Public Enemies

Going into this year, Public Enemies was easily one of my top five most anticipated movies of 2009. Although he'd lose out to Quentin Tarantino, Martin Scorsese and the Coen brothers, I look forward to Michael Mann's films more than most. Since my son was in town, I had to go see this movie at 10:35 PM, which had us leaving the theater after 1 AM due to the 140 minute run time. Usually this is not a great strategy for watching a film you really want to see, but oddly enough I was alert and attentive throughout the entire film and was able to enjoy it immensely.

Much has been made of the visual style and sound mix, and it is revolutionary as well as controversial. Mann, who has used the digital camera on his last couple films, delivers another beautiful looking film that completely breaks the mold of how an epic period piece is supposed to look. The first twenty minutes were so full of amazing and unusual shots, I found myself distracted by them. As for the sound, the levels did seem to be a bit off throughout, but holy crap, you will never hear more realistic sounding guns in a movie. For me, these were non-issues, and as the "film" progressed I was engrossed in the action and as well as the superb performances.

Johnny Depp coolly portrays John Dillinger as a hardened killer without much of an explanation or back story. This was also an issue with many critics, but I found it so refreshing that this didn't turn into a character study/biopic. Marion Cotillard (who won the "Best Actress Oscar in 2007 for La vie en rose) gives a nice performance here as Dillingers love interest. The relationship is a bit shallow and sometimes melodramatic, but it didn't detract from the film at all, and overall I thought it really earned the emotional moment at the end. Christian Bale was a significant factor in my early estimation of this film's potential, but he ended up being the weakest part of the film. As with all of the characters there was very little development for Melvin Purvis (Bale), the hotshot FBI agent tasked with taking down Dillenger, and it didn't help that he appeared to be trying not to over-act, as he's been accused of doing in his last couple of films. The result was so understated as to almost render him invisible on screen. The first face to face confrontation between Dillenger and Purvis was fun, but could have been much more powerful if Bale had matched Depp's intensity and bravado.

I've been nit-picking this movie, because as a whole I don't think there's much wrong with it. I highly suggest you go see this movie. It's the best summer action film you will see this year, at least until August 21st (Inglourious Basterds!!!). Michael Mann is the type of director whose films deserve to be seen; each and every one of them. His style and method of story telling and filming action is unique and often refreshing in the midst of so many action films that are merely exercises in excess. Public Enemies does not deliver the greatness of Heat or The Last of the Mohicans, but it deserves a lofty, respectable position among his filmography.

The Taking of Pelham 1 2 3

I have to admit that going into this movie I was not expecting anything great. The reviews were mixed, and I saw it the second weekend, having already listened to several podcasts discussing the film. However, I tend to really enjoy Tony Scott's hyper stylized film making, especially his films from the nineties, including True Romance, Crimson Tide, and Enemy of the State. Lately I've been a little more tepid about his films, while still enjoying Domino and Man on Fire. The fact that The Taking of Pelham 1 2 3 is a remake probably had something to do with my reluctance to see this film, since quality Hollywood remakes are a rare breed.

The story is a simple train hijacking, with a cat and mouse game between the negotiator and the head criminal, in this case played elegantly and elaborately by Denzel Washington and John Travolta, respectively. As much as I like certain films by each of the actors involved, this collaboration, which includes John Turturro, Luis Guzman, and James Gandolfini, was the ultimate generic, big name Hollywood cast. Denzel was good, but no one stole the show. Travolta definitely tried, and while over the top, his performance evoked flashes of Face/Off (one of my favorite action movies).

In the end, this was a moderately entertaining, but thoroughly mediocre popcorn flick. Tony Scott's style is all over this movie, but much of the action is either borderline ridiculous (the driving scenes) or underwhelming. If you're a tony Scott fan, or just an action movie buff, you should see this movie, just keep your expectations low. It worked for me.

