is cut quick enough to a quick enough score that its easy to go along with without getting bored. There?s even a knife fight where Snipes simulates playing the bongos while the music accomodates the booga-booga Jungle Book rhythm. Outside of Rain, the terrorists aren?t very interesting. One looks like a cross between original MTV-J Marc Goodman and Buddy Repperton from John Carpenter?s Christine and another, a little wimpy white guy with glasses, literally shows up out of thin air just before the carnival sequence.The screenplay by David (Star Trek V) Loughery and Dan (Tank) Gordon may as well have been written by Warren from There?s Something About Mary, the moron twins from Splash and Dean Devlin. Why does Rain ask the doctor what time is it just before surgery? Did he know that was the exact time that SWAT was going to burst into the building to snag him? If so, how did he know and if he did, why not schedule an earlier appointment? You would think they?d put an airline hijacker on a bus or a train, but that?s a point that Bruce Greenwood (Exotica) shows up for two minutes to exemplify the ?duh? nature of the screenplay.Passenger 57 opened in 1992, just a few weeks after Seagal?s ?Die Hard on a boat? flick, Under Siege, was an example of how to make a decent copy of an original. P-57 wasn?t responsible for all the other abstract ?Die Hard on a?? spec treatments making writers a quick buck, but it DID turn Snipes into enough of an action star to punish us with future titles like Boiling Point, Drop Zone, Money Train, Murder at 1600 and The Art of War (which Snipes can be seen reading in P-57 as if he knew something we didn?t.) If only the Pre-Cogs from Minority Report were in place in 1992, this all could have been avoided. In the meantime we can all look forward to ?Die Hard On Survivor Island?, ?Die Hard On Road Rules?, ?Die Hard On A Hot Tin Roof? and ?Die Hard On a Spigget.?
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DOWNLOAD MOVIE Thursday Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Background: Aside from the numerous Frankie and Annette movies from my youth, I’ve enjoyed scores of surfing movies over the past decades such as Big Wednesday and Point Break that have all touched on some of the universal themes of life, love, and laughter as men set out to prove something via a connection with the waves. I never had the kind of time to waste on learning how to surf myself and not coming from the shores of California or Hawaii prevented me from answering the call of the waves personally but there is still a mystique about man and nature that surfing seems to hold that I understand why Hollywood has long held a love affair of its own with the topic. Well, today’s review of Monster Thursday (Monstertorsdag) looks at a small indie film from Norway that combines similar themes with a surfing story, providing an almost stoic set of characters in a familiar story worth checking out.

Movie: Monster Thursday is set on Norway’s west coast, not far from some prime surfing spots, albeit very cold prime surfing spots. The movie begins with a hapless loser named Even stumbling around in a bar, trying to use a set of rings to play a game of pinball. He then goes to what turns out to be a wedding ceremony of his friend Tord, claiming to have forgotten the rings at home. Tord improvises a solution and the viewer then finds out that the beautiful, and quite pregnant Karen at the alter, was originally Even’s wife but he let Tord “steal her away” as discussed in Even’s speech as best man. By this point in time, you know how screwed up the trio are since allowing an ex-husband to be the best man is pretty far fetched, especially one prone to passive aggressive behavior that seeks to interrupt the flow of those around him with stronger wills.

Soon after the wedding though, Tord is called away on business to Singapore where he combines his successful career and love of surfing for months on end, occasionally sending messages to his wife that his return has been delayed. He has it all; a hot wife, good looks, a great job, and the kind of skill at surfing that comes to very few men, all the opposite for Even who can’t swim, is aimless without steady employment, and lacks in just about all departments from the looks of it. To add insult to injury, Tord is so secure with Even’s ineptitude that he charges him to look after his wife; trusting that nothing will happen between them. Karen left Even because he lacked the fortitude to finish anything he started and so our tale begins.

Against all odds, Even sees the separation as his big chance to steal Karen back but knows that he has to become something better then he is in order to accomplish the task. Some guys would concentrate their efforts on work; others on fixing up their physical appearance, and still others would seek to become better people in order to do this but Even gets it in his head to learn to surf after Karen scoffs at him one day. Through a quirky series of misadventures with his robust alcoholic best friend, the two stumble through some early obstacles before hooking up with a retired legendary surfer who lives a secluded life along the shoreline. Like a Jedi master training a young padawan, the older, grizzled man seeks redemption in teaching Even about more than just surfing as the common theme of lost love resurfaces more than once (he actually has more in common with Tord as a man who had it all but the threads had a sense of commonality to them that was admittedly a bit obvious). Even proves to be a horrible surfer with absolutely no natural talent yet he continually strives to best the waves and regain Karen’s love, much like viewers have seen elsewhere with some twists that added some spark to the proceeding.

