Rated R for some brutal violence and language, 118 minutes
Vigorous, violent and highly entertaining "The Book of Eli"
The futuristic thriller "The Book of Eli" is one of Denzel Washington's best films in years, not to mention one of the new year's better films. Energetic, graphically violent but tremendously enjoyable, the dark apoclyptic film also carries with it an unusual spiritual tone that some might find surprising for a big Hollywood film. "Eli" is a flawed film but most of it works well enough that it'll likely be another hit for the prolific Oscar-winning actor.
Set in a stark post-apocalyptic 2043, a lone man named Eli (Washington) is traveling to the Western U.S. with a prized possession - what he believes is the last known Bible. Eli guards it with considerable care, and is a skilled, very capable fighter, guarding it with his life. He happens upon a small, desolate town in the desert looking for water, whose leader is Carnegie (Gary Oldman), a very literate, intelligent man desperately looking for the Bible that Eli has. They both believe the book holds valuable information that could redeem a dark society and relieve them of their pain.
Washington is perfectly cast as the badass with the Good Book, and his subtle, minimalist turn is one of his better performances of late, though the real highlight of "The Book of Eli" is the remarkable fighting skills that he posseses. The Hughes Brothers ("From Hell"), helm the fight scenes with precision, and film some of them under shadows that give you a perfect outline of what's happening. The first crowd-pleasing fight scene, just minutes into the film, is breathlessly handled that you'll be in clear awe of Washington's fighting skills.
These spirited fight scenes (and yes, just know they are extremely violent), along with Washington's nuanced performance and some nice, stark visuals (watch for the Golden Gate Bridge near the end), make "The Book of Eli" one of the new year's most enjoyable flicks. The story becomes too cliched and problematic when Washington becomes paired with Mila Kunis (of "The 70's Show'), doing her tough-chick Milla Jovovich turn here as a pretty young illiterate who becomes Eli's sidekick, which dampens an otherwise involving story that at times requires you to pay attention to the details.
The last act of "The Book of Eli" becomes too simplistic and heavy-handed, but then Washington is perfectly cast along side the truly nasty Oldman, who can play these parts in his sleep. It's also nice seeing Jennifer Beals ("Flashdance" anyone?) in a small but affecting turn as Oldman's blind lover. British character actors Michael Gambon and Frances de la Tour (both visible in some of the "Harry Potter" films) are memorable as a crusty couple named George and Martha, who have ulterior motives behind their kindness.
"The Book of Eli" is tremendously entertaining and until the end, free of any heavy-handed messages, though it's subtle spiritual undercurrent is one you don't find much in action movies such as this. The thoughtful ending is likely to stir some talk, and it won't be given away here, but I'll let you decide for yourself if what you think is really true or not.
Stirring, vigorously handled action scenes, a memorable Washington performance, and some stark visuals make for an enjoyable time at the movies. "The Book of Eli" is the year's first must-see film.
Saturday, January 9, 2010
The Spy Next Door - C-
Rated PG for sequences of action violence and some mild rude humor, 92 minutes
Chan's still fun in the forced "The Spy Next Door"
"The Spy Next Door" opens with the classic Johnny Rivers song "Secret Agent Man," which is ironic, as there's hardly any secrets about the new Jackie Chan comedy. You get some of the same comedic highkicks and fun use of props that Chan's known for, while the rest of the sloppy film feels forced and largely unfunny.
Chan is Bob Ho, a Chinese secret agent doing some work for the CIA in the states. He lives next door to Gillian (Amber Valletta) and her three kids (Madeline Carroll, Will Shadley and Alina Foley), posing as a stodgy pen salesman. Bob and Gillian have been dating a few months, though her precocious kids don't care for him. Bob is attempting to retire from spy work to settle down and have a family, though he must assist his colleagues (Billy Ray Cyrus and George Lopez) in tracking down a dangerous Russian (Magnus Schving) terrorist.
"The Spy Next Door" is a sloppy, slipshod comedy built squarely around Chan's martial arts talents, which provide the film's best moments, but then even Chan himself is a little long-in-tooth (i.e. too old) for something like this. Chan is a fun performer though he essentially does some of the same moves in every one of his films - using a variety of different props - everything from bicycles to pots and pans. There's enough action and fun to keep most interested, though it's not hard to see how shoddy the rest of the film is.
