Classic Movie Review The Fifth Element

The Fifth Element (1997) 

Directed by Luc Besson

Written by Luc Besson, Robert Mark Kamen

Starring Bruce Willis, Milla Jovovich, Gary Oldman, Chris Tucker

Release Date May 7th, 1997 

I love the way Luc Besson views the universe. Besson sees the universe in bright bold colors. It’s the way I would like to view the universe. While my mind is often clouded by the often sad and tragic state of humanity, and especially man’s inhumanity to man, Besson manages to look beyond and see the beauty beyond our planet and into the stars.

The best example of how Luc Besson sees the universe, aside from his dazzling yet somewhat empty new film Valerian and the Planet of A Thousand Cities, is the 1997 film The Fifth Element, this week’s classic on the I Hate Critics movie review podcast.

The Fifth Element was well ahead of its time, a sci-fi movie filled with vibrant color, extraordinary costumes, and remarkable, often mind-blowing, special effects and production design.

If only that same vibrancy extended to the characters. You see, for as much as I am dazzled by the spectacle, the visual dynamism of Luc Besson and The Fifth Element, he’s not a director who is particularly interested in characters. Besson, though thoroughly detailed in costumes and set design and special effects, is not a director of actors.

Read my full length review at Geeks.Media 

Movie Review Paradise City

Paradise City (2022) 

Directed by Chuck Russell 

Written by Corey Large, Edward John Drake, Chuck Russell 

Starring John Travolta, Bruce Willis, Stephen Dorff, Blake Jenner 

Release Date November 11th, 2022 

Published November 9th, 2022 

The effort that Director Chuck Russell puts into not putting John Travolta and Bruce Willis on screen together, despite their being co-stars in the new movie Paradise City, might have been better used to make a good movie. But, that's just wishful thinking. No, instead of bothering to make a good movie, Russell spends loads of time creating scenarios that led to his stars never sharing the screen at the same time. Why? Who knows. I'm not familiar with whether or not there is some issue between Willis and Travolta. 

All I do know is that they have a scene in the movie Paradise City where Travolta and Willis's characters, a wanted international criminal who underwent serious facial reconstruction, and the world's greatest bounty hunter respectively, are supposed to be sitting in a restaurant together. It's a flashback to an important face to face showdown that is edited to have only given us a vague sense that perhaps the two stars had been in the same room at the same time. 

The... inelegant, to the be charitable, camera and editing gymnastics that keep Travolta and Willis from having to breathe the same air in the same room are the most notable thing about Paradise City. Like me, if you waste your time watching this Z-Grade thriller you will spend most of that time wondering why Travolta and Willis never share the screen, even when their characters are supposed to be in the same room having an important confrontation. 

The movie opens with Bruce Willis in a car racing along some Hawaiian roadway. He crashes and retrieves a hooded figure from the trunk. He drags this hooded figure to the beach and waits for the people chasing him to come along. He tries to reason with, what appear to be corrupt members of law enforcement, Willis' go-to late in career villains, before he's forced to release his hostage and is subsequently brought down in a hale of bullets. 

The hooded prisoner is Travolta but we only find that out later when we see the aftermath of the shooting, Willis's bounty hunter miraculously survives, and with Willis fully out of frame and dying in the ocean, the hood comes off to reveal Travolta. Again, I don't know if there is some kind of beef between Willis and Travolta, it's just this weird choice the movie made. Perhaps they could save money by shooting their most expensive cast members separately, that seems logical, but regardless, it's deeply distracting and with the remaining cast headed up by Blake Jenner and Dollar Store Christian Slater impersonator, Stephen Dorff, it's easy to get distracted. 

Click here for my full length review of Paradise City at Geeks.Media. 

Movie Review: Die Hard

Die Hard (1988) 

Directed by John McTiernan 

Written by Jeb Stuart, Steven E. de Souza 

Starring Bruce Willis, Alan Rickman, Bonnie Bedelia, Reginald Vel Johnson, Paul Gleason

Release Date July 15th, 1988 

Published July 15th, 2018 

Die Hard is my favorite Christmas movie. Mostly because it is set on Christmas but it is not about Christmas. If I’m being honest, Christmas isn’t a favorite holiday of mine. I don’t care for most Christmas movies including supposed classics such as A Christmas Story and the loathsome, grotesque, and lowbrow National Lampoon’s Christmas Vacation. Die Hard is a Christmas movie for people like me, those who don’t enjoy Christmas movies. 

On Christmas Day, John McClain has arrived in Los Angeles in hopes of reuniting with his estranged wife Holly (Bonnie Bedelia). Things get off to a bad start when John arrives at Holly’s office and finds that now living in Los Angeles, she’s dropped the last name McClane, in favor of her maiden name Gennero. The two begin to argue but they never finish the argument, first after her boss calls and then when terrorists arrive and begin taking over the building, known as Nakatomi Plaza. 

John is changing clothes when he hears gunshots. He quickly intuits the situation using his instincts, he’s a New York Police Detective whose job has been a significant strain on his personal life. John quickly assesses the situation and after escaping to an upper, unfinished floor of the building, he attempts to contact the police. Unfortunately the cops don’t believe him when he calls and only dispatch one cop to the scene. 

Sgt Al Powell (Reginald Vel Johnson) was thinking it would be a quiet night of enjoying twinkies in his cruiser but when he arrive at Nakatomi Plaza the shooting starts and his quiet night turns into a major hostage situation and the only things keeping a bloodbath at bay are Al and his new friend who won’t give his name. The two veteran cops bond quickly and even more when other less capable cops arrive on the scene and begin to screw things up. 

The terrorists are headed up by the nefariously ingenious Hans Gruber (Alan Rickman). Making it appear as if they have taken hostages, Hans has the cops running around in circles while his real plan unfolds. Only John McClane stands between Hans and his ultimate goal, a whole boatload of money. Hans’ ruse is brilliant and Rickman’s supremely intelligent and superior performance gives the whole film gravity. 

In many ways, Willis and RIckman were perfectly matched as hero and villain. Where John is instinctive and primal, Hans is calculating and manipulative. Hans is a buttoned up, professional criminal, used to telling others to do the dirty work, McClane is a blue collar cop who acts on hunches and well worn experience. John’s unpredictable nature isn’t merely a character trait, it becomes a strategy and Willis is remarkable in deploying it. 

Willis brings an authenticity to John McClane that matches his star power and charisma and makes John McClane an indelible hero. The film has an old school western feel in terms of the battle of good and evil. John may not be the picture of white hat virtue, but rather, he’s a more down to Earth and believable kind of good. Hans meanwhile, has an alluring evil, though you’re never on his side, you wouldn’t feel too bad if he fooled you. 

Rickman’s arrogant superiority is his most nefarious quality. Even more than his murderous plot, his stuffy, accented, suited persona is a relatable sort of evil. He’s not the picture of either a terrorist or a killer, yet he feels more real than many actual, real world villains because Rickman is so incredible at playing him. His arrogance and his suit are reminiscent of the kind of Wall Street villains that Oliver Stone had recently introduced us to. He’s just more honest than them because he robs and murders people in front of you and not from behind a desk. 

The blue collar qualities of Al and John make them our automatic allies. More of us relate to John and Al than any of the stuffy, suited types in Nakatomi Plaza. It’s part of their charm and a big part of the performances of Willis and VelJohnson. John and Al seem like people we know, people we could have a beer with. The divide between them and the suit wearing villains are signifiers that director John McTiernan clever uses to create a subliminal divide underneath the the obvious criminal and not a criminal divide. 

The action in Die Hard is top notch. Director McTiernan stacks the odds against John McClane brilliantly. The stakes rise in each passing scene with John and Holly’s identity as husband and wife acting in many ways like a bomb about to explode the story at any moment. The name game with Holly is also a terrific piece of screenwriting as the argument over the name tells us everything we need to know about the strain between John and Holly. 