Okay, the metaphor of the waves representing Karen and Even conquering his own inadequacies by finally mastering something in his life were boilerplate drama as seen hundreds of times before. Still, the way the little elements were handled breathed some new life into the timeworn plot with the side plots (of friend Bergstrom shooting for the scientist Sara, mentor Skip discussing losing his love to the waves, and the stoner-posers that hang out by the coast among others). I’ll admit that a lot of what took place, the rationale behind some of the choices by the characters coming to mind, struck me as cultural gaps that I’ll never understand, yet they provided something different then a by-the-numbers story as the suits tend to provide in the USA. By the dramatic high point near the end of the movie, where all the characters could have taken completely different paths; the wheels set in motion gave them all a momentum that sealed their respective fates, including Even doing the right thing and proving that he had overcome his fears to regain his humanity. I watched it with a friend that hates to “read movies” (subtitles bother her as they take away from her ability to watch what’s going on) and even she liked it more than usual. For me, the layers of the film; from the solid acting, to the stunning visuals, to the way director Arild Ostin Ommundsen wove the story he co-wrote together in a believable fashion made this one worthy of being Recommended.

Picture: Monster Thursday was presented in the same 2.35:1 ratio non-anamorphic widescreen color it was shot in on 35mm by director Arild Ostin Ommundsen for inevitable release in the Film Movement series on DVD. I’d rather the movie not be letterboxed in favor of an anamorphic presentation but whatever the reasoning for this move, getting the movie released was the important part. There was little grain, less video noise, and few technical goofs to interfere with the enjoyment of the movie itself. The composition of the shots tended to capture a lot of the starkness of the area, the power of the mighty waves, and the characters in their elements very nicely; keeping this oft-nominated film from ever looking truly low budget. The visuals were often so striking in fact that you could turn down the sound and enjoy most of the scenes on a wholly visual level, though by doing so you’ll miss out on the romantic portions of the story as Karen learns to see Even in a new light by the end of the film.

Sound: The audio was presented in 2.0 Dolby Digital Norwegian with optional English subtitles. The vocals were crisp and clear, the music fitting for the specific scenes, and while the separation of the channels wasn’t anything special, the dynamic range was decent. A movie like Monster Thursday is largely broken up into two parts; the extensive dialogue and the surfing sequences, each of which was handled competently though it didn’t give my home theatre a workout by any means. The emphasis, as previously noted, was on the visual elements and while the auditory experience wasn’t bad, it didn’t appear to be a focal point for director Arild Ostin Ommundsen.

Extras: As with the rest of the series, the best extra was a short film added in to provide a voice for material that would otherwise be consigned to film festivals (some day, I suspect that Film Movement with release a monthly title comprised solely of such films, at least if they’re smart). The short film for this volume in the series was Youngster about an urban youth who took the lessons of capitalism to heart by selling crack to junkies on the unforgiving streets where a single mistake can prove fatal. It was only 8 minutes long and dealt with a situation where a junky had problems paying for a rock he just received from the vicious 12 year old. Director Will Canon’s look at the drug problem was certainly different, although you’ll have to draw your own conclusions as to the message of the short film itself. There were some biographies and a true double sided DVD cover where director Arild Ostin Ommundsen spoke about the themes of the movie, providing some insight on what he was seeking to offer with it.

Final Thoughts: Monster Thursday was an entertaining selection as the July volume of the Film Movement series, labeled Year 4, Film 7 for those keeping track. It had vision, depth, and replayability that transcended the quirky ending, leading me to hope that the director finds more work to present in the future based on his success here. Unlike some films in the series, Monster Thursday was less of an art film and more of a movie that many could enjoy, despite whatever cultural quirks it may have shown. As such, I think it should be Recommended as a love story, a surfing flick, and an interesting character study of people.

