• The Secret World of Arrietty
     
      http://bartybooks.com/the-secret-world-of-arrietty.htm
  • Gone
     
      http://bartybooks.com/gone.htm
  • Wanderlust
     
      http://bartybooks.com/wanderlust.htm
  • This Means War
     
      http://bartybooks.com/this-means-war.htm
  • Ghost Rider: Spirit of Vengeance
     
      http://bartybooks.com/ghost-rider-spirit-of-vengeance.htm
  • The Vow
     
      http://bartybooks.com/the-vow.htm
  • Safe House
     
      http://bartybooks.com/safe-house.htm

Movies under ‘Drama’

Faster (2010)

I thought The Rock had abandoned us for Disney movies until I went to an early screening of Faster hosted by our local Rock station.

I’ve always wanted to like Dwayne Johnson as an actor. He was so entertaining when he was The Rock, why can’t his movies be just as entertaining? Unfortunately his best received films are the more family oriented ones and watching an ex-wrestler who used to talk about his love for pie and “laying the smack down” seems a bit bittersweet. Films like Faster are what Johnson should be sticking to, but it doesn’t live up to its potential and results in another flat action film.

Wasted potential is the perfect way to describe Faster. Dwayne Johnson spends more time walking around looking really angry than he does revenging his brother’s death or actually saying anything at all. Billy Bob Thornton doesn’t do much of anything either as his character struggles between being a drug addict who doesn’t amount to anything to a police officer who’s about to retire and get full benefits who is also trying to get his family back together again. He spends most of his screen time drowning in his depressing life. Then there’s Dexter’s Jennifer Carpenter who seems to be brought into the film to do nothing more than show up, cry a little, and say a few lines of nonsense. Nothing the actors did really helped drive the story forward.

The cinematography fluctuated between being interesting and being incredibly annoying. Right when something like the way the camera was placed while the driver was driving or something as simple as reloading a gun was done in a way that seemed original to catch your attention, the film would turn around and throw shaky camera techniques at you for no reason or the scenes that caught your eye would be too brief to really make up for the mediocrity of the rest of the film. The most interesting aspect lies within the final minutes and relates to the hired killer going after the driver. That concept alone that’s about the length of a one minute conversation is better than Faster as a whole.

Dwayne Johnson seems to have better luck with family films, but I think his fans would rather see him in R-rated action films since his physique and film presence fit that genre best. If he could find a film that was like Faster with a meatier role that gave him more lines and had better writing, it’d probably be a lot more satisfying. The kills in Faster should have been the highlight since the film revolved around the driver gaining revenge for his brother, but they fell short. Everything about Faster did. I was completely expecting Johnson to either turn himself over to the authorities or take his own life to be with his brother at the end of the film. The driver received the revenge he so desperately sought and did it in a nonchalant, hot-shot vigilante kind of way to let everyone know it was him doing it. Yet police can’t seem to keep up with him and he just kind of drives off into the sunset at the end. It felt like Faster was left open ended for nothing more than sequel purposes alone, which is the weakest form of a cop out for a movie ending. Coincidentally, a film called Faster managed to feel twice as long as its 98 minute duration.

In the end, Faster contains elements from both Gone in Sixty Seconds and Taxi Driver, which should result in an excellent film. Instead we’re left with an action film that uses these elements at face value; it contains the fast cars and intense chases of Gone in Sixty Seconds with the uneasy and unpredictable shootouts that are reminiscent of Taxi Driver but Faster lacks the depth, star power, enjoyment factor, strong cast, or lasting value these two films still have today. If you plan on seeing this film, you better be sure because that’s a long dark road you’re headed down (sorry, couldn’t resist) and that road is nothing more than a pointless detour from greater things.

Fair Game (2010)

One of the major events that President George W. Bush will undoubtedly be remembered for in history will be his decision to declare war on Iraq in 2003. If we recall back to early 2003 when the administration was laying out its reasons for invading Iraq, the one most marketed to the American public was the idea that Saddam Hussein was in the process of creating chemical or nuclear weapons, which he would then give to terrorists who could then use them to attack American cities. Of course, soon after the war began it was discovered that these weapons either never existed or no longer existed, and to this day no one in the CIA or federal government has been able to explain how the intelligence community could have gotten it so wrong.

“Fair Game” places itself right in the middle of these controversial events between 2002 and 2004, and is told through the eyes of CIA Agent Valerie Plame (played very convincingly by Naomi Watts) and her husband, United Nations Ambassador Joe Wilson (played fiercely by the always great Sean Penn). The film’s story follows how Plame goes from patriotic CIA agent diligently doing her job overseas to suddenly having her identity made public after her husband uncovered false information about a nuclear development sale between Iraq and Niger. This false information about a uranium sale between these two countries is important because it was implied as factual when Bush was listing information about Iraq during his State of The Union Speech in early 2003.

As the film starts, Plame and Wilson appear to be a very loving couple with a very strong marriage – they even have 2 small children who live with them in the D.C. area. Plame is busy traveling covertly to countries in The Middle East to shake her fist at people whom might have ties to terrorists, while Wilson is back at home, often finding himself in heated arguments with friends at the dinner table whom hold a different opinions from his own. Both Plame and Wilson appear to be relatively non-political civilians working peacefully and dutifully for the federal government – until the Bush administration decides that the country should invade Iraq. After Wilson criticizes the administration’s faulty information publicly, Plame is then fired from her job, and much of the rest of the film focuses on how the couple’s marriage is stressed because of what is transpiring all over the media.

