Greetings again from the darkness. Survival movies come in many shapes and styles. There are classy ones like All is Lost(with Robert Redford) and Life of Pi(Academy Award nominee). There are thrilling ones like The Edge(with Alec Baldwin and Anthony Hopkins). And of course there are the kinda trashy ones that usually feature beautiful and clueless people stuck on an island somewhere like in Turistas (with Josh Duhamel).
What we rarely see are survival movies that just don’t have much going on. Open Wateris about the closest to this latest from director Gil Cates, Jr and writer Jeff Gendelman, but at least that one offered the constant threat of a shark attack.
Sad sack Mitch (Sean Astin) visits his Alzheimer’s-stricken mom in the nursing home before heading out to the middle of Lake Michigan in what he plans as his final voyage in life. At the most inopportune time – given his goal – it’s his boat that is rendered lifeless thanks to the scattered pieces of a plane crash. Mitch drags the survivor Kelly (Chris Mulkey) aboard and the two fellows proceed to prove that their philosophizing and reminiscing are no match for the conversational skills of a boy and his tiger (Life of Pi).
Flashbacks are the key to us understanding the reasons these two crossed paths in such an unusual manner. We see Mitch’s guilt and inability to be a worthy partner in a relationship, and we see pilot Kelly’s desperation in trying to making ends meet for his family and regaining his confidence as a man.
There are a couple of funny “guy” moments (the poet comment made me laugh), yet somehow the conversation of these two men in a life-threatening situation pales in comparison to the exchanges of two gents over a meal in My Dinner with Andre. Where is the danger? Where is the stress? Where is the soul-searching? It’s unfortunate that the extended periods of two guys in a boat just don’t have much to offer for the 86 minute run time, because the stage was set for much more than melodrama.
Greetings again from the darkness. Avoiding the flashiness of Goodfellas or the complexity of another Italian crime family drama, 2008’s Gomorrah, this reserved-on-the-surface film from director/co-writer Francesco Munzi takes us to a small rural village located outside of Milan. In fact, this slow-burner has much in common stylistically with the 2010 Aussie gem Animal Kingdom.
Luigi (Marco Leonardi), Rocco (Peppino Mazzotta), and Luciano (Fabrizio Ferracane) are three brothers who have settled into life after the murder of their father by a rival crime family. Luigi is the hands-on leader of the family’s drug business, and even though he thrives on the power and intimidation, he maintains a relatively low profile. Rocco is the behind-the-scenes businessman of the family enterprise. He and his fashion-forward wife live in a swanky Milan apartment and mostly avoid the front lines. Oldest brother Luciano has forsaken the family biz, and instead spends his days farming and working his goats.
Luciano’s commitment to hard work and a straight life have not rubbed off on his son Leo (Giuseppe Fumo) who is drawn to the danger, money and power of his uncles’ business. It’s young Leo’s fool-hearted actions that kickoff a chain of events putting the family smack in the midst of a possible war of criminal families.
This is no guns-blazing thrill ride of violence. Instead it’s the type of movie that features countless scenes of men huddled in small groups mumbling details of the next important deal. Also, crucial are the non-verbal nods and raised eye-brows – signs that are interpreted as calls to action. We also learn that expressing hope someone lives to 100, is not just a personal insult, but such crass behavior that it brings a group dinner to an awkward halt.
Leather jacket abound, and the threat of violence looms over most scenes. However, it’s the subtlety of the conversations and the quiet nature of the leaders that cause the well-meaning, but immature thirst for revenge from Leo to stand out. Until the twist of the final act, the only two moments of violence are almost surgical in their precision, leaving us with the impression that one’s negotiating skills and loyal friends are every bit as crucial to success as one’s expertise with a gun.
Mr. Munzi’s film (based on the novel from Gioacchino Criaco) is very well directed and photographed, and features some terrific acting that generates the tension necessary to drive the story. It’s a nice addition to the crime family genre, even if it’s not at the level of the three mentioned in the opening paragraph above.
Greetings again from the darkness. Thirty years have passed since we last saw Mel Gibson donning the leather in 1985’s Mad Max Beyond Thunderdome, which was of course, the third in the franchise after Mad Max(1979), and Mad Max 2: The Road Warrior(1981). Over the years, rumors have persisted that writer/director George Miller was going to add to the franchise and take full advantage of today’s high-tech movie making techniques by securing the budget necessary for a true blockbuster. It may have taken 3 decades, but Mr. Miller’s dream is realized with his $100 million version (compared to $300,000 budget on the first one) that will undoubtedly satisfy the Mad Max fans, while also reminding the industry what an action movie can be (Michael Bay’s corneas may burst into flames watching this).