Many screenwriters need a page and a half of dialogue to tell us what the names Gennaro and McClane and the hurt in John’s voice and manner do in a single scene. Die Hard is rarely thought of as being a great screenplay but Jeb Stuart and co-writer Steven E de Souza deserve nearly as much credit as director John McTiernan. The economy of character building in John, Holly, Hans and Al is really remarkable. We learn  more about them from their actions than we would from endless pages of expository dialogue. 

Die Hard is Christmas for me because I watch it every Christmas. It’s the kind of smart, well-worn action movie that is perfect holiday comfort food. The familiarity, the easy good versus evil story, the action that even after 30 years feels refreshingly new and ever exciting. Die Hard is the gift that keeps on giving. 30 years of thrills, 30 years of pithy hero banter, and 30 years of watching Hans Gruber falling to his death. Merry Christmas indeed. 

Movie Review: The Whole Ten Yards

The Whole Ten Yards (2004) 

Directed by Howard Deutch 

Written by George Gallo 

Starring Bruce Willis, Matthew Perry, Amanda Peet, Natasha Henstridge 

Release Date April 7th, 2004

Published April 7th, 2004 

The Whole Ten Yards is the perfect example of why we hate most sequels. Whereas sequels such as the Star Wars episodes, Matrix or Kill Bill Volume 2 are natural extensions of their originators, most sequels are greedy attempts to capitalize on a previous success. The Whole Ten Yards would not exist without the success of the first film, it exists solely because of the greed of the producers and has no artistic aspiration whatsoever.

Rejoining the story of dentist Oz Oseransky (Matthew Perry) and his wife Cynthia (Natasha Henstridge), we find the happy couple in Los Angeles where Oz has fortified there home. He skittishly awaits mob reprisal for the death of Yanni Gogolak (Kevin Pollak). Cynthia is terribly annoyed of Oz’s constant fear and longs for the adventurousness of her ex-husband Jimmy “The Tulip” Tudeski (Bruce Willis).

Unknown to Oz, Cynthia has been in contact with Jimmy who is hiding out in Mexico with his new wife Jill (Amanda Peet). The two have settled into domesticity with Jill doing the contract killing and Jimmy becoming Martha Stewart. However it might be that Jimmy’s new attitude is all a ruse as he and Cynthia concoct a plan centered on the prison release of mob boss Lazlo Gogloak (Yanni’s brother, also played by Kevin Pollak). There’s something about Lazlo having $280 million dollars and Jimmy and Cynthia inventing a way to steal it, but the plot and the film as a whole are horribly convoluted.

Director Howard Deutch knows bad retreads having directed unnecessary sequels to Grumpy Old Men and The Odd Couple. Deutch brings nothing new or interesting to his work in The Whole Ten Yards except a relaxed attitude toward improvisation by his cast. The cast must have needed the improv if only to entertain themselves.

The cast is the film’s one strength. Perry, Willis, Henstridge and Peet have great chemistry and obviously enjoy working together. The obviously improvised moments are far funnier than anything in the script is. Amanda Peet is especially wonderful as Jill who is desperate for her first real contract killing after a number of spectacular failures. Peet was the best thing about the first film as well, which many people will only remember for her spectacular breasts.

Thanks to the cast, The Whole Ten Yards is not a complete disaster. Sadly, even as talented as the cast is, they can’t save this threadbare comic premise. They especially can’t overcome the obvious cynicism behind the film’s creation. I’m giving the film a four, one star for each of the principle cast members.

Movie Review: Unbreakable

Unbreakable (2000) 

Directed by M. Night Shyamalan

Written by M. Night Shyamalan 

Starring Bruce Willis, Samuel L. Jackson, Robin Wright

Release Date November 22nd, 2000

Published November 20th, 2020 

Unbreakable was M Night Shyamalan’s last moment as a seemingly unimpeachable genius of pop cinema. After this came Signs which received strong box office but the first real critical grumbles since his little seen debut feature, Wide Awake. Don’t misunderstand, Unbreakable had its critics, but with Shyamalan still in the glow of his multiple Academy Award nominations for The Sixth Sense, Unbreakable was always going to benefit from that film's coattails. 

That Unbreakable wasn’t Shyamalan falling on his face but instead delivering a second straight crowd-pleasing blockbuster is no minor feat. Many directors have shown themselves to be one and done it-person directors in the past. To have back to back blockbuster critical darlings is far more rare than we imagine.

Unbreakable stars Bruce Willis as David, a seemingly ordinary guy with ordinary guy troubles. David’s marriage is failing, his relationship with his son is strained and his search for stable, well paying work has been hampered by his seeming depression. Then, David is seemingly nearly killed in a massive train accident. In fact, by some miracle, he’s the only survivor among more than 100 passengers and crew members.

David’s luck doesn’t go unnoticed. A comic book aficionado by the name of Elijah Price hears of David’s improbable survival and begins to seek him out. For years, Elijah has searched for someone like David on the bizarre belief that the man he is seeking is his direct opposite and thus his super-powered nemeses. Elijah himself, is nearly paralyzed by a brittle bone condition that causes his bones to shatter under pressure.

Elijah believes that David’s bones are unbreakable, making him his super-heroic doppelganger. Where David is unbreakable, Elijah is completely breakable and thus fashions himself as a mastermind type who uses his wits to orchestrate evil that David must work to prevent or avenge. David doesn’t buy Elijah’s superhero nonsense but as he begins to notice things about his body, how he’s never broken a bone, how he doesn’t experience physical fatigue, how he doesn’t get sick, he starts to think that maybe, just maybe the crazy comic book man might be onto something.

One of the clever aspects of Unbreakable is Bruce Willis’s refusal to buy into David as a superhero. Despite evidence in his very bones, Willis' David stubbornly holds on to his non-believer status. Even as Elijah begins to push him to test his limits and find his weaknesses. David eventually determines that he has ESP, Extra-Sensory Perception. When David touches someone he can sense the crime they committed.

David uses this ability to locate a janitor who had ambushed and murdered a local family man and has taken the man’s wife and children hostage. David rescues the kids and winds up in a pitched battle with the murderer. The journey of the film appears to be Elijah pushing David to become a superhero but, with this being from the mind of M Night Shyamalan, there is a twist to the ending that throws a new light on these characters.

What Shyamalan does so incredibly in Unbreakable is establish mood and tone. The mood is melancholy but with a growing sense of color and light as David slowly uncovers his abilities. The tone of the film is a slow burn of sadness and resignation to ordinary life that builds and builds with excitement through the second act before reaching a pair of jarring crescendos including that terrific twist ending that I mentioned.

Of course, if you are seeing Glass this weekend and you have seen the trailer, you know what the twist is. Still, no need for me to spoil it here. Just a warning though, you do need to see Unbreakable in order for you to understand the action of Glass and the importance of Samuel L Jackson’s character to Bruce Willis’ character. How they are tied in with James McAvoy’s murderous, multiple personalities from Split is the big question that Glass will have to answer.  

As for Unbreakable on its own, I cannot recommend it enough. In some ways, I actually prefer Unbreakable to The Sixth Sense. That’s not a popular position as The Sixth Sense, in many ways, has more dramatic credibility than the comic book quality of Unbreakable. I simply find the conceit of Unbreakable even more irresistibly mainstream and entertaining than even the ‘I see dead people’ conceit of The Sixth Sense.

Both are artfully made, mainstream blockbusters, based in familiar genres, but there is something rather bold and unique in Unbreakable where Shyamalan forces you to treat comic books as a form of serious film art. That takes guts today, let alone in the year 2000, before Marvel made comic book movies that critics could embrace. 

Essay Hollywood Sex and Violence Link (2006)

In 2006, in the wake of the release of A History of Violence and Sin City, I wrote about how Hollywood movies linked sex and violence. This is that essay recovered from an old MySpace blog... 