The film relies too heavily on the always likable Chan to carry it, which is a bit of a mistake since he isn't a strong comedian without his props. In particular, the film has a weak supporting cast that lends little to no support to make it really funny, which is disappointing given that name performers Cyrus and comedian are so bad. Cyrus at least attempts a few funny lines (sorry, Billy Ray, this isn't Hanna Montana), but Lopez gives a take-the-money-and-run type of performance that shows in the fact he can't even hold a prop gun the correct way.
Of the kids, the most adorable is the youngest, TV actress Foley, who becomes the target of some of Chan's best gags. Chan himself isn't really a true martial arts fighter, but more of a master propsman, and he has even more fun spy gadgets that are nearly as fun as Chan himself. The lazy direction, acting and writing are never more apparent than here, and it's painfully obvious when the gag reel over the credits is funnier than the movie itself.
"The Spy Next Door" is strictly for Chan fans only, but just know this isn't one of his better films, and comedies don't get a good start for the new year.
Chan's still fun in the forced "The Spy Next Door"
"The Spy Next Door" opens with the classic Johnny Rivers song "Secret Agent Man," which is ironic, as there's hardly any secrets about the new Jackie Chan comedy. You get some of the same comedic highkicks and fun use of props that Chan's known for, while the rest of the sloppy film feels forced and largely unfunny.
Chan is Bob Ho, a Chinese secret agent doing some work for the CIA in the states. He lives next door to Gillian (Amber Valletta) and her three kids (Madeline Carroll, Will Shadley and Alina Foley), posing as a stodgy pen salesman. Bob and Gillian have been dating a few months, though her precocious kids don't care for him. Bob is attempting to retire from spy work to settle down and have a family, though he must assist his colleagues (Billy Ray Cyrus and George Lopez) in tracking down a dangerous Russian (Magnus Schving) terrorist.
"The Spy Next Door" is a sloppy, slipshod comedy built squarely around Chan's martial arts talents, which provide the film's best moments, but then even Chan himself is a little long-in-tooth (i.e. too old) for something like this. Chan is a fun performer though he essentially does some of the same moves in every one of his films - using a variety of different props - everything from bicycles to pots and pans. There's enough action and fun to keep most interested, though it's not hard to see how shoddy the rest of the film is.
The film relies too heavily on the always likable Chan to carry it, which is a bit of a mistake since he isn't a strong comedian without his props. In particular, the film has a weak supporting cast that lends little to no support to make it really funny, which is disappointing given that name performers Cyrus and comedian are so bad. Cyrus at least attempts a few funny lines (sorry, Billy Ray, this isn't Hanna Montana), but Lopez gives a take-the-money-and-run type of performance that shows in the fact he can't even hold a prop gun the correct way.
Of the kids, the most adorable is the youngest, TV actress Foley, who becomes the target of some of Chan's best gags. Chan himself isn't really a true martial arts fighter, but more of a master propsman, and he has even more fun spy gadgets that are nearly as fun as Chan himself. The lazy direction, acting and writing are never more apparent than here, and it's painfully obvious when the gag reel over the credits is funnier than the movie itself.
"The Spy Next Door" is strictly for Chan fans only, but just know this isn't one of his better films, and comedies don't get a good start for the new year.
Friday, January 1, 2010
The Lovely Bones - C+
Rated PG-13 for mature thematic material involving disturbing violent content and images, and some language, 135 minutes
"The Lovely Bones": Uneven but well-acted
"The Lovely Bones": Uneven but well-acted
"The Lovely Bones" is a compelling but uneven, empty drama with some afterlife thrown in. Based on the best-selling Alice Sebold novel, it’s a handsome production that’s uniformly well-acted, but the mixture of real-world murder case and heavenly musings don’t mesh entirely well. Jackson does a serviceable job of translating Sebold’s complex novel, though the end result is more shopworn than necessary.