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DOWNLOAD MOVIE Lethal Weapon Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Lethal Weapon 4 Reviewed By Rob Gonsalves Posted 01/21/07 07:49:28

"Give it a rest. Please." (Pretty Bad)

"We are not getting too old for this shit!" chant Mel Gibson and Danny Glover in ‘Lethal Weapon 4,’ echoing Glover’s oft-repeated catchphrase. Uh, yes you are, guys.The very definition of a meaningless, mindless summer sequel, LW4 is fairly painless for about its first hour. After that, you may have to remind yourself what the plot is supposed to be about. And then you may have to remind yourself why you bothered to remind yourself. This is easily the most sketchily written of the Lethal Weapon movies, obviously improvised on the set whenever possible (a ploy that fizzles more often than not). There was really no reason to make a fourth entry in this once-honorable action series — there was barely a reason to make the third one, either (except that it introduced Rene Russo, a welcome dose of estrogen in this testosterone-drunk series). For me, the perpetually near-retired Roger Murtaugh (Glover) and psycho Vietnam vet Martin Riggs (Gibson) hit their stride, and their peak, in 1989’s satisfyingly whiplash LW2. Since then, Murtaugh and Riggs have coasted on our affection for them; Riggs isn’t even crazy any more — in LW4 he’s so mellow he seems ready to host a landscape-painting show on PBS. Director Richard Donner (who has helmed all four Lethal Weapons) is coasting, too. He stages one good wacky car chase on an L.A. freeway, and it’s stupidly enjoyable while you’re watching it. But afterwards you may recall the movies it cribs from — Raiders of the Lost Ark, a similar chase in LW2 — and you also may feel bone-tired of car chases. And there’s never any real threat or danger in the action scenes. By now, Riggs and Murtaugh are so well-loved that you know Donner isn’t going to kill off either of them. The Lethal Weapon movies have always thrown in some hapless attempt at social relevance amid all the cartoonish brutality — we had South African villains in LW2, a gun-runner providing weapons to South Central kids in LW3, and in LW4 we have a Chinese Mr. Big (Jet Li, the latest Hong Kong star to dip his toe into Hollywood waters) who smuggles Asian immigrants into Los Angeles only to enslave them and force them to work in his counterfeit-cash operation. One step forward, two steps back: Just as Mulan comes out and Asian-Americans thought it was safe to go to the movies, along comes LW4 to revive the old Yellow Peril. Jet Li is impressive here, but his moves left me wanting to see him in his undiluted Hong Kong glory, not in weak Hollywood stuff like this. Russo returns as Riggs’ detective sweetheart Lorna, who is now pregnant and therefore excused from most of the boy-boy action. (She does pack a mean kick despite being nearly nine months along — any women out there care to comment on the physical verisimilitude of this?) Joe Pesci also returns as the motormouth Leo Getz, now an inept private eye who seems to exist only to expound nasally on a variety of irrelevant topics. Series newcomer Chris Rock, as a hot-headed younger detective, joins Pesci in a rather amusing dual rant about cell phones, but both men wear out their welcome fast. They both start at a high pitch and never let up — they’re like duelling car alarms. Meanwhile, Glover and especially Gibson sit back in most of their improvised scenes and goof off; some of the goofing off is funny, but most of it is just two overfamiliar partners trying and failing to wing it without a script. Somewhere around the second hour, I lost interest. A minor character we’ve gotten to know and care about is killed, and it has no weight, no impact on his family or on the cop who has befriended him. I trust I will reveal nothing shocking by noting that the bad guy gets it in the end — does he ever not, in the LW series? — but Donner, having impaled him during a thunderstorm, misses his chance to send the villain off in grand fashion with a well-aimed bolt of lightning. He misses a lot of chances; he prefers to kick back and relax. But what’s the point of a relaxed Joel Silver action blockbuster?At ‘Lethal Weapon 4,’ you’re either glad to be with these guys again, or you wish Warner Brothers would come up with a good story for them — or simply retire them. The schmaltzy final scenes, which surface from the depths of a pious family-values hell, would indicate that this sequel is meant to be our goodbye to Murtaugh and Riggs. If only it weren’t such a long goodbye.
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DOWNLOAD MOVIE Hollywood Homicide Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Hollywood Homicide Reviewed By Erik Childress Posted 06/13/03 15:06:05

"A Surprisingly Ambitious Kind Of Mess" (Pretty Bad)

