Rated R for language and some nudity, 85 minutes
Unlucky and unfunny "St. John of Las Vegas"
One of my favorite all-time movie lines comes from Clint Eastwood's "Dirty Harry" as he stands over a criminal with a huge gun and says "Are 'ya feelin' lucky, punk?" Luck is the main premise of the new low-budget independent comedy "St. John of Las Vegas" and unfortunately, the uneven film is unfunny in spite of the presence of Steve Buscemi, whose looks alone often inspire a comic presence, and comedian Sarah Silverman.
Buscemi plays John, a former compulsive gambler who fled Las Vegas for a better life working for an insurance company in Albuquerque, except he doesn't have much of a life. He has a crush on his co-worker Jill (Silverman), who has been having an affair with the shady owner of the company (Peter Dinklage). Since John is wanting to move up in the company, the owner assigns him a task of investigating a fraudulant claim with veteran fraudulant claim investigator Virgil ("Weeds" Romany Malco), who clearly has other things on his mind. The task is obviously new territory for John, and the whole process will either make or break him.
"St. John of Las Vegas" is a mildly funny but scattershot, often tediously quirky comedy that is fortunate to have Buscemi, or it'd be a total waste. It's a decent effort from first-time feature director Hue Rhodes, who's only experience to now has been with short films and his inexperience in setting up scenes is a painfully awkward one. Sometimes he cuts scenes too short or lets them go on way too long, and the bad editing job only reveals the thin material and wildly disjointed script.
Buscemi is a talented actor who's far better than the material allows, and his engaging performance is the best thing about the film. Malco is a decent actor in a woefully underwritten, unrevealing part, and Silverman plays against type in a bubbly but unnecessary role. Dinklage is a fine comic actor (he reprises his role in the upcoming remake "Death at a Funeral") who's given little to do, though the one scene he shares with Buscemi is a humorous one.
The film picks up a little in the last act, but otherwise there's little going in "St. John of Las Vegas" and most of it isn't that funny (the best scene: Buscemi in a brief scene playing cards). Are 'ya feeling lucky? Not so much after seeing this movie.
Saturday, February 20, 2010
The Crazies - B
Rated R for bloody violence and language, 101 minutes
Spirited Romero remake "Crazies" provides some good jumps
You'd be crazy to remake a film from acclaimed horror master George A. Romero, and even crazier to think that it might be any good. But that's what has happened with the energetic horror romp "The Crazies," a remake of the 1973 Romero film about some people in a small midwest town acting strange after a mysterious toxin infiltrates their water. It's not a smart film, falling prey to some standard horror film cliches in the last act, but there are more than enough squeamish jolts up until then to lift it a notch above most in this genre.
Timothy Olyphant ("A Perfect Getaway") is David, a sheriff of an Iowa town, his newly expectant wife Judy ("Surrogates" Radha Mitchell) is the town doctor. People start acting strangely and a few dead bodies end up in the morgue. They soon realize that their water supply has been contaminated by a mysterious chemical that essentially turns people to a zombie-like state.
The U.S. government, fully aware of the situation, quickly puts the townspeople on lockdown and isolating those they fear are contaminated. David and Judy, along with David's squirrly deputy Russell (Joe Anderson) and Judy's assistant (Danielle Panabaker) they're on the run to safe ground before they're killed by the infected or by the military.
"The Crazies" is a jumpy, nutty horror reinvention of Romero's low-budget cult favorite with a few genuinely scary moments. And who would've thought this coming from a largely untested director like Breck Eisner, who's only major film was the flop "Sahara," not to mention the fact he's Michael Eisner's (yes, that Michael Eisner, the former Disney chief) son. And on top of that, it's not really an all-out zombie film per se, while the infected have a zombie demeanor they don't want to eat you, just kill you.
Romero (who served as executive producer here) probably envisoned something on a larger scale than this, yet as a horror film mixed with paranoid sci-fi notions a la "District 9," it doesn't work as well. It works better as a small-scale horror flick with survival as the real objective, and there's a scattershot of memorable scenes, most of which come early on. The tense, up close struggle in the funeral home, or that jumpy ride through a car wash or that tight struggle with two of the infected in a small room of the house, all of which provide the film with some lively moments. The single biggest (and most surprising) jolt, however, comes immediately following the car wash scene courtesy of a fighter jet which will leave you breathless.