In December 1973, Susie Salmon (“Atonement’s” Saiorse Ronan) is murdered by a neighbor, George Harvey (Stanley Tucci) a serial killer of young girls and women. She finds herself in 'the in-between' a Heaven-like place, observing her parents Jack (Mark Wahlberg) and Abigail (Rachel Weisz) and her sister Lindsey (Rose McIver) grieve and piece together the circumstances behind her death. She also watches her killer who, having covered his tracks successfully, is preparing to murder again. Susie struggles to balance her desire for vengeance on Harvey and her desire to have her family recover from their loss.
“The Lovely Bones “ is a convincing drama on level ground, though its statements on purgatory and afterlife are over sentimental and aren’t integrated well into the storyline. It doesn’t help that Sebold’s unconventional novel is a difficult one to translate to screen, with a handful of important details in the novel changed by Jackson and his usual writing partners, his wife Fran Walsh and Phillippa Boyens, who helped him pen the “The Lord of the Rings” films. The mixture of Susie wandering around the “in between” (interestingly, the word purgatory is never used) has been expounded from the novel and while the pretty production is design, as usual, is impressive, doesn’t really add to the film.
The film’s best moments are when Jackson grounds the film and Susie is forced to watch the proceedings from the afterlife. Ronan, an excellent young actress who reminds of a young Cate Blanchett, gives another sublime performance as the main protagonist Susie, and she ably carries the film on her back. Her facial expressions are a wonder and she has the unique ability to subtly convey emotion with her face, a trait that many skilled actresses today have difficulty with.
Wahlberg contributes a strong turn as the confounded, pensive father, while Tucci is especially slimy as the creepy neighbor who’s truly a creep and Australian actress McIver is also strong as the older sister who begins to figure things out before the adults do (and has the film’s best scene inside the killer’s home). Disappointing in the large cast is “The Soprano’s” Michael Imperioli in a one-note detective role, and Weisz has little to do in a truncated role. Susan Sarandon gives the film some colorful heft as the grandmother who sweeps in to take care of the family during their grief, a blowsy alcoholic grandma type that Shelley Winters would’ve played back in the day, and the type of role that’s often nominated for awards.
Jackson skims the surface in “The Lovely Bones” especially in the purgatory state. These scenes are lovely to look at but don’t provide any genuine emotional connection. In the novel, the family has more of a sense of moving on, in the film they have a difficult time of doing that. It would’ve been nice to see the film progress a little more than it does, and while a handful of scenes and quotes are lifted from the book, it’s not exactly a faithful adaptation of Sebold’s best-seller.
“The Lovely Bones” is a lovely film to look at, though it lacks a powerful resonance that a drama like this should have. The film’s memorable special effects, music and production design, along with the excellent performances from Ronan, Tucci and Sarandon will likely garner some notice, but otherwise it’s a vacuous effort from the Oscar-winning director from “The Lord of the Rings.”
Leap Year - B-
Rated PG for sensuality and language, 97 minutes
Amy Adams the real reason to see the predictable but pleasant "Leap Year"
Romantic comedies seem to come a dime a dozen, as we have a brand new one exactly a week into the new year. On top of that, given that January isn't a strong month for films coming off the holiday rush, it doesn't bode well for the sweet new rom com "Leap Year." However, the lush Irish scenery and the lovely Amy Adams make up for the predictable contrivances of the story and all-too-easy set up. You know what will happen nearly from the first frame, but our engaging, red-headed star makes the "Leap Year" a pleasant post-holiday trip.
Adams is an upscale, uptight Bostonian professional who's been seeing her handsome doctor boyfriend Jeremy (Adam Scott) for a few years now. Tired of waiting on him to make the move, she plans an elaborate scheme and follows Jeremy to Dublin, Ireland to propose to him on February 29 in an old romantic Irish tradition. However, she has a little trouble getting to Dublin in a slight weather-imposed detour. Along the way she meets the young owner of an Irish pub named Declan (Matthew Goode), who promises to get her to Dublin to her man, though luck seems to have other plans for both of them by the end of the trip.
"Leap Year" is an enjoyable trip that's only worth going on only because of the charming, vastly appealing Adams, who carries the movie on her shoulders. Not much of it's believable or that interesting, and the whole set up - a leisurely road trip to Dublin - only gives way to developing the relationship between Declan and Anna. The handsome, somewhat ruggedly lithe Goode have decent chemistry that director Anand Tucker ("Shopgirl") doesn't explore near enough.