Hollywood Homicide is a mess, but in its own kind of way. Which sounds like a back-handed compliment, but its also a rather general one since it’s not the kind of mess to be expected when viewing the ads. One week it’s the grumpy veteran teamed up with the new-age, wet-behind-the-ears youngster. The next it’s a wacky mismatched buddy comedy. Now it’s a tense thriller with an L.A. Confidential slant set against the backdrop of gangsta rappin’ with hardcore action. When the marketers can’t decide what the film is, what would YOU expect when the lights go out?It was surprising at first, not only to see a cast list scroll by that would put Irwin Allen to shame, but that director and co-writer Ron Shelton was clearly going for something beyond the "wackiness ensues" mantra that would normally accompany a film like this when one of the partners was Martin Lawrence or (these days) Eddie Murphy. Then again, it shouldn’t have surprised me considering that Shelton has been behind some of the sharpest scripts of the last 15 years. Making his living covering nearly every aspect of the sports world (Bull Durham, White Men Can’t Jump, Tin Cup - to name just a few), Shelton moved into new terrain with the incredibly underappreciated Kurt Russell cop drama, Dark Blue, from earlier this year and the early scenes of Hollywood Homicide clearly show Shelton’s touch for character.Harrison Ford is Joe Gavilan, a veteran detective who like many cops in the department moonlite to supplement their income. Joe’s racket is real estate, which he picked up thanks to a training seminar that taught its clients to buy-and-sell their way up the pyramid to financial wealth. Joe’s partner is K.C. Calden (Josh Hartnett) who doesn’t have any of Joe’s cop chops and would rather be acting in A Streetcar Named Desire than as a real-life detective. The pair are put in charge of a club shoot-up where an up-and-coming rap group was taken out. There’s some suspicion that it may lead to ex-con-turned-record-producer Sartain (Isaiah Washington) but nothing conclusive except to the audience who is aware he’s behind it all.That’s enough for any movie to lie flat on its lightweight laurels or to springboard into more interesting tales about a cop’s life amidst the fame and glamour. On a simplistic scale, the plot isn’t that far removed from the Diceman’s Adventures of Ford Fairlane. To capitalize on their own take of the Suge Knight controversy and involved police corruption would have elevated the material to the same sort of moralistic allegory that Shelton had working the Rodney King trial in Dark Blue. But Hollywood Homicide likely succumbed to an editor under house arrest from the studio to tighten up the story until we’re left with more unresolved plot threads than The Sopranos. Take for example:(1) Bennie Macko (Bruce Greenwood) is an internal affairs officer investigating Gavilan for "co-mingling of funds." He keeps interrupting the plot looking for hard evidence, but what are his real motives? Does he have any other than just doing his job?(2) Lena Olin is a psychic radio show host involved with Gavilan who shows up to offer a little spice into his life. She also happens to be Macko’s ex-wife. Could this be his hidden motive for hounding Gavilan? Not when he’s unaware of the tryst until he’s shown pictures. I don’t want to even get into how Olin’s psychic network powers help Gavilan and Calden show up at just the right time to start an unfounded chase scene, but more on that later.(3) Lolita Davidovich is a Heidi Fleiss-like madam whom Gavilan was using as an informant on a case he was involved in before the movie began. She has evidence for him if he gets her a pardon. Clearly there was more to this in a longer cut, but in its present stasis should have been amputated altogether.(4) Dwight Yoakam is a business partner of Sartain’s with police ties who vows to help orchestrate the direction in which Gavilan’s case goes.(5) Lou Diamond Phillips as a vice cop in drag. ‘Nuff said.(6) Calden has never discovered what really happened when his father was shot in the line of duty thanks to a sealed FBI report.(7) Gavilan is working his broker skills to orchestrate a deal involving the house he’s got all his money tied up in, a Hollywood producer (Martin Landau) looking to unload his and a rapper (Master P) looking to buy.(8) The chase. It must be included in this list since it’s a climactic one that not only goes on forever but seems to matriculate out of thin air as if it’s in a movie all by itself. Up until the film’s final 20 minutes, any action we’ve seen is rather humorous, or actually not, like the back-and-forth scurry to capture a former Motown singer’s boy. It’s Gladys Knight. Don’t ask. Regardless, under psychic guidance, Gavilan and Calden run towards Sartain’s car. There’s been no suggestion that Sartain is to fear arrest. They have no warrant. He’s a powerful record producer who should have a lawyer able to kibosh this shakedown with a phone call. So what does Sartain and his boys do. Run and start shooting. I guess if that’s the rap world’s image, run with it. But not into one of the most poorly edited chase sequences in long-term memory. After many memorable chases in 3 Star Wars & Indiana Jones films (and a fourth on the way), 2 Jack Ryan flicks, Blade Runner and The Fugitive, this is reason enough for Ford to disassociate himself with Hollywood Homicide.Some of these threads crash into each other, but none in a creative way and mostly just weave in-and-out of the story on a moment’s notice. The real estate deal is played for laughs and get most of them, but it can never mesh with the loose-fitting attempts at action and police procedural. What does payoff never has any set-up and vice versa. As a comedy, Ford and Hartnett have some fun when they’re playing cops who want to be doing something else. It’s when they actually play cops does the film never find its footing. That’s abundantly clear after the first half when the editors lost sight of the film themselves and tried to satisfy everything to the point where Ford and Hartnett look completely lost at where to go next. OK, Hartnett always looks like that, but it’s rampantly disheartening to watch Ford acquit himself in a movie the way he does on talk shows. Ford has proven himself with light comedy even in the most serious of moments and you can see that ray of interest in the material when he gets to stray from the plot(s).Hollywood Homicide is a bad film. But bad in that overreaching, overedited kind of way. It’s hard to blame the participants since any preconceived notions are the cynical musings of someone being sold a worn-out product. Ron Shelton has higher aspirations than just selling popcorn. He’s not unaccustomed to missing with his stories (Play It to the Bone) but when he was writing sports stories, you could always believe that he was following the old screenwriter mantra of "writing what you know." Dark Blue was scripted by L.A. Confidential’s James Ellroy and Training Day’s David Ayer. Shelton’s got the co-reigns this time around with former LAPD detective-turned-debut-screenwriter Robert Souza. If you’re going to venture into unchartered waters, its smart to keep good company when you try to make a few waves behind all the boats that sailed before yours. Just don’t sail out into fog. Time will tell if the blame for Hollywood Homicide should fall at Shelton’s door. Perhaps this will continue a new trend for his work and we can decide later if he’s suited up for this duty with future projects like Illinois Indiscretion and Jerusalem Jurisdiction.
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DOWNLOAD MOVIE Pink Panther Strikes Again, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Pink Panther Strikes Again, The
The Pink Panther Strikes Again **** / *****