Familiar second-string actors Olyphant and Mitchell are a solid horror film heroes , though largely unknown British actor Anderson nearly steals the show in a manic sidekick performance that's sure to draw notice ("You have to make sure," he says as he puts a round of bullets in a couple of the infected).
"The Crazies" is a flimsy paranoid government cover-up film, and it nearly falls apart in the film's last section, when it gives way to some standard horror film cliches (OK, let's go check things out in a big, dark truck stop, there's sure to be safety there, yea sure) that'll have you rolling your eyes or chuckling unintentionally. But up to that last section, "The Crazies" is actually a decent, skittishly bloody film that may find an audience on Romero's name alone.
Spirited Romero remake "Crazies" provides some good jumps
You'd be crazy to remake a film from acclaimed horror master George A. Romero, and even crazier to think that it might be any good. But that's what has happened with the energetic horror romp "The Crazies," a remake of the 1973 Romero film about some people in a small midwest town acting strange after a mysterious toxin infiltrates their water. It's not a smart film, falling prey to some standard horror film cliches in the last act, but there are more than enough squeamish jolts up until then to lift it a notch above most in this genre.
Timothy Olyphant ("A Perfect Getaway") is David, a sheriff of an Iowa town, his newly expectant wife Judy ("Surrogates" Radha Mitchell) is the town doctor. People start acting strangely and a few dead bodies end up in the morgue. They soon realize that their water supply has been contaminated by a mysterious chemical that essentially turns people to a zombie-like state.
The U.S. government, fully aware of the situation, quickly puts the townspeople on lockdown and isolating those they fear are contaminated. David and Judy, along with David's squirrly deputy Russell (Joe Anderson) and Judy's assistant (Danielle Panabaker) they're on the run to safe ground before they're killed by the infected or by the military.
"The Crazies" is a jumpy, nutty horror reinvention of Romero's low-budget cult favorite with a few genuinely scary moments. And who would've thought this coming from a largely untested director like Breck Eisner, who's only major film was the flop "Sahara," not to mention the fact he's Michael Eisner's (yes, that Michael Eisner, the former Disney chief) son. And on top of that, it's not really an all-out zombie film per se, while the infected have a zombie demeanor they don't want to eat you, just kill you.
Romero (who served as executive producer here) probably envisoned something on a larger scale than this, yet as a horror film mixed with paranoid sci-fi notions a la "District 9," it doesn't work as well. It works better as a small-scale horror flick with survival as the real objective, and there's a scattershot of memorable scenes, most of which come early on. The tense, up close struggle in the funeral home, or that jumpy ride through a car wash or that tight struggle with two of the infected in a small room of the house, all of which provide the film with some lively moments. The single biggest (and most surprising) jolt, however, comes immediately following the car wash scene courtesy of a fighter jet which will leave you breathless.
Familiar second-string actors Olyphant and Mitchell are a solid horror film heroes , though largely unknown British actor Anderson nearly steals the show in a manic sidekick performance that's sure to draw notice ("You have to make sure," he says as he puts a round of bullets in a couple of the infected).
"The Crazies" is a flimsy paranoid government cover-up film, and it nearly falls apart in the film's last section, when it gives way to some standard horror film cliches (OK, let's go check things out in a big, dark truck stop, there's sure to be safety there, yea sure) that'll have you rolling your eyes or chuckling unintentionally. But up to that last section, "The Crazies" is actually a decent, skittishly bloody film that may find an audience on Romero's name alone.
Cop Out - C-
Rated R for pervasive language including sexual references, violence and brief sexuality, 108 minutes
Morgan's a hoot in the tired police buddy comedy "Cop Out"
"Cop Out" is more of a sellout for the unconventionally funny director of such films as "Clerks" and "Jay and Silent Bob Strike Back." That director, Kevin Smith, doesn't lack talent but you wouldn't know it by his latest forgettable big-budgeted Hollywood buddy comedy that wears thin after a few minutes. Willis is more of the straight man to "30 Rock" comedian Tracy Morgan, who provides "Cop Out" with its only genuinely funny moments.
Willis is Jimmy, Morgan is Paul, two veteran New York City cops. After a failed bust, they're suspended, which is bad timing given that Jimmy's daughter (Michelle Trachtenberg) is about to have a lavish wedding and he needs the funds to pay for it. Jimmy hopes to sell a rare baseball card but is held up by a petty, talky thief named Dave (Seann William Scott), who ends up selling the card to a drug dealer named Poh Boy (Guillermo Diaz). Jimmy and Paul risk life, limb and careers to get the card back and bring down Poh Boy in the process.
