This was when they stopped asking Shia to bring his friends to Show-and-Tell at school.
Rating: 3 out of 10 (adult rating)
Rating: 8 out of 10 (12-Year Old rating)
I’m going to commit what to many will seem like film geek treason, I will now connect Michael Bay and Terrence Malick into one theory of filmmaking.
Yep, deal with it.
Malick and Bay share one important thing and that is a completely unabashed tunnelvision for the type of film they want, damn the naysayers, critics and crowds. They both make movies mainly for themselves and in truth, there is nothing wrong with that. As an audience member you need to know going in exactly what you are going to get. It is the only way to really enjoy anything that falls from the cameras of these two (and some other notables). With that said, let’s dive headlong into the metallic masterpiece of summertime popcorn, Transformers!
Transformers: Dark of the Moon continues the story of Sam Witwicky and his Autobot friends. While Sam struggles to gain a purpose in life outside of Decepticon attacks, the Autobots are off helping the government on secret missions. Then everything is torn apart by the discovery of the original Autobot escape ship, known as The Ark, and the captain of that ship, Sentinel Prime. He alone holds the key to technology that could either help reshape the Transformers home world or completely destroy ours. The Decepticons, completely aware of this discovery, make an immediate power play and the war is back, bigger than ever.
Kids buying the Transformer toys today only want one thing, huge robots in spectacular 3D slow motion destroying each other and every building in sight. From this narrow viewpoint, Bay delivers in bulk. The highway fight sequence brought back memories of other high-speed terror scenes like in Matrix Reloaded and The Island (maybe a little too reminiscent of that last one according to some eagle eyed movie nerds). Since Bay actually filmed these scenes in the latest and greatest 3D technology, it was admittedly pretty amazing to watch. In other scenes, some of the CGI was so intensely crisp that it actually started popping too far from the live footage, making it stand out, which ruins a little of the illusion.
So the special effects is where it was at. Big robots, big explosions, big buildings falling down. Those were the high points.
The low points were pretty much everything else.
Standing in the center of all the toys-on-roids insanity is Shia LaBeouf, who in my opinion is a really good actor banking inside really bad movies. I can’t fault him for taking parts in some of the biggest franchises in movie history (Transformers and Indiana Jones) because the exposure and paycheck are nearly impossible to pass up, but in terms of showing his skills as an actor, those hefty titles have done him nothing but a painful disservice. He made his big splash on the scene in the Disney TV show Even Stevens and then on the big screen in the Rear Window update, Disturbia. Many people also don’t remember one of my personal favorite performances in the Project Greenlight-sponsored film, The Battle of Shaker Heights. Shia has the chops, but gets surrounded by weak emotional performances, both from CGI and real people. In this outing, Megan Fox‘s eye candy character was replaced by Victoria Secret’s model (and current Jason Statham girlfriend), Rosie Huntington-Whiteley. Whiteley was an improvement in sense of acting ability, but the part was written levels below what Fox was given. The original love interest had layers, depth and some edge, while Whiteley was given virtually no background, no emotional outlet and nothing to do but stand there and be hot. Sure, the 12-year old in the audience doesn’t want or need more, but to them I say, “Go grab a Victoria Secret’s catalog from your parent’s bathroom and stay out of my movie.”
Beyond the magical pair of leads, Bay brings back the regular tough guys, Josh Duhamel and Tyrese Gibson, to keep on keeping on. They both do fine jobs and don’t try to make this more than it is. Coming in for the first time in the franchise is Frances McDormand, an Academy Award winner to class up the joint. While she was amusing and brought a little more skill to the screen, her part was borderline over-the-top, even in a movie with three story tall robots, because she had to balance out John Tuturro who drifts somewhere off to Hunter S. Thompson land. As if they weren’t enough, Bay decides to bring in an unusual amount of big name cameos, including John Malkovich (who does a decent job in his few scenes) and Ken Jeong (who seems to be acting in a completely different movie, possibly thinks he’s filming Hangover 3). I saved the best for last though, my personal favorite and the only person I was actually thrilled to see appear on screen, Alan Tudyk (who plays Tuturo’s assistant/bodyguard). Tudyk is a cult TV and film legend to his legions of fans spanning from the days of Firefly, Dollhouse and other projects not created by Joss Wheedon. Tudyk was the one person I actually cheered form when he magically appeared on screen.
I could go into a section now where I talk about the story, the plotlines, the connective tissue of the writing, but in reality, Bay didn’t really care and neither do the younger members of the crowd, so let’s just skip it.
The End of the Page recommendation: Transformers: Dark of the Moon starts slow, goes out with a bang and delivers surface entertainment for the middle school crowd.
Why do I keep eating at those damn sidewalk taco stands?
