Browse Blogs Start a Blog The Charts Adv. Search Need Help?

EvilButters's Blog

 | Search Options
EvilButters's Blog
Ghost Rider: Spirit of Vengeance (2012) review
02/18/12 at 09:47 PM by EvilButters
I think everyone had the urge to run outside and kick the ugliest puppy in their neighborhood when it was announced a second Ghost Rider movie was going into production starring a returning Nicolas Cage. The director of the original Ghost Rider (Mark Steven Johnson) was out and the directors of Crank (Mark Neveldine and Brian Taylor) were in. Now that it's been released it's been getting nothing but a barrage of negative reviews pretty much anywhere you can think of. Ghost Rider: Spirit of Vengeance is practically a reboot and could serve as a full on reset of the franchise if Cage wasn't attached. With everything working against this requel (that's reboot + sequel combined) and every entertainment site on the planet practically guaranteeing its atrocity, I seem to be one of the few critics in existence who was actually entertained by this movie.

Johnny Blaze (Nicolas Cage) has gone into seclusion in Eastern Europe. Johnny fights not only the urge to become The Rider, but fights to stay hidden from those who are hunting for him. That is until a man named Moreau (Idris Elba) shows up on his doorstep offering Johnny a second chance and a way to lift his curse. The offer gives Johnny a chance for revenge against Roarke (CiarŠn Hinds) who's Lucifer himself in human form and the man Blaze made a deal with to become The Rider in the first place. The one catch is Johnny has to guard and protect a boy that Roarke is searching for to fulfill the prophecy of becoming the antichrist.

The main attraction to this movie was how it looked. There's this featurette that highlights just how camera oriented Neveldine and Taylor are when they come to shooting their movies. Seeing Neveldine basically risk his life rollerblading on the back of a motorcycle or hanging off of a wire along with the stuntman just to get the shot was incredibly intriguing to me. Unique perspective and fascinating camera work is something I look for in movies and Spirit of Vengeance let you know it had that in the trailers. The flaw in this method though is that even though it gets you up close and personal with the action it also feels really shaky at times. It seems very rough in comparison to dolly tracks or tripods being used. The camera work also involves those slight zoom-ins at random intervals to make it seem like the camera wasn't in the right place when they started shooting.

I'm hearing a lot of people complain about the special effects, but those are another high point. Ghost Rider's appearance is more charred in comparison to how he looked in the first movie. His skull looks scorched, his leather clothes are melted, and the steel on his motorcycle is noticeably red hot and altered thanks to his transformation. The fire looks pretty fantastic all around and there's plenty of it. Everything The Rider drives becomes engulfed in flames and the special effects crew has a ton of fun with that. Maybe it looks terrible in 3D? I was going to recommend seeing it in 2D anyway. Johnny Blaze's transformations into Ghost Rider are pretty sweet, too. Seeing his eyes sink in for the first time is a bit unsettling, but it becomes a trademark. As he holds off The Rider the majority of the movie, his eyes are the first thing to show the transformation. It was a bit reminiscent of the T-1000 being shot in the face in the steel mill at the end of Terminator 2.

Nicolas Cage is exactly what you expect him to be here. The issue is that like always he's way too over the top during intense moments and not emotional enough during the quieter ones. The best example is when Johnny Blaze and Nadya (Violante Placido) are trying to catch up with the men who took Danny (Fergus Riordan) who's Nadya's son and the boy who's set to become the antichrist. Johnny and Nadya are interrogating a man named Vasil. Notice how twitchy Cage becomes here and how crazy he becomes during his "bad man" and "scraping at the door" speech. It's pretty insane in this so bad it's good kind of way. Cage's performance seems to evolve throughout the movie and he almost seems sincere by the end of it. Cage also modeled The Rider's movements off of his pet cobra and it's blatantly obvious. His performance as The Rider is full of rigid movements, swaying motions, and quick cuts. It's very bizarre, especially when it gets to the scene where The Rider is floating around in circles on his back as if he's duplicating Trent Reznor in the Nine Inch Nails video for "Closer."

You'll wish Idris Elba's wine-loving Moreau had more screen time than he actually does as the Moreau character is generally pretty interesting, but doesn't really get a chance to shine. He does have a few really memorable scenes though. This will make more sense after you see it, but the "decay vision" gets a little bothersome. It's like looking at the action through a giant peephole or fishbowl. The evolution of the Carrigan character (played by Johnny Whitworth) is pretty awesome though.

Ghost Rider: Spirit of Vengeance is not as bad as people are making it out to be or maybe it is and it's just really entertaining anyway. The dialogue does get really cheesy at times ("You're the devil's baby mama."), but the story and part of the screenplay were written by David S. Goyer so that should give you a little bit of hope. The special effects are fantastic, Cage's performance eventually grows on you, and Spirit of Vengeance is a huge step up from the original movie overall. In the end, Ghost Rider: Spirit of Vengeance is explosively entertaining and just the type of brainless fun you need to forget about a hectic week.

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: Ghost Rider: Spirit of Vengeance, review, action, thriller, Marvel, Nicolas Cage
2 Comments | Add a CommentPermalink | Share
Bullhead (2012) review
02/18/12 at 01:56 PM by EvilButters
Bullhead is the story of Jacky Vanmarsenille (Matthias Schoenaerts) a cattle farmer. He along with his business partners inject their cows with steroids and hormones to achieve the results they desire. The problem is the only thing Jacky injects more than his cows is himself as he's got some sort of chemical compound coursing through his veins at all times. Things begin to go south when Jacky makes a deal to distribute his cows to a well-known yet crooked meat trader. A federal agent is killed amongst their negotiations as Jacky is dragged into the investigation and his disturbing past comes bubbling to the surface.

Matthias Schoenaerts' performance is the first thing that will win you over. The reason why he shoots up so frequently along with what he injects himself with has this really breathtaking explanation. Schoenaerts has a short fuse the entire film and you never know when he's going to explode. That's the beauty of his performance. He's so dangerous yet you can't help but feel sympathy for the guy. Schoenaerts is a ferocious powerhouse that chews you up and spits you out like the most devastating hurricane imaginable.

Bullhead features some incredibly impressive cinematography. Belgium has never looked so beautiful. Those shots of the sky and the clouds that populate every inch of it and those lush moments of taking in the countryside speak volumes. Something as simple as grass blowing in the wind is made to look like this grand accomplishment thanks to how the film was shot. It was interesting to see characters that were out of frame become out of focus and or blurred in some way; whether they were approaching somebody in frame or walking away. It was a masterful touch.

The Belgian drama has a unique sense of perspective, as well. The dizzying staircase sequence near the end of the film is the best example. It kind of goes hand in hand with the cinematography though; a brilliant looking film is even better with distinguishing shots. Speaking of unique, the entire film is one of the more original experiences to grace the silver screen in quite some time. Bullhead does draw comparisons to films like Drive and even Bronson, but the mafia and mobster kind of storyline is presented in this rough, grainy, meaty, and intense package that hasnít been done before. Bronson is actually a really great comparison. Matthias Schoenaerts put on 59 pounds of muscle for Bullhead and Tom Hardy put on 42 pounds of muscle for Bronson. While the two films are almost nothing alike when it comes to their storylines, they're extremely similar at their core.