Flat, silly and a strictly paint-by-numbers buddy police comedy, "Cop Out" will entertain the masses for a minute or two and will be amused by Morgan's antics, which the film relies heavily on as it goes on. What is truly remarkable about the movie is how many talented actors it wastes in the process. Watch for the film's most unfortunate and most unfunny comedic bit, as Kevin Pollack and Adam Brody (yes, that Adam Brody from "The O.C.") as two straight-laced detectives running parallel to Willis and Morgan. The lovely Rashida Jones from "Parks and Recreation" is also wasted as Paul's pretty wife, whom he fears is having an affair; watch for Smith film alumnus Jason Lee in a needless cameo as the younger husband to Jimmy's ex-wife.
Willis phones it in playing a role he can play in his sleep, giving his usually grumpy performance, leaving Morgan, an often funny but largely untested comic actor, to carry the film on his shoulders. Whether spouting a myriad of movie catchphrases (including one of Willis') or crying like a baby it's his seemingly unforced humor that infuses "Cop Out" with some much-needed energy, even if he mugs for the camera too much. Scott, whose best moments are seen in the ubiquitous trailers for the film, has a couple of amusing moments in a very small part; by the way, he and Morgan make for the better buddy team than he and Willis (and stay over for the credits to see the film's funniest moment).
What is most unfortunate about "Cop Out" is the fact that such a seemingly sharp director as Smith helmed (he's made it clear he's only the director-for-hire here as if he knows the film is bad) such a poorly constructed film and a contrived, predictable script that starts out OK but falls apart in its mid-section and tries to come back together in the final, unmemorable shoot-out.
At least Willis and Morgan cuss a lot and seem to have fun jacking around shooting guns, a far better time than you'll have on a Southwest Airlines flight, but you didn't hear that from me. If you plan on seeing the forgettable "Cop Out" you may want to do so soon, as it may not be around long.
Morgan's a hoot in the tired police buddy comedy "Cop Out"
"Cop Out" is more of a sellout for the unconventionally funny director of such films as "Clerks" and "Jay and Silent Bob Strike Back." That director, Kevin Smith, doesn't lack talent but you wouldn't know it by his latest forgettable big-budgeted Hollywood buddy comedy that wears thin after a few minutes. Willis is more of the straight man to "30 Rock" comedian Tracy Morgan, who provides "Cop Out" with its only genuinely funny moments.
Willis is Jimmy, Morgan is Paul, two veteran New York City cops. After a failed bust, they're suspended, which is bad timing given that Jimmy's daughter (Michelle Trachtenberg) is about to have a lavish wedding and he needs the funds to pay for it. Jimmy hopes to sell a rare baseball card but is held up by a petty, talky thief named Dave (Seann William Scott), who ends up selling the card to a drug dealer named Poh Boy (Guillermo Diaz). Jimmy and Paul risk life, limb and careers to get the card back and bring down Poh Boy in the process.
Flat, silly and a strictly paint-by-numbers buddy police comedy, "Cop Out" will entertain the masses for a minute or two and will be amused by Morgan's antics, which the film relies heavily on as it goes on. What is truly remarkable about the movie is how many talented actors it wastes in the process. Watch for the film's most unfortunate and most unfunny comedic bit, as Kevin Pollack and Adam Brody (yes, that Adam Brody from "The O.C.") as two straight-laced detectives running parallel to Willis and Morgan. The lovely Rashida Jones from "Parks and Recreation" is also wasted as Paul's pretty wife, whom he fears is having an affair; watch for Smith film alumnus Jason Lee in a needless cameo as the younger husband to Jimmy's ex-wife.
Willis phones it in playing a role he can play in his sleep, giving his usually grumpy performance, leaving Morgan, an often funny but largely untested comic actor, to carry the film on his shoulders. Whether spouting a myriad of movie catchphrases (including one of Willis') or crying like a baby it's his seemingly unforced humor that infuses "Cop Out" with some much-needed energy, even if he mugs for the camera too much. Scott, whose best moments are seen in the ubiquitous trailers for the film, has a couple of amusing moments in a very small part; by the way, he and Morgan make for the better buddy team than he and Willis (and stay over for the credits to see the film's funniest moment).
What is most unfortunate about "Cop Out" is the fact that such a seemingly sharp director as Smith helmed (he's made it clear he's only the director-for-hire here as if he knows the film is bad) such a poorly constructed film and a contrived, predictable script that starts out OK but falls apart in its mid-section and tries to come back together in the final, unmemorable shoot-out.