Tucker is wise enough to use the lush, green Irish scenery in "Leap Year," which is far more beautiful than the well-worn, tired script from the "Made of Honor" team Deborah Kaplan and Harry Elfont. Character actor Scott barely makes an impression as Anna's snobby boyfriend, while John Lithgow receives near top-billing for what is a very brief cameo as Anna's unreliable father, whose scenes were likely left on the cutting room floor.
Adams steps in cow dung. Stumbles here and there. Falls down a mountain, rolls in some mud. Throws up on Goode. All in a day's work. You've seen this before a million times before and while the studio may not have much faith in the movie itself by opening it in January (which unfortunately happened to Renee Zellweger a year ago), it should have faith in the pretty Adams, who with such striking features could make this a modest hit on her looks alone. "Leap Year's" premise doesn't even come to fruition, really, but then it's still a happy ending that will please rom com purists (is there such a thing?) clamoring for a some happy tears.
Guys, she did duty with "Avatar" over the holidays. It's a new year, now back to the usual movie schedule. Let her pick the entertaining "Leap Year" and you might enjoy yourself more than you think, and that Amy Adams chick is worth checking out too.
Amy Adams the real reason to see the predictable but pleasant "Leap Year"
Romantic comedies seem to come a dime a dozen, as we have a brand new one exactly a week into the new year. On top of that, given that January isn't a strong month for films coming off the holiday rush, it doesn't bode well for the sweet new rom com "Leap Year." However, the lush Irish scenery and the lovely Amy Adams make up for the predictable contrivances of the story and all-too-easy set up. You know what will happen nearly from the first frame, but our engaging, red-headed star makes the "Leap Year" a pleasant post-holiday trip.
Adams is an upscale, uptight Bostonian professional who's been seeing her handsome doctor boyfriend Jeremy (Adam Scott) for a few years now. Tired of waiting on him to make the move, she plans an elaborate scheme and follows Jeremy to Dublin, Ireland to propose to him on February 29 in an old romantic Irish tradition. However, she has a little trouble getting to Dublin in a slight weather-imposed detour. Along the way she meets the young owner of an Irish pub named Declan (Matthew Goode), who promises to get her to Dublin to her man, though luck seems to have other plans for both of them by the end of the trip.
"Leap Year" is an enjoyable trip that's only worth going on only because of the charming, vastly appealing Adams, who carries the movie on her shoulders. Not much of it's believable or that interesting, and the whole set up - a leisurely road trip to Dublin - only gives way to developing the relationship between Declan and Anna. The handsome, somewhat ruggedly lithe Goode have decent chemistry that director Anand Tucker ("Shopgirl") doesn't explore near enough.
Tucker is wise enough to use the lush, green Irish scenery in "Leap Year," which is far more beautiful than the well-worn, tired script from the "Made of Honor" team Deborah Kaplan and Harry Elfont. Character actor Scott barely makes an impression as Anna's snobby boyfriend, while John Lithgow receives near top-billing for what is a very brief cameo as Anna's unreliable father, whose scenes were likely left on the cutting room floor.
Adams steps in cow dung. Stumbles here and there. Falls down a mountain, rolls in some mud. Throws up on Goode. All in a day's work. You've seen this before a million times before and while the studio may not have much faith in the movie itself by opening it in January (which unfortunately happened to Renee Zellweger a year ago), it should have faith in the pretty Adams, who with such striking features could make this a modest hit on her looks alone. "Leap Year's" premise doesn't even come to fruition, really, but then it's still a happy ending that will please rom com purists (is there such a thing?) clamoring for a some happy tears.
Guys, she did duty with "Avatar" over the holidays. It's a new year, now back to the usual movie schedule. Let her pick the entertaining "Leap Year" and you might enjoy yourself more than you think, and that Amy Adams chick is worth checking out too.