Dir: Blake Edwards; Starring: Peter Sellers

Funny gazillionth sequel (not literally!) sees Chief Inspector Clouseau
(Sellers in his iconic role) being chased down by an escaped madman with
nervous ticks. Fun from start to finish, and I actually prefer it to the
original "Pink Panther" film. It’s zanier, fresher, and seems more like a
wild spoof in the vein of "Austin Powers" rather than an outdated, unfunny
bore like (I find) the first film.

Highlight: Clouseau trying out the "Hunchback" costume and inflating himself
into the air. This was used again in one of the worst films of 2002, "The
Master of Disguise," but this is inarguably much better.

**** / *****

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DOWNLOAD MOVIE Secret Window Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Secret Window (2004) / Thriller-Horror

MPAA Rated: PG-13 for violence, sexual content and language (I’d rate it R) Running Time: 96 min.

Cast: Johnny Depp, John Turturro, Maria Bello, Charles S. Dutton, Timothy Hutton, Len Cariou Director: David Koepp Screenplay: David Koepp

 

 

Note: This review doesn’t contain any overt spoilers, but film savvy readers may pick up on some things they may not want to know.  Skip the next paragraph if you don’t want to take any chances. Stir of Echoes writer-director David Koepp returns to the genre with Secret Window, the film version of the Stephen King novella, "Secret Window, Secret Garden".  As King adaptations go, this one ranks in the middle of the pack, not nearly the best, but definitely not one of the worst. The problem here is that the whole plot hinges on a twist that has been done several times in films in recent years (Fight Club most notably), including a similarly delusional Coen Brothers film about writer’s block that also starred John Turturro (Barton Fink — probably the reason he was cast in this film). Although the story pre-dates many of the movies, there is a nice irony that the film deals with plagiarized ideas, as this film feels like it is lifted from other sources, while in reality, its real source came first.  Sadly, the predictability weighs in heavily in why Secret Window is a mediocre thriller, and the fact that it isn’t particularly scary.  In fact, it plays much more like a quirky black comedy (which it is), with another idiosyncratic performance by Depp (Pirates of the Caribbean, Once Upon a Time in Mexico) that treats this nonsense with all of the seriousness it deserves — none. Depp stars as Mort Rainey, a best-selling author struggling with an impending divorce and a serious case of writer’s block.  While at his country home, he is visited by a strange and menacing man claiming to be John Shooter (Turturro, The Big Lebowski), who drove all the way from Mississippi to denounce Rainey’s story, "Secret Window, Secret Garden" as plagiarized from his work.  Shooter give Rainey three days to provide evidence that he was the original author of the story, but Mort blows him off as just another crazy coot.  Things get serious — deadly serious — when bad things start happening that turns Rainey’s life upside down, so the race is on to secure proof before he loses all that is dear to him. One more bit of irony — for a film that is all about getting its ending right, the one in Secret Window is all wrong.  That’s a shame since it had been an intriguing trip up until that point, but we knew the screw would turn eventually, and unfortunately this one is screwed up.  It’s not surprising, since this material is fairly weak to begin with, and only the colorful performances by Depp and Turturro spark any life into it, so when they are forced to change their personalities toward the final scenes, it all falls apart. Secret Window is a flawed but interesting movie, and although I don’t really recommend it as a good film, I also wouldn’t call it was a waste of time either.  Even with the flaws, it is always interesting, and iIf you like the stars, there will certainly be some appeal here, with the direction by Koepp keeping it a lively visual affair.  The only real problem here is the main story itself, held together by the barest of plot developments and a surprise ending which probably won’t be much of a secret to anyone. ? 2004 Vince Leo