At least Willis and Morgan cuss a lot and seem to have fun jacking around shooting guns, a far better time than you'll have on a Southwest Airlines flight, but you didn't hear that from me. If you plan on seeing the forgettable "Cop Out" you may want to do so soon, as it may not be around long.
The Ghost Writer - B+
Rated PG-13 for language, brief nudity/sexuality, some violence and a drug reference, 128 minutes
Polanski channels Hitchcock in the stylish thriller "The Ghost Writer"
Acclaimed French director Roman Polanski's offscreen life makes the headlines more than his movies lately, and in spite of that, or maybe because of it, he's crafted a superb Hitchcock-flavored thriller in "The Ghost Writer." Captivating and complex, well-paced and bearing Polanski's own unique slyly dark touches, it makes old-fashioned suspense seem new again.
Ewan McGregor is a successful British ghost writer who's hired by the former British Prime Minister Adam Lang (Pierce Brosnan) to help complete his memoirs. It seems a daunting yet fabulous opportunity when the ghost writer (who's never given a name) arrives to help Lang in a huge beach front mansion on Martha's Vineyard after his previous ghost writer turned up dead as his body washed ashore on the island.
The following day, Lang is accused of war crimes by a former colleague and things seem to go awry. Lang finds himself in the middle of an increasingly complicated situation, made more interesting by Lang's loyal assistant (Kim Cattrall), his glib, highly intelligent wife Ruth (Olivia Williams) and a shady Harvard professor (Tom Wilkinson). The ghost writer must play detective and put together clues with the startling truth far closer than he ever imagined.
Polanski's well-crafted, well-acted intriguing political thriller "The Ghost Writer" is one of the better films of the new year. Polanski's stylish direction holds the film together along with a great, centerpiece performance from McGregor as the anonymous ghost writer who knows more than he should. Interestingly, the film is an interesting choice for the Oscar-winning director of "The Pianist," who hasn't done a thriller like this since his now-classic "Chinatown" and who essentially finished post-production for the film under house arrest stemming from age-old charges of his own.
You can easily forget Polanksi's personal troubles with the engaging, vastly entertaining "The Ghost Writer," which for his own personal reasons, was not shot in the U.S. but overseas (and if you pay close attention, Martha's Vineyard looks very European, one minor distraction). Based on Robert Harris' fictional novel "The Ghost" and loosely based on some of Harris' own personal feelings for the real former British Prime Minister Tony Blair, there are a obvious implausibilities (yes, the British government does have and read the internet) in the last act, but in large part it all comes together nicely.
Even better is veteran film composer Alexandre Desplat, who makes sublime use of violin and is "The Ghost Writer's" biggest homage to Hitchock himself along with sturdy performances from everyman McGregor and Brosan, doing a laidback but blowhard Blair imitation. Even better is Tom Wilkinson as the professor's who's clearly hiding something along with the always excellent Olivia Williams (seen recently and all too briefly in "An Education") as essentially a sinister, British version of Hillary Clinton. For those wondering about Cattrall, best known for "Sex and the City," she's micast here with a thin, wandering British accent, but she's still an enjoyable presence.
You won't easily forget the ominous ending to "The Ghost Writer," which is heard and unseen, after all, who'll believe the ghost writer, who was virtually anonymous all along. "The Ghost Writer" is enjoyable, enticing entertainment with Polanski leaving his huge imprint on the film and have you clamoring for more. If you can't get enough of him, rent "Chinatown," his best film, over a plate of pasta and good wine.
Polanski channels Hitchcock in the stylish thriller "The Ghost Writer"
Acclaimed French director Roman Polanski's offscreen life makes the headlines more than his movies lately, and in spite of that, or maybe because of it, he's crafted a superb Hitchcock-flavored thriller in "The Ghost Writer." Captivating and complex, well-paced and bearing Polanski's own unique slyly dark touches, it makes old-fashioned suspense seem new again.
Ewan McGregor is a successful British ghost writer who's hired by the former British Prime Minister Adam Lang (Pierce Brosnan) to help complete his memoirs. It seems a daunting yet fabulous opportunity when the ghost writer (who's never given a name) arrives to help Lang in a huge beach front mansion on Martha's Vineyard after his previous ghost writer turned up dead as his body washed ashore on the island.