People harass them often when they go out, as Wilson makes rounds on the media circuit to try to restore his name. The film has a little bit of a soap-operish feel to it during the 2nd half in that it is mostly focused on the couple’s relationship, but the acting performances by Watts and Penn are just so sharp that they make up for some of the film’s small flaws when it comes to storytelling. There is also a small subplot involving a family in Iraq connected with Plame’s counter-proliferation efforts that should have been either developed more or left out entirely, as that is the weakest part of the film – but fortunately those scenes are relatively few in the entire film.

Aside from the acting, another of the film’s strengths is how it never gets too preachy towards the Bush administration, but rather focuses on the facts of what unfairly happened to Plame and Wilson from their own points of view. In fact, no actor plays Bush or Cheney in the film – we only see a few clips of the real Bush and Cheneys giving speeches on TV screens for a matter of seconds. Scooter Libby (portrayed a bit villainously by David Andrews) is seen in a few short scenes as a swindler who tries to convince CIA employees into manipulating the intelligence the way he sees it, but his characterization is very subtle, rather than as an in your face bad guy. Doug Liman’s direction is also fairly fast-paced to make sure the film never gets too bogged down in pointless scenes.

Even though it is very talky and dialogue-driven, the narrative keeps moving forward at a crisp pace – at least if audience members are adults without ADD (and I think it’s pretty fair to say that this movie isn’t marketed for the Transformers or Twilight crowd…) The film generally works very well both as an entertaining drama, spy thriller, and an educational lesson. Moreover, it’s an intelligent reminder to the public of how people in positions in power in government will often stop at nothing to achieve their desired goals, even if that means illegally abusing their power through misinformation, manipulation, and character assassination. As citizens we should constantly be questioning our leaders and their motives, as well as keeping them honest and holding them accountable whenever they they violate our trust.

On a final note, I have to say that I find it very refreshing to see a film like this that has a woman in a very intelligent leading role, rather than how Hollywood films usually stereotype females in formulaic romantic comedies. It seems like women in major roles usually have their sappy characters obsessing about trying to find a man and buying shoes, with some slapstick and comedy at the dinner table with their parents thrown in as well (a.k.a. chick flicks). It’s either that or the female characters get almost zero screen time, where they are relegated to simply being the cute girlfriend sidekick. It’s nice to see movies like this allow womens’ dramatic acting talents to shine and allow us to see them as complex, real characters.

Morning Glory (2010)

It’s no secret that people go to see movies touted as being comedies for one reason, they want it to be funny and thereby make them feel a little better, or at least lighten their mood. That’s what I was looking for when I went in to see this film. Thankfully, I was rewarded with more feel good value than I had paid for. This film is terrific entertainment.

I’ll add that I enjoyed this film on a number of levels.

First, was the pure comedic value, which was high. Rachel McAdams owned nearly every scene she was in with not just her drop-dead-gorgeous-good-looks but with her well applied talent invested into this somewhat quirky, high energy character. McAdams’ Becky was a finely crafted portrait of a warm, likable, very intelligent, hyper-kinetic, lovable screwball of a young woman. Her every moment on screen exuded lovable charm by the truckload; she’s never looked more appealing or more lovely.

But McAdams certainly didn’t have to carry this funny film on her own. She was ably assisted by some of the finest people in Hollywood in the persons of Harrison Ford, Diane Keaton, Jeff Goldblum, John Pankow, Patrick Wilson, Matt Malloy, Ty Burrell, Patti D’Arbanville and a long list of equally great supporters. What a great selection of professionals.

Ford was splendid as the emotionally parsimonious codger of an over-the-hill anchor. Not to be outdone, Diane Keaton was as terrific as ever in her turn as Ford’s cynical, combative co-anchor; which she carried off with a wonderful exuberance and energy.

Jeff Goldblum – who always seems to land roles as some kind of “different” personality – was excellent as Ms. McAdams’ crabby boss. McAdams’ colleague Lenny was well worn by John Pankow who seems to add to everything I’ve ever seen him in. Patrick Wilson as McAdams’ love interest wasn’t given much material to work with but his time on screen was well spent, adding a quality performance in just the right place. Ty Burrell was funny and at the same time kind of spooky as an unappealingly unctuous departing anchor. Though a small part, it was pleasant to see Patti D’Arbanville play McAdams’ mother with appropriate love and concern.

I saved Matt Malloy for last because he was an unexpected treasure. His portrayal of the show’s weatherman suddenly thrust into a new and challenging role was particularly hilarious; the proverbial icing on the cake.

The second area of enjoyment was the overall effort put into the sets, art direction, sound and the other technical areas. Everything was first rate which added to the realism.

Finally, their depiction of the behind the scenes areas of a hectic television studio came across as spot on, actually heightening the chaos that seemed to follow McAdams everywhere. You can’t go wrong seeing this film if you’re looking for a fun night at the movies.

diana kruga
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