Rating: The Good – 68.8 Genre: Horror Duration: 119 mins Director: Scott Derrickson Stars: Laura Linney, Tom Wilkinson, Shohreh Aghdashloo
Laura Linney stars as a successful defence attorney who agrees to defend a Catholic priest (Tom Wilkinson) when a young woman who he performed an exorcism on died shortly thereafter. As she delves into the case, she not only begins to believe the priest’s story but she comes to suspect that the same dark forces are now working against her. Scott Derrickson’s film strikes an original chord within the genre by attempting to examine the case from a legal perspective and he sets a wonderfully sinister atmosphere that peaks in some truly chilling moments. Linney’s skill in the lead lends even more credibility to the film’s serious aspirations as does the wider casting from Wilkinson’s beleaguered clergyman to Campbell Scott’s determined prosecutor. However, things go wrong with the screenplay just as it should be ratcheting up towards an intriguing conclusion. The relevance of the exorcism to the law is only barely glanced at as evidenced by Wilkinson’s marginalisation as a character and the main plot gets a little silly towards the close. Most disappointing of all, however, the creepy subplot concerning Linney’s inexplicable experiences never really amounts to anything. Instead, the movie satisfies itself in the main by offering multiple retrospective accounts of the events leading up to and including the exorcism which themselves bear an awfully familiar bent. At the very least, a Rashoman-like contrast between the various firsthand accounts would’ve added an interesting layer of ambiguity to the proceedings but given that they’re all in accordance with each other, we’re left with a clear but less intriguing delineation between truth and mistruth. Thus, it can be argued that The Exorcism of Emily Rose turns its back on its most promising story angles to serve its most ordinary:- a real shame give the calibre of talent on hand.
Rating: The Good – 73.4 Genre: Thriller Duration: 85 mins Director: Wes Craven Stars: Rachel McAdams, Cillian Murphy, Brian Cox
A hotel manager is co-opted into an assassination plot by the man sitting next to her on the plane when he threatens to have her father killed if she doesn’t follow his instructions regarding a high profile guest staying at her hotel. Wes Craven coolly turned his hand to the art of straight suspense in this metronomic thriller that scores on every level it aims at. Rachael McAdams is the woman who finds herself next to Cillian Murphy’s very creepy passenger from hell and she delivers an admirably even performance as the likeable yet focused young woman. After his character dispenses with the not very deceptively charming persona, Murphy settles into the role of slimy puppeteer and the pair do well to shoulder much of the movie from the confines of the plane. That said, the always solid Brian Cox is on hand as the father on the ground and Jayma Mays is fantastic as McAdams’ nervous assistant back in the hotel. With a concept thriller like this, Carl Ellsworth’s screenplay was always going to be the ultimate decider in whether Red Eye rises above the ordinary and, happily, it sets a tempered balance between the psychological and visceral as Murphy’s threat bombardment intermittently boils over into physical intimidation. Craven uses the small space of the plane to quicken the pace keeping matters especially energised with his typically clever use of character movement. As the movie races to a close, he dips into his time honoured tool bag to generate some modest scares and, while somewhat familiar, they provide a tidy outlet for all that in-flight anxiety. At the production level, the movie boasts a degree of accomplishment that makes it all the more than enjoyable to watch.
Rating: The Good – 72.1 Genre: Action Duration: 126 mins Director: J.J. Abrams Stars: Tom Cruise, Michelle Monaghan, Philip Seymour Hoffman
Easily the better of the first two sequels, Mission Impossible III isn’t as much defined by its traditional set pieces as it is by Philip Seymour Hoffman’s über-villain. After retiring from the field to get married, Tom Cruise’s Ethan Hunt is drawn back into the fold when his protege is killed by the aforementioned nasty arms dealer who among other things is attempting to secure some kind of doomsday device. Picking up the ball after John Woo had somewhat fumbled it in MI:II, J.J. Abrams, fresh from his television successes with Alias and Lost, shows an intuitive touch in his handling of some modestly conceived but impressively staged set pieces. And though opening in perhaps too high a gear, the movie does eventually settle to the extent that a decent story plays out.