Bullhead is an extremely intense piece of cinema that includes a fairly bloody and hard hitting elevator sequence that rivals that infamous scene from Drive. With an incredible performance from Matthias Schoenaerts, gorgeous camera work, and a huge injection of originality, Bullhead should not be missed by anyone especially those who are looking for something different when it comes to movies. This comes highly recommended for those who enjoyed Animal Kingdom, A Prophet, Drive, and/or Bronson.

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: Bullhead, review, movies, Houston, crime, drama
1 Comments | Add a CommentPermalink | Share
Kill List (2012) review
02/18/12 at 08:19 AM by EvilButters
Jay (Neil Maskell) hasn't worked in eight months and it's taking its toll. His savings are gone, his marriage is falling apart, and he's still beating himself up over his last job that went horribly wrong. That is until his friend Gal (Michael Smiley) visits and pulls him back in. The hit man business is good money for work that isn't too strenuous or so Gal thinks. Jay begins to lose it out on the job by taking matters into his own hands, flipping off the deep end, and basically just losing all control. But with the mysterious way their clients are acting, Jay and Gal begin to believe something more sinister is going on.

Kill List is a bit peculiar, especially if you go into it expecting your typical horror film; it's far from it. It actually begins as a drama, evolves into a thriller, and then finishes its evolution as a horror film in its closing act. It's a bizarre development, really. Not because it feels unnatural or forced or anything, but because it's difficult to get a read on the film. It's extremely unpredictable. The fate of certain characters may seem obvious, but it tends to take a different route getting to those conclusions. Once it jumps into the horror genre is when things get a little more familiar. The ending feels like a combination of The Wicker Man and A Serbian Film. But the way the film progresses may leave you with the feeling of being unsure whether you liked the film or not once it ends.

For a film that didn't even cost $1 million to make, Kill List certainly looks pretty great. The biggest issue seemed to be the sound, but it may have just been the DVD transfer that I received (it was a DVD screener). After trying to watch it on my hi-def television on two separate occasions, I eventually gave up before putting the disc into my computer and watching it with headphones. The camera work isn't overly fantastic, but it gets the job done. A scene that stuck out in my mind is when Jay and Gal get out of the car right before they're about to meet their client for the first time in the film. As they get out of the car and walk toward the camera, there's this perfectly placed rainbow in the shot and you get a glimpse of the entire thing over their car. It's as if it was illustrating the calm before the storm.

As you can imagine, Kill List does get pretty violent. In particular, Jay uses a hammer to such extremities that it would make Oh Dae-su from Oldboy blush. The most memorable scene in the film is actually the restaurant scene with the guitar mostly because of Jay's reaction as the British film also squeaks in a few really memorable one-liners. A man in the restaurant says to Jay, "Sometime's God's love can be hard to swallow," and Jay responds, "Yeah? Not as hard as a dinner plate."

Kill List doesn't really seem to live up to the hype or the quotes featured on its poster, but it's still a worthy watch. The way the film is written is its biggest asset as it's a completely fresh experience until it jumps genres. Kill List is a solid, low budget thriller that features better than expected camera work and heavy blood-splattering, brain matter-filled, face smashing, intestines-sliding-around-on-the-ground violence that only makes the transition into horror a no-brainer.

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: Kill List, review, movies, drama, thriller, horror
No Comments | Add a CommentPermalink | Share
This Means War (2012) review
02/17/12 at 07:36 PM by EvilButters
McG hasn't really been seen in the director's chair since Terminator Salvation hit theaters back in 2009. Audiences were split as to whether they actually enjoyed Salvation or not as critics hated it and the movie failed to make back its budget in its domestic gross. So what's the logical next step after doing a movie about the nuclear holocaust and the ongoing war between humans and humanoid machines? You could probably guess the action bit, but the romantic comedy part would probably throw you off.

This Means War is the story of FDR (Chris Pine) and Tuck (Tom Hardy) two CIA agents who are two of the best agents in their field. FDR and Tuck are partners and best friends, but come to a gentleman's agreement when they both start dating the same woman named Lauren (Reese Witherspoon). Both FDR and Tuck begin falling for Lauren and not only begin breaking the rules that they set for one another, but use whatever means necessary to keep Lauren in their good graces.

This Means War throws you right into one of FDR and Tuck's missions right from the start. The main issue becomes how dizzying the camera work is. The action hits extremely hard and is incredibly fast paced, but you have a difficult time actually following just what is transpiring in these quick cuts let alone trying to keep your wits about you. This is kind of odd since I wasn't a fan of Terminator Salvation, but felt like one of its strongest qualities was how the camera always seemed to be in the right place during the action. Maybe McG decided to regress back to his Charlie's Angels mindset for This Means War.

The action heavy romantic comedy is dragged down by annoying girl talk. Lauren and her friend Trish (Chelsea Handler) do nothing but whine and complain about their lives the entire movie while also revealing they're basically the most promiscuous girls around. This Means War paints this picture of women that they all date multiple guys at once and will put out just to try and make a decision. It's pretty demeaning to women in general. Between Lauren and Trish's talks of the size of a man's private parts or a lightning round involving sex, every inch of dialogue between them is unbearable right from the start. Meanwhile, FDR and Tuck have quite a bit of immature bickering between one another as well. It becomes borderline homophobic at times and just feels very third grade for nearly half of the film. The second half becomes a little easier to digest and the highlight comes when FDR mocks Tuck's British accent.

The storyline is very imbecilic, as well. Using the gadgets, technology, and basically every ounce of intelligence of the CIA to try and win over a woman is just asinine. The actual mission, which is certainly more interesting than the love triangle you're forced to endure, isn't even second fiddle. It's more like the third or fourth subplot of the movie. The FDR/Tuck/Lauren love triangle being the primary, FDR/Tuck's friendship falling apart being the secondary, Lauren trying to mull things over with Trish being the third, and Tuck trying to be a stand up family man the fourth. So that would make the actual mission the fifth subplot of the movie. How lame is that?

This Means War does get a little less irritating as it progresses. The jokes get slightly less offensive and Tom Hardy still manages to be the best part of the movie. While Reese Witherspoon has to make it a point to try and jiggle around while wearing horrible clothes and singing off key and Chris Pine attempts to be the biggest womanizer he possibly can, they still manage to squeeze in Tom Hardy being a complete bad ass. The paintball scene is one of the highlights, but the most original aspect of the movie comes in one of the first (of many) dates Tuck has with Lauren. He takes her to a carnival and at the end of it takes her on the trapeze. It's actually really cool and would be a really fun first date for anyone.

This Means War is a frustrating and awful excuse for entertainment. Its humor is lame and offensive in the way that it insults all of mankind by how stupid and immature it is, its plot is horrible and insulting, and Reese Witherspoon will test every last ounce of patience you possibly have. This Means War gives you the impression that women are easy and that if you've got enough game then everything works out for the best. While it does have a few moments that try to make up for how terrible it really is, This Means War still can't shake the fact that its spewed excrement into your face for over an hour and a half.