The following day, Lang is accused of war crimes by a former colleague and things seem to go awry. Lang finds himself in the middle of an increasingly complicated situation, made more interesting by Lang's loyal assistant (Kim Cattrall), his glib, highly intelligent wife Ruth (Olivia Williams) and a shady Harvard professor (Tom Wilkinson). The ghost writer must play detective and put together clues with the startling truth far closer than he ever imagined.
Polanski's well-crafted, well-acted intriguing political thriller "The Ghost Writer" is one of the better films of the new year. Polanski's stylish direction holds the film together along with a great, centerpiece performance from McGregor as the anonymous ghost writer who knows more than he should. Interestingly, the film is an interesting choice for the Oscar-winning director of "The Pianist," who hasn't done a thriller like this since his now-classic "Chinatown" and who essentially finished post-production for the film under house arrest stemming from age-old charges of his own.
You can easily forget Polanksi's personal troubles with the engaging, vastly entertaining "The Ghost Writer," which for his own personal reasons, was not shot in the U.S. but overseas (and if you pay close attention, Martha's Vineyard looks very European, one minor distraction). Based on Robert Harris' fictional novel "The Ghost" and loosely based on some of Harris' own personal feelings for the real former British Prime Minister Tony Blair, there are a obvious implausibilities (yes, the British government does have and read the internet) in the last act, but in large part it all comes together nicely.
Even better is veteran film composer Alexandre Desplat, who makes sublime use of violin and is "The Ghost Writer's" biggest homage to Hitchock himself along with sturdy performances from everyman McGregor and Brosan, doing a laidback but blowhard Blair imitation. Even better is Tom Wilkinson as the professor's who's clearly hiding something along with the always excellent Olivia Williams (seen recently and all too briefly in "An Education") as essentially a sinister, British version of Hillary Clinton. For those wondering about Cattrall, best known for "Sex and the City," she's micast here with a thin, wandering British accent, but she's still an enjoyable presence.
You won't easily forget the ominous ending to "The Ghost Writer," which is heard and unseen, after all, who'll believe the ghost writer, who was virtually anonymous all along. "The Ghost Writer" is enjoyable, enticing entertainment with Polanski leaving his huge imprint on the film and have you clamoring for more. If you can't get enough of him, rent "Chinatown," his best film, over a plate of pasta and good wine.
Sunday, February 14, 2010
Shutter Island - C+
Rated R for disturbing violent content, language and some nudity, 138 minutes
Scorsese, DiCaprio up to their usual tricks in "Shutter Island"
The Martin Scorsese-Leonardo DiCaprio teaming has always been an unusual, albeit interesting one. The provocative filmmaker behind "Raging Bull," "Mean Streets" and "Goodfellas" paired with the intense, mainstream actor from "Titanic" produces entertaining yet uneven results for the masses, and the modestly enjoyable but disjointed psychological thriller "Shutter Island" is no different. Their new drama is their weakest effort together and likely their most divisive: those that will be entertained and those who don't enjoy being tricked. I'm hesitant to say it, but "Shutter Island" is a disappointment considering its prominent cinematic pedigree.
Based on Dennis Lehane's 2003 best-selling novel of the same name, it's about two U.S. Marshals, Teddy (Di Caprio) and Chuck (Mark Ruffalo) who investigate a mental institution on a remote island after one of the patients goes missing. The patient's mysterious doctors (Ben Kingsley and Max Von Snydow) seem to be hiding something, and it doesn't help that during the investigation Teddy keeps having strange dreams about his deceased wife Dolores (Michelle Williams). Things aren't what they seem and Teddy isn't quite himself, either, and he's unsure whether he'll ever solve the case or if he'll always remain on Shutter Island.
"Shutter Island" is a mildly entertaining, often preposterous, far-flung mess of a movie full of wild tricks that Scorsese and company throw at you, and they throw plenty of them. On one hand, you'll be mildly engaged, even entertained by the first-rate production, but then that's really unfortunate given the disjointed, weak script that expects a tremendous amount from its audience, especially when the final twist is revealed at the end, making the movie feel like one big contrivance. So much has been thrown at you until this point you're not sure whether to believe it or not.
The more memorable aspects of "Shutter Island" comes from the eerie sets, a few stellar supporting players and the wildly pulsating cello score from Canadian rocker Robbie Robertson that you'll have in your head long after the film is over. Of the large cast, Michelle Williams of "Brokeback Mountain" makes the biggest impression as Teddy's loving but imbalanced wife, and Ruffalo is a warm presence as Teddy's partner. However, Oscar-winner Kingsley seems to phone it in here, while Von Snydow and Emily Mortimer are wasted in very brief parts; watch for Jackie Earle Haley and Patricia Clarkson in cameos that seem trimmed way down in the editing room.