After a six year hiatus from the role, Cruise gives us the same enjoyable but watered down version of Ethan Hunt as he did in the first sequel. No doubt the movie could’ve used the cheeky verve of his cracking original turn but what he fails to provide, Seymour-Hoffman makes up for in spades. Not known for his roles in action thrillers, Seymour-Hoffman spits his wonderfully acidic dialogue at everyone and anyone who gets in his way right before he tortures them in some novel but psychologically cruel manner. He’s as thrilling a bad guy as you’ll find and a scene in which he wakes up in chains yet immediately turns the tables on his captors through sheer force of will is chilling to behold. The majority of the characters excluding Hunt’s new bride (Michelle Monaghan) and his sarcastic tech-specialist (Simon Pegg) are merely vessels through which the extended action sequences play out but so brisk is the pace Abrams sets, it won’t really be noticed.
Steven Soderbergh and friends take a working holiday in Las Vegas for this entertaining reworking of the Rat Pack’s heist comedy. George Clooney fills Sinatra’s shoes as Danny Ocean, the recently paroled con-man who assembles a motley crew to take down Andy Garcia’s ruthless casino owner while simultaneously nabbing his ex-wife (Julia Roberts) back from his clutches. Brad Pitt is the Dean Martin sidekick while Matt Damon, Don Cheadle, Casey Affleck, Scott Caan, Carl Reiner, and Elliot Gould among a couple of others complete the rest of the gang. A party-mode Soderbergh unleashes every bit of his directorial panache to craft the entire affair into an interminably slick feast for the eyes and ears – with a production budget to match (not content with taking over actual casinos, they even staged a title fight between Wladimir Klitshcko and Lennox Lewis). Playing the coolest versions of themselves, the cast cruise their way through the complicated and very well executed heist in a manner befitting the project’s ambitions with David Holmes’ repetitive but impossibly suave compositions providing the most complementary soundtrack imaginable. If it sounds, like a “can’t-miss” type of movie, allay your excitement somewhat because, though eminently fun, its lack of depth ensures that it’s a little cold. In the final analysis, Ocean’s Eleven is what you get when a bunch of talented movie guys spitball a movie concept around a poker table at 3 am. Lots of well conceived but ultimately stand alone moments in desperate need of some serious screenwriting to bind them together.
Rating: The Good – 77.1 Genre: Drama, Satire Duration: 102 mins Director: Mike Nichols Stars: Tom Hanks, Julia Roberts, Philip Seymour Hoffman
Mike Nichols turns his prodigious talent for satire to Aaron Sorkin’s clever adaptation of the true story of a Texas congressman’s attempts to secure the covert military funding that would ultimately tip the balance of the Soviet-Afghan war. Tom Hanks as the unorthadox good-time politician and Philip Seymour Hoffman as his irreverent CIA adviser form one of the best on-screen partnerships in recent decades as they bat Sorkin’s indignantly funny dialogue back and forth while Julia Roberts and Any Adams help to fill out the support roster intelligently rising to the spirit of Sorkin and Nichols’ storytelling as they go. The movie that unfolds is a delight of sardonic wit in both its writing and directing but, in typical Mike Nichols fashion, it effortlessly doubles as an engrossing political drama by perceptibly accounting for geo-political implications and character development alike. Sorkin’s feisty screenplay zips along at its usual pace but Nichols knows exactly when to channel that momentum or temporarily contain it so that its energy is maintained without dumbing down the drama. Unsurprisingly, Wilson comes out smelling like roses but only because Hanks and co. know exactly how to turn those warts into beauty spots and so, like the man himself, Charlie Wilson’s War charms its way into the audience’s hearts.