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: This Means War, review, comedy, action, Reese Witherspoon, Chris Pine, Tom Hardy
No Comments | Add a CommentPermalink | Share
Blu-ray review: Three Outlaw Samurai (1964)
02/14/12 at 10:52 AM by EvilButters
Shiba (Tetsuro Tanba) is a wandering samurai who's seen it all. He stumbles onto some peasants who have taken the magistrate's daughter hostage in hopes of ending the corruptive leadership that plagues their land. What begins as a spectator sport and a roof over his head for Shiba turns into him fully supporting the peasants and their cause. Two other samurai; Sakura (Isamu Nagato) another wanderer with a guilty conscience and Kikyo (Mikijiro Hira) a samurai who milks the magistrate for all he's worth eventually join up with Shiba. An epic duel to the death lies ahead for the three samurai as the magistrate will stop at nothing to get revenge.

Three Outlaw Samurai begins in simple yet extravagant fashion. We see Shiba take a few steps in the mud followed by an extremely loud music cue and the title card written in Japanese Kanji. Six seconds into this chanbara film and I already know I'm going to love it. The film buys its time though as the first half of the film is mostly very talkative and swords are drawn only briefly before lengthy discussions begin once again. The storytelling is a high point as loyalty and the overall cause for all of this mayhem are always both relevant to the events taking place on screen. The cinematography is also brilliant, especially since this is the debut of Hideo Gosha. The well-choreographed and intense swordplay sequences are always captured with the most precise camera placement.

Lighting and shadows also play a big part in how the film is presented visually. The one-shot sword fight in the two-story whore house is the best example of this. Right down to the drastic lighting on Kikyo's eyes before everything goes to hell, Three Outlaw Samurai is the type of film fans of samurai, foreign, and great cinema in general dream of. There's something completely gratifying about blood presented in black and white, as well. Maybe it's because it reminds me of the Crazy 88 fight The Bride has at the tea house in Kill Bill, but the crimson liquid almost seems more gratifying in grayscale at least when it comes to older and more legendary motion pictures.

The best exchange of dialogue comes when Sakura is running across a field to support Kikyo and Shiba in the final battle. Sakura yells, "Hey Shiba! I've done you wrong! I deserve to die! Kill Me!" In the heat of battle, Shiba merely replies, "I'm busy at the moment."

While Three Outlaw Samurai may seem a bit slow at first, your patience will be rewarded. You'll become attached to the characters of Sakon Shiba, Kyojuro Sakura, and Einosuke Kikyo, get absorbed in their cause, and understand their decisions. As the swordplay and action becomes more frequent, you'll realize how truly amazing this film really is. Three Outlaw Samurai is a beautiful, well-written, and just a fantastic experience overall that is for fans of Seven Samurai, Shogun Assassin, and The Last Samurai.

Despite how fantastic Three Outlaw Samurai looks and sounds, it literally has no special features. This is a bit unusual since nearly every Criterion Collection release Iíve come across is usually loaded with goodies. All thatís included is the theatrical trailer and a booklet with an essay by film critic Bilge Ebiri. So hopefully you werenít looking forward to this release for the special features alone.

Three Outlaw Samurai is a black and white film thatís unrated and presented in a 2.35:1 aspect ratio with an uncompressed monaural soundtrack. Itís approximately 93 minutes long, has a new English subtitle translation, and features high definition digital restoration. The film is now available on both Criterion Collection DVD and Blu-ray at most retail outlets and online stores.

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: Three Outlaw Samurai, Blu-ray, Criterion Collection, review, movies, action, drama
No Comments | Add a CommentPermalink | Share
Safe House (2012) review
02/09/12 at 11:59 AM by EvilButters
Safe House has Denzel Washington return to the role everyone loves him for; that untouchable, bad ass, man of the hour kind of role that he's essentially played the majority of his career. Meanwhile, Ryan Reynolds sets out to try to prove he's capable of being more than a raunchy goofball. CIA agent Matt Weston (Reynolds) has anxiously been waiting to prove himself. He's been babysitting an empty safe house for twelve months and is eager to get out in the field. Matt gets his chance when Tobin Frost (Washington), ex-CIA agent, traitor to the organization, and currently one of the CIA's most wanted fugitives, is escorted there. But things are turned upside down when a group of unknown soldiers attack the safe house and take out the entire team who accompanied Frost. Now in over his head, Matt tries to cope with handling the situation on his own while Frost does his best to manipulate the rookie.

You'll probably notice the visual style of Safe House right away. It makes full use of that raw, gritty style. It's especially grainy at times as fluorescent lighting seems to jump off the screen. Judging by how the movie looks alone, you'd think Tony Scott directed it. But it's actually the English language debut of Swedish director Daniel Espinosa. So it just seems as though he patterned Safe House after Tony Scott's films. It doesn't take long for negotiations to get tense. Those moments in between the mayhem are when Safe House is at its best. It's like a game of tug of war between Frost's way of manipulating and Matt's attempt to stick to protocol while also juggling a relationship. Those moments of panic are explosive; especially the one at the safe house Matt was in charge of and the intense car chase immediately afterwards. Safe House has a way of getting really LOUD when you're totally expecting it. It usually involves a gunshot or six, but it's kind of the movie's way of telling you that some heavy stuff is about to go down.

The majority of the movie is basically Matt trying to prove himself as an agent all while absolutely everything that you could imagine to go wrong does. Safe House is actually pretty damn good for nearly half of the movie. Sure, Denzel is playing a character you've seen him play a few dozen times before but he does it so well and the audience obviously eats it up. So why wouldn't you give the paying viewer what they want to see? Ryan Reynolds makes the most of his performance though. He seems to be the most emotionally invested actor of the film meaning he shows the most emotion and has the most range. The movie kind of gets coiled up in itself with everything it has going for it in the last twenty minutes or so. It's like it couldn't handle the pressure of being a fairly strong action thriller or something. It becomes extremely excessive and it throws a ton of twists at you in this small amount of time. It's difficult to care about any of them when all of the characters feel so similar and you can pretty much see them coming a mile away. The movie follows this certain path that you may be expecting, but then it shifts direction before shifting again and shifting back again. Did you ever see the movie Basic with John Travolta and Samuel L. Jackson? Safe House was reminiscent of the amount of twists in Basic.

Safe House begins as this white knuckled thriller with a fairly strong screenplay from first time screenwriter David Guggenheim. The action is heavy, the story reels you in, and the performances of both Denzel Washington and Ryan Reynolds are pretty superb. Everything eventually falls apart though as Safe House falls victim to stereotypical mediocrity. Brutal and intriguing at times and completely frustrating at others, Safe House is mostly exactly what you're expecting and the type of action thriller you've seen done several times before. It's basically a safe bet for success.

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: Safe House, review, movies, action, crime, thriller, Denzel Washington, Ryan Reynolds
No Comments | Add a CommentPermalink | Share
Journey 2: The Mysterious Island (2012) review
02/09/12 at 11:02 AM by EvilButters
*This does contain some minor spoilers*

Journey 2: The Mysterious Island is the sequel to Journey to the Center of the Earth; you know that movie with Brendan Fraser, Anita Briem, and director Eric Brevig all of which didn't return for the sequel. Fraser didn't want to return unless Brevig was back in the director's chair, but Brevig had his hands full with Yogi Bear when Warner Bros was ready to go for the sequel. So Cats & Dogs: The Revenge of Kitty Galore director Brad Peyton stepped in and we have an entirely new cast other than Josh Hutcherson, which includes the likes of Dwayne Johnson, Michael Caine, Luis GuzmŠn, and Vanessa Hudgens. The result is a visual effects heavy amalgamation of corny dialogue and forced feel-good moments.