Rating: 7 out of 10
A new age is coming, or maybe just returning to its once proud form. The age of the action hero who isn’t ripping through his tank top in post-pubescent fury, but instead seething with a controlled rage only found in those with a few years to their name. Faces grizzled by battles both won and lost, voices scratched by the screams of sorrow and victory and hands that know the feeling of breaking a nose, not just the squeeze of a trigger. We had it once with John Wayne in the west, but then it moved into the city and we found our urban cowboys in Charles Bronson and Clint Eastwood. Now, a new maturity is reigns with one man sitting firmly on the throne, Liam Neeson, and he’s back on a somewhat familiar ride, but he makes it enjoyable nonetheless.
Unknown is the fractured story of Dr. Martin Harris (played by Neeson), on his way to a Biotechnology summit in Berlin when his car careens off the road and into the icy waters of a German river. Awakening four days later in a hospital, he embarks on a fervent attempt to reconnect with his wife, who not only doesn’t recognize him upon their reunion, but has another man next to her claiming to be the very same man. Trying to tie the loose ends of his spindling memory, our original Dr. Harris finds himself embroiled in a plot much larger than he could ever imagine, winding around a foreign prince, an immigrant taxi driver and a secret many people are willing to kill to control.
Last time we saw Neeson running through the streets fighting with people it was in the freight-train momentum film, Taken. Neeson drove through the movie with an unwavering determination that in other cases might have made the character seem one-sided, but he was able to make the single-point laser focus still seem layered and interesting. Neeson didn’t miss a beat as he walked onto the set of Unknown, he still carries the mack truck mindset of barreling through anyone and everyone to get what he needs, but here the layering is more upfront since his character is dealing with fractured memories and a wife who won’t even acknowledge him anymore. On the writing front, the script is well done, but seems to miss out on some key moments that would have helped to deepen the motivations in a few scenes later in the film.
**ACTUAL SPOILER WARNING – HERE COMES THE GOOD STUFF**
I can’t really talk about the missing moments without mentioning the plot details surrounding those particular scenes. Once it is revealed that Neeson actually is a secret agent and the people trying to kill him are actually members of his old team, the story does ring a little close to the Bourne franchise, but that actually didn’t bother me too much. What falls a little flat is the emotional connections between Neeson and his old team, specifically with January Jones‘ character (who we originally believe to be his wife) and Aidan Quinn (who originally is touted as the “real” Martin Harris). There is an interesting layer that is never explored about how January Jones really feels about turning on her undercover partner and also how Aidan Quinn feels about stepping into his shoes. The final fight between Neeson and Quinn could’ve inserted some nice interplay, but just went for the action, while Jones never got to have a final meeting with Neeson because she went out in a somewhat unclimactic explosion. I’ve said it before, you can win or lose your audience in the last five minutes and this came dangerously close to losing me.
While those story points did leave the ending slightly under par, the rest of the film holds up the overall experience and Neeson just continues to prove his dominance in the action/thriller genre. Also, not to be forgotten, Bruno Ganz turns in an excellent performance as the old ex-German secret service friend who comes to Neeson’s aid. It culminates in a truly magnificent scene between Ganz and Frank Langella, who is in the film for a woefully short time.
The End of the Page recommendation: Unknown is an enjoyable romp through the spy-ridden streets of Berlin.
Posted 11 months, 2 weeks ago at 4:19 pm. Add a comment
When someone mentions they are excited about going to see movies during the “holiday season”, you probably get visions in your head of chipper families around festive dining room tables, playfully bickering and sharing memories of holiday hi-jinx, eventually collapsing into a montage of lessons learned and hugs received. But it is specifically during seasons like that where it is really beneficial to read a synopsis of the movie you are about to see, because not only could the holiday joy be mysteriously missing from the film, but you could leave a lot more disturbed than you ever intended. Happy Holidays!
Black Swan is the tempestuous tale of a young ballerina named Nina Sayers (Natalie Portman) who yearns more than ever to star in her troupe’s upcoming revision of the classic Swan Lake, where the Swan Queen and her nemesis will be danced by the same person. Pushed and tested by her tyrannical director Thomas Leroy (Vincent Cassel), Nina is an example of elegance as the White Swan, but must reach deep inside her prim and proper casing and find the darkness and desire necessary to fully inhabit the Black Swan. The pressure only increases with the introduction of Lily (Mila Kunis), a young sultry transfer from the San Francisco ballet, who seems to only want her friendship, but Nina fears she is after so much more.