FYI This post contains what you might call spoilers for the plot of the film A History of Violence. If you wish to watch that film with the mystery in place do not read until after you watch the film. Happy reading and please post your responses.

One unique trend in modern film is the link between sex and violence. In horror films and thrillers these two disparate acts are now often found at a crossroad. In horror films sex is often punished with a bloody violent death, see Friday the 13th as an example. Sexuality or sensuality is similarly punished, consider films like Slumber Party Massacre (not exactly a brilliant subject of serious discourse but follow me here) where beautiful woman are brutally and viciously murdered for the simple fact that they are beautiful. The camera spends ample time exploiting the beauty of the women in the film with copious nude scenes and scenes of woman in various states of undress. And then the film sets about destroying that beauty with hardcore violence.

In the thriller genre take an example like Steven Speilberg's Munich which transposes a scene of a husband making love to his wife, a reunion after a long absence by the husband who has been compromising his morals out of duty to his country. The conflicted husband cannot escape thoughts of horrific violence as he is going about the loving act of intercourse with his wife. The sex scene is edited to a chorus violent images of Israeli athletes being brutally killed.What is the purpose of the sex and violence link in Munich? I believe it was the demonstration of the husband's conflicted conscience. On the one hand he is engaged in a pure act of love. On the other he cannot escape the horror of the violence he has been set to avenge. He cannot escape the horror of violence even as he is experiencing the ultimate in pure human goodness and joy.

In Sin City sex and violence are uniquely linked by the prostitutes of Sin City. Led by Rosario Dawson's character the prostitutes are unlikely representations of justice and righteousness. They mete out the punishment of corruption with violence and reward perceived goodness with sexual favors. Thus, Michael Clark Duncan's corrupt detective is punished with violence while Mickey Rourke's Marv is rewarded for his good intentions with the sexual favors of Goldie.

The innocent but oh so provocative sexuality of Jessica Alba's character is protected by the righteous violence of Bruce Willis' cop character. He would be rewarded with sexual favor if he were so inclined. Sex and violence are linked in Sin City in a cause and effect fashion. The good receive sexual favors the evil are punished with violence. All is right with the world.

In A History of Violence the sex violence link is a narrative function. The film features the extremes of both sex and violence. The films central action involves a pair of psychotically violent killers who are first glimpsed having murdered the staff of an anonymous roadside motel and a small child of one of the staffers. They come to the small town Indiana diner of Viggo Mortenson's Tom Stahl with the intent of more violence and are met with a viciously violent reaction from the seemingly mild mannered Mr. Stahl. The violence of this scene is extreme. Tom shoots one killer in the head sending him flailing through a plate glass window. Tom is graphically stabbed in the foot by the other killer who is then shot in the head by Tom. Director David Cronenberg gives us a closeup look at the damage of the bullet through the killer's skull in all of it's gory glory.

Meanwhile at home, prior to the violence at the center of the plot Tom makes love to his wife played by Mario Bello. The first sex scene is tender and loving but with more than a little hint of kink. Tom's wife has chosen to dress as a cheerleader and the two role play as a high school couple entering their first sexual experiment. The sex then becomes more graphic as oral copulation becomes central to the scene before we fade to the next morning and the establishing of the films central plot. Oddly the first sex scene features no nudity. The only link between the sex and violence at this point is Tom. He is an attentive and gentle lover who later shows himself capable of terrific physical violence. This is central to the dichotomy that is Tom who is revealed to have a violent secret past.

The second sex scene takes place after further violence has established Tom as a dangerous figure. An argument between Tom and his wife becomes physical as Tom attempts to stop his wife from walking away from their argument. Tom grabs her forces her to the ground, they are fighting on the stares leading to their bedroom, she slaps and kicks to break away from him. He forces her beneath him. After seeming to subdue her the violent confrontation suddenly begins to become sexual. The wife becomes turned on as does Tom and the two engage in angry, violent sex right there on the staircase. The scene, I believe, demonstrates the wife's tacit acceptance of her husbands true nature. She is telling him at once that she is unhappy with his lie but accepts it and will eventually be able to put it behind her. It's a brilliant form of shorthand that eliminates the need for a merely melodramatic scene of a couple arguing.

None of what I've written however truly gets at the heart of the sex/violence link in modern film. I have demonstrated the link but not the reason. This is where you come in dear reader. What is your theory of why Hollywood has so directly linked sex and violence. Post your responses please.

Movie Review Surrogates

Surrogates (2009) 

Directed by Jonathan Mostow

Written by John Brancato, Michael Ferris 

Starring Bruce Willis, Radha Mitchell, Rosamund, Boris Kodjoe, Ving Rhames

Release Date September 25th, 2009

Published September 25th, 2009

Bruce Willis is the last of his kind it would seem, a real star. People go to the movies to see Bruce Willis. His plots don't really matter. The stories he tells and characters he plays have grown more and more outrageous and ludicrous and yet fans still turn out. The latest example is the likely number one movie of this late September weekend, Surrogates.

This derivative story of a murder in a world where sentient robots carry out the daily lives of real humans never rises to anything more than an exercise in genre and thus carries no real interest on its own merits. And yet, people turn out. Willis is a star and the only reason to spend money on Surrogates.

Set just over a decade from our own time, Bruce Willis stars in Surrogates as FBI Special Agent Greer. With his partner Peters (Radha Mitchell) Greer investigates the first murder in over a decade. Violence has grown almost non-existent in the last decade as more and more humans replaced themselves with sentient robots called Surrogates.

These Surrogates, or surrys as some call them, can't grow old, get sick and if one is damaged it is simply repaired or replaced. All the while humans control the surrey with their minds from the comfort and safety of their homes. I am told that this technology is not merely the stuff of science fiction but a real possibility.

Things are all hunky dory until Greer and Peters are called to the scene of an assault and are shocked when a pair of surrogates are linked to a pair of dead users. Somehow, the weapon employed by the assailant managed to kill the robot and its controller. The implications are staggering to the characters in the movie but anyone with a degree in plot dynamics already has the gist of the lame conspiracy thriller soon to unfold.

The plotting is obvious, especially after we are subjected to the shady corporate villains and equally shady military types who emerge as early suspects. All are going to be involved in some way and in some fashion punished per the plot requirements of such simpleminded storytelling devices.

On the bright side, all of the mediocre story is told through the always compelling presence of Mr. Willis and the capable, if predictable, direction of Jonathon Mostow (Terminator 3). Willis on his worst day is more compelling and charismatic than most of the men in his line of work. His cocksure walk, bullet head and ferocious spirit give him an unpredictable quality that brings life to even the most predictable of plots.

Willis is our tour guide through the lame plot and while he is engaged, so are we. You have to be a fan of his brand of brusque charisma to enjoy Surrogates. If not, don't bother because it is really all that this movie has going for it.

Movie Review Red

RED (2010)

Directed by Robert Schwentke

Written by Jon Hoeber, Erich Hoeber

Starring Bruce Willis, Mary Louise Parker, Helen Mirren, Brian Cox, Morgan Freeman, Karl Urban

Release Date October 15th, 2010

Published October 14th, 2010

The romantic side of Bruce Willis is the side most people tend to ignore. Yet, in movies as diverse as “The Whole Nine Yards,” ``TheFifth Element” and even the “Die Hard” movies, one thing that stands out is Willis's abiding romantic streak. Whether it's love at first sight with Amanda Peet's wannabe assassin in Yards or Milla Jovavich's alien badass in Element or his endless devotion to wife Holly in Die Hard, romance sings within the action hero.

In “Red” Willis finds himself once again seeking romance, this time falling in love with the voice of Mary Louise Parker as his benefits manager at his former gig with the CIA. The voice connection quickly turns into a physical one when their monitored conversations threaten to get them both killed.