Journey 2 was actually preceded by a new 3D computer animated Looney Tunes short entitled "Daffy's Rhapsody." A quick trivia note is that they actually dug through the archives and resurrected a Mel Blanc audio track to be featured in the short. So the legendary voice actor is back as Daffy Duck and Billy West steps in as Elmer Fudd. The short itself was very well done since it was brilliantly animated and made full use of the 3D technology. As a Looney Tunes fan, it was a welcome change of pace to see Daffy actually being Daffy again. I'm a huge Daffy Duck fan and while his run-ins with Bugs Bunny are hilarious Daffy eventually became second fiddle to Bugs and evolved into this greedy goofball. In earlier shorts, he was flat out crazy and that personality fit him best. It's almost as if the character is returning to his roots here. Also, when is the last time you saw Elmer Fudd hunt solely Daffy Duck without Bugs being involved at all? I was very pleased with Daffy's Rhapsody over all, especially in comparison to the recent 3D Wile E. Coyote/Roadrunner shorts.

Returning to Journey 2 though, the movie immediately lost me in the opening credits as the score seemed to disrespectfully rip-off the famous theme to Jurassic Park. It doesn't take long for the corny dialogue to slap you in the face either. The phrase, "Here we go," should never be uttered in the face of danger or at all really. From the HDTV line to pretty much everything Gabby (Luis GuzmŠn) says throughout their endless string of adventures, Journey 2 will have you rolling your eyes and facepalming yourself more often than you can count. Characters seem to repeat words over and over again, as well. Dwayne Johnson is the guiltiest of this as his dialogue is pretty painful at times. Shall we bring up "thundercookie" or the "popping the pecs" scene that was only thrown in there for a cheap 3D effect?

Maybe it's because a Looney Tunes short was attached to the movie, but Journey 2 certainly borrowed from classic Looney Tunes shorts on more than one occasion. When they first arrive on the island, Gabby thinks he's been cut in half but it turns out the lower half of his body is just buried beneath the sand. This sequence is awfully reminiscent of a scene in "Bugs Bunny Gets the Boid" and this scene in particular. Gabby also discovers a rock made of pure gold and essentially has almost an identical reaction as Bugs Bunny in "Barbary Coast Bunny." Even the camera placement is similar, so it had to be done on purpose. It honestly felt more like blasphemy than homage though.

I guess the hip thing to do with movies anymore is to make the majority of the cast as intolerable as possible, especially when it comes to family features. Nearly every male in the Anderson family is a snarky, smart aleck, prick; Michael Caine and Josh Hutcherson being the sole offenders. Alexander (Caine) already looks to have raided Indiana Jones' wardrobe and even uses that familiar sounding Jurassic Park-like theme when he first shows up. He spends the entire movie ripping on Hank (Dwayne Johnson). Kailani (Vanessa Hudgens) is the same way though in the way she gives Sean (Hutcherson) the cold shoulder, so maybe the aim was to write everyone like a seventeen year old girl. Meanwhile, Dwayne Johnson tries to cram as much of his The Rock personality into a PG persona as he can and even sings a little number that is actually pretty darn good.

Journey 2 relies on slow-mo to drive all of its biggest moments home and thanks to movies like 300 has made it all the more obvious in the movies that have followed suit. Even though the entire adventure is basically a race against time, it's like the characters always make time to try and be witty or funny or clever. It just rubs you the wrong way. "Quit standing around in the dark trying to amuse yourself and get out of that damn cave before it collapses on your scrawny butt," you'll say to yourself before throwing the nearest toddler at the screen in frustration. If that isn't the case, they manage to cram these family, touchy-feely moments in at the most inopportune time. "I know you're about to wrestle a giant electric eel, but I just want you to know that me being a hard headed douchebag towards you this entire time was my way of saying I love you." There's more than one comment about being killed after they die, as well. "If we die out there, mom is going to kill us." "If we get ripped to shreds, I'm going to kill you." But you'll already be dead, so who cares? And apparently, being in the Navy means you automatically become "MacGyver." If that's the case, send me a brochure.

Journey 2: The Mysterious Island wasn't quite as terrible as I expected it to be. A few of the jokes are mildly amusing and some of the special effects sequences are actually pretty entertaining. In the long run though, it still can't pass as a good film. Its lame humor gets on your last nerve, its feel-good moments make you want to gag, you can tell that everything was done in front of a green screen, and the writing is downright terrible the majority of the time (ďTHE LIQUEFICATION RATE TRIPLED OVERNIGHT!Ē). Why did Sean know so much about the island to begin with? Did he read the books over and over again throughout his childhood? Did he watch a lot of National Geographic and the Discovery Channel? Imagine taking a few of the halfway entertaining sequences from the original National Treasure and combining them with the absolute worst moments from the Land of the Lost film starring Will Ferrell and you have a pretty good idea of what you're in for. In the next movie, I only hope that Brendan Fraser returns and challenges The Rock to a wrestling match...IN SPACE!

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: Journey 2: The Mysterious Island, review, movies, action, adventure, comedy
No Comments | Add a CommentPermalink | Share
The Woman in Black (2012) review
02/03/12 at 12:45 PM by EvilButters
At the tail end of the 19th century, Arthur Kipps (Daniel Radcliffe) still feels like the wound is still fresh when it comes to his wife who died four years ago after giving birth to their son. Arthur is drowning in a depressive state that even his son notices. As a lawyer, Arthur is forced to travel to a secluded town to take care of the work of the now deceased Alice Drablow as a last ditch effort to save his job. Arthur is expecting to be buried in paperwork until the weekend, but the odd occurrences that transpire are a bit out of left field. Everyone in town practically begs for Arthur to return to London immediately as children continue to die gruesome deaths left and right. Ignoring their pleas, Arthur decides to confront the problem head on and stay at the Drablow's menacing house where his constant run-ins with the supernatural eventually take its toll on him.

The Woman in Black is a horror film that I wanted to be good. It's Daniel Radcliffe's first movie outside of the Harry Potter franchise and he's been pretty enthusiastic about it in interviews, but every bit of promotional material seemed to point at the movie being your everyday, generic, run of the mill, "scary" movie. The Woman in Black does provoke your interest at first. The strange opening is a little hokey, but kind of intrigues you at the same time. The atmosphere the movie tries to setup is its strongest asset though. The heavy use of fog and old fashioned feel of the town does make the town feel like it existed in the late 1800s and the ominous score does its best to try and bring you to the edge of your seat. The Drablow house is the key to that atmosphere as itís absolutely gorgeous in this hideously grotesque kind of way. Everything is so dusty and creepy while the Victorian design only adds to that uneasy feeling the movie tries to stir up in the pit of your stomach.