Before seeing the film, many imagined it to fall securely under the category of drama, but little did they know indie-film aficionado, director Darren Aronofsky, was unleashing on them one of the most dark and disturbing psychological thrillers, possibly even horror films, of this year. Returning to true form, after a touching turn with The Wrestler, Aronofsky brings back what we have come to expect of him through multiple viewings of Pi and Requiem for a Dream. Beautiful imagery is seamlessly intertwined with horrific context, resulting in scenes that remain nearly unforgettable for weeks afterwards. Relying on much simpler tactics than the ones he employed in Requiem, Black Swan creates a tension-filled reality where the audience bears witness to a sad and terrible descent into madness. Credit also must be given to the writers (which are currently shown as Mark Heyman and John J. McLaughlin for the screenplay, with Andres Heinz for screenplay and story), who all helped to weave a poignant portrayal of the tenuous balance between passion and perdition.
I’ll add my name to the bandwagon cheers for the performances of nearly every main character in this film. Natalie Portman is a gold mine, once again stepping humbly into the spotlight of young Hollywood royalty. She seems to refuse to be nailed down into any pigeon hole (proven by her immediate upcoming release of the romantic sex comedy, No Strings Attached), preferring to prove to audiences that actors can still successfully live on both sides of the comedy/drama fence. Portman brings a raw timidness to her portrayal of the damaged ballerina girl, living breath by breath under the weight of her own expectations and those of her kind, but painfully overbearing mother (played tremendously by Barbara Hershey), a former dancer herself. Her final frightening and sensual transformation into the Black Swan brings an amazing close to an already stellar performance. But not to be outdone, and many will argue the more surprising in quality, is Mila Kunis. Mostly known for her long running role on the stoner-inspired comedy, That 70′s Show, and also for currently voicing the persistently and hilariously abused Meg on Family Guy, Kunis rarely steps into the darkly psychological sphere; while the character of Lily was much more suited to her ability to play with dangerous sexuality, the tone and gravitas with which Kunis displayed it was wildly unexpected. Kunis held her ground passionately while sharing the screen with Portman and I proved many of her detractors wrong. Acting as the engine behind this derailing train to purgatory is Vincent Cassel, the brutally honest (or possibly just brutal) ballet director. The charm Cassel wielded in some of his previous films was turned on its head here as he displayed the darkness and seediness behind the beauty of the ballet world. Rounding out the mounting pressure on our fragile lead dancer was the legendary Barbara Hershey. The layers and depth of Hershey’s performance grants each audience member the gift of choosing to at once agree and despise the actions of the desperate and frantic parent. One of the more common discussions I heard after the film was, “What would you do if that was your daughter?” and people were passionately on all sides of this delicate issue.
The End of the Page Recommendation: If you want to be moved, possibly not in the most pleasant of ways, absolutely do not miss Black Swan. It is a valiant return to form for Aronofsky and a welcome reminder of the power of Portman.
p.s. For those who read my tweet earlier about Black Swan feeling like American Psycho in dancing shoes, another trivia-minded connection does exist between these two films: Mila Kunis played the villain in the direct-to-video sequel, American Psycho II: All American Girl.
Action movies, like many genre films, have one big thing going against them – we’ve seen it before. So the first thought when writing an action film is how do you make it something the popcorn-buying crowds nationwide have never laid eyes on? Then, once you realize that all the writers before you have thought the same question, and inevitably come to the same brilliant idea you just did, you have to ask a more specific question like, “What twist can I put on an old tale?” Sometimes the result still reeks of a dozen or more previous cinematic exploits, but every now and again the similarities can be easily forgiven when the finished product is just done so damn well, like the case we have here.
Red stands for “Retired, Extremely Dangerous” and when you work for the CIA and achieve a glorious marking such as that, things don’t tend to go so well for you. Frank Moses was trying to build some semblance of a life after years of working in the shadows as one of the best government agents around, but his name gets dropped on a list and the number of people still breathing on that list is growing increasingly small. Frank only has one choice, bring together the best of his old contacts and find out who marked him, then erase the person or the list — whichever feels right at the moment.
The first murmur I heard from the crowd as I walked through the hallways of the theater was surprise at how funny the movie was, to which I definitely agree. Most films of this ilk show one or two of the great lines in the trailer but the movie as a whole fails to keep up the punchiness of the original teaser. Yet with Red, the creative minds behind it decided not to just try and balance the action and violence with the humor and brevity, they chose a much more dangerous route, to keep laughter throughout by making the violence funny. From the mounted mega-cannon in the parking lot to the rocket launcher inside of a stuffed pig, the gunplay never took over from the just-plain-play. This inter-weaving of moods kept the momentum going from beginning to end and allowed a nearly two-hour film to feel much, much shorter.