Tom Hardy plays Max Rockatansky, a loner haunted by a tragic past seen only through millisecond flashbacks that occur at both inopportune and opportune moments. Hardy has the physicality to pull off the role, but despite the title and the history, this film belongs at least as much to Charlize Theron who literally drives the story as Imperator Furiosa. Tired of living under tyrannical rule, Furiosa frees a group of “breeders” played by Zoe Kravitz, Rosie Huntington-Whiteley, Riley Keough (Elvis Presley’s granddaughter), Abbey Lee and Courtney Eaton. Their plan is to escape across the desert (well, everything is desert these days) and return to Furiosa’s childhood home known as “the green place”.
This is pretty much a two hour chase sequence featuring monster vehicles, soaring motorcycles, massive gunfire, screen-filling explosions, and enough stunt work to amaze even the casual movie-goer. All of this is accompanied by ear-bursting high-octane music courtesy JunkieXL (the first Max films were scored by Brian May of Queen). Some of this “music” is raw heavy-metal shredding occurring live on one of the chase vehicles – quite a sight and sound gag. It should be noted that stunt work is the surprise here. These days, most movies rely on CGI effects, while Mr. Miller mixes an extraordinary number of old school stunts with the compliment of CGI for such things as an overwhelming sandstorm and Ms. Theron’s mechanical arm. It’s a fascinating blend of old and new.
John Seale certainly deserves mention. He is an Academy Award winning cinematographer for The English Patient, and has also been DP on films such as Rain Man, Witness, Dead Poet’s Societyand The Firm. He has four Oscar nominations and is not the first cinematographer one would think of when putting together a huge action film; however, the choice pays off in what is a beautifully shot film – both in space and close up scenes. It brings an element of propriety to what on the surface appears to be out-of-control, non-stop chaos.
The post-apocalyptic look and feel is accented by periodic splashes of color that prevent the usual bleakness from others in this genre. Many will be surprised at the minimal dialogue, but the straightforward plot removes any need for extended conversations from folks simply trying to survive.
Nicholas Hoult (Warm Bodies) may be the most interesting of all characters, and probably has the most lines of dialogue (while still not saying much). He is a slave caught up in the dream of serving his master, while then re-discovering a modicum of humanity buried somewhere deep inside. Fans of the series will also cheer the presence of Hugh Keays-Byrne who plays the very striking Immortan Joe, and also played Toe Cutter in the original film 37 years ago.
Filled with nostalgia and respect for the original series, this fourth entry also provides a new palette for a new generation of fans. The biggest change comes from the focus on strong women who are out to change, or at least escape, a world rotted by the male lust for power. It’s difficult to say insanity rules this world, because so little sanity exists that rational beings are non-existent.
George Miller will always be known as the creator of the Mad Max series, but we shouldn’t forget that he also directed the Happy Feetmovies, as well as Babe: Pig in the City. Perhaps those two personalities allow him to create a world as crazed and chaotic as we see in his latest Max film. Mostly we can feel happy for him that he was afforded the opportunity realize his filmmaker dream … a nice reward for 30 years of patience.
Greetings again from the darkness. “Sometimes the truth isn’t believable. But that doesn’t mean it’s not true”. These words are spoken by Christian Longo, the man accused of brutally murdering his wife and 3 kids in 2001. The line between truth and lies is at the core of this real life story directed by Rupert Goold and based on journalist Michael Finkel’s memoir and recollections of his conversations with Longo.
The New York Times investigative reporter Michael Finkel (Jonah Hill) is introduced to us as he is researching the story which ultimately leads to his dismissal, after it’s discovered he played fast and loose with details in order to present a more impactful story. Soon he receives an odd phone call from an Oregon writer (Ethan Suplee) who informs Finkel that his name is being used by Longo (James Franco), the suspected murderer who was recently captured in Mexico. As a disgraced journalist, Finkel seizes the opportunity to connect with Longo, and soon enough the two morally-compromised men are locked in psychological warfare, where we as viewers aren’t sure just who is using who in this oddball “friendship”.
Hill and Franco are best known for their raunchy and raucous comedies, and both deliver much “quieter” performances than what we have come to expect from them. While it’s a bit of stretch to buy Jonah Hill as a renowned writer, Franco is absolutely chilling as a manipulative psychopath. Franco is so good in the role that he overpowers Hill, which undermines what was supposed to be an intricate game of cat and mouse.
Franco is a frightening figure on the courtroom witness stand as he tells his version of that fateful night, and he is equally unnerving to watch in general conversation with Finkel. However, the single best scene in the film comes when Felicity Jones unleashes the wrath of truth on Franco’s Longo. Ms. Jones is otherwise underutilized for most of the film, as her relationship with Finkel is never really explored.