In the meantime though, everything else in the movie is working against it. It's extremely uneventful. Daniel Radcliffe reads papers, walks through a house, holds a candle, and gets a little dirty. That's the entire movie in one sentence. The Woman in Black also resorts to relying on nothing more than jump scares to try and scare its audience. There are four in the first twenty minutes; two from the same sequence and there are at least ten throughout the entire movie. Jump scares can be fantastic in small portions, but come off as incredibly weak when you can see them coming a mile away and are strung together haphazardly for a cheap effect. There isn't much dialogue while Arthur is in the Drablow house either, which is practically the entire movie. This was probably done to try and make the audience more absorbed with what was taking place on screen, but seems like a bit of a copout overall. Radcliffe has proven that he is an extremely talented actor, but he's pretty bland here. He mostly wanders around in a daze with a frazzled look on his face the entire time. His hosting gig on Saturday Night Live was more impressive in comparison.

The Woman in Black will still be a very successful film as nearly everyone who was or still is a Harry Potter fan will be lining up around every street corner just to be able to see this movie, but the fact of the matter is that it just isn't a great movie. Its representation of the late 19th century is pretty good, but the writing, the "scares," and (most of all) the entire conclusion are all just extremely disappointing. The Woman in Black is a watered down version of last year's Insidious that will more than likely gain a lot of praise it doesn't deserve.

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: The Woman in Black, review, movies, horror, thriller, Daniel Radcliffe, Janet McTeer
No Comments | Add a CommentPermalink | Share
Chronicle (2012) review
02/03/12 at 11:37 AM by EvilButters
Andrew Detmer (Dane DeHaan) is what you'd call your typical high school loner. Most students peg him as a loser, but he's really just misunderstood. His mom is practically on her death bed, his dad is an abusive drunk, and he has no friends. Nobody is willing to give Andrew a chance and he's too shy to break out of his shell on his own. Even his cousin Matt (Alex Russell) is a bit hesitant to hang out with him in public. As Andrew begins to start filming his life at all times, he soon discovers something of another world with Matt and student body president Steve Montgomery (Michael B. Jordan). Despite each of them developing chronic nosebleeds, they also discover they now have superhuman abilities. Andrew, Matt, and Steve push themselves to the limit and become stronger in the process. But as Uncle Ben said to Peter Parker, "With great power comes great responsibility." Friendships will be tested and destruction will become nothing more than an afterthought.

I felt a little weary going into Chronicle. The original trailer was interesting, but the TV spots seemed to show too much. They essentially gave away every key point of the storyline. Not only that, but they gave away too much of the special effects as well. That wouldn't be much of an issue if the effects didn't look so shoddy and cheap. Seeing it on the big screen did help, but they still looked a little hokey in the process.

Chronicle is shot in the documentary-style you've been forced to accept as a regular style of filmmaking ever since The Blair Witch Project came out in 1999. The upside is Chronicle doesn't look as amateur as what you may be expecting. There are a few shaky moments, but it's mostly in the beginning before Andrew gets a new camera. Once that happens, everything visual becomes a bit clearer and the perspective becomes a lot more interesting. The "floating camera" perspective is one of the more original aspects to come out of the film. One of the highlights of this perspective is when Andrew first puts the firefighter costume on. That scene in particular is pretty awesome, but is even more exceptional thanks to the intriguing camera work.

Those scenes where Andrew, Matt, and Steve develop their superpowers to their maximum potential are the best in the film. What human being has never dreamt of flying? The way Chronicle pulls that sequence off is incredible. The humor in it isn't too shabby either. It's typical high school drama at times, but it eventually grows on you much like the rest of the film.

Coming back around to the special effects, they plague the film in the second half. It wouldn't be so bad if there wasn't such a heavy use of them. More often than not, something computer generated looks out of place or is heavily shaded when it shouldn't be. It's almost as if you can get a glimpse of the original CG model that was used in whatever special effects software they used before it was actually rendered or something. Andrew's view of life is awful as everyone he runs into beats the snot out of him. After viewing the film, you can understand why this was done but most individuals aren't that cruel and it seems a bit much. Chronicle does seem to get better as it progresses, but it drops the ball in its final moments. You can see the opening for a sequel coming from a mile away.

Chronicle is much better than the trailers and TV spots let on. The camera work is fairly dynamic for a documentary-style film, the acting is very good for a generally unknown cast, and it's actually a lot smarter than it lets on. With that said though, its $15 million budget becomes very obvious with its heavy use of special effects and the finale of the film practically ruins everything good the movie has going for it. Chronicle is a pretty fun ride in the long run though. While it may not be totally original on the surface, the journey in the middle is fairly unique. Setting its flaws aside, Chronicle is quite possibly one of the most exciting stories of the birth of a super villain to ever hit the big screen.

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: Chronicle, review, movies, action, drama, sci-fi, superhero, found footage
No Comments | Add a CommentPermalink | Share
The Theatre Bizarre (2012) review
02/02/12 at 09:15 PM by EvilButters
What the hell happened to American horror? Remember when mainstream horror films actually offered either originality or creativity in the way victims died? Now we're practically spoon fed the same formula over and over and it doesn't help that more than half of the horror films getting the green light or being released in theaters are a remake of a film you love. The 70s, 80s, 90s, and even early 00s in some cases were a fantastic time for horror that seem to have gone the way of the dodo bird. The horror genre is no stranger to the anthology formula, but there's something about The Theatre Bizarre that manages to capture the atmosphere of certain horror films you know and love.

Tales From the Crypt, Dead of Night, Creepshow, Trick 'r Treat, and Tales From the Darkside: The Movie are a few films The Theatre Bizarre will either remind you of and/or it pays homage to. To bridge the story together, a woman is drawn to the worn down looking theater next door. Once inside, she's treated to a show hosted by a man acting like a living wind-up toy (played by Udo Kier). Just the framing segments alone are extremely creepy. The make-up, the way the people on stage move, and the way eyes are painted on the top of their eyelids. It's a bit unsettling in the best of ways. There are six stories in the film's nearly two hour runtime:

"The Mother of Toads" is one of the weakest. A couple takes a vacation in France basically in the middle of nowhere. While they're browsing shops, they meet an elderly woman who draws the man, Martin (Shane Woodward) into her home with The Necronomicon. The tea she gives him puts him under her spell and all hell breaks loose from there. This is probably a lot like the movie Frogs. The multi-colored toad vision is pretty lame. The best scene comes at the beginning where Martin and his girlfriend Karina (Victoria Maurette) are driving through the countryside. The shot obviously pays tribute to the opening of The Shining. I was left with what felt like the punch line to a really bad joke at the end of the story. "Don't you hate it when you get really drunk and you wake up next to a giant multi-titted toad?"

"I Love You" is the other fairly timid story and the one that features the stiffest acting. A man wakes up in his bathroom with blood everywhere. He calls his therapist, who's with his wife that he hasn't been able to get a hold of for days. She comes home only to tell him that she's leaving him. "I Love You" is basically an R-rated drama until the last two minutes where everything is turned upside down. The scenes that stick out the most are the ones of Andre Hennicke unconscious in his bathroom. Everything is white; the floor, the walls, his clothes. The only color in the scene is from his blood. It's not bad, deserves some credit for a solid buildup to its climax, and is at least a bit more threatening than toads.

"Wet Dreams" directed by and co-starring the legendary Tom Savini is up next. A man has very vivid dreams that usually involve his wife castrating him and feeding his severed member to him during breakfast. It's a pretty decent stab at a mind-bending horror story. It's no Inception, but it doesn't really have the opportunity to be and in the end has no reason to be as in depth as that as its story progression is just fine.