As for "Shutter Island's" big star? DiCaprio certainly has his following (don't count me as one of them, though), and while his intensity works well in some scenes, he lacks empathy to truly pull off the part, particularly in the film's final scenes, which lack heft. And as usual with Scorsese, you'll find copious amounts of blood splattered throughout, which neither hurts nor helps the film and seems to be added only for shock effect.
It isn't surprising that "Shutter Island" has been delayed; it's a messy, mildly enjoyable but often baffling movie that audiences may not know what to do with. Even mediocre Scorsese is still watchable, which will bring out his and DiCaprio's fans out the first week, until they walk out disappointed and like most audiences, feel a little tricked.
Scorsese, DiCaprio up to their usual tricks in "Shutter Island"
The Martin Scorsese-Leonardo DiCaprio teaming has always been an unusual, albeit interesting one. The provocative filmmaker behind "Raging Bull," "Mean Streets" and "Goodfellas" paired with the intense, mainstream actor from "Titanic" produces entertaining yet uneven results for the masses, and the modestly enjoyable but disjointed psychological thriller "Shutter Island" is no different. Their new drama is their weakest effort together and likely their most divisive: those that will be entertained and those who don't enjoy being tricked. I'm hesitant to say it, but "Shutter Island" is a disappointment considering its prominent cinematic pedigree.
Based on Dennis Lehane's 2003 best-selling novel of the same name, it's about two U.S. Marshals, Teddy (Di Caprio) and Chuck (Mark Ruffalo) who investigate a mental institution on a remote island after one of the patients goes missing. The patient's mysterious doctors (Ben Kingsley and Max Von Snydow) seem to be hiding something, and it doesn't help that during the investigation Teddy keeps having strange dreams about his deceased wife Dolores (Michelle Williams). Things aren't what they seem and Teddy isn't quite himself, either, and he's unsure whether he'll ever solve the case or if he'll always remain on Shutter Island.
"Shutter Island" is a mildly entertaining, often preposterous, far-flung mess of a movie full of wild tricks that Scorsese and company throw at you, and they throw plenty of them. On one hand, you'll be mildly engaged, even entertained by the first-rate production, but then that's really unfortunate given the disjointed, weak script that expects a tremendous amount from its audience, especially when the final twist is revealed at the end, making the movie feel like one big contrivance. So much has been thrown at you until this point you're not sure whether to believe it or not.
The more memorable aspects of "Shutter Island" comes from the eerie sets, a few stellar supporting players and the wildly pulsating cello score from Canadian rocker Robbie Robertson that you'll have in your head long after the film is over. Of the large cast, Michelle Williams of "Brokeback Mountain" makes the biggest impression as Teddy's loving but imbalanced wife, and Ruffalo is a warm presence as Teddy's partner. However, Oscar-winner Kingsley seems to phone it in here, while Von Snydow and Emily Mortimer are wasted in very brief parts; watch for Jackie Earle Haley and Patricia Clarkson in cameos that seem trimmed way down in the editing room.
As for "Shutter Island's" big star? DiCaprio certainly has his following (don't count me as one of them, though), and while his intensity works well in some scenes, he lacks empathy to truly pull off the part, particularly in the film's final scenes, which lack heft. And as usual with Scorsese, you'll find copious amounts of blood splattered throughout, which neither hurts nor helps the film and seems to be added only for shock effect.
It isn't surprising that "Shutter Island" has been delayed; it's a messy, mildly enjoyable but often baffling movie that audiences may not know what to do with. Even mediocre Scorsese is still watchable, which will bring out his and DiCaprio's fans out the first week, until they walk out disappointed and like most audiences, feel a little tricked.
Creation - C+
Rated PG-13 for some intense thematic material, 108 minutes
You may not believe in this dull "Creation"
Whether team you choose - Team Creation or Team Evolution - you always believe in the power of love, which is the theme of the boring drama "Creation," which is part-biopic on famed scientist Charles Darwin, who penned the theory of evolution, and part love story. The handsome production features warm performances and is remarkably even-handed, but then that may be its chief flaw. It's a rather bland, tedious and depressing effort, which is unfortunate given the compelling subject matter.