Now we can mention one of the main reasons the humor is there, the cast of brilliant, talented, and, um…’well seasoned’ actors. The casting here is incredible and I will just touch on this, since I could write another thousand words on each cast member. Bruce Willis, at the head of the pack, proves once more that he is still the king of solemn action movie leading men. Soft spoken and hard hitting, he has lost almost none of his true grit from Die Hard all the way through Sin City. Red also proves how to use someone like him (being his age) and still allow it to be believable, unlike the last chapter of the Die Hard franchise. Then there’s Morgan Freeman, who often is not the big shooter out front, but the silent, stoic killer behind the big gun. Just like in Seven and Unforgiven, Freeman lends his particular gift for wisdom and depth to each scene, making it more than just a shoot ‘em up flick. Next, what can be said about John Malkovich other than very few people play crazy better. Just getting to see him charge down a street with numerous explosives strapped to his chest, screaming like a madman, should be enough to get you into those comfy theater seats. Rounding out the senior staff, saving the best for last, the one most people are talking about when they mention this film is Helen Mirren. A paragon of grace, beauty and skill, nothing could prepare an audience for how amazing it is to see her firing off hundreds of rounds from a fully-automatic death dealing cannon. She somehow manages to handle high powered weaponry in this film the same way she handled her crown in The Queen, with the utmost class. Not to be left behind, Brian Cox, Mary Louise Parker and Karl Urban all hold their own around this top-billed cast and their decades of talent.
Bonus Movie Geek reference: I’m not 100% on this, but I swear the swamp shack set for John Malkovich was the villain’s hideout in the John Cena masterpiece, The Marine. Anyone who could verify that would be greatly appreciated.
The End of the Page Recommendation:Red is one of the most surprisingly enjoyable movies for almost every type of audience member. Comedy, action, even a couple love story angles, all mix together in a magically light-hearted way.
Posted 1 year, 3 months ago at 10:23 am. Add a comment
Seriously? Yes, we would like the appetizers first. That’s why they’re called appetizers.
Rating: 9 out of 10
Los Angeles is a mecca for up-and-coming rock bands looking to make their name in the ever changing musical landscape. Many roam these streets from one dive bar to the next, coating the pavement with their sweat, pain and tears, paying dues the industry seemingly demands for any type of future recognition. Then the moment comes when their hooks floats into the ears of one random person, sending a jolt straight into their brain because they know it’s something special, something unique, and most importantly, something completely marketable. One phone call later the ball rolls and those lucky musicians are on their way, granting their early fan base the snooty (but amazingly fun) ability of saying, “I knew them before they were huge.” If you’ve never experienced the sheer joy of holding your musical knowledge above those of other mere mortals, follow along and I’ll give you that opportunity right now.
Some Hear Explosions is a goth/pop/rock fusion outfit that brings the flavor of David Bowie, the angst-y yells of Marylin Manson and the edge of early Garbage all in one extremely fashionable package. Catchy hooks ride on an electronic pulse, bouncing their way through the album, one moment making you crave seeing those fists pumping in the air, then the next moment taking it down a notch, displaying heart and thoughtfulness sometimes lost in modern-day radio play.
Making up the band are Bay Dariz, Ambre Leigh and Joe Herrera. Dariz and Leigh wrote much of the music together and their collaboration has definitely borne tasty fruit for music lovers everywhere. Dariz is all over the instrumental map playing guitar, bass, keys and programming, on top of lending his vocals, which bears a creepy and high-quality resemblance to Marylin Manson (just a touch happier). Leigh takes control of the mic as lead vocalist. Her sound brings images in my head of beautiful femme fatales from the film noir days of the twenties, gangster ladies stepping out of darkened cars wearing black suits and black hats, controlling everyone around them with a simple word from their lips. Herrera keeps it all on track on the drums, knowing internally when to pound down and bring the pain and when to gently tap the skins and bring things back from the rocker’s edge.
Getting down to the track level, there are a number of songs that deserve mention, but the one that I played on repeat when I first got the album was Beep. Insanely catchy, Beep stands out to me as an instant single that should climb almost any radio chart lucky enough to have it listed. It has the hook, the chorus and the rhythmic movement that all make for a great track. Hell A on the other hand delivers solid rock power and a lyrical kick making it not only a stand out on the album, but one to certainly look forward to during live gigs. It could also very well become a mantra for those who have the grand fortune (or misfortune) to actually call this infamous town home.
On the softer side, we have become ever-so-used-to the idea that all rock bands must provide a ballad on their album, something to sweeten those delicate ears who would normally avoid anything on the stereo missing the word “lite”. Those perfunctory tracks, padded in aural downy softness, can often come off as forced and almost trite, but this time we are lucky listeners indeed. Amazing is delicate, relaxed, honest and memorable, making it everything that people love when they’re sitting in their car, stuck in their cubicle or just having that glass of wine in their living room. It instantly makes you think of that person, that time in your life and connects those frayed moments back together, if only for a short period of time. Other notable tracks filling out the album are the marching beat of All Your Gravity, the dark corner romance of Baby Won’t You (kiss my lips) and the slithering sonic smackdown of the album’s moniker, It’s Our Time Now.