Rating: The Ugly – 64.5 Genre: Science Fiction, Action Duration: 101 mins Director: Paul W.S. Anderson Stars: Sanaa Lathan, Lance Henriksen, Raoul Bova
Sanaa Lathan stars as a crack mountain climber who agrees to shepherd Lance Henriksen’s “Mr. Weyland” and his team of scientists to a desolate corner of Antarctica to investigate a newly discovered pyramid. As they move deeper into the recesses of the structure, they trigger an age-old battle between the two seminal sci-fi monsters (a rivalry that first arose in a comic and then playfully alluded to in Predator 2). It may be considered sacrilege to fans of both the Alien and Predator franchises and the sight of Lathan and a fierce predator exploding into the night air on a shared sled may just be one of the silliest sci-fi images ever committed to screen. However, *if* you can forgive those indiscretions, AvP can be cracking fun. At its core, the movie was sold on the idea that an AvP showdown would be a cool thing to see and, in fairness to that other Paul “middle initial” Anderson, he achieves that goal in style. The battles, a series of impressive and slickly conceived duels between the heavyweight bad guys, are as epic as they deserve to be and as rousing as the best action sequences from either of their franchises. They’re bolstered by some superb creature effects too (not counting those lumbering, out of shape predators) and, to their periphery, is a decent array of reasonably fleshed out support characters. Lathan proves a worthy action heroine and carries the movie’s final act largely between her and her predatory comrade. But best of all, the movie is replete with some really nice touches such as the Predators’ disgust for the Aliens not to mention the oblique reveals of the former’s culture. Of course, the premise is the weak point. Though fine for a stand alone sci-fi, in the context of the two mythologies, it veers unavoidably towards the ridiculous. Sure, it’s exciting fun but it ultimately takes the sheen off both mythologies.
Rating: The Good – 84.1 Genre: Martial Arts Duration: 99 mins Director: Stephen Chow Stars: Stephen Chow, Wah Yuen, Qiu Yuen
Nothing will prepare you for the breadth of imagination, style, emotion, fight choreography, and just plain good story telling that Kung Fu Hustle serves up without interruption for 95 minutes. Writer/director/star/stunt man Stephen Chow is the best kept secret in the world of martial arts movie making. With his mind-boggling talent, he should be held in the same esteem as Quentin Tarantino but few outside the fans of the genre are aware of just how good this guy is. Chow leads the cast as a petty criminal determined to make a name for himself in a world of quirky yet powerful gangsters. However, things take a turn for the surreal when circumstances bring him to a tenement block on the outskirts of the city where the inhabitants are protected by an overbearing landlady and her husband, a couple who have more to them than meets the eye.
Chow’s characters inhabit a strange Kafkaesque world of Eastern noir where the traditional martial arts concept is injected with steroids. Super-fighters emerge when you’re least expecting it and do battle in some of the most innovative showdowns the medium has offered. This is the essence of a martial arts movie, a celebration of bold concepts, graceful momentum, and some thunderously good fight scenes. Surprisingly however, the story is just as good. Chow’s character is truly hilarious as he bumbles through the early scenes but undergoes real change as the story progresses. The film comes alive when the camera is on him and we’re rooting him for him all the way. There’s even a romantic angle thrown in that works a treat, allowing Chow to tie the whole thing together in a most satisfying fashion. There’s nothing about this masterpiece that isn’t fresh and inspiring and it’ll have you laughing and exhilarated from the first frame to the last.