Frank Moses (Willis) was once, arguably, the most dangerous man in the world. In his role as a covert CIA Agent, Frank took down dictators and toppled entire governments all the while keeping the Russians at bay long enough for Communism to fall. Today, Frank lives in suburban boredom colored RED, Retired Extremely Dangerous.

Frank's minor pleasures come in his conversations with the woman who handles his retirement pay, Sarah (Parker). They have sparked a flirty chemistry over the phone and now Frank is ready to move things along to an actual physical encounter. These plans are upended when Frank finds and kills trained assassins in his home.

Assuming it is related to his conversations with Sarah he immediately travels to where she is, kidnaps her and the two go on the run. The first stop means recruiting an old friend abandoned and bored in a nursing home, Joe (Morgan Freeman). Then there is a trip to Florida where the terribly paranoid Marvin (John Malkovich) awaits. Finally, there is Victoria (Helen Mirren) , the most dangerous yet well adjusted of this group of RED Agents. 

Why is the CIA, led by Agent Cooper (Karl Urban) out to kill Frank? What does it have to do with Sarah? How big is the conspiracy? Who really cares? You won't care but you really aren't supposed to. The point of Red is not brilliant plotting or complex motivations but rather highly stylized violence and clever line reading, things “Red” has in abundance. 

Malkovich is the scene stealer in “Red” as Marvin Boggs, a former agent who was subjected to more than a decade of daily LSD treatments. His paranoia is matched with terrific intuition and ability for violence and Malkovich plays the wicked good guy with the kind of hammy glee usually reserved for his over the top bad guys. 

Morgan Freeman gets the short shrift as the oldest member of the crew. He has a few good moments, especially when putting the lights out on a guest star that I will leave as a surprise, but sadly his role amounts to little more than a cameo. Better served are Dame Helen Mirren and Bryan Cox who plays a former KGB killer and an important figure in both Frank and Victoria's past. 

Bruce Willis and Mary Louise Parker don't spark the chemistry that Willis had with Amanda Peet or Milla Jovavich but for Willis the romantic action hero there is plenty of fun to be had. Parker seems to be cracking up in every scene and Willis enjoys her cracking up even as he is required to keep a straight face. It's a fun if not quite sexy pairing. Parker brings out the playful side of a character that really is not playful and the laughs this generates are big and satisfying.

Karl Urban rounds out the main cast showing off the same comic panache he brought to his role as Bones McCoy in “Star Trek.” I find Urban to be fascinating in that he can play the ripped up action hero or comic relief with the same energy and surprising wit. Urban is everything modern action heroes like Sam Worthington or Gerard Butler have yet proven to be, constantly interesting. 

”Red” succeeds on the charisma of its stars. The likeability of this group is off the charts and more than enough to distract from the overly familiar and predictable plot. Bruce Willis is so much more interesting than his action hero contemporaries like Stallone or the Governator. The romance of Willis, the way his humanity is reflected by the women he desires, it's a beat that other action heroes can't play. It may be that one element that always sets him apart. It is undoubtedly what sets “Red” apart as some of Willis's best work.

Movie Review: Cop Out

Cop Out (2010) 

Directed by Kevin Smith

Written by Kevin Smith

Starring Bruce Willis, Tracy Morgan, Rashida Jones, Michelle Trachtenberg

Release Date February 26th, 2010 

Published February 25th, 2010 

Let's get one thing straight, I am in fact a Kevin Smith apologist. I have loved all of Kevin's movies, yes even Jersey Girl, loved it. Thus, I remove any thought of objectivity from this review of Cop Out. I am a Kevin Smith fan and I liked Cop Out. While other critics seem to delight in trashing this harmless, filthy mouthed throwback to 80's buddy cop movies, I sat back and laughed uproariously.

Cop Out stars Bruce Willis and Tracey Morgan as detectives Jimmy Monroe and Paul Hodges. They seem like total opposites; Jimmy is laid back yet menacing while Paul is wild and outlandish. Yet, they have been partners for years with a notable reputation, good cops who tend to find trouble.

The latest trouble involves getting an informant killed and blowing a major undercover drug sting. This gets them suspended for a month. Meanwhile, Jimmy is trying to find the cash to pay for his daughter's (Michelle Trachtenberg) wedding and Paul suspects that his wife (Rashida Jones). These subplots offer funny sidelights for Jason Lee and Sean William Scott.

The meat of the plot unfolds when Jimmy gets robbed of a valuable baseball card and he and Jimmy set out to retrieve it. Naturally, the card lands in the hands of the drug dealer who they were after in the first place and none of this is really all that interesting or important. The plot of Cop Out is secondary to Smith, Willis and Morgan hamming it up in homage to the great buddy cop movies of the 80's.

Kevin Smith is the perfect director for Cop Out. The film is both a send up of and a loving tribute to goofball buddy cop movies. Smith being a virtual pop culture almanac delivers on every beat of the buddy cop movies we love right down to a synth pop score that only Harold Faltermeyer could really appreciate.

Kevin Smith, Bruce Willis and Tracey Morgan dive headlong into the parody fun not with obvious, Naked Gun style gags but by doing exactly what an 80's buddy cop movie did but with Kevin Smith style language, filled with plenty of four letter words and references that will someday make a great drinking game.

Is Cop Out a great movie? No. The plot is slapdash the subplot payoffs are meaningless and don't even start on the continuity errors. None of that however, really matters because Cop Out is what it sets out to be, a goofball tribute to the buddy cop movies that dominated the 1980's. Forget the Filmmaker Magazine critiques; this is fun stuff for an audience seeking a mindless toss back to the movies they loved in the 80's.

Movie Review Live Free or Die Hard

Live Free or Die Hard (2007) 

Directed by Len Wiseman

Written by Mark Bomback

Starring Bruce Willis, Justin Long, Timothy Olyphant, Mary Elizabeth Winstead, Maggie Q, Kevin Smith

Release Date June 27th, 2007

Published June 26th, 2007 

It's official, the Die Hard series has jumped the shark, to appropriate a TV term. Or maybe it's a literal term, there may have been an actual shark jumped in Live Free Or Die Hard. Lord knows director Len Wiseman has every other type of mayhem imaginable crammed into this over the top Tom and Jerry meets Wile E. Coyote concoction of cartoon action hero histrionics.

And yet, how cool is Bruce Willis that no matter how brainless the action, he never fails to entertain.

If there is one character in our cultural stew who can relate to 24's Jack Bauer; it's John McClane. This New York City cop has seen dangerous situations that only Kiefer Sutherland's CTU agent could relate to. In his latest entanglement, detective McClane finds himself smack dab in the middle of a cyber terrorism attack by a group formed inside our own government.

Gabriel (Timothy Olyphant) was once the go to guy in Washington when it came to cyber terrorism. However, when the government refused to listen to all of his warnings, he went rogue and decided to demostrate the possibilities of a cyber terror attack on America's infrastructure, and if he can get paid big bucks along the way, so be it.

Employing some of the greatest hackers in the country to help him carry off his attack, Gabriel sets in motion a plan that eventually leads to detective McClane getting stuck with a young hacker named Matthew Farrell (Justin Long) who unwittingly contributed some important info to the bad guys. McClane is tasked with getting the kid to Homeland Security in Washington but along the way the bad guys try to kill him. Let's just say, John McClane does not take kindly to being targeted for death.

Bruce Willis has an endless supply of cool and charisma that he can tap with a curl of his lip and a snarling curse word and he makes a good solid living off those characteristics in Live Free Or Die Hard. The rare working parts of this otherwise execrable piece of action trash is Willis' charm and his comic chemistry with the talented comic Long.

Live Free Or Die Hard plays like Michael Bay by way of Ed Wood. Director Len Wiseman, he of the Underworld movies, you know those vampire flicks about Kate Beckinsale's butt in tight black spandex; those Underworld movies, Len Wiseman directs Live Free Or Die Hard with a callous disregard for the brains of his audience. And, by the way, there is yet another hot babe in tight spandex, martial arts master Maggie Q, for good measure.