If you like what you hear from their site or on iTunes, check their schedule because they just might be swinging through your town soon. Take the opportunity while you have it because next time the tickets won’t be so easy to come by.
The End of the Page Recommendation: From top to bottom, It’s Our Time Now by Some Hear Explosions is a wicked debut album from a band destined and determined to make it.
You said the popcorn had free refills, now you tell me that doesn’t include more butter? Would you like to reconsider that arrangement?
Rating: 6 out of 10
Right off the bat, I want to publicly denounce anyone heard using the joke, “So the sequel to this will be called Pepper, right?” or anything that resembles it. Those people should be terribly, terribly ashamed of themselves.
Thank you. Now I will move from that soapbox to my other soapbox.
Salt follows the dramatic chase, catch and escape of an American CIA agent named Evelyn Salt. A Russian defector gives up secret information which claims Salt is a deep undercover mole, thereby sending her into a cat-and-mouse game played throughout the halls and caverns of American secret agencies. She is forced to cleverly evade and attack her enemies, her friends, even her former boss in an effort to prove who and what she really is.
Salt blasts into action incredibly quickly, which works well for its rather small 100-minute time frame, but in their efforts to hit the ground running, they left out one incredibly important portion of the common hero/anti-hero story – we – the audience, need to care. Angelina Jolie brings the razor’s edge to her intensity and the constant use of her powerful stare, but she gets precious little time to try and makes us feel anything for her character. There are tiny flashbacks here and there to expose a loving relationship between her and her husband, who is kidnapped early in the film, but it never quite rings true and feels like it was dropped in only by necessity. As I noted in the title, there are glaring and obvious comparisons between this film and the Bourne franchise, but Matt Damon was given great opportunities to bring the audience into Jason Bourne’s dilemma and struggle through it with him. Also, the romantic aspect to that original movie was one we got to witness growing on screen, unlike the momentary recalls in Salt, which failed to generate any flutters of the heart.
Yet, for what Salt lacked in the emotions department, they valiantly tried to make up for in the action arena. Jolie gets chased through nearly every type of structure known to man (sewers, church bunkers, packed highways, etc…) and shows herself to be quite the athlete when it comes to jumping off of nearly every set piece in the film, moving and stationary. Brief glimpses of déjà vu attacked me through the screening as I recognized the same Jolie we all rallied around in her Tomb Raider days. There were also a couple Matrix-ish moments of her using the now popular “jump-push off the wall punch-kick” maneuver, which made me wonder what it would have been like if Jolie had donned the black pleather jumpsuit of Trinity (after a few moments I realized she probably would have overwhelmed any scene she was in, so Carrie-Anne Moss was indeed the better choice). There was an attempt to bring a little more weight and depth to the film by using continuously solid actors like Liev Schreiber and Chiwetel Ejiofor, but while Liev gets a bit more meat packed into his role, Chiwetel ends up very much on the short end of the stick, saddled with one of the only story-changing arcs in the story, but absolutely no time to bring it to a full and believable fruition.
The End of the Page Recommendation: Salt delivers high-paced action, but fails to combine it with real meaning.
What did you think? Does it end up on your list of ‘Top Female Action Flicks’?
Posted 1 year, 6 months ago at 7:00 am. Add a comment
Trilogy? No one said anything to me about a trilogy?
Rating: 5 out of 10
There is a certain extra effort that has to be put in when adapting video games to the screen. You can’t just grab the plot from the original video game, because a large part of your audience will be completely bored. On top of that, you run the risk of them beating the game in a much more efficient way than the movie plays out. Yet, you have to keep certain elements, mainly the origin story of your main character, which then creates particular boundaries on where the story can unravel. As I mentioned recently, this can go very bad (ala Super Mario Brothers), but the original Mortal Kombat proved delightfully entertaining, even with the odd novelty of Christopher Lambert as Raiden (Really? Who cast that?). The adaptations have been getting increasingly high concept and high budget as the games themselves break new ground for imagination and technology, which leads us to this weekend’s entrant into the genre, straight from the gates of the fabled Mouse House, Disney.
Prince of Persia: The Sands of Time grabs the main character from the original game and sets him on a quest to not only clear his name for a murder he did not commit, but also uncover the magic behind a mystical dagger which can reverse time for those lucky enough to possess it. Enemies surround our hero, some lusting for the power of the dagger, while others are more honed to collect the large ransom on his head and he finds himself with the most unlikely of allies, a beautiful princess of the kingdom he just helped overthrow.