Youth in Revolt - C+
Rated R for sexual content, language and drug use, 90 minutes
Cera's the highlight of the mediocre "Youth in Revolt"
"Superbad," "Juno" and "Arrested Development" help make Michael Cera a familiar-faced celebrity. He's talented for sure, and his engaging everyday qualities are the main reason to see the unconventional but mediocre teen coming-of-age story "Youth in Revolt," about a dysfunctional teen boy who uses an alternate ego in hopes of losing his virginity. Some of it is darkly funny, though it's meandering script falls flat in places; it plays like a 1980's John Hughes teen comedy on acid, sort of a psychotic version of Ferris Bueller.
Cera is Nick Twisp, a lonely but intelligent teen boy who has a sharper grasp of things than what people think. His mother Estelle (Jean Smart, hilarious) and his father George (Steve Buscemi) are divorced. Estelle goes through many boyfriends, including trucker Jerry (Zach Galifianakis) and the stern cop Lance (Ray Liotta), while his unemployed father has his own young bimbo, Lacey (Ari Graynor).
Trying to evade a bad situation, Estelle and Jerry take a short vacation and in a trailer park Nick meets a pretty and equally intelligent teenage girl Sheeni (Portia Doubleday) and the two hit it off. To impress Sheeni in hopes of losing his virginity, he turns into his alter ego, Francois Dillinger, but ends up causing more trouble than its worth.
In spite of a humorous Cera performance, "Youth in Revolt" is an atypical teen comedy that misfires, in large part due to misdirection and a rambling script that spends too much time making a point about the pointless. The premise is a good one, and is based on an early 1990's novel "Youth in Revolt: The Journals of Nick Twisp," though the movie bears scant resemblance to its source; it uses the characters and basic outline but makes considerable changes to the story. It keeps some of the story's pecularity and dark humor but loses its fresh appeal by making it a sex comedy, and not a very good one at that.
Miguel Arteta, who directed "The Good Girl," doesn't seem the right fit for the material, and the script by Gustin Nash ("Charlie Bartlett") could've used more polish. Still, there are a few good moments, especially when Cera turns into his alter ego, causing all kinds of mayhem and destruction (car crashes, explosions) for the sake of a girl. Cera and newcomer Doubleday have some chemistry, though their relationship seems inconsistent at best, and the weaker moments of the film focus on her unusual family life.
"Youth in Revolt" also has too many characters, and excising some the characters from the novel would've been helpful, as in movie form many are nonessential to the plot. "The Hangover's" Galifianakis's role is little more than a cameo; Fred Willard, Justin Long, Mary Kay Place and M. Emmet Walsh are all fine actors who have little impact in smallish roles. The lovely Smart ("Samantha Who") nearly steals the show as Nick's mother, who resembles a less flashy Dolly Parton.
The whole message of "Youth in Revolt," if there's any at all, is that it's sometimes good, or even fun, to be bad, especially if its for love. Cera has fun with his part, and it proves he can be a game actor even in an underwritten role. A tighter, more focused and relevant script as it relates to teens would've made "Youth in Revolt" better; however, it does prove one thing: there is something worse than being bad, and that's mediocrity.
Not recommended unless you're a big Michael Cera fan. Rent "Superbad" or watch episodes of "Arrested Development" for better (and far funnier) Cera.
Cera's the highlight of the mediocre "Youth in Revolt"
"Superbad," "Juno" and "Arrested Development" help make Michael Cera a familiar-faced celebrity. He's talented for sure, and his engaging everyday qualities are the main reason to see the unconventional but mediocre teen coming-of-age story "Youth in Revolt," about a dysfunctional teen boy who uses an alternate ego in hopes of losing his virginity. Some of it is darkly funny, though it's meandering script falls flat in places; it plays like a 1980's John Hughes teen comedy on acid, sort of a psychotic version of Ferris Bueller.
Cera is Nick Twisp, a lonely but intelligent teen boy who has a sharper grasp of things than what people think. His mother Estelle (Jean Smart, hilarious) and his father George (Steve Buscemi) are divorced. Estelle goes through many boyfriends, including trucker Jerry (Zach Galifianakis) and the stern cop Lance (Ray Liotta), while his unemployed father has his own young bimbo, Lacey (Ari Graynor).
Trying to evade a bad situation, Estelle and Jerry take a short vacation and in a trailer park Nick meets a pretty and equally intelligent teenage girl Sheeni (Portia Doubleday) and the two hit it off. To impress Sheeni in hopes of losing his virginity, he turns into his alter ego, Francois Dillinger, but ends up causing more trouble than its worth.