   

 
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DOWNLOAD MOVIE Swordfish Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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While one may find the opening speech by Travolta (Battlefield Earth, The General’s Daughter) regarding the sad state of cinema and its lack of realism to be tongue-in-cheek irony, it still does little to justify the following 90 minutes of high-gloss over-the-top predictability.  Swordfish is flashy and stylish, but empty to the core — fast-food entertainment for people who want things quick, even if they are still hungry an hour afterward.  

It seems that 15 years ago some money was left floating around from a DEA crackdown that, through interest, has multiplied itself into $9.5 billion.  Gabriel Shear (Travolta) heads a rogue anti-terrorist group out to snatch the money for themselves to fund their organization, but problems persist due to the seemingly impossible encryption holding these funds in the hands of the Department of Defense.  Reformed super-hacker Stanley Jobson (Jackman, Someone Like You) is drafted into helping their scheme to crack the code and help him get back with his estranged daughter once again.

Granted, Swordfish is entertaining trash that can be enjoyed if one can suspend the most liberal amounts of disbelief.  However, there was a little more called for than I could muster, and more often than not, I found myself laughing at one-dimensional characters do the dumbest things for little or no reason than for titillation meant to please undiscriminating audiences. 

While I must admit, I am no expert on the process of hacking, I am sufficiently knowledgeable enough in computers to know that someone cannot solve 128-bit encryption in 60 seconds…or 60 millennia, when given nothing to utilize but his own brain.  How do you think I felt when he solved 512-bit…how about 1024-bit?!?  How about a man so scared of breaking the law that he doesn’t touch a computer for years yet when confronted by federal agents jumps to almost certain death off of a steep cliff without knowing why they want to question him — or why they jump after him themselves — especially when their partner easily drives to the scene two seconds later — and not even a scratch on any of them?  

These are but two of dozens of such hard-to-swallow-or-understand actions that occur time and time again throughout Swordfish.   By the end, in what should surely have been a slam-bang piece of incredible awe-inspiring action, we can but shrug at yet another feat of ludicrous proportions from the mind of Dominic Sena (Gone in 60 Seconds, Kalifornia).  What saves Swordfish from being total trash is an occasional hiccup of inspiration that once in a while bubbles up to the surface.  Yet, these moments seem misplaced amid such formulaic fare that their full effect is never achieved.  Sure, it has the look of The Matrix and the feel of The Usual Suspects, but Swordfish is a pretender through-and-through.

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DOWNLOAD MOVIE Identity Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Bourne Identity (2002)

FILM REVIEW; He Knows a Lot, Just Not His Name

The fat, plot-stuffed novels of Robert Ludlum are perennially popular among airline passengers. It is not surprising, then, that Doug Liman’s adaptation of ”The Bourne Identity,” Ludlum’s 1980 best seller, seems like an ideal selection for in-flight viewing. The story moves swiftly enough to make the time pass pleasantly, and it is not so complicated that you are likely to miss anything if you take a brief nap, wander off to the lavatory or devote your concentration to the difficult task of removing the plastic wrap from your meal.

Conversely, to see ”The Bourne Identity” on terra firma offers some of the pleasures of travel without the expense and inconvenience of flying. The movie, in time-honored (if by now also anachronistic) spy thriller fashion, hops from one picturesque European spot to another, each location conveyed in postcard-perfect aerial perspective. We move from Marseille to snowy Zurich, spend a lot of time in Paris, take a drive across the Alps and a sojourn at a farmhouse in the French countryside before ending up on the Aegean island of Santorini, with its windmills and black sand beaches. (Much of the movie was shot in Prague, which has become, for moviemakers, the Vancouver of Europe.)