"The Accident" is another slow burning story. You can pretty much guess what it's about from the title. The way the deer acts is horrific enough, but what sells the entire story is the haunting music and the facial expression of the biker. The little girl asks some questions about death, which her mom gives really stupid answers to (seriously, a good zombie?).

"Vision Strains" is easily the most original and creative story of the film. A woman targets homeless women and addicts and kills them. In their last breaths and as their life flashes before their eyes, the woman injects their eye fluid into her own and basically experiences their life story. She writes it all down in an attempt to learn everything the world has to offer. A serial killer with purpose is something that doesn't come along very often.

"Sweet Dreams" rounds out the set. This one was a bit hard to watch. There are some really disturbing fetishes going on with this one all involving gluttony, sweets, and overeating. It's downright disgusting at times and it has the goriest ending of the bunch. It puts a pretty interesting twist on The Last Supper, as well.

It's not that The Theatre Bizarre isn't flawed. Like most horror movies, there's plenty of bad to go along with the good as it suffers from weak writing with actors in certain stories that don't have that natural flow that the rest of the cast does. One could also argue that only half of the movie really leaves a long-lasting impression. To be honest though, there were bits and pieces of every story that spoke to the horror fan in me in ways I haven't felt in years. Like a classic horror film, it's like you have to sit through some lameness to delve into the greatness buried deep within its core. Nauseating, phantasmagorical, and discomforting, The Theatre Bizarre is pure, gory, blood-soaked madness at its finest that will give horror fans the feeling of being a kid locked in a candy store for two blissful hours.

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: The Theatre Bizarre, review, movies, horror, Tom Savini, Udo Kier
No Comments | Add a CommentPermalink | Share
The Innkeepers (2012) review
02/02/12 at 07:31 PM by EvilButters
Movies revolving around the supernatural have always felt lacking. Of course, the most recent ones are mostly remakes so they already have an uphill battle ahead of them but there are very few movies featuring ghosts or the supernatural that I feel are worth mentioning in a conversation about great films. Ghostbusters, The Orphanage, The Shining, Shutter (the Thai original), The Ring, The Frighteners, and The Devil's Backbone are about it for me. It's a sub genre of horror that just hasn't meshed well with me over the years much like exorcism films. In the same breath, I still haven't been able to get a clear read on what I think of Ti West as a writer and a director. The House of the Devil was really disappointing. Its slow pace made the film seem practically uneventful and didn't really feel worthwhile in the long run. The Innkeepers has a similar pace as The House of the Devil yet feels slightly more methodical on Westís part in comparison.

Luke (Pat Healy) and Claire (Sara Paxton) are the only two employees working during the final days of the Yankee Pedlar Inn. This hotel is rumored to be haunted by Madeline O' Malley, a woman who hung herself in her room after being stood up by her fiancť at the altar. Luke and Claire try to make contact with the paranormal through EVP recording devices in between watching the front desk and handling the few stragglers who come to stay during the hotel's final weekend of operation. Needless to say, Luke and Claire begin to see results as the guests at the hotel become a bit stranger.

I'm surprised the score to The Innkeepers was as good as it was. It's a little bizarre to have such good things to say about movies coming out in between January and March since these are the months that studios decide to push whatever's been sitting on their shelf for a long period of time or release something they expect to do poorly at the box office. The score is really fantastic though, especially during the opening credits. It's usually very strings heavy and puts you on the edge of your seat on more than one occasion. It helps add that extra bit of tension. At other times, a lack of music speaks volumes. The way the film encompasses the importance of sound into the overall experience of the film is pretty extraordinary. Suddenly listening to a film is just as important (if not slightly more so) as watching it.

The camera work is really spectacular, as well. Slow, winding shots make it seem as though you're grudgingly snooping around the corner along with the characters on screen. The camera's pace as it travels through the hotel's hallways make you feel like you're walking through it yourself. There are also several shots directly behind Luke or Claire that feel very third person. It's just extremely solid camera work that's more stunning than you may be expecting.

The Innkeepers won't be for everyone though as it's incredibly slow moving. It crawls at almost a snail's pace, but it's the little things that keep you interested. Everything is very dialogue driven as Luke and Claire play tricks on each other and talk smack about each guest that comes to stay at the hotel. Claire's ghost story about Madeline O' Malley is around the time things really get interesting and Leanne's (Kelly McGillis) pendulum speech make the smallest things seem larger than they really are. The Innkeepers spends every expense establishing this thick, creepy atmosphere and is the prime definition of a slow burn at its finest.

The Innkeepers may seem a little dull on the surface, but all it needs is a chance to let its layers unravel right before your eyes. Character development and a horror film that isn't in your face showing you every gratuitous and gory detail is almost unheard of anymore. With its unsettling score, its superb cinematography, and engaging script, The Innkeepers delivers a rare horror gem that's a breath of fresh air to the genre.

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: The Innkeepers, review, movies, horror, thriller, Ti West
No Comments | Add a CommentPermalink | Share
Man on a Ledge (2012) review
01/26/12 at 02:47 PM by EvilButters
There are times when you can tell quite a bit of thought went into naming a movie i.e. Inception, Super 8, and 50/50. They're titles that perfectly describe the film you're about to see, but have a bit more meaning after seeing them. While other movies jump straight to the point with their titles, which certainly isn't always a bad thing; look at Drive, Moon, and The Crow. All three movies are better known for the acclaim they've received (from both fans and critics) rather than the amount of money they made at the box office. The title of a movie can go a long way, but in certain circumstances it can sum up an entire movie in a handful of words. Man on a Ledge is a prime example of delivering exactly what you're expecting.

Nick Cassidy (Sam Worthington) is an ex-con who is trying to convince the world that he's an innocent man, but that's a bit difficult when you break out of prison after serving two years on a thirty year sentence. Instead of talking to a lawyer or taking the advice of his former police comrades, Nick steps out onto the ledge of a building. He wants the world to believe he is innocent or else he's going to paint the asphalt with his insides. Little do they know that Nick's suicide attraction is nothing more than a distraction. Across the street, Nick's brother Joey (Jamie Bell) and his girlfriend Angie (Genesis Rodriguez) are breaking in to steal the $40 million dollar diamond Nick was convicted of stealing. But time is running out and Nick can only stall for so long as Joey and Angie run into some unexpected surprises that weren't a part of the plan.

Man on a Ledge just becomes more and more awkward as it drags on. It's as if the movie can't decide what type of story it wants to tell. We follow Nick around for a bit in the present day seeing how the first part of the day panned out before he stepped out onto that ledge, but then we jump back three years to understand why he went to prison. The nonlinear sense of storytelling is fine, but it feels a bit out of place when it's used so early on in a film without ever really returning to that format again. Then the pacing becomes a huge issue. Man on a Ledge is very go-go-go the entire movie and it never really gives you enough time to properly process everything or let you really care about these characters. You're aware of the situation, the heist going on next door, the apparent corruption in the police force, and the fact that time is running out right from the start, but it just doesn't really matter. There's no character development as everybody feels so paper thin. Even Sam Worthington can't keep his American accent going the entire movie as his Australian accent seems much more apparent in the second half. It just comes off as a complete mess.