Prince of Persia is entering a void left open by the downfall of the Mummy franchise, the critically abysmal last chapter of Indiana Jones and the mostly forgotten (or consciously blocked out) attempt to begin the Dirk Pitt domination of summertime adventure with Sahara. A good desert-filled action movie always has a dollar to be earned in the blockbuster summertime season. Maybe it’s the abundance of bright, hot sunshine in the locations, or possibly the presence of sweaty, well-toned actors and actresses in every other shot. Whatever the reasons may be, historical or present day action films set in the outlands of the desert have a genre all to themselves and Prince of Persia is looking to take control of it. There is rumor another Indiana Jones could be in the works (and why not since it made a ridiculous amount of money, who cares that it was terribly painful to watch), but Disney could most likely churn out one, maybe even two more chapters in this series before Indy crawls back to the screens. This summer there is nothing else being offered in this particular arena of actioneers, so the timing is quite well done.
Another big move inside this sand-blown story is the introduction of Jake Gyllenhaal as a viable action hero. While he has shown the ability to buff up his physical presence, in films like Jarhead and Brothers, and handle leading a film with major studio money behind it, like The Day After Tomorrow, all of those had him more focused on his intelligence and humanity than his stuntwork or bravado. Prince of Persia shows off a new side to Gyllenhaal, one audiences once had a chance of seeing years back when rumors floated around about him being cast over Tobey Maguire in Spider-Man (looking back at Spider-Man 3, maybe it was a good thing Gyllenhaal missed being caught up in that web). He very much holds his own here and continues to display his boyish charms, which won him such approval all the way back in October Sky, but now adds this new element of mischievous muscle. When not declaring his purity of character on screen, he spends his time flirting, either with danger or with his coquettish co-star, Gemma Arterton. That combination makes him interesting enough to hold audience attention in between the various action scenes.
But that is where things end in the positive realm of Prince of Persia. While slow motion can be used to exciting effect in some films, this one was wildly addicted to stopping time, not only in the fictional world, but also on screen, mostly whenever Gyllenhaal’s feet left the ground in any type of flip or diving motion. There were also areas where the CGI was incredibly poor and stuck out painfully from the rest of the physical set. This in particular was a disappointment coming from Disney, which knows all too well how to mix CGI and reality (just go back and watch the original Pirates of the Caribbean). Yet, beyond all those things, the one thing which left me more saddened than all the others while I walked back to my car was the weak and unimaginative writing. I will always give credit to any writer for getting something through the system and onto the screen and there is always the possibility that the finished product relates very little to their original script, but Prince of Persia felt older than the desert temples they were filming. There is a fine line between using a previous piece of work as a structure or even in terms of an homage, but this film was a blatant rip-off in my mind of Shakespeare’s King Lear and Hamlet, with a touch of Disney’s own Aladdin thrown in (the opening sequence in Prince of Persia is a near live action remake of the beginning of the animated Aladdin, which means Disney ripped themselves off.) Everything here was too obvious from scene one and that dragged down much of the excitement brought about by the action sequences.
The End of the Page Recommendation: In worldwide gross, Prince of Persia is currently just squeaking by its production budget, so in the end this will be a success, so you can expect another one down the road, but you might see a slightly smaller one, and if that means no Gyllenhaal, it will probably mean direct to DVD. As for this one, a decent summertime afternoon show, but save it for the couch instead of the theater.
Posted 1 year, 7 months ago at 12:13 pm. 2 comments
Say hello to my little friends, Laverne and Shirley.
Rating: 7 out of 10
It was only a matter of time until we reached this inevitable moment where the comic book stories started to move away from the radiation-powered heroes and villains to the non-mutant kids that actually read them. Every kid who turned those colorful paneled pages had those moments where they gazed out the window and dreamed of a world where they could fly, burn holes through walls using only their eyes and actually help the good people in the world (or maybe just rob banks, depending on the kid). In the end it was all about wanting to be more than they were – something extraordinary. For some, gaining that elusive feeling meant putting their heads down and burying themselves in study, research and grunt work until they were recognized as experts in their chosen field. Others put on flashy tights. Tomato, tomahto.
Kick-Ass is a comic-book adaptation about a young boy who decides to make the transition from normal teenage wallflower into costumed vigilante justice. Ignoring the lack of any real powers or drive for vengeance, he plows forward only to find himself embroiled in a real-life crime ring, landing himself in the crosshairs of real criminals with real guns who really kill people. There is help though, from a costumed father/daughter pair who mentors him in what it really means to be a superhero.
[A quick disclaimer: I didn't read the original comic series, so this is a commentary on only the movie itself and not how well or not well the adaptation was made. If it was a wonderfully truthful adaptation, that's great, but that only really helps those people in the audience who have actually read it.]
While it starts out with a very Kevin Smith-style conversation, this movie quickly ascends into a level of ridiculousness that separates it solidly from the pack. It’s grows into something more akin to Unbreakable remade by high school kids, but I mean that in a positive way. The viewpoint throughout the film is not looking down or lording over these characters, but it looks from within, through the childlike eyes of what it would really feel like to try and become a superhero and transform yourself into the savior instead of the saved. It’s an old archetypal story — with a lot more spandex and pleather.