Of course, for the people in the movie, all this travel is quite stressful. The hub of the action is C.I.A. headquarters in Langley, Va., where Conklin, a thin-lipped bureaucrat (Chris Cooper) and his nervous, P.R.-minded boss (Brian Cox) are attempting some deadly damage control. It seems that Conklin — who works behind a smoked-glass door in a half-illuminated office suite, and who probably has ”Rogue Operations” printed on his business card — administers a supersecret team of assassins, one of whom, Jason Bourne, has gone ”off the reservation” after bungling an assignment. He was supposed to kill a vain, volatile African politician (Adewale Akinnuoye-Agbaje) who was threatening to embarrass the agency with his revelations (and who certainly embarrasses the picture with his embodiment of a hackneyed stereotype).

Bourne, in any case, has gone off the reservation and into the stormy Mediterranean, with two bullets in his back, a Swiss bank account number implanted in his hip, and a bad case of amnesia. Rescued by some friendly Italian fisherman, this confused killing machine (Matt Damon) makes his way to Zurich, where he finds a safe-deposit box containing a gun, a dozen passports and a lot of cash — minimal, sinister clues to his misplaced identity. He also discovers that while he does not remember his name, his job or his address, he has at some point acquired a repertory of unusual and, as it turns out, very useful skills. He can not only speak French and German but is also expert in hand-to-hand combat (at one point killing an assailant with a ballpoint pen) and high-speed evasive driving through the clogged Parisian streets in a battered Austin Mini. With stick shift, no less.

The flicker of surprise that crosses Mr. Damon’s brow as Bourne discovers these mysterious abilities is one of the pictures sly, witty touches. More of these are supplied by Franka Potente, who smoothly adapts the frantic smarts of ”Run Lola Run” into a Euro-bohemian version of a role Sandra Bullock might have played a few years back. Ms. Potente is Marie, a footloose German waif who becomes Bourne’s unwitting sidekick and inevitable love interest. What starts off as a simple enough arrangement — a ride from Zurich to Paris in exchange for $20,000 American cash — quickly becomes perilously complicated as Bourne’s old employers close in, hoping to negotiate a suitable severance package.

There are some espionage writers who use the form as a way of probing troubling geopolitical realities and vexing ethical dilemmas. Ludlum, who died last year, was not one of them. But at a moment when big, dumb thrillers like ”The Sum of All Fears” find themselves suddenly burdened with expectations of relevance, the utter and systematic irrelevance of ”The Bourne Identity” to anything currently or formerly happening in the world comes as something of a relief. Comic relief, even.

The movie, which opens nationwide today, trots out a quaint view of the C.I.A. as not only bottomlessly malevolent, but also endlessly and terrifyingly competent. Shortly after they see Marie’s image on a security camera satellite feed, the folks at Langley are in possession of her entire life history, and they are able to track her movements across Europe with a few clicks of the mouse. This is inadvertently hilarious in light of recent news reports. If Marie had only thought to disguise herself as an international terrorist, she might never have attracted the agency’s notice in the first place. (We can also assume that Pashto and Arabic are not among the languages Bourne speaks.)

Free from the encumbrances of history and of Ludlum’s cloddish prose, ”The Bourne Identity,” like its hero, triumphs through sheer unreflective professionalism. It is, by today’s standards, a modest thriller, with a self-contained storyline and with very few big special effects. The cast includes some very fine actors — Mr. Cox, Julia Stiles and Clive Owen, for example — stuck in frustratingly small parts, but their presence does add to the atmosphere of slick, top-drawer know-how.

Mr. Liman’s filmmaking has an old-fashioned rigor. He uses a few digital enhancements but generally prefers to create suspense through precise camera placements and crisp editing. There is nothing especially original here, but the car chases and cat-and-mouse assassin duels are nicely executed.

Mr. Damon at first seems too moody and cerebral to be an action hero, but he grasps Bourne’s predicament perfectly, and takes it seriously enough to make the film’s improbable conceit seem more interesting than it might otherwise have been. Similarly, the picture, when it dwells on the hero’s existential confusion, seems more interesting than it turns out, on reflection, to be.

”The Bourne Identity” is rated PG-13 (Parents strongly cautioned) for violence, mild profanity, and a suggestion or two of sexuality.

THE BOURNE IDENTITY

Directed by Doug Liman; written by Tony Gilroy and William Blake Herron, based on the novel by Robert Ludlum; director of photography, Oliver Wood; edited by Saar Klein; music by John Powell; production designer, Dan Weil; produced by Mr. Liman, Patrick Crowley and Richard N. Gladstein; released by Universal Pictures. Running time: 113 minutes. This film is rated PG-13.