Like the old Dave Thomas-John Candy characters on SCTV, Wiseman's only joy comes from watching stuff blow up, blow up good. Early on it's Willis shooting a fire extinguisher with the precision of a military marksman; leading to the kind of explosion only McGyver could recreate. Later the film abandons even a television level of reality as John McClane drives up an embankment in a tunnel and dives out as the car flies directly into a helicopter.

Later, John drives a semi-truck that is attacked and destroyed by rockets and bullets from a harrier jet. McClane survives, as does some portion of the driving part of the semi which drives up a crumbling portion of overpass, also destroyed by the jet. Eventually John must abandon the truck and when does, he ends up landing on top of the soon to crash jet and then out running the jet as a giant fireball.

It's all so ludicrous that indeed it does take on a camp quality that makes it all goofily entertaining.

Live Free or Die Hard is high camp. With mind numbing explosions and mind blowing mindlessness, the film surpasses some of the greats of the high action, low brain power genre. A most recent comparison, Mr. and Mrs Smith starring Brad Pitt and Angelina Jolie, a film that fired more bullets than your average war and featured more evil henchmen than a James Bond villain convention, is really the only film in the last decade that can match Live Free or Die Hard explosion for explosion.

Both films are equally entertaining and that is because of pure starpower. Bruce Willis is such a force of personality that no matter how ludicrous the film becomes we in the audience are still emotionally involved and even compelled because we love this guy and this character so much. Whether it's years of earned loyalty from four movies in the series or simply the force of Willis' charisma, there is no denying the awesome star wattage of Bruce Willis.

Even as the film is a sieve in the brain department, the screenplay by committee does manage a few good chuckles at the expense of other film franchises. References to Spiderman and Transformers are just a couple of the meta moments from this otherwise brain free movie. Other inside moments include numerous references to the original Diehard.

Final Destination star Mary Elizabeth Winstead appears in Live Free or Die Hard as Lucy McClane, John's now grown daughter. Her inclusion here is really only as plot addendum to be used to refer to the first film. Yes, she does become involved in the climax of the film but that really is the lesser part of her purpose here.

And the final joke of Live Free or Die Hard is the use of director Kevin Smith in the role of Warlock, a hacker who lives in his mom's basement. Smith is legendary online for his love of all things movies, including the Die Hard series. His inclusion is one of many nods to and knocks on the internet community that has been a Live Free or Die Hard constituency since the film was rumored years ago with Bruce starring alongside Britney Spears as Lucy McClane. Sadly, screenwriters couldn't find a meta way to work a Britney joke into the script.

Live Free or Die Hard would be unforgivably dimwitted if it were not for Bruce Willis whose star persona is so powerful you can almost forgive all of the deplorable excess of his latest film. The Diehard franchise has likely run its course and there is certainly no need nor want for more of the tortured life of John McClane. So, if Live Free or Die Hard is in fact the final installment, let us remember John McClane as the most charismatic of our action heroes, an everyman superhero in street clothes who goes above and beyond the call of duty and the bounds of logic for our entertainment.

Bless you John McClane, and here's to what we hope will be a long and fruitful retirement.

Movie Review Nancy Drew

Nancy Drew (2007) 

Directed by Andrew Fleming 

Written by Tiffany Paulsen 

Starring Emma Roberts, Josh Fitter, Max Thieriot, Rachel Leigh Cook, Laura Herring, Bruce Willis

Release Date June 15th, 2007 

Published June 16th, 2007 

In 1930 a prolific author by the name of Carolyn Keene launched a new character, a young female detective named Nancy Drew. What's interesting about that is that Carolyn Keene was just as fictional as her now famous creation. The mysterious Ms. Keene was the moniker created by the Stratemeyer syndicate, a low budget bookseller responsible for dozens of young adult titles of the 1930's all under the same fictional authors name.

Regardless of her creation by committee origins, the character of Nancy Drew resonated with young girls and has maintained a unique place in popular culture for more than 75 years. Now as she gets her big budget Hollywood treatment Nancy suffers from a lack of any particular vision, let alone one by committee.

Emma Roberts takes on the legend of the teenage trouble seeking sleuth Nancy Drew. Dressed in fifties finest, plaid dress, knee socks and penny loafers, Nancy is the picture of nerdy sweetness. Underneath that nerdy exterior is an endless curiosity that has led her on numerous adventures. The latest had her smack dab in the middle of a hostage situation that she manages to diffuse with her charm and good humor.

Though her latest adventure is a success, her dad Carter (Tate Donovan) is none too happy about the dangerous situation. Thus why he has imposed a no sleuthing rule for their upcoming, temporary move to California. This puts Nancy in a tough spot, she has a new mystery waiting for her at their new California mansion, a home once owned by a movie star who may have been murdered.

Can Nancy sleuth behind dad's back and figure out who killed the dead starlet, played in flashback by Laura Elena Herring, or will she find herself in even more trouble. Meanwhile Nancy must also adjust to a new school and new friends including a lecherous 13 year old named Corky (Josh Flitter) whose crush on Nancy leads him to becoming her sidekick. Then there is Nancy's hometown crush Ned (Max Thierot) who makes an appearance in California just in time to help solve the case.

Nancy Drew is a quaint throwback with modern ambitions. The film has the feel of a live action Disney flick from the sixties, a lighthearted, kid safe sort of goofiness that pervades those films is featured all throughout Nancy Drew with just a touch of Scooby Doo thrown in for good measure. The problems come when director Andrew Fleming, who co-wrote the script with Tiffany Paulsen, tries to hip up the story for modern audiences.

Nancy Drew kind of works when they are working the old school charms of the sleuthing teen. When the movie tries to be modern however, we get painful examples of how out of touch director Fleming is. Examples like the performance of Daniella Monet. Saddled with the role of Nancy's bully, Monet is a painful to watch caricature of a modern teenage girl.

Seemingly cobbled together from episodes of MTV's prurient My Super Sweet 16, Monet's Inga puts the brakes on the film's charm with unnecessary nastiness and unfunny attempts at what I assume is a parody of the kind of teen who would adopt Paris Hilton as a role model. Nothing against Ms. Monet who is a lovely young actress, I'm sure no one could pull off a role this ill-conceived.

When the film isn't failing with its modernisms it gets simply sloppy. A scene where Nancy takes her visiting boyfriend to a Chinese restaurant is an insulting embarrassment to Asian Americans and the midwesterner for whom the boyfriend is a stand in.

Other scenes where Nancy attempts to show her resourcefulness are bizarrely illogical. Two scenes where characters are choking to death feature Nancy first attempting mouth to mouth on the victim and then performing an emergency tracheotomy. Has she never learned the heimlich maneuver?

Despite the bizarre and the illogical elements of Nancy Drew, star Emma Roberts flies above the problem, nearly overcoming them, with easy charm and boundless energy. The offspring of Eric Roberts and niece of Julia, Emma has inherited her aunt's gift of a winning smile and the ability to win over an audience on spunk alone.

If only the rest of the film could match her delightfulness. Unfortunately, the film surrounding her is simply a mess. Predictable to an irritating point, Nancy Drew unfolds with a quick pace but unravels even quicker as the central mystery is solved about half way through the film's 90 minute runtime. Poor Emma Roberts then must pretend that Nancy doesn't know what we in the audience have long figured out.

Nancy Drew is not a great movie but for the target audience it's inoffensive and cheery with a good heart. Emma Roberts isn't exactly a revelation but there are many indications that she will have a very bright future. With her bright smile and seemingly boundless energy you can see the leading lady qualities that won her this role and why her presence was so reassuring to producers that they were planning sequels well in advance of this film's release.

Those sequels are unlikely after the film failed to open well, but that should not prevent young Ms Roberts from becoming a very big star in the future.