Rather than provide any substantive background on what makes either Finkel or Longo tick, we are instead left to make our own assumptions based on the framed magazine covers and the spurts of flashbacks. And thus the film’s biggest flaw is cheating us out of the backstory that might help explain the otherwise fascinating conversations/showdowns between these two flawed gents … one significantly more flawed than the other.
It’s impossible not to compare this to Truman Capote’s “In Cold Blood” and the subsequent films based on his writing experience: Capote (2005), and Infamous (2006). Stretching and bending the truth are common themes, as are intriguing and disturbing insights from the writers and the accused.
There are times True Storycomes off as little more than a made for TV movie, but the best moments more than make up for it, and Franco’s portrayal will stick with you long after Finkel finally understands who and what he is dealing with. It’s also a reminder that there are people who “want the truth so badly” they “will lie to get it”. Try saying that with a wink.
Greetings again from the darkness. The old adage “blood is thicker than water” has always been fruitful movie fodder. Writer/director Vidhu Vinod Chopra takes the theme to a small, dusty town on the Mexico border. He introduces us to the sons of the local sheriff … Buddy is the slow-witted eldest and Jakey the bespectacled musical prodigy.
Buddy is flashing his dead-eye aim at the shooting range when his father (Thomas Jane) is murdered right in front of him. Local mobster Mr. Hench (Vincent D’Onofrio) seizes the opportunity to utilize young Buddy’s need for revenge. Jump ahead 15 years, and Jakey (Anton Yelchen, Star Trek) is engaged to Vittoria (Maria Valverde) and living in New York City as a classical violinist. Things get interesting when Buddy (Chris Marquette) entices Jakey to come visit after being away for eight years.
Jake isn’t in town very long before he fully understands that Hench has a grip on Buddy, who is now a full-fledged hitman (in a Rainman kind of way) engulfed in the various border gang wars. Here is where the brotherly bond kicks in. Watching it play out against the manipulative power of Hench provides the meatiest conflict within the film. The brothers admit to living on “different planets”, but it’s clear that their traumatic childhood has connected them in a manner that time and distance can’t break … even though one of them more readily identifies “bad men”.
Sean Patrick Flanery (Boondock Saints) has an odd, but hyper-energetic small role, but most of the screen time is taken by D’Onofrio, Yelchin and Marquette. A better written role for Ms. Valverde would have been advantageous, but mostly this is a solid little crime drama with an emphasis on brotherly bond.
Greetings again from the darkness. “For Paul”. A touching tribute to the late Paul Walker provides an emotional end to the most high-octane (sorry about that) F&F episode yet … and the perfect victory lap (sorry again) for the franchise. Of course, we know that it won’t be the last, if for no other reason than easy box office money.
The franchise began in 2001, and the familiar faces are back: Vin Diesel as Dom, Paul Walker as Brian, Jordana Brewster as Brian’s wife Mia, Michelle Rodriguez as amnesiac Letty, Tyrese Gibson and Chris “Ludicrous” Bridges as comic relief Roman and Tej, respectively, and Dwayne “The Rock” Johnson as Agent Hobbs. New to the scene are Djimon Honsou as a terrorist, Ronda Rousey and Tony Jaa as elite henchmen (henchpersons?), Nathalie Emmanuel as super-hacker Ramsey, and Kurt Russell as the shadowy government-type cutting shady deals for fuzzy reasons. The biggest add is of course, Jason Statham as Deckard Shaw, the Black Ops big brother to Owen Shaw (Luke Evans) – silenced villain from the previous film (in which Statham made a brief appearance foreshadowing this story line).
Achieving remarkable success for what started as a fun little street racing cult film, this series thrives on its familiar characters, simple plot lines, staggering lineup of dream cars, and ever-louder and larger stunts, fights and set pieces. One of the earliest scenes features a fight scene that would be the climax of most action movies: The Rock vs Jason Statham. Rather than end or solve anything, this fight merely serves as a set-up for one of the film’s punchlines – involving The Rock and a plaster arm cast (pay no attention to that leg cast). In the middle, we get a too brief clash between Michelle Rodriguez and Ronda Rousey, but the real finale is a rooftop battle between Vin Diesel and Jason Statham that has such an extended cut-away, we almost forget they are going at each other.
In between those colossal fights, we get Paul Walker sprinting up the side of a bus that is sliding off a cliff, a wicked and armed drone, car chases galore – including one with a stealth chopper, synchronized10,000 foot car drops from an airplane, and most impressively, car jumps between the Etihad Towers in Abu Dhabi. That last one is not just any car, but a stunning red Lykan Hypersport … one with little resale value after its final trip.