Rating: The Ugly – 66 Genre: Action Duration: 92 mins Director: Louis Leterrier, Corey Yuen Stars: Jason Statham, Qi Shu, Matt Schulze
A meticulous driver and all-action bad-ass in the form of Jason Statham transports illicit cargo around the French countryside but gets sucked into a people trafficking racket when he breaks his own rules and looks inside the package. Written and produced by Luc Besson but directed by Louis Leterrier, The Transporter still bears all the hallmarks of the legendary director’s most enjoyable work. An action comedy with a quirky energy that flirts with the laws of physics and slaps a couple of charming characters right in the centre. Statham delivers the goods in more ways than one with his usual mixture of suave wise-cracks and kickboxing acrobatics and Qi Shu makes for a worthy co-star as his endearing yet unintended sidekick. The plot is daft as a brush and you may even struggle to recall what the whole thing was about but with two strong leads, a considered screenplay, and more breathless car-chases, bullets and grenades, and kicks and punches than you can keep up with, The Transporter will race into the good graces of even the most cynical of movie fans.
As technically innovative as 2001: A Space Odyssey (seriously!), Quentin Tarantino pulls out all the stops in the first volume of this relentlessly imaginative and convention twisting story of an assassin who mercilessly hunts down her former colleagues after awakening from the four year coma they put her in. Not content to toil in one of the many action sub-genres, Tarantino bridges at least four genres from Spaghetti Western to Japanese Anime, seamlessly interweaving the different styles and pushing the boundaries of their conventions to the point that the viewer finds his/herself witnessing a broader yet unique and singular genre of his own creation. With each passing scene, he squeezes, twists, and stretches traditional conventions to find new ways to lure the viewer into his frenetic world of pure vengeance. The result is the most dazzling synthesis of visuals, sound, and music since The Good, the Bad, and the Ugly as Tarantino crafts one mind blowing scene after another. There’s a fight scene to rival anything from the Jidaigeki genre, a tracking shot to rival Goodfellas‘ “Copa shot”, a split screen shot to rival the best of De Palma, and an Anime scene as good as anything that genre has produced. On top of all that, the inspired casting gives us an utterly superb collection of performances lead by Uma Thurman’s scintillating portrayal of the Bride which finally gives us an action-heroine who talks and acts like a woman and not a man. Many have argued (including the director) that Kill Bill Volume 1 and Volume 2 should have been one film, but given the sleekness of this masterpiece, the difference in tone between the two movies, and the sublime manner in which this first Volume comes to a close, there’s more than good reason to see it in two installments. Unmissable.
Rating: The Good – 77.5 Genre: Western Duration: 115 mins Director: Ed Harris Stars: Ed Harris, Viggo Mortensen, Lance Henriksen
Written, directed, and starring Ed Harris, Appaloosa isn’t merely a revisiting of the quintessential American film genre nor is it exactly a revisioning (which is, in its own way, kind of refreshing). It’s more a slowly exhaled understanding of what makes it so damn special as a context for storytelling. A celebration of its principles like the restoration of a great art without the controversy of compromising any of its natural glory. Harris and Viggo Mortensen are the hired guns Virgil Cole and Everett Hitch, brought into the town of Appaloosa to offer protection from Jeremy Irons’ ruthless rancher Randall Bragg, who killed the last sheriff when the latter attempted to arrest two of his men for rape. Recalling the rich and intriguing relationship of Fonda and Quinn in 1959’s Warlock, Harris and his faithful companion are a thoughtful yet hardened pair of lawmen who live by the gun and wield it like it comes naturally. The film’s broader comprehension of life on the frontier is reflected at a personal level within their dynamic, the edges and corners of which being exposed only when Rene Zwellweger’s woman of questionable motives enters the fray and attempts to destabilise it. Plot comes to the fore here in wonderfully unobtrusive manner and it offers a circuitous and totally understated testing of marrow and allegiances alike. Gnarly old Lance Henriksen pops up as a notorious colleague from Cole’s past and matters come to a head in blistering showdown that ups the ante on where the Unforgiven left off. Robert Knott and Harris penned the words that so adequately express the grizzled sentiment and honest wonderings of the men and women of this world and there’s plenty of perceptive and expertly timed humour to be discovered along the way. But it’s Harris and Mortensen who shine most bright under the prairie sun, the mutual respect shared by their characters translating fluently at the acting level. Characterisation helps mightily of course and you’d have to delve deep into the history of the western to find a couple of gun-slingers as intriguing not to mention as cool as these here guys. Harris shows a steady and considered touch behind the camera and lets it all play out with the ease of the era in which it was set. You won’t see anything new in Appaloosa but a visit every now and then will remind you of why the western has and always will be so cherished.