Killshot

Killshot is a movie that for some reason its creators tried to kill early on. Anytime a film is pushed back a year or two, chances are the reason is that it isn't any good. However, this film's release was not only pushed back for years, but when it did finally see the big screen, it was for literally one week in Arizona. Not New York or L.A., Arizona! This movie has the pedigree of a champion, with stars like Mickey Rourke, Joseph Gordon-Levitt, Diane Lane, Rosario Dawson and Thomas Jane. It's based on a novel by Elmore Leonard and directed by Guy Madden. What could possibly go wrong? Oh, and it's produced by the Weisteins... These guys always seem to defy logic when dealing with their films, although in this case, it turns out that they might have been right.

Mickey Rourke is the focus of the film for the most part, playing a native American hit man on the run from his criminal bosses after a botched job. He has plenty of back story and motive for most of his actions, but when he and his newly found sidekick (Joseph Gordon-Levitt) are seen attempting an armed robbery/extortion, the lengths they go to to try to kill the witnesses seem absurd to me. The witnesses (Diane Lane and Thomas Jane) didn't see them actually commit a murder, yet they have to enter witness protection, only to move back home inexplicably after a short period of time, even though the criminals were still at large.

Overall the acting was pretty good, although Joseph Gordon-Levitt's character was a bit over the top, reminding me of his wigger, hip gangster wanna-be role in 2005's Havoc (famous for its Anne Hathaway sex/nude scenes). The thing that brings down this movie is the story, or the execution thereof. Having not read the book it's based on, I can only assume that Leonard's version was a bit more cohesive and interesting, but it just did not translate well to the screen. I didn't hate it by any means, but this was a highly anticipated film for a while and to see it come in well short of expectations is a bit disappointing. Killshot definitely looks better on paper (or on its IDMB page, if you prefer), with all of the before mentioned talent involved, but in the end it turns out to be a mediocre thriller, with most of its talent wasted.

The Hangover

I think I'm still in shock over what I just saw. The closing credits are simply... Well, nevermind. This is a funny movie, easily the funniest I've seen this year so far, although that isn't necessarily saying much. The Hangover is the latest film from director Todd Phillips who brought us comedy gems like Road Trip and one of my personal favorites, Old School.

This is a story about four guys who go to Las Vegas for a bachelor party, only to wake up the next morning not remembering a thing about what happened the night before, and having no idea where the groom is. The only evidence that remains is a chicken, a tiger, a missing tooth, and a completely destroyed hotel room. The mystery element adds a layer of intrigue not usually found in R rated comedies, and the ending is neither preposterous nor something that you see coming a mile away. Also worthy of note, Zach Galifianakis is great in his role as the weird, mentally troubled brother-in-law. I wouldn't be surprised if this launches him into many more roles in the near future that would take advantage of his special brand of off-beat comedy.

This film is doing gangbusters at the box office, and I believe it's on its way to being one of the biggest R rated comedy of all time. That's all well and good, but in my eye this is not as deserving of the praise and high box office as Wedding Crashers was, or either of the Judd Appatow directed films, 40 Year Old Virgin and Knocked Up. Wedding Crashers was simply funnier, with amazing comedic performances from Vince Vaughn and Owen Wilson (even Rachel McAdams), while Apatow's films are equally hilarious, but also contain genuine, heart-felt moments that really transcend the genre.

I only say all of that because The Hangover has been so highly praised by film critics, bloggers, and podcasters that I only want to provide a small dose of perspective. This is not the be-all-end-all of R rated comedies, but it is a worthy entry into the running for best comedy of the year so far, along with Drag Me To Hell (I also loved the comedic elements in Up). If raunchy comedies are your thing, this will most likely appease your appetite, which was left raging from the somewhat skimpy comedic snacks found in I Love You, Man and Observe and Report. As far as the closing credit sequence... check it out if you dare, but don't say I didn't warn you!