Movie Review Perfect Stranger

Perfect Stranger (2007)

Directed by James Foley 

Written by Todd Komarnicki

Starring Halle Berry, Bruce Willis, Giovanni Ribisi, Gary Dourdan

Release Date April 13th, 2007 

Published April 12th, 2007 

The film is called Perfect Stranger but, sadly, Bronson Pinchot and Mark Linn Baker are nowhere to be found. Without question, after watching this basic cable reject thriller starring Halle Berry and Bruce Willis; I would have much preferred a big screen update of the small screen fish out of water comedy Perfect Strangers than the seemy, lurid, sleazy melodrama Perfect Stranger.

If you weren't buying the idea of an Oscar curse after last week's Hillary Swank debacle The Reaping it should become an undeniable fact after you see Halle Berry in Perfect Stranger.

When her childhood friend Grace (Nicki Aycox) is found to be the murderer, investigative journalist Roweena Price (Halle Berry) decides to go undercover and get the man she believes is responsible. His name is Harrison Hill (Bruce Willis) a high powered ad executive with a penchant for women who are not his wife and a kinky fascination with online chatting.

With the help of her newspaper researcher and computer wiz, Miles (Giovonni Ribisi), Roweena creates two different false identities, one is Catherine Pogue who takes a temp job in Hill's ad agency. The other is the online persona of Veronica who engages Hill online and uses his love on dirty talk against him. Can she get him to admit to murder or at least divulge incriminating details? That would be what a logical story arc might require, but that is not what you can expect from Perfect Stranger.

Directed by James Foley, Perfect Stranger is an unending sleazefest. A movie so icky you will need a shower afterward. Foley's idea of building a contentious, titillating thriller is to craft the worst possible set of characters and awkwardly aim them at one another. Then, when that gets dull, he simply trains his camera, uneasily, on the near naked form of Halle Berry in scenes so creepy that even the attractive Ms. Berry comes off sleazy.

What Bruce Willis was doing in Perfect Stranger is anyone's guess. This is the most ineffectual and forgettable performance of Willis' career, a career that includes both Hudson Hawk and Color of Night. The charismatic Diehard star here is wooden and lost in a sea of tawdry, basic cable cliches. His high powered ad man is basically a plot placeholder whose actions barely give context to this goofball thriller plot.

Giovonni Ribisi is the most effortlessly creepy actor working today. Whether it's his rat- like features or those serial killer eyes, he has that creep quality that makes him perfect for creepy roles in movies like Perfect Stranger. So, why then does director James Foley feel it's necessary to try and make him even creepier than he already is? In Perfect Stranger, Ribisi is allegedly a good guy and yet he may be the sleaziest of the sleazy characters in the film.

On top of a goofball thriller plot that employs one of the least believable, or logical, twists you've ever seen, director James Foley and writer Todd Komarnicki also toss in political scandal and a war protest. The film opens with a ludicrous exchange between Berry's undercover 'reporter' and a Republican Senator from New York whom she's got the goods on in an intern scandal ala the Mark Foley. Representative Foley from Florida is not related to director James Foley; as far as I know.

What is the point of Perfect Stranger? It's not entertaining, the characters are too sleezy for this to be conventionally entertaining. Is it supposed to be titillating? I assume so but with all of the sleeze poured onto the screen any and all attempts at being sexy or alluring are undone. Even the unbelievably beautiful Halle Berry is hard to admire in Perfect Stranger because of the way the camera doesn't capture her but rather leers at her in the way a dirty old man might watch a stripper.

Perfect Stranger is a sleezed out; late night cable movie dressed in big budget Hollywood clothes. Any movie that could make a man uncomfortable while ogling Halle Berry is clearly one big creepy mess. Admittedly, there is a twisted part of my psyche that wants you dear reader to see this movie just so you too can experience one of most outlandish, ludicrous twist endings ever put to film.

Rumor has it that director James Foley filmed three different endings for Perfect Stranger with three different twists. If this is the one he thought was the best; one can only imagine the laugh out-loniness of the endings he rejected. Maybe those endings will be on the DVD, in which case a camp classic of awfulness could be in the making.

Movie Review: Alpha Dog

Alpha Dog (2007) 

Directed by Nick Cassavetes

Written by Nick Cassavetes 

Starring Emile Hirsch, Justin Timberlake, Anton Yelchin, Ben Foster, Bruce Willis

Release Date January 15th, 2006 

Published January 15th, 2006

The true story of small time pot dealer Jesse James Hollywood should never have become a movie. Hollywood was just another punk teenager in the San Fernando Valley selling weed and acting like a gangster. He would have gotten popped by the cops eventually and spent a couple of years in jail and never been heard from at all.

One fatal decision, one stupid moment, and Jesse James Hollywood went from poser to being the youngest person ever placed on the FBI's most wanted list. How Jesse gained such infamy is the backstory of the movie Alpha Dog from writer-director Nick Cassavetes. Compelling yet pointless, Alpha Dog wants to be a Shakespearean tragedy but acts more like an out of control episode of MTV's Laguna Beach.

Johnny Truelove (Emile Hirsch) was a low level drug dealer in the San Fernando Valley who lived for money, sex and the adulation of his small band of friends and hangers on. Johnny's father Sonny (Bruce Willis) was a successful criminal with rumored ties to the mob. Johnny used his father's connections to make himself a mini empire.

On the periphery of Johnny's little kingdom is Jake Mazursky (Ben Foster) a tweaked out ex-con with a serious drug problem. Jake owed Johnny 1200 bucks and when he can't come up with the cash a violent encounter leads to a deadly rivalry that escalates eventually to murder. Jake's little brother Zack (Anton Yelchin) gets dragged into the fight when Johnny and his pals Frankie (Justin Timberlake) and TKO (Fernando Vargas) grab him off the street as a hostage.

At first the kidnapping is a bit of a goof. Just a group of teenagers playing gangsters and imitating what they have seen in the movies. As things start to get more and more out of control an air of inevitability settles in and a story that should have ended with Zack heading home and telling his mom and dad he ran away for a few days, ends with murder.

Alpha Dog is a true story. A 20 year old drug dealer named Jesse James James Hollywood is the real life Johnny Truelove. He was a drug dealer and after the death of the younger brother of his rival, he became the youngest person ever on the FBI's most wanted list. What director Nick Cassavetes movie tells us is that we should never have heard of Jesse James Hollywood.

Had Jesse and his pals just let their hostage go, everyone would have walked away unharmed. Sure Jesse and his boys would have ended up in prison eventually but not for this senseless murder.

Writer-director Nick Cassavetes has said that this film is not really about the crime committed as it is about the parents who allowed it to happen. The film is dotted with moments where those who should know better, from Johnny's criminal dad, played by Bruce Willis, to Frankie's pot dealer dad, parents had many opportunities to realize what was going on, but were either too selfish or too clueless to stop it.

One of the sadder moments of Alpha Dog occurs between Dominique Swain as Susan and her mother Tiffany played by Alex Kingston. Susan is the only one of the teens to realize the danger that Zach was in and when she attempted to stop it by speaking to her mother, the blow off she gets is the film's ultimate example of parental neglect.

There are a number of good scenes in Alpha Dog. The one I just mentioned between Swain and Kingston is powerful as are scenes featuring Ben Foster as the crazed Jake Mazursky. Foster is frightening as a tweaked out druggie who is likely more dangerous than anyone else in the story and yet he is more together in the end than Johnny and his crew.

One of the most surprising things about Alpha Dog is the strong performance of pop star Justin Timberlake. With his effortless charm and natural good looks, Timberlake has that “it” quality that defines a star. His Frankie is sympathetic and gregarious and watching Frankie, who takes up more screen time than you expect, makes the film's conclusion seem so devastatingly avoidable.