Michelle Rodriguez’ character is fighting her amnesia, Ludacris and Tyrese play off each other like Laurel and Hardy, while Dom does his best Yoda impression, and Statham comes off like a revenge-seeking
missile from a Terminator movie. Every character gets their fair share of posing, preening, strutting and smirking. It would be an insult to call this over-the-top because that would imply we have previously seen
the top. This is high-speed, high-altitude mayhem that plays directly to a large fan base.
Personally, I’m not a devout F&F follower, and have seen only the first entry prior to this latest. My attendance for Furious 7 was driven (get it?) by my interest in seeing the tribute to Walker, and my personal code of seeing every Kurt Russell movie (don’t ask). However, I do understand the mass appeal, and I believe the followers will appreciate the approach of director James Wan (Saw, The Conjuring), who replaces 3 time series director Justin Lin.
Greetings again from the darkness. There is a theory that to catch a killer, one must think like a killer. Young John McCormack is in the next room when his detective father, frustrated at being unable to put away a serial killer, commits suicide. Flash forward twenty years, and John is now himself a police officer intent on finishing his father’s work … and gaining a bit of revenge in the process.
The story picks up as John (Chris Coy) has tracked Francis Visser to a small town, where he is known as Eugene the town barber, a gentle and dignified friend to all. Scott Glenn portrays Eugene as a slow-shuffling elderly gentleman who doesn’t much appreciate profanity, rudeness or poor decisions. He is even friends with the local police chief (Stephen Tobolowsky), who accepts Eugene’s word on just about any topic.
The cat and mouse game between John and Eugene plays a bit like Sleuth (1972) where each participant sees himself as smarter than the other. Only this time, there are 17 previous murders to go along with the developments after Eugene agrees to mentor John on the fine art of stalking, planning and killing without evidence.
Beginning with a gypsy proverb: “You have to dig deep to bury your father”, the film seems to use that quote figuratively and literally, as being buried alive plays a role alongside the detective father’s ruinous obsession. Supporting work is provided by Kristen Heger, as John’s co-worker (and more), Olivia Taylor Dudley as the waitress looking to John for fun, and Max Arciniega as Eugene’s barber shop employee.
More attention to the John vs Eugene piece, and a little less to the various sub-plots, could have tightened up this thriller and elevated it to an even more suspenseful level. Mr. Glenn and Mr. Coy are both excellent, and at their best when sharing a scene. It’s a nice first feature from director Basel Owies, who has an eye for nuanced characters with a dark side.
Greetings again from the dark. It’s been awhile since we have seen a turtle movie that didn’t also feature pizza and nunchucks. While it’s true that the endangered exotic turtles in director Dave Boyle’s neo-noir potboiler don’t live in the sewer or wear masks, they do play a key role in his multiple-plot murder mystery co-written with Joel Clark and Michael Lerner.
This nifty little web of clues and McGuffins centers on mystery writer Aki (Ayako Fujitani) and a small town Sheriff (Pepe Serna), and starts with a foggy night on a nearly deserted road. From there we get murders, turtles, a night of passion, deceit, paparazzi, secrets, and a rich Brit and his burly henchmen. And if that’s not enough, there is a professional impostor who takes identity theft to the extreme.
With the back and forth between English and Japanese dialogue, the film has the feel of a foreign film, yet it’s filmed mostly in San Francisco. The use of mood lighting and atmospheric sets add an element of intrigue. Heck, even one small hotel room gets used over and over for a variety of scenes. It’s a fun movie to watch and play along with.
Ms. Fujitani and Mr. Serna are both excellent in their roles, and support work comes courtesy of Kazuki Kitamura (The Raid, Killers), Hiroshi Watanabe (Letters from Iwo Jima), Rome Kanda, and Derrick O’Connor (Lethal Weapon 2). This was a favorite on the film festival circuit last year, and despite the use of a couple of false endings, it is one most fans of mysteries will enjoy.
Greetings again from the darkness. When the poster for a new movie compares itself to a genuine classic like JAWS, it immediately evokes skepticism and doubt. The first feature film from writer/director Adam MacDonald is based on a true story and somehow blends elements of horror and man vs. nature into a suspense-filled, gory, survivalist tale of a messy relationship.