Rating: The Good – 70.5 Genre: Sport, Drama Duration: 118 mins Director: Peter Berg Stars: Billy Bob Thornton, Jay Hernandez, Derek Luke
Director Peter Berg and writer David Aaron Cohen’s adaptation of H.G. “Buzz” Bissinger’s novel chronicles the travails of a football mad Texas town and their high school team’s attempt to win the State Championship amidst social and personal pressures. Living up to the seminal novel was always going to be next to impossible especially for a (albeit) solid journeyman like Berg but there’s no denying this one just sort of works. From the bone shaking tackles, the swagger of the touchdowns, to the strategising on the sidelines, Berg does every bit of the game justice and so the audience will be suitably engrossed on that level alone. But it’s the team camaraderie and off-field personal tests that coach and players alike face throughout the season that gives this movie its substance despite Berg and Cohen presenting only fleeting snippets of each drama ‘s due to time limitations. Berg quite smartly uses the energy of the rough and tumble to exhilarate the audience and then funnel it into some rather touching moments of emotion when needed. It’s all very explicit with plenty of slow motion shots and uplifting score but, because of its honesty and Berg and Cohen’s success in binding us to the players, the resultant goosebumps are guilt free and welcome. Billy Bob Thornton puts in an outstanding shift as the thoughtful coach desperate to keep both his self respect and his job despite their mutual interference. But it’s a bunch of unknowns that fill out the rest of the cast and not one puts a foot wrong. Modest in its aims yet efficient in its execution, Friday Night Lights does what all good sports dramas should do and remains respectful of the source material as it goes. Nicely done Mr Berg.
For a film that boasts lots of stars and acting talent, Syriana is a rather more unorthodox thriller than we might expect. Set amid the world of oil trading and based on Robert Baer’s book, it follows Amirs, petroleum executives, senators, high profile lawyers, terrorists, and CIA agents as they engage each other in a global chess match where the tool is geographical instability and the prize is power. The result is a collage of intersecting plots that thrill on a variety of dramatic levels. Political machinations, corporate intrigue, religious extremism, cultural ambition, and personal tribulation all bound together with coherence and momentum.
An ambitious project to be sure but one that succeeds due to a tight script and intelligent directing which combine to give a story of such scale much focus while, at all times, giving the audience the benefit of the doubt. Nothing is spoon-fed here as every deal, negotiation, and conversation is veiled and approached at an angle. Much is left for the audience to work out, a tactic that encourages them to invest in the story. But what really defines Stephen Gaghan’s film is its overarching sense of realism. The plot is allowed to increment forward in a manner where little looks to be happening but where a lot feels like it is. A triumph of efficient directing where each character is embellished richly with a mere half-glance or dinner order. Back-room wheeling and dealing portrayed so incidentally that what would appear outlandish comes across as chillingly real.
And the cast contribute strongly too. George Clooney puts in an Oscar winning turn as a spy very much caught between two worlds and cultures, who is sent to Beirut on CIA business only to be frozen out when things go wrong. Jeffrey Wright is deviousness personified as the Washington lawyer asked by his sinister senior partner Christopher Plummer to take a closer look at a merger between two oil giants, one of which, is headed up by the always excellent Chris Cooper. A host of other top names and some talented newcomers fill out the lesser roles but it’s fair to say everybody plays second fiddle to the intricate plot. That it all plays towards a deeply moving and emotional crescendo is what precludes this almost experimental political burner from unravelling. Instead, it seems to cohere rather impressively and honestly around some unappetising home truths and leave everyone thinking. Impressive indeed.