Anton Yelchin is heartbreaking as Zach Mazursky the kidnapped kid. One of those kids who just aimed to please, Zach never made trouble, even after getting beaten up and tied up and gagged in a strangers bathroom. Zach remained affable and friendly with his captors as they threatened his life. Eventually, his winning innocence won over a few of his captors who made him one of the group, got him high, and helped him meet girls. His acceptance guarantees he never would have talked to the cops about his captors, yet another heartbreaking detail of this horrible story.

The performances in Alpha Dog are, for the most part, quite good. However, the one performance that was needed to really make the film work is missing. Emile Hirsch as Johnny never emerges as the focal point of the picture. Johnny is the driving force of the awful events that take place and yet, too often, he disappears.

Alpha Dog is a sad, awful, terrifying story of what happens when parents don't pay enough attention to their kids. Had one adult injected himself in this story with some authority, that 15 year old kid would still be alive. Unfortunately, the teenagers in the story of Alpha Dog were allowed to run wild in the streets and that kid is dead because of it.

Nick Cassavetes tells this story with urgency and purpose. Parents pay attention to your kids. If you don't stupid, stupid things happen and innocence dies.

Movie Review Lucky Number Slevin

Lucky Number Slevin (2006) 

Directed by Paul McGuigan

Written by Jason Smilovic

Starring Josh Hartnett, Bruce Willis, Ben Kinglsey, Morgan Freeman, Lucy Liu

Release Date April 7th, 2007

Published November 14th, 2007

Director Paul McGuigan is a rising star amongst hipster film critics like myself. His style is witty, ironic, romantic, referential and just plain hip. Most important to his hipster fans, McGuigan's films aren't all that popular at the box office which allows us the opportunity to claim him as our own and say that the masses simply don't get it.

We love it when we can do that, anyone who's heard me talk about the unpopular horror film The Descent knows that. So, I'm sure, that element plays at least a small role in my appreciation of the hip hitman flick Lucky Number Slevin, a comic, romantic modern noir with plenty of bodies, bullets and dark humor. A combination that always warms my heart.

Slevin Kellevra (Josh Hartnett) is having a bad couple of days. After losing his job he found his apartment building condemned. Going to stay at his girlfriend's place he finds her in bed with his best friend. Now having made his way to New York to stay with his pal Nick, Slevin finds himself mistaken for Nick by a pair of mob bosses each claiming Nick owes them large sums of money.

Morgan Freeman plays the Boss, head of a predominantly African American mafia who remains at all times locked away in his penthouse behind panes of bullet proof glass. His nemesis is the rabbi (Ben Kingsley) who lives directly across the street also in a penthouse, also behind bullet proof glass. The two have lived in harmony and fear of one another since ending their partnership some twenty years earlier.

Now both mobsters have competing interests in this kid Nick who is actually Slevin. Nick/Slevin owes The Boss 93,000 dollars and the rabbi somewhere in the 30 to 32,000 dollar range. The boss however, is the only one to offer a way out of debt that doesn't involve large sums of cash. If Slevin will kill the Rabbi's son, known to everyone but the Rabbi as The Fairy (go ahead and guess why he's called The Fairy), his debt will be wiped clean.

What Slevin doesn't know is that the man really pulling the strings on these dueling debt scenarios is a world renowned hitman named Goodkat (Bruce Willis). The hitman is targeting Slevin but the reasons why are unclear to either the Boss or the Rabbi and to us in the audience until the clever twists begin.

To give away too much, as recent commercials for the DVD release of Slevin have, would be a crime. Part of the fun of Lucky Number Slevin are the ways in which director McGuigan and writer Jason Smilovic twist and turn audience expectations, distracting us one way with clever dialogue and turning us the other way with unexpected bursts of violence or even romance.

While staying at Nick's apartment, Slevin strikes up an unexpected flirtation with Nick's neighbor played by Lucy Liu. Josh Hartnett and Lucy Liu spark exceptional chemistry that is at first quite reminiscent of old school, fast talking, 1940's romantic comedy. As the relationship develops it becomes quite heated and becomes one of the more winning aspects of Lucky Number Slevin.

Josh Hartnett is becoming one of my favorite actors. I like the choices he makes as an actor. First with the offbeat romantic thriller Wicker Park, also directed by Paul McGuigan, in which he turned a typical thriller character into a curiously straight edge hero. Now with Lucky Number Slevin, Hartnett delivers another slightly offbeat performance.

Slevin is a character with a big mouth and no fear. He even has invented a little term for his inability to show fear, he calls it Ataraxia, it's fake don't bother looking it up. It means he simply has no fear whether it's facing down giant thugs or looking down the barrel of a shotgun or being told he has to kill another man. Hartnett plays this lack of fear to terrific comic effect and is aided greatly by a very witty and slightly off kilter script.

Bruce Willis is the rock of Lucky Number Slevin, always lurking in the background, occasionally filling in the holes of the plot but never revealing anything till it's necessary. Like his hitman character, Willis is efficient and expert in his performance. His description of a Kansas City Shuffle, a kind of con game, in the film's opening scene, is something Christopher Walken might have really enjoyed playing.

There are many pleasures to behold in this smart, hip and humorous hitman/mobster flick. Josh Hartnett is a star of the future and surrounded by Bruce Willis, Morgan Freeman, Ben Kingsley and romantically paired with Lucy Liu, Hartnett's starpower and charisma get the perfect showcase. Director Paul McGuigan, like his star, is also on the rise. With Lucky Number Slevin and Wicker Park as his first two Hollywood pictures he is stoking the fire of hipster imaginations. I for one cannot wait to see what McGuigan, the hipster's director of the moment, will do next.

Movie Review 16 Blocks

16 Blocks (2006) 

Directed by Richard Donner 

Written by Richard Wenk 

Starring Bruce Willis, Mos Def, David Morse

Release Date March 3rd, 2006 

Published March 2nd, 2006 

16 Blocks is the latest suspense-thriller from director Richard Donner, best known for the Lethal Weapon pictures. Those films are remembered more for Mel Gibson's manic performance and Donner's bombastic action scenes than for intricate or clever plotting. That makes 16 Blocks something of a surprise. Donner's attention to character details and fast-paced plotting in 16 Blocks turns what might have been another average action exercise into a compelling nail-biting suspenser.

A burned-out, drunkard cop, Jack Mosley (Bruce Willis) thinks his shift is over for the day. Heading for the door, and another bottle, Jack is stopped by his lieutenant and given one last assignment. Jack has 118 minutes to escort a prisoner, Eddie Bunker (Mos Def), 16 Blocks to the courthouse before the grand jury wraps for the day. Little does Jack know that the case the kid is testifying in is dangerous enough to get them both killed.

Bruce Willis is easily the most reliably compelling action star in film today. Even in his most rote or underwhelming vehicles like Bandits or Mercury Rising, Willis' flair and charisma are undeniable. In 16 Blocks Willis gives a character-driven performance that is becoming a trend as he transitions to elder-statesman action hero.

From his cop in Sin City to his cop in Hostage to his cop in 16 Blocks, Willis understands his niche and goes about finding unique notes for each character to play. The results have been very good thus far, with another unique character-driven performance coming this spring--a supporting role in the buzzworthy flick Alpha Dog.

Mos Def has proven himself an exceptionally-talented actor well beyond the stereotypical rapper-turned-actor. Seeking roles that most rappers-turned-actors either never seek nor pull off, Mos Def has excelled in the medical drama Something The Lord Made--for which he was nominated for an Emmy--and the effervescent Lackawanna Blues.

In 16 Blocks ,Mos Def cuts the figure of Eddie Bunker by adopting a unique, if occasionally unintelligible, patois that gives his motor-mouth character another layer of backstory for us to ponder. As the loquacious Eddie runs his mouth, Willis' cop becomes as irritated as we in the audience do, but just as he is eventually won over by Eddie's spirit and good nature, so are we.