In spite of a humorous Cera performance, "Youth in Revolt" is an atypical teen comedy that misfires, in large part due to misdirection and a rambling script that spends too much time making a point about the pointless. The premise is a good one, and is based on an early 1990's novel "Youth in Revolt: The Journals of Nick Twisp," though the movie bears scant resemblance to its source; it uses the characters and basic outline but makes considerable changes to the story. It keeps some of the story's pecularity and dark humor but loses its fresh appeal by making it a sex comedy, and not a very good one at that.
Miguel Arteta, who directed "The Good Girl," doesn't seem the right fit for the material, and the script by Gustin Nash ("Charlie Bartlett") could've used more polish. Still, there are a few good moments, especially when Cera turns into his alter ego, causing all kinds of mayhem and destruction (car crashes, explosions) for the sake of a girl. Cera and newcomer Doubleday have some chemistry, though their relationship seems inconsistent at best, and the weaker moments of the film focus on her unusual family life.
"Youth in Revolt" also has too many characters, and excising some the characters from the novel would've been helpful, as in movie form many are nonessential to the plot. "The Hangover's" Galifianakis's role is little more than a cameo; Fred Willard, Justin Long, Mary Kay Place and M. Emmet Walsh are all fine actors who have little impact in smallish roles. The lovely Smart ("Samantha Who") nearly steals the show as Nick's mother, who resembles a less flashy Dolly Parton.
The whole message of "Youth in Revolt," if there's any at all, is that it's sometimes good, or even fun, to be bad, especially if its for love. Cera has fun with his part, and it proves he can be a game actor even in an underwritten role. A tighter, more focused and relevant script as it relates to teens would've made "Youth in Revolt" better; however, it does prove one thing: there is something worse than being bad, and that's mediocrity.
Not recommended unless you're a big Michael Cera fan. Rent "Superbad" or watch episodes of "Arrested Development" for better (and far funnier) Cera.
Daybreakers - B-
Rated R for strong bloody violence, language and brief nudity, 98 minutes
Futuristic vampire thriller "Daybreakers" messy, over-the-top fun
"Daybreakers" is one of those low-expectation films that provides some unexpected fun, even with a largely incoherent, disjointed story that doesn't accomplish much. Graphically and excessively bloody and the over-the-top, somewhat campy tone make "Daybreakers," an original vampire film from German filmmaking brothers Michael and Peter Spierig so much fun to watch. Combining elements of sci-fi, horror and action-adventure, it doesn't always work well and certainly isn't for everyone, but those that see it will enjoy it.
In 2019, a plague transforms the world's population into vampires. With fewer humans to provide blood, the vampires, led by ruthless corporate head Charles Bromley (Sam Neill) farm the remaining humans and to find a way to continue their existence. A team of vampires working for Bromley, led by scientist Edward (Ethan Hawke) uncover a way that would rescue the human race. At the same time, a group of surviving humans, including Elvis (Willem Dafoe), a former now "cured" vampire who tangles with Edward, and Audrey (Claudia Carvan), who wants to repopulate the species and survive.
"Daybreakers" is a bloody, violent take on what a future looks like with most of the world as vampires, and the humans are the clear minority. Some elements are quite intriguing, such as how the vampire race has adjusted to living their lives primarily at night, with a huge dark subway system, daylight adjusted vehicles for when they have to get out during the day, down to how you have your coffee (20% blood, please!). The story becomes far murkier and downright confusing when they must find a "cure" to restore the human race, and how all of this really began in the first place.
The Spierig brothers shot the film back in 2007 in Australia and are just now getting around to releasing it, after some reshooting some key scenes, which may explain "Daybreakers" disjointed feel, particularly in its slower mid-section. They certainly aren't lacking in blood and gore (heads are severed, and in one case, explodes), and it literally takes center stage in the graphically violent (and muddled) climax in which people go from vampire to human. Hawke seems a rather complacent hero, while Dafoe and Neill make the most of their roles, particularly Dafoe, who hams it up as a Southern-flavored character named Elvis.