Drag Me to Hell

As I'm sure you've figured out if you've read two or three of my reviews, I rely heavily on Rotten Tomatoes to help me decide what movies to go see. Also, if you know anything about my taste in movies, I generally can't stand horror movies. The last good horror flick I saw was The Decent back in 2005, and before that who knows when. So with Drag Me to Hell, I wanted to see it for its 95% (at the time, now 93%) Tomatometer rating, but I was weary of the horror aspect. I had never seen the Evil Dead movies in their entirety, and am definitely not a fan of Sam Raimi's Spiderman movies. My love for going to the movies in general pushed me over the edge and I ended up seeing this late in the weekend with some friends.

The plot is appropriately simple: a girl is cursed by a pissed off gypsy and has three days to break it. Raimi threw in the home foreclosure element to be current, but it really could have been anything.

As expected this movie is a lot of fun and very tongue-in-cheek. The effects are under-elaborate, but Raimi manages to pull off some genuinely creepy moments using shadows, wind and normal creaky house noises. This movie was also very repetitive. Each day, the girl would be fine, then get paranoid, and then attacked by a demon. The fun of it was seeing to what lengths this girl would go to save her own skin. This film is rated PG-13, and it really pushes it to the limit, not with gore, but just some really gross stuff. Usually that stuff is what got the most laughs, and it added to the personality of the film.

In no way is this film for everyone, but it is well done for what it is. I had a lot of fun with it, and recommend it to any horror fan or general movie buff.

Terminator Salvation

I went into this film with very low expectations based on seeing the negative reviews roll in, as well as listening to several movie podcasts bash it for a few hours. However, this was one of those films that I was looking forward to so much, that I decided I needed to check it out in theaters, you know, for the special effects and the action sequences...

Well, the effects might be the only good/decent part of this film. The rest of it was a mess, from the terrible writing and storytelling, to the bad acting, to the over-seriousness of the plot, which it seems we've seen before. It just doesn't work. Christian Bale, who I believe is a very talented actor, is overacting terribly, and the one potentially interesting aspect of the plot, involving Sam Worthington's character, is neither a surprise nor executed with any level of skill. Frankly, after seeing this film, I never want to watch another film directed by McG (what a stupid name).

I don't feel like writing about this movie anymore. See it at your own peril (and feel free to offer a rebuttal in the form of a comment on my blog, so everyone can see it).

Up

Pixar has released ten consistently great films (although I have not seen A Bug's Life), and this film might surpass them all in beauty, story telling, visual style, humor, and overall significance. I somehow managed to temper my anticipation by reminding myself of how Wall-e had received even higher praise from critics, and was ultimately not the be-all-end-all of animated films that it was made out to be by many critics and internet bloggers. So with Up, I was going to give it a chance.

This is a story of a old man living in his house in the midst of big city development. He and his late wife had bought that house as newlyweds, and everything about it was a constant reminder of her. Rather than give in and move into a retirement community, he takes the second most obvious choice.... he ties a crap load of balloons to his house and uses them to sail to South America, so he can finally travel to Paradise Falls, a place he and his wife had always dreamed of going. Not long after take, off he discovers a little fat boy scout on his porch. Being that they're at about ten thousand feet, he reluctantly lets him in the house.

The adventure that ensues is both ridiculous and hilarious, and involves a giant bird, talking dogs, and a Christopher Plummer voiced blimp flying antagonist intent on capturing said bird. The action is fun and silly, and uses the 3D technology to enhance the experience, giving the audience a real sense of depth when looking into the Amazonian jungle from the top of a blimp or flying house. Most of all this film has a heart, and it doesn't hold back the sentiment, but it does it so tastefully and poignantly. Two or three times I found myself close to tears. Each of the main characters is so well fleshed out that you really feel you know them, even though they're just a 3D rendering on a screen.

As I mentioned in the opening paragraph, this might be my favorite Pixar movie, and is certainly one of my favorite films of the year so far. I can wholeheartedly recommend this movie to anyone and everyone. Ignore the PG rating, this is fine for all kids. Heaven forbid they watch something with a little emotional substance.