The other problem this crime thriller has is the fact you never really know who to pull for. You've got three people trying to pull off a heist claiming it's to prove one of them is innocent of a crime they went to prison for while an unsolved investigation concerning the police force comes up during Nick's suicide attempt to let them know that somebody on the force has been working for David Englander (played by Ed Harris and who was the main reason Nick went to prison) the entire time. Without much depth to the characters, you never really want to see either side succeed. Through all of Nick's pleading with negotiator Lydia Mercer (Elizabeth Banks), the wire he's wearing in his ear becomes blatantly obvious. So her shock and surprise to its reveal later on seems more sarcastic than anything. To make matters worse, things stay this way nearly the entire time until the closing moments where every question you have is answered in the last five minutes. Man on a Ledge has some of the worst pacing to ever make it to the screen.

The only real redeemable factor of the movie is Ed Harris, but it's more of his character being so bad and cheesy that he's good. The scene where his character is introduced where he's given a watch by a colleague is hilarious for all of the wrong reasons.

Man on a Ledge is a combination of many movies you've seen before and it feels that way. It's a mishmash of ideas taken from movies like Die Hard, 16 Blocks, and Hostage. Oh wait; maybe it just borrows ideas from Bruce Willis movies. With its ridiculous pacing and even more incongruous ending, Man on a Ledge will invoke you with the urge to use some of that nonlinear storytelling to go back to the beginning of the movie and push Nick off that building yourself to help prevent you from seeing such buffoonery.

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: Man on a Ledge, review, crime, thriller, movies, Sam Worthington, Elizabeth Banks
No Comments | Add a CommentPermalink | Share
The Grey (2012) review
01/26/12 at 11:14 AM by EvilButters
There were a lot of things that felt like they were kept secret on purpose before sitting down and viewing The Grey for the first time. The trailer hints at the movie being nothing more than a survival thriller starring Liam Neeson as he struggles to survive not only the unrelenting cold elements, but also the ferocious wolves that inhabit his surroundings. The Grey is written and directed by Joe Carnahan, the man who brought us Smokin' Aces and The A-Team. The movie is also produced by Tony and Ridley Scott, which you think the marketing campaign would jump all over but doesn't even mention. Not only that, but there is quite a bit more to the movie than the trailer and TV spots let on.

As the movie begins, Ottway (Liam Neeson) narrates a letter he's writing to his wife. This segment just made me realize what my life is lacking most right now and that's a Liam Neeson voiceover for every thought that crosses my mind. Think about that. It'd be the most amazing thing ever. The trailer reveals a few major things: that Ottway is stranded in the middle of nowhere in the blistering cold thanks to a plane crash and that wolves stand in the way of him actually surviving this ordeal. The plane crash itself is one of the best executed in recent memory. The way it's filmed and edited is downright ruthless. It's as if you're on the plane as it goes down. The Grey doesn't just place you in this blizzard-ridden hell infested with wolves, it kicks your teeth down your throat, laughs in your face, and throws you into it with everything it has.

The movie gives new meaning to some of the simplest things. Seeing your breath in cold weather takes on an entirely new definition and the way The Grey deals with death just feels incredibly powerful. Ottway questions faith right from the start and takes matters into his own hands throughout the movie. The events that transpire take a toll on even the most religious plane crash survivors. Death is more of a relief than something worth distancing yourself from. Ottway describes it as being a warm sensation and thinking about the thing you love most in life before completely giving yourself into it. Many of the campfire conversations are entirely more impactful than they have any right to be. The conversation about faith in general hits you like a potato sack full of cinder blocks.

The Grey manages to shout its message even when there's nothing being said on-screen. One of the images that stuck with me long after the movie ended was the shot of blood flowing into the paw print of a wolf in the snow. There's a scene by the river that strictly relies on sound and the way you succumb to it is nothing more than brilliant. There's another shot at the end of the film where (and I'm trying to avoid spoilers the best I can) Ottway is arranging some objects in the snow. The way Liam Neeson's fat, sausage-like fingers delicately wrap themselves around these objects and the way his hands tremble as he does this illustrates not only what this man has been through, but also that he's at the end of his rope. Plus the movie will make you want to look over your shoulder the next time you consider relieving yourself out in nature somewhere.

That level of greatness The Grey eventually achieves isn't around at all times. Some lame dialogue does squeak through and characters manage to do really stupid things at times (John Diaz, played by Frank Grillo, especially), but that seems to help the movie more than anything. People, real people, occasionally do stupid things especially when theyíre scared. So this kind of made the characters feel more genuine and made it very clear that certain characters were caving under pressure.

There was a movie that came out back in 2000 that was called Vertical Limit. It was one of my most trying times at the movie theater. I fought vehemently to leave about halfway through because I hated it so much, but I was with people at the time who wanted to stay until the end. It was probably one of the worst experiences I've ever had to pay for. The Grey is basically everything I wanted that movie to be. The cast is fantastic, their actions are mostly believable, and there's this meaning to everything that really speaks to you.

The Grey is a grainy thriller that knocks the wind out of you on more than one occasion. In fact, it's rare that the movie actually allows you to catch your breath. Everything is such a raw, vicious, and brutal test of faith. It's fantastically violent and Liam Neeson is superb. If The Grey is anything to fall back on, then 2012 is going to be one hell of a year for movies.

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: The Grey, review, action, thriller, Liam Neeson, Joe Carnahan
No Comments | Add a CommentPermalink | Share
Red Tails (2012) review
01/20/12 at 09:55 AM by EvilButters
Over twenty five years after the fact and Maverick has become a drunk who makes hasty decisions under the influence, Goose has become a bit more reckless and still puts women before anything else, and Iceman's role has been reduced significantly as his smug arrogance is only felt in a handful of lines. What's that you say? Red Tails isn't the urban retelling of Top Gun? Well, you could have fooled me. It's not that it makes much difference though. No matter how you look at it, Red Tails doesn't really have much of anything to offer.

At the peak of World War II, African American pilots are considered the lowest of the low. They're considered to be incapable of performing their tasks to their country to the fullest and are given leftover missions that don't even qualify as scraping the bottom of the barrel. The Tuskegee training program is no different as the entire squadron is mostly reduced to shooting down trucks, trains, and perhaps a cow every now and then. That is until Colonel A.J. Bullard (Terrence Howard) succeeds in letting the higher ups give his men a chance and they take full advantage of the opportunity.

Red Tails feels really cheesy as soon as that quote is shown in the opening scene. The movie has a $58 million budget, but it certainly doesn't feel that way considering the opening credits. The amalgamation of planes ripping through the sky and tearing each other to pieces feels like a distraction or a cover up for the rest of your senses. Try to pay attention to the credits, how plain they are, and how cheap they look. That along with the score that feels like it was ripped straight out of a stereotypical action film from the 90s doesn't really seem like the type of tone they were going for here. The acting isn't much better as stiffness and monotony seem to be what they were aiming for. The Tuskegee airmen do begin to get a bit more comfortable in their roles as the movie progresses. David Oyelowo takes Lightning the furthest as far as Easy's (Nate Parker) squad goes, but they certainly seem their best in the face of tragedy. Terrence Howard has a few great moments, as well. Specifically his "highest expectations" scene he shares with Joe "Lightning" Little. But it isn't enough to save a second-rate film.