Add a few cool cars, including a Mustang, a throwback 70's "Smokey and the Bandit"-esque Firebird, and a futuristic, decked out Chrysler 300 along with loads of blood, vampire and other weapons, and you have a cool "Matrix"-like film that's both campy and cool but doesn't make much sense otherwise. Those vampire enthusiasts, and there's quite a bit of them, could likely make "Daybreakers" a cult-favorite if it doesn't do well at the mainstream movie box-office.
Futuristic vampire thriller "Daybreakers" messy, over-the-top fun
"Daybreakers" is one of those low-expectation films that provides some unexpected fun, even with a largely incoherent, disjointed story that doesn't accomplish much. Graphically and excessively bloody and the over-the-top, somewhat campy tone make "Daybreakers," an original vampire film from German filmmaking brothers Michael and Peter Spierig so much fun to watch. Combining elements of sci-fi, horror and action-adventure, it doesn't always work well and certainly isn't for everyone, but those that see it will enjoy it.
In 2019, a plague transforms the world's population into vampires. With fewer humans to provide blood, the vampires, led by ruthless corporate head Charles Bromley (Sam Neill) farm the remaining humans and to find a way to continue their existence. A team of vampires working for Bromley, led by scientist Edward (Ethan Hawke) uncover a way that would rescue the human race. At the same time, a group of surviving humans, including Elvis (Willem Dafoe), a former now "cured" vampire who tangles with Edward, and Audrey (Claudia Carvan), who wants to repopulate the species and survive.
"Daybreakers" is a bloody, violent take on what a future looks like with most of the world as vampires, and the humans are the clear minority. Some elements are quite intriguing, such as how the vampire race has adjusted to living their lives primarily at night, with a huge dark subway system, daylight adjusted vehicles for when they have to get out during the day, down to how you have your coffee (20% blood, please!). The story becomes far murkier and downright confusing when they must find a "cure" to restore the human race, and how all of this really began in the first place.
The Spierig brothers shot the film back in 2007 in Australia and are just now getting around to releasing it, after some reshooting some key scenes, which may explain "Daybreakers" disjointed feel, particularly in its slower mid-section. They certainly aren't lacking in blood and gore (heads are severed, and in one case, explodes), and it literally takes center stage in the graphically violent (and muddled) climax in which people go from vampire to human. Hawke seems a rather complacent hero, while Dafoe and Neill make the most of their roles, particularly Dafoe, who hams it up as a Southern-flavored character named Elvis.
Add a few cool cars, including a Mustang, a throwback 70's "Smokey and the Bandit"-esque Firebird, and a futuristic, decked out Chrysler 300 along with loads of blood, vampire and other weapons, and you have a cool "Matrix"-like film that's both campy and cool but doesn't make much sense otherwise. Those vampire enthusiasts, and there's quite a bit of them, could likely make "Daybreakers" a cult-favorite if it doesn't do well at the mainstream movie box-office.
Wednesday, December 30, 2009
The Last Station - B+
Rated R for a scene of sexuality/nudity, 112 minutes
Well-drawn, affecting "The Last Station" details Tolstoy's last days
You may have heard of the classic novels "War and Peace" and "Anna Karenina" by Leo Tolstoy. "War and Peace" could very well describe Tolstoy's volatile relationship with his wife in his final days, which are expounded upon in the superbly acted, engaging "The Last Station." Christopher Plummer (one of the voices in "Up") and Helen Mirren ("The Queen") play Tolstoy and his wife Sofya, and their stirring performances highlight the film.
Tolstoy (Plummer) is entering his final days in frail health, surrounded by family and friends. He's regarded by one of the most influential writers of the era, so much that it's inspired a Tolstoyan religous-like movement, led by one of Tolstoy's closest adviser's, Vladimir Chertkov (Paul Giamatti). Tolstoy's radical, anarchist views have displeased wife Sofya (Mirren), and their relationship is marred by a turbulency, particularly when Chertkov, whom Sofya despises, encourages Tolstoy to turn over the copyright of his works to the public domain, leaving nothing for Sofya and the family. Meanwhile, Tolstoy has hired a new secretary, Valentin Bulgakov (James McAvoy), who gets caught in the middle of Leo and Sofya's varying views that threaten to tear the family apart before he dies.