"Creation" tells the personal story Darwin's theory of evolution, as written in his famous master-work "The Origin of Species." Darwin (Paul Bettany) and his conservative religious wife Emma (Jennifer Connelly) have confounding views, but still manage to be devoted parents to their many children. As Darwin continues to hone his theories, one of his children, the precocious Annie (Martha West) tragically dies at a young age, threatening to tear apart his faith, his ideas and his family.
"Creation" is an affecting but unrevealing portrait of the story behind Darwin's theory of evolution, whose ideas became famous after his "Origin of Species" was published. The highlight of "Creation" is the performances of real-life husband and wife Bettany and Connelly, who share some absorbing scenes together as Charles and Emma and who weather not only differing views on life itself but the death of their beloved young daughter Annie.
The film spends far more time in looking at Darwin's personal life than his actual theories, and while it in fact had impact on his ideas, the film spends little time looking at the actual development of his theories, much of which were already in place by the time the film took place. The devastation of the death of his daughter is perhaps overstated as well, though Bettany, a fine actor seen in the recent horror film "Legion," conveys his agony and illness memorably. Connelly, with less footage than her husband, also shows the finer points of why she's an Academy Award winner, in a more delicate performance.
Director Jon Amiel ("Entrapment") tries to tie all of Darwin's sad life at the end to produce his famous work, though it fails to show the considerable impact it had on his family following its publication, which would've been more dramatic than "Creation's" downbeat script. The film lacks a strong emotional core and could've been far more powerful than what ends up on screen, though Bettany and Connelly are certainly worth seeing.
You may not believe in this dull "Creation"
Whether team you choose - Team Creation or Team Evolution - you always believe in the power of love, which is the theme of the boring drama "Creation," which is part-biopic on famed scientist Charles Darwin, who penned the theory of evolution, and part love story. The handsome production features warm performances and is remarkably even-handed, but then that may be its chief flaw. It's a rather bland, tedious and depressing effort, which is unfortunate given the compelling subject matter.
"Creation" tells the personal story Darwin's theory of evolution, as written in his famous master-work "The Origin of Species." Darwin (Paul Bettany) and his conservative religious wife Emma (Jennifer Connelly) have confounding views, but still manage to be devoted parents to their many children. As Darwin continues to hone his theories, one of his children, the precocious Annie (Martha West) tragically dies at a young age, threatening to tear apart his faith, his ideas and his family.
"Creation" is an affecting but unrevealing portrait of the story behind Darwin's theory of evolution, whose ideas became famous after his "Origin of Species" was published. The highlight of "Creation" is the performances of real-life husband and wife Bettany and Connelly, who share some absorbing scenes together as Charles and Emma and who weather not only differing views on life itself but the death of their beloved young daughter Annie.
The film spends far more time in looking at Darwin's personal life than his actual theories, and while it in fact had impact on his ideas, the film spends little time looking at the actual development of his theories, much of which were already in place by the time the film took place. The devastation of the death of his daughter is perhaps overstated as well, though Bettany, a fine actor seen in the recent horror film "Legion," conveys his agony and illness memorably. Connelly, with less footage than her husband, also shows the finer points of why she's an Academy Award winner, in a more delicate performance.
Director Jon Amiel ("Entrapment") tries to tie all of Darwin's sad life at the end to produce his famous work, though it fails to show the considerable impact it had on his family following its publication, which would've been more dramatic than "Creation's" downbeat script. The film lacks a strong emotional core and could've been far more powerful than what ends up on screen, though Bettany and Connelly are certainly worth seeing.
A Prophet - B+
Rated R for strong violence, sexual content, nudity, language and drug material, 155 minutes
In French with English subtitles
Compelling yet overlong French mob film "A Prophet"
The dark new film "A Prophet" is something similar to an Arab-French version of "The Godfather" as imagined by Martin Scorsese. Scorsese doesn't direct the film, but it's new wave feel, with fast edits and energetic mood music, is reminiscent of his "Goodfellas" but with a Michael Corleone-type character who rises to power within the confines of a prison. The film is a little uneven and overlong, but is an entertaining, often compelling look at the Arab mafia in France.
Sentenced to six years in prison, young man Malik El Djebena (Tahar Rahim) is alone in the world and can neither read nor write. On his arrival at the prison he falls under the sway of a Corsican Mafiagroup, led by Luciani (Niels Leistrup), who enforce their rule in the prison. Malik toughens himself and wins the confidence of the Corsican group, following Luciani's orders to kill a fellow prisoner. Luciano eventually arranges 12-hour leaves for Malik, in which Luciano sends him on missions, including murder. Malik learns how to read and write, and uses all his intelligence to discreetly develop his own network. His power grows and he finally realizes he's no longer on Luciano's side, but able to stand for himself.