Alex (Jeff Roop) has romantic visions as he and girlfriend Jenn (Missy Peregrym) head off into a Canadian Provincial Park for backpacking and camping. Alex can’t wait to show his citified girl his favorite lake lookout … the place he used to hike in his youth. It doesn’t take long for the cracks to start showing- both in the relationship and in Alex’s outdoorsman skills. With the slow build of dread, we know the couple is headed for something unpleasant … thanks to the preview, and the fact that a movie about a relaxing camping trip would be pretty boring.
The Park Ranger (Nicholas Campbell) just shakes his head as Alex refuses his offer of a trail map … a not so subtle jab at men for never asking directions. That combined with Alex poking fun at Jenn’s road flare, bear spray and cell phone usage provide the foreshadowing necessary for any viewers who appreciate being told where the story is headed. After a canoe ride, the couple hikes to the camp site where they encounter their first brush with nature: a rugged Irish guide (Eric Balfour) who offers his catch of the day served with a heavy dose of machismo. We are left to wonder if and when and how this creepy dude might again appear.
Of course, it’s only a matter of time until the couple is lost and we (and they) realize that’s the least of their concerns. See, their lack of communication has landed them right in the middle of black bear country … hungry black bears. A couple’s worst nightmare (a weekend with an incompatible partner) turns into a camper’s worst nightmare (being hunted by a bear). It’s at this point that Ms. Peregrym takes over the movie and we finally have someone to pull for.
Director MacDonald does follow the Jaws template in teasing us with danger and not showing the bear until deep into the movie, but any other comparison would be quite a stretch. Still, there is plenty of tension and we even get that odd line between horror and humor – involving Jenn’s diamond grab in the heat of the moment. Nothing is held back in the fight between man and bear, and we see more than enough in the aftermath.
The park makes for an incredibly beautiful setting and a stunning backdrop for hiking and canoeing and bear fighting. The film could have been titled “Dummies Go Camping”, but really the commentary on modern relationships is probably more telling than the reminder of Nature’s power. Finally, a tip of the cap to Mr. MacDonald for including the Dwight Twilley song “Looking for the Magic” in the initial car trip … great song and fitting to the theme.
Greetings again from the darkness. Sean Penn becomes the latest addition to the AARP action hero club … a very crowded club these days. Unfortunately for Mr. Penn, he lacks the smirky charm of Bruce Wills, the uber-cool of Denzel Washington, and he fails to generate the empathy of Liam Neeson. He simply doesn’t come across as a very likable guy, and certainly not someone we can root for.
Based on the novel of Jean-Patrick Manchette, the movie starts out in the Democratic Republic of Congo where Penn is a mercenary disguised as part of a mining security detail. The first 20 minutes are convoluted and introduce numerous characters and sub-plots that leave us wondering if there are any good guys here … other than Penn’s idealistic doctor girlfriend played by Jasmine Trinca. A sure sign of a weak script is a film that is bookended by “newscasts” to explain both what is going to happen as well as what just happened.
Pierre Morel directed the first Taken movie, and his cast is stellar: Sean Penn, Javier Bardem, Idris Elba, Ray Winstone, and Mark Rylance. Somehow that combination delivers a hokey, over-acted, cheesy dialogue mess featuring absurd shoot-outs and action sequences that try to convince us Penn is some kind of quasi-superhero. His transformation from geopolitical hit-man to humanitarian is tough to buy, and it’s downright chuckle-inducing to see the times he manages to show off his sculpted torso. We can only assume his personal trainer received a bonus for each shirtless scene.
The story bounces from Africa to London to Barcelona to Gibraltar and back to Barcelona. It does include the best use of a live bull so far this year, though the actual bullfighting is somehow one of the least gruesome segments of the entire film. The film isn’t as sneaky as it thinks it is in making a statement about multinational corporations raiding Third World resources. Evidently, the message is that former assassins can be forgiven if they are re-born as committed to humanitarian causes, but capitalistic companies cannot possibly justify their work in impoverished areas.
All of the above could be shrugged off if so many wasted opportunities didn’t consistently frustrate. Penn has scenes with all of the other actors mentioned above, but there is almost no interaction between the others. Why no confrontations between Idris and Javier? How about one sequence with Penn, Javier and Winstone squaring off? So many fun actors, but so little cross-over. Frustration may be the best overall description for this one, and it encompasses everything from script to dialogue to camera work.
Greetings again from the darkness. Survival movies come in many shapes and styles. There are classy ones like All is Lost (with Robert Redford) and Life of Pi (Academy Award nominee). There are thrilling ones like The Edge (with Alec Baldwin and Anthony Hopkins). And of course there are the kinda trashy ones that usually feature beautiful and clueless people stuck on an island somewhere like in Turistas (with Josh Duhamel).
Posted by David Ferguson 
Movie Reviews from the Dark 