The lead character, Dave ‘aka Kick-Ass’ (played by Aaron Johnson), is the moral center of the story and he’s the audience’s window into this world. While his role is integral to the story, as a character he suffers a bit from being the launching pad for the more extreme and entertaining people. Quickly enough we are introduced to ‘Hit Girl’, played with unwavering intensity by Chloe Moretz, and her comically imbalanced dad, otherwise known as ‘Big Daddy’, played beautifully by the constantly working icon, Nicolas Cage. This dynamic duo are the comic book within the comic book, the fantasy within the reality of Dave’s world. Due to the level of violence and brutality these two characters generate throughout their screen time, it was fundamentally necessary to pick people who could play the ridiculous nature of their actions without allowing the characters themselves to seem or feel ridiculous. Cage was a godsend in this respect and there are few people better than him at accomplishing this kind of task. Cage may have become a joke to some, but I think they underplay this man’s range. Go back and watch Leaving Las Vegas, then immediately pop in Raising Arizona. He is supremely talented on both ends of the spectrum. While he might not be getting those prime roles lately, I think that has more to do with the fact he is working non-stop and those roles don’t come along as often versus proof of his decline in skill. Moretz, on the other hand, may be a relative newcomer by some standards, but in her six years of stealing scenes she’s already racked up a ton of voice-over credits and now seems quite poised to take over as the resident precocious, overly-intelligent little sister/neighbor/friend/what-have-you.
As for the man with the plan, Matthew Vaughn only has three directorial credits under his belt so far (Layer Cake, Stardust and this new addition), but all have been incredibly successful in their own right. He continues to do a beautiful job of creating the world of the story, both in front of the camera and behind it (he co-wrote the screenplays for Kick-Ass and Stardust). Yet, so far I think his best overall effort has been Layer Cake, the one script he didn’t touch (it was written for the screen by J.J. Connolly, the author of the original book). The only thing I believe this proves is the original author can be better with the cutting knife on their own story than someone else.
The End of the Page Recommendation: Kick-Ass doesn’t disappoint in the ass kicking department, but it borders on repetition by the closing credits. For comic book fans, it’s required viewing, just to relive the fantasies you know you had at that age. Oh, on a personal side note, National Treasure is popcorn genius! Viva la Cage!
Posted 1 year, 9 months ago at 9:01 am. Add a comment
Freedom of speech is one of the most widely appreciated and critically lauded rights in our country, yet it is also one of the least understood. Under the protection of this original amendment to the Constitution of the United States, each person has the inherent right to express themselves through the use of words. This is one of the core elements to our democracy, if not the very heart of it. Yet once again we are beginning to see how that right can be mistreated, misunderstood and misdirected against the very ideals it was created for.
On March 23, 2010 President Barack Obama signed into law a comprehensive package of health care reforms under the title of The Patient Protection and Affordable Care Act. This is being held as the most widely sweeping package of reforms to the health care system since the enactment of Medicare. As with any major change to our country, there was disagreement and dissent in how these changes should be applied, if at all. That’s a good thing–dissent and disagreement should be protected and even encouraged because that is how checks and balances work and it is our protection against any one party or idea running roughshod over the entire country. A multi-party and multi-idea system is inherently necessary for Democracy to work at all.
Unfortunately, as with any system requiring human beings to take part, there will always be people who will abuse that system. While hiding under the guise of protected argument in opposition to the passage of health care reforms, Senators, Congress people and ordinary citizens have escalated their rhetoric beyond reasonable limits. Referring to health care reform as “global Armageddon”, claiming we should vote out those in favor in November, “if we have elections” or even calling for the assassination of politicians’ children if they voted yes on the bill; those are only a few of the responses from the opposition. While they might indeed reside technically under the protection of the first amendment, these types of exaggerations and exhortations are against the core ideal of free speech.
Our right to free speech was meant to protect our ability to state our opinion and express ourselves in face of totalitarian oppression and intimidation, yet in these cases it is being used directly for the intimidation and oppression of those with differing views. Worse, the politicians, pundits and performers who choose to wallow in this level of discourse ignore the effect it has on those people listening to their vitriol. They scoff at those who warn them and they deny that the mass population would ever take things too far, but they consciously and knowingly neglect the knowledge that terrible acts aren’t only orchestrated by a large group of people:
- The recent flight of a small plane into an IRS office building was achieved and orchestrated by one man.
- The Oklahoma City bombing was achieved and orchestrated by two men.
- The mail bombing campaign issued from 1978 – 1995 was achieved and orchestrated by one man.