"A Prophet" is an engaging, convincing and complex examination of Arabs in the French and Italian crime movements, a fictional story from acclaimed French director Jacques Audiard. The first half is the more fascinating as it probes Malik's rise to power, while it's midsection lags too much, giving way for a more fast-paced, engaging and bloody last act. Audiard's film isn't without its flaws, though: it's too long, repetitive and has too many secondary characters (some of whom don't make their entrance until late in the film) that aren't essential to the familiar "Godfather"-style plot, and some might complain it doesn't provide much backstory to either of the main characters.
Otherwise, the acting and direction are first-rate, with a stellar, wholly believable performance from French newcomer Rahim as the Michael Corleone-type character, and veteran French actor Leistrup as a crime boss who calls the shots from inside his prison cell. It's an interesting contrast to see the change in the characters, as Luciani's power dwindles and Malik's rise to power. Two of "A Prophet's" more memorable scenes involve Malik and a lot of blood: his first, very graphic kill in the prison, and a shootout inside an SUV in the film's last section. The two character's final scene, in which Luciani attempts to approach Malik to speak to him, that underscores "A Prophet's" themes of how power, especially in the crime world, is transferred.
The epic film, nominated for the Academy Award this year for Best Foreign Film, has already won a slew of awards, including the Grand Jury Prize at Cannes last year and Best Actor for Rahim at the European Awards. The first-rate production, particularly the editing, music and acting, make this film a must-see for those who enjoy a twist on the crime drama.
"A Prophet" opens in Dallas in March.
In French with English subtitles
Compelling yet overlong French mob film "A Prophet"
The dark new film "A Prophet" is something similar to an Arab-French version of "The Godfather" as imagined by Martin Scorsese. Scorsese doesn't direct the film, but it's new wave feel, with fast edits and energetic mood music, is reminiscent of his "Goodfellas" but with a Michael Corleone-type character who rises to power within the confines of a prison. The film is a little uneven and overlong, but is an entertaining, often compelling look at the Arab mafia in France.
Sentenced to six years in prison, young man Malik El Djebena (Tahar Rahim) is alone in the world and can neither read nor write. On his arrival at the prison he falls under the sway of a Corsican Mafiagroup, led by Luciani (Niels Leistrup), who enforce their rule in the prison. Malik toughens himself and wins the confidence of the Corsican group, following Luciani's orders to kill a fellow prisoner. Luciano eventually arranges 12-hour leaves for Malik, in which Luciano sends him on missions, including murder. Malik learns how to read and write, and uses all his intelligence to discreetly develop his own network. His power grows and he finally realizes he's no longer on Luciano's side, but able to stand for himself.
"A Prophet" is an engaging, convincing and complex examination of Arabs in the French and Italian crime movements, a fictional story from acclaimed French director Jacques Audiard. The first half is the more fascinating as it probes Malik's rise to power, while it's midsection lags too much, giving way for a more fast-paced, engaging and bloody last act. Audiard's film isn't without its flaws, though: it's too long, repetitive and has too many secondary characters (some of whom don't make their entrance until late in the film) that aren't essential to the familiar "Godfather"-style plot, and some might complain it doesn't provide much backstory to either of the main characters.
Otherwise, the acting and direction are first-rate, with a stellar, wholly believable performance from French newcomer Rahim as the Michael Corleone-type character, and veteran French actor Leistrup as a crime boss who calls the shots from inside his prison cell. It's an interesting contrast to see the change in the characters, as Luciani's power dwindles and Malik's rise to power. Two of "A Prophet's" more memorable scenes involve Malik and a lot of blood: his first, very graphic kill in the prison, and a shootout inside an SUV in the film's last section. The two character's final scene, in which Luciani attempts to approach Malik to speak to him, that underscores "A Prophet's" themes of how power, especially in the crime world, is transferred.
The epic film, nominated for the Academy Award this year for Best Foreign Film, has already won a slew of awards, including the Grand Jury Prize at Cannes last year and Best Actor for Rahim at the European Awards. The first-rate production, particularly the editing, music and acting, make this film a must-see for those who enjoy a twist on the crime drama.
"A Prophet" opens in Dallas in March.
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