The script is very dry. I don't mean dry humor I mean about as pleasant as trying to listen to somebody with a mouthful of saltine crackers. It feels so stale and again contributes to that 90s atmosphere I mentioned earlier. Keep an ear out for the Americans and how third grade they sound. The dialogue along with the monotonous tone spread out amongst every actor in the film makes everyone come off as a robot. "These cows are armed," is a line that's actually used in the movie. There are a few lines that are almost decent. Winky's (Leslie Odom Jr) line where he says, "Every time I close that canopy I feel like I'm closing the lid to my own coffin," is surprisingly good. It gives the momentary belief that things may turn around, but they never do. Smokey's (Ne-Yo) "colored" conversation at the bar is the most amusing thing Red Tails has to offer, as well. There are many lame attempts at humor that just make you groan. Black Jesus is perhaps the worst joke of all, considering how things turn out for Deke (Marcus T. Paulk).

I was expecting Red Tails to at least offer a fair amount of eye candy, but the special effects weren't really all that impressive at all. There's a train explosion early on in the film that's been shown in nearly every trailer and TV spot. It's pretty much on the same scale as the train crash in Super 8, but it isn't nearly as spectacular. That's kind of weird considering Super 8 was $8 million dollars cheaper than Red Tails when it comes to its budget. What ruined it for me was that sloppy zoom-in effect that's relied on as a crutch the entire movie. The Tuskegee airmen will be in the midst of a heated air battle with the Germans. The camera would pan up to try and capture the action, but it would zoom-in (or out on a few occasions) nearly every time to try and show you who should be keeping track of. It just came off as sloppy camera work to me, as if they didn't have the proper camera placement for the scene and tried to adjust it accordingly. There are several things that don't really add up in the movie either. One of the main ones for me was that at one point, Easy tells everyone that there's no time to celebrate a completed mission and to return to base because they're low on fuel. But can you guess what they do in the very next scene? They showboat and celebrate. Not listening to your superiors and still getting praised for it is an overbearing theme in the movie, as well.

George Lucas fought for 23 years to get this made, but after viewing it you'll more than likely be convinced that the man has grown senile over the years and that retirement from Hollywood is the best thing for him. The turnout for the screening was insane and you can bet that Red Tails will more than likely make a killing at the box office, but there's no way in hell it passes as a good or even decent piece of cinema. Amateur cinematography, a boring script, terrible acting, and the fate of certain characters being extremely predictable (you can guess Lightning's fate around the time things start getting serious with Sophia), Red Tails is the equivalent of a stand-up act that gets booed off the stage. It is just awful. I was left wishing the entire movie was just Cuba Gooding Jr lifting a pipe to his lips, pulling it away, and pretending to smoke the entire film. If it was just those clips strung together with no dialogue and that dubstep track from the TV spot in the background, I could have at least gotten a good laugh out of it.

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: Red Tails, review, action, adventure, Terrence Howard, Cuba Gooding Jr, George Lucas
No Comments | Add a CommentPermalink | Share
The Flowers of War (2012) review
01/19/12 at 02:56 PM by EvilButters
I'm really weird when it comes to war films. I have a fascination with both horror and extremely violent films in general, but tend to mostly not care for films that revolve around war. It's not that they're bad or unwatchable, but none of them have ever really made me think they're worth owning or watching again. Chinese and Japanese war epics seem to be a bit different as I adore films like The Last Samurai, Mongol, and The Warlords. The Flowers of War is in a similar vein as those three films yet is also incredibly different in comparison.

Yimou Zhang is a director that's pretty much made a name for himself as a director with his incredible use of color. Hero, House of Flying Daggers, and Curse of the Golden Flower are all lush, vibrant, and just visually brilliant. The Flowers of War is almost completely devoid of color. The battlefield is littered with shades of brown and gray until someone is shot and blood sprays into the air or trickles to the ground. The only real use of color comes in the form of the round stained glass window and the elaborate dresses the prostitutes wear. This adds for some incredible and dynamic shots seeing warfare on their doorstep through a multicolored filter and broken glass. Two prostitutes eventually escape with the intent of returning, but there's this amazing one-take sequence of their attempt of coming back to the church and their colorful dresses play a big part. That scene along with a few others was slightly reminiscent of Children of Men.

The evolution of John Miller (Christian Bale) is something wonderful. When he first arrives to the church, he's money hungry, a drunk, and a womanizer. But being around the students at the church and the group of prostitutes brings out the best in him. That sounds awkward, but it makes sense after seeing the film. There are a few wandering shots that show Bale standing or sitting alone in the church. They're fairly brief, but those images stick with you. The Chinese soldier that drops off Pu Sheng and returns one of the studentís shoes is one to keep an eye on, as well. Without spoiling too much, his strategy is nothing short of amazing.

As you can probably imagine, The Flowers of War does touch upon some extremely vicious and barbaric acts that are difficult to watch. It is based on the Rape of Nanking after all. The sequences of violence are necessary, but aren't for those of you with weak stomachs. Children are stabbed and shot while prostitutes are raped and brutally murdered. Then there's all the bloodshed from the war going on. It's pretty intense, but the message the film offers makes it all worth it.

The Flowers of War is almost a war masterpiece, but there are several things that stand in the way of making it just that. The main one being that nearly every female character in the film will irritate the holy hell out of you for the entire two hour and twenty minute duration. Every prostitute but Mo (Ni Ni) has a voice that's the equivalent of scraping fingernails against a chalkboard, but there's a group of them so multiply that by twelve. Not only that, but they make stupid decisions. Risking your life for a cat or strings for your instrument seems kind of fruitless at this point, wouldn't you say? Then there's the group of students at the church that do nothing but cry, be spiteful towards the prostitutes, and hold grudges. Were they imperative to the story? Of course, but their stupid actions will only help you cheer for their deaths at the same time. There are also two musical numbers that feel out of place. Both are great concepts on paper, but they feel clumsy in their execution. And to be honest, I'm just glad the phrase, "No Mo," wasn't uttered at all in the film.

Despite featuring some of the most annoying and idiotic female characters of recent memory, The Flowers of War is an emotional journey with a heartfelt message. As John comes clean about a lie he told Mo earlier on in the film, Mo replies, "Sometimes the truth is the last thing we need to hear." That quote fits so perfectly with the tone of the film. Christian Bale delivers a spectacular performance as watching the evolution of John Miller through the duration of the film is nearly as great as the maneuver they pull off. Often brutal yet frequently beautiful, The Flowers of War is one of the few war films that is not only thoroughly enjoyable but is capable of maturing into one of the most selfless acts imaginable.

If you'd like to help me out and help me make a little bit of money, please click here and take two seconds to give me a page view or two. And be sure to subscribe if you like what you read. Thanks!
Tags: The Flowers of War, review, drama, history, war, Christian Bale, Yimou Zhang
1 Comments | Add a CommentPermalink | Share
1 to 15 of 70 Entries
Last Updated: 02/18/12 (30,686 Views)
Blog Tools
Share This Blog  Share This Blog

Search News
Release Dates
Best New Music
Submit News
Mobile Version
AP.net Logos
Encore Podcast
Free Music
Sports Forum
Technology Forum
Contact Us
Copyright Policy
Terms of Service
Privacy Policy
Twitter | Facebook | RSS
Encore Podcast on iTunes
Encore on Overcast
AP.net on Tumblr
Chorus.fm | @jason_tate