The very night the Senate version of health care was passed an operation of window smashing was enacted against various Democratic county offices and those offices of politicians who voted for the bill. Credit has been taken by a far-right conservative blogger who revels in each and every report of vandalism and damage, whether or not it was specifically in his name. While a few hundred dollars in damage per affected office is not a huge thing, I do wonder exactly why this particular act was chosen to express their disappointment. I suppose letters to their representatives seemed too light or too ineffective, or maybe it just wasn’t flashy enough, or maybe they were trying to draw a subliminal connection to the ‘Night of Broken Glass’ where the Nazis and anti-Jewish coalition smashed all the windows of Jewish shop owners, signaling only the beginning of the oncoming Holocaust. Whether or not this was in their heads while they scurried through the dark tossing bricks through windows, the message is clear. Words are no longer an option for them, action and violence is now their chosen recourse.
The opposition to the new health care package needs to quickly decry and despise the violence inherent in the rally cries and speeches from their very own supporters. If they do not, they will find the uncomfortable color of innocent blood on their hands and a saddened nation of people wondering how and why they let it get that far.
Posted 1 year, 10 months ago at 9:05 am. Add a comment
I promise to do whatever my political party says, in right and in wrong, till death do us part
I can hear it now rumbling in the back closet, rocking back and forth with one broken foot, that same one I’ve been meaning to fix for two hundred years:
The Political Spin Machine
…and it’s going full steam.
With the election of Republican wunderkid, Scott Brown, the troops on the right are doing everything they can to convince Democrats across the nation that every progressive and liberal policy currently being proposed now has as much chance of succeeding as Conan O’Brien ever doing a show on NBC again. Yet, let’s take a good close look at what really happened yesterday and see if we can’t find a way to help each party find its way back to some type of ethical center.
By electing Scott Brown, Massachusetts brought the Democratic majority in the Senate down by exactly one. They dropped from 60 to 59 and while many will bemoan the loss of the filibuster proof majority, what they neglect to mention is the filibuster proof majority never really existed because of those Democrats in the Senate referred to as “Blue Dogs”, or more conservative-leaning voters. The squelching of the filibuster happened only once, which was to finally push the Health Care bill out of the Senate, and the reparations the liberal Democrats had to make in order to secure those Blue Dog votes over the filibuster helped to shape a bill that virtually no one is pleased with. So the idea that Scott Brown’s inclusion in the Senate will suddenly destroy the happy-go-lucky hand-holding going on in the left leaning side of the chamber just shows how little the right side actually pays attention to what is going on.
This is nothing more than a scare tactic to frighten the left and encourage the right, but I honestly believe the right has more to fear from Scott Brown than the left. Republicans think his election is a repudiation of Democratic policies and of Obama himself, but in fairness I believe he was chosen more out of frustration of continued record unemployment ratings and a growing disappointment from independents who let themselves believe the Obama hype machine during his campaign. I’m not knocking Obama, I voted for him as well, but people seemed to forget he is just one guy inside a government machine built by money, power and massive special interests. He has made many changes already, in demonstrably record time, but people on Main Street won’t feel the effects of those until much later. The change some people was hoping for was much more than he could ever achieve in such a short amount of time. Remember, his one-year anniversary as President was yesterday!
Scott Brown also comes in claiming he is ushering in a “new type of Republican”, which in other terms means “time for the old guys to move on out.” Let’s see how well that plays out in the polls come mid-term time. Anyone coming in preaching change to the “old way of politics” is a danger to anyone currently sitting, Republican or Democrat.
Now, while watching Mr. Brown gloat over his seemingly amazing win, I can’t say I’m incredibly impressed with him or how he handles himself (check this little moment of pimping out his daughters at his acceptance speech), but I wasn’t all that enchanted by his opponent, Martha Coakley, either. This is where people need to help usher in a real and tangible sense of change. We need to start looking beyond the party name and look at the actual person. As unattainable as it might sound, filled with pretty rhetoric and uplifting oratory, I agree with Obama when he stumps for the goal of bi-partisanship, but I want to take it one step farther. “Bi-partisanship” alludes to the idea of two parties getting along, but what about “tri-partisanship”? Actually, we do have one Independent senator (wave to the nice Internet folks, Mr. Barney Frank of VT). What about “quad-partisanship”? The Tea-Partier’s are about to host their own conference, so who will deny they have a chance to get their own candidate on a ticket and not be forced to list them as Republican? I’m a good distance off from supporting anything currently coming out of the tea-party caucus, but I fully encourage their right to not affiliate with either dominating party. My belief is if we breakdown the powerhouse parties the American populace would be forced to learn more about who they are voting for instead of just checking whether their was an “R” or a “D” next to their name.
An informed populace is an absolute necessity of any great democracy and it’s time that we as members of that populace bore some responsibility for that.
This was when they stopped asking Shia to bring his friends to Show-and-Tell at school. 
DandyID
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