"The Last Station" is a fascinating, stimulating dramatic retelling of Tolstoy's final days that's both touching and moving that falters only when it adds an unnecessary subplot with McAvoy's character. "The Last Station" is also a baffling title given that 95% of the film doesn't take place in a train station, and is a reference to the place where Tolstoy died. A more fitting title would be "War and Peace: Leo and Sofya" since it's really about their relationship, and the dynamic performances from both Mirren and Plummer (who remarkably bears resemblance to the real Tolstoy) give the film considerable dramatic heft, particularly in some of the heated agitations that are the more memorable parts of the film.
"The Last Station" would be near perfect had it not focused too much on the Bulgakov character played by "Wanted's" McAvoy. It bears little purpose to the film only to show that Tolstoy had considerable influence over his personal life, something we already knew from the outset. McAvoy holds his own with acting giants Mirren and Plummer (his character's nervous sneezes are amusing) in a part that should be considerably smaller than it really is. Giamatti gives a strong turn as Chertkov, and he has a couple of good moments of displeasure with Mirren.
The production values are lush, with beautiful sets and costumes. Some may also carp that "The Last Station" doesn't attempt any Russian accents, but then that would've been a distraction from the story itself and isn't needed. Director and writer Michael Hoffman ("The Emperor's Club") serviceable direction and writing should be just as lauded as his two actors, who are slowly gaining acclaim for their performances.
"The Last Station" is one of the year's acting highlights and comes recommended.
Well-drawn, affecting "The Last Station" details Tolstoy's last days
You may have heard of the classic novels "War and Peace" and "Anna Karenina" by Leo Tolstoy. "War and Peace" could very well describe Tolstoy's volatile relationship with his wife in his final days, which are expounded upon in the superbly acted, engaging "The Last Station." Christopher Plummer (one of the voices in "Up") and Helen Mirren ("The Queen") play Tolstoy and his wife Sofya, and their stirring performances highlight the film.
Tolstoy (Plummer) is entering his final days in frail health, surrounded by family and friends. He's regarded by one of the most influential writers of the era, so much that it's inspired a Tolstoyan religous-like movement, led by one of Tolstoy's closest adviser's, Vladimir Chertkov (Paul Giamatti). Tolstoy's radical, anarchist views have displeased wife Sofya (Mirren), and their relationship is marred by a turbulency, particularly when Chertkov, whom Sofya despises, encourages Tolstoy to turn over the copyright of his works to the public domain, leaving nothing for Sofya and the family. Meanwhile, Tolstoy has hired a new secretary, Valentin Bulgakov (James McAvoy), who gets caught in the middle of Leo and Sofya's varying views that threaten to tear the family apart before he dies.
"The Last Station" is a fascinating, stimulating dramatic retelling of Tolstoy's final days that's both touching and moving that falters only when it adds an unnecessary subplot with McAvoy's character. "The Last Station" is also a baffling title given that 95% of the film doesn't take place in a train station, and is a reference to the place where Tolstoy died. A more fitting title would be "War and Peace: Leo and Sofya" since it's really about their relationship, and the dynamic performances from both Mirren and Plummer (who remarkably bears resemblance to the real Tolstoy) give the film considerable dramatic heft, particularly in some of the heated agitations that are the more memorable parts of the film.
"The Last Station" would be near perfect had it not focused too much on the Bulgakov character played by "Wanted's" McAvoy. It bears little purpose to the film only to show that Tolstoy had considerable influence over his personal life, something we already knew from the outset. McAvoy holds his own with acting giants Mirren and Plummer (his character's nervous sneezes are amusing) in a part that should be considerably smaller than it really is. Giamatti gives a strong turn as Chertkov, and he has a couple of good moments of displeasure with Mirren.
The production values are lush, with beautiful sets and costumes. Some may also carp that "The Last Station" doesn't attempt any Russian accents, but then that would've been a distraction from the story itself and isn't needed. Director and writer Michael Hoffman ("The Emperor's Club") serviceable direction and writing should be just as lauded as his two actors, who are slowly gaining acclaim for their performances.
"The Last Station" is one of the year's acting highlights and comes recommended.
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