WITH: Matt Damon (Jason Bourne), Franka Potente (Marie Kreutz), Chris Cooper (Ted Conklin), Clive Owen (The Professor), Brian Cox (Ward Abbott) and Adewale Akinnuoye-Agbaje (Nykwana Wombosi).

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“Torque” is a terrific action picture, fast-moving, studded with great stunts and smart enough not to take itself too seriously. Amid a plethora of high-minded, big-deal, year-end Oscar contenders, it offers a welcome contrast (and respite). The irony is that for pure cinematic artistry it arguably outdistances some of the more prestigious current offerings. It is a very knowing venture, marking the feature debut of music video veteran Joseph Kahn and also representing its writer Matt Johnson’s first produced script. It is as assured, energetic and fleet-footed as co-producer Neal H. Moritz’s decidedly similar “The Fast and the Furious.” The filmmakers understand that the plotting should never get in the way of the action, which should let up only long enough to ensure that the hero engages the audience in his quest. They also understand that the way to get away with the most outrageous macho posturing and antics is to present them with a sense of humor that may at times flirt with self-parody but never lapses into it. ADVERTISEMENT The hero of “Torque,” Ford, is played by New Zealander Martin Henderson, who is appropriately ruggedly handsome, ideal casting for an ace biker who rides an Aprilia Mille RSV and has carpe diem emblazoned on his jumpsuit. In a California desert community, the local drug kingpin, a hard case named Henry (Matt Schulze), hired Ford to work on two of his motorcycles. It seems not to have occurred to Henry, who is also the leader of the Hellions biker gang, that Ford might discover a cache of drugs hidden their tanks. Ford decides his best move is to hide the bikes and head for a long sojourn in Thailand, hoping he can forget his girlfriend, Shane (Monet Mazur), the knockout proprietor of a the local biker shop. Self-reliant and hard-working, Shane is indeed memorable, and it’s no wonder Ford, unable to forget her, is inevitably drawn back to town. What a gantlet he has to run! He’s menaced not only by the heartless Henry, who promptly frames Ford for the murder of the younger brother of Trey (Ice Cube), fearsome leader of the Reapers motorcycle gang, but also by a cocky FBI agent (Adam Scott), who wants to know about the whereabouts of Henry’s two missing, drug-laden motorcycles. In short, Ford is quickly on the run, with Shane and his pals Dalton (Jay Hernandez) and Val (Will Yun Lee) inevitably enmeshed in his flight. The filmmakers take every possible advantage of the chase plot they have deftly set in motion. There just happens to be a ramp by a railroad track up which Ford vrooms on his bike, leaping on top of a passing train with Trey in hot pursuit. What do the guys do when they reach the end of the last car? This is the just the beginning of the cascading biker exploits that place the emphasis on daring maneuvers rather than mindless violence, although to be sure nobody in this film walks away from a fight. Kahn keeps a tight rein on the mayhem and his cast in focus, yet he allows them respite to kick back and relax. Essentially, Ford is an amiable guy, as are his sidekicks. (A subtle progressive touch: Ethnic pals are nothing new, but “Torque” allows Lee a stereotype-smashing, easygoing sexual swagger). Rounding out the key cast are Jaime Pressly as Henry’s ultra-Goth lady, John Doe as the local sheriff and Justina Machado as the FBI agent’s underestimated assistant. “Torque” is a great-looking film, and Peter Levy’s dynamic cinematography and Howard E. Smith and David Blackburn’s crisp editing contribute mightily to its kinetic energy and overall visual panache. “Torque” is stylish, unpretentious fun. ‘Torque‘ MPAA rating: PG-13, for violence, sexuality, language and drug references Times guidelines: Too intense for children Martin Henderson…Cary Ford Ice Cube…Trey Monet Mazur…Shane Adam Scott…Agent Jay McPherson Matt Schulze…Henry A Warner Bros. Pictures presentation, in association with Village Roadshow Pictures, of a Neal H. Moritz production. Director Joseph Kahn. Producers Neal H. Moritz and Brad Luff. Executive producers Michael Rachmil, Graham Burke and Bruce Berman. Screenplay by Matt Johnson. Cinematographer Peter Levy. Editors Howard E. Smith and David Blackburn. Visual effects supervisor Eric Durst. Music Trevor Rabin. Costumes Elisabetta Beraldo. Production designer Peter J. Hampton. Art director James Shanahan. Set decorator Rand Sagers. Running time: 1 hour, 23 minutes. In general release.
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