Written by Richard Wenk, the screenplay for 16 Blocks is a cleverly-constructed action piece with two exceptional lead characters. Wenk strikes a near-perfect balance of character quirks, plot twists and big action sequences that, in retrospect, create a script that could not have been better suited for director Richard Donner, a master of the big action scene who's never had an action plot this good to back him up.

In 16 Blocks, Bruce Willis takes on the kind of role that Harrison Ford should consider. Willis, playing to  his age and capabilities, crafts a believable character. There is little ego to Willis' performance. The character is vulnerable, human, and very flawed. Where Ford cannot let go of his superman-action-hero persona, Willis defies his persona in ways that bring depth to his most recent performances. Am I saying one actor is better than the other? No, I am saying that Willis is currently making better choices than Ford and that Ford could learn a little something from watching Sin City, Hostage or 16 Blocks.

Director Richard Donner knows how to direct a crowd-pleasing action flick--he's been doing it since 1978's Superman. Three of the four Lethal Weapon movies are endlessly entertaining (the less said about the last Weapon sequel the better). Conspiracy Theory, Maverick and The Goonies are other terrific examples of Donner's crowd-pleasing abilities. What sets 16 Blocks apart from those films is the whipsmart plotting that backs up his other forte as a director--big, dumb, loud action. Keep an eye out for the bus chase scene which satisfies Donner's required major action set piece.

With Bruce Willis in the lead, 16 Blocks becomes almost infallibly entertaining. Watching Willis transition from action hero to aging character actor and yet maintain that star charisma is a real treat. His new persona solidified, we can only wonder now about his upcoming fourth Diehard film and how John McClane will fit with the new Bruce Willis. I cannot wait to see that, but even if Diehard 4 turns out to be a mistake, the new Bruce Willis should be able to recover quickly with another cheap, but efficient, thriller like 16 Blocks.

Movie Review Hart's War

Hart's War (2002) 

Directed by Gregory Hoblit

Written by Billy Ray, Terry George 

Starring Bruce Willis, Colin Farrell, Terrence Howard, Cole Hauser, Rory Cochrane, Sam Worthington

Release Date February 15th, 2002 

Published February 14th, 2002 

War movies are hell. Earlier this year we were bombarded by war movies with Black Hawk Down, Behind Enemy Lines, No Man's Land, and We Were Soldiers. And now, this week, Bruce Willis has a war movie for us. Set in a WW2 prison camp, Hart's War has Willis co-starring with hot young superstar Colin Farrell (According to MGM, Colin Farrell's name must always be preceded by the words "hot young superstar"). Farrell is Thomas Hart, a privileged lieutenant whose Senator father pulled strings to get him an office job rather than serving on the front. 

Hart is a map jockey, as my grandpa always called the guys back at headquarters. When an army major needs a ride, Hart offers to drive him but on the way German soldiers attack them. The major is killed and Hart is taken prisoner. After being tortured by German intelligence over his knowledge of American troop movements we are left to wonder if Hart gave up the info as he is sent to a military prison.

The American prisoners are presided over by Colonel McNamara (Willis), a third generation West Point grad. Although it seems as if McNamara has accepted his situation as a P.O.W, we find out that McNamara has far from given up the idea of fighting the war. In secret, McNamara and fellow P.O.W's are scheming to fight their captors. When Farrell arrives in the camp, he gets caught in the middle of suspicions over the escape attempts and a racial divide among the white American Officers and the African American enlisted men. 

Though the flyers are officers they are assigned to bunk with the enlisted men where racial tensions flare leading to one of the flyers (played by Reon Shannon) being framed and accused of attempting to escape for which he is executed by the Germans. This leads to a murder, with the other flyer (Terrence Howard) being accused. All of this is a build-up to the film’s climactic courtroom sequence, which is actually a cover for an escape attempt. That isn't any spoiler; you know that from the films over explanatory marketing campaign.

Filmed at a former Russian military training camp in the Czech Republic, Hart's War has the look of WW2 Germany down, the period is well realized. The film’s story, however, is not. The pace is slow and while Hart's War distinguishes itself from other recent war films with its lack of gory realistic violence, it lacks the urgency such violence portrays and what helps make people understand just how horrific war is.

The courtroom scenes provide a strong cover for the escape but in comparison they aren't nearly as interesting. The drama is with the guys going under the wire, not with the kid lawyer exercising his knowledge of military justice. Terrence Howard is effective with a fantastic monologue in the court sequence. Willis and Farrell however never come to life. Both characters seem like passionate guys but they both hide their passion behind glum masks, which distances the audience from the tension that should be building.

Hart's War is a slowly paced, slog through a courtroom story that is all a dull cliche. The war is never portrayed as the urgent activity it obviously was. The film begins slow and never gains speed. If you’re a Bruce Willis fan you might check it out, if not, I'd skip Hart's War.

Movie Review Tears of the Sun

Tears of the Sun (2003) 

Directed by Antoine Fuqua

Written by Alex Lasker, Patrick Cirillo 

Starring Bruce Willis, Monica Bellucci, Cole Hauser, Tom Skerritt

Release Date March 7th, 2003 

Published March 6th, 2003 

In researching Tears of The Sun I came across the strange revelation that the film was initially founded as a vehicle for Bruce Willis' Die Hard series. It began its life as Die Hard 4:Tears of the Sun. You think I'm making that up, and I wish I were but no. Thankfully, someone figured there was no plausible reason for John McClain to be in Africa during a tribal civil war so the storyline was changed to have Willis play a different fictional tough guy. The film still has the action flourish of a Die Hard movie but the character’s name is different.

In Tears Of The Sun, Willis is LT Waters, a special forces leader assigned to drop into the middle of a country in the midst of a civil war to rescue a missionary and her staff. Of course if it were that simple there wouldn't be much of a movie. The missionary is Dr. Lena Hendricks (Monica Bellucci), the wife of a murdered American doctor. When Waters and his crew arrive in her camp to rescue her the doctor refuses to leave without her people, forcing Waters to accept a compromise. Anyone who can walk can come with her. The doctor’s staff of two nurses and a priest decide to stay behind and care for the remaining patients.

Despite his promise, Waters has no plans to break from his mission and when they arrive at their exit point the doctor’s patients are left behind while the doctor is forced onto a helicopter to be taken to an awaiting aircraft carrier. Intent on simply accomplishing his mission Waters’s conscience is tested when the helicopter passes back over the hospital and finds it in flames with the bodies of its remaining patients strewn over the ground. Knowing that the same fate awaits the patients he left behind, Waters turns the helicopter around, determined to help the remaining patients to the border of a friendly ally.

Director Antoine Fuqua packs the film with action flourishes and a cast of recognizable supporting players including Cole Hauser, Isaiah Washington and Tom Skerrit as Willis' commanding officer. The casting is excellent and the recognizable character actors earn our sympathy simply through familiarity. This however is Willis' show and the action star hasn't been this good since The Sixth Sense. Stoic and studied, Willis has not only the look of a tough guy marine but the fighting spirit that one would hope to find in all of our soldiers.

That's not to say Tears of The Sun doesn't have its troubles. Where the action scenes are exciting and well staged, the surrounding scenes are a little thin. When bullets aren't flying the film stalls, and when a twist is thrown in about half way through, it does little to change that. Nevertheless, with Fuqua's sure handed direction and Willis' fine performance, Tears of The Sun has just enough action to hold the audience's attention from beginning to end.

Movie Review Glass

Glass (2019) 

Directed by M. Night Shyamalan 

Written by M. Night Shyamalan 

Starring Bruce Willis, James McAvoy, Samuel L. Jackson, Anya Taylor Joy, Sarah Paulson 

Release Date January 18th, 2019 

Published January 17th, 2019 

As the biggest fan on the planet of M Night Shyamalan’s Split, I had a bias in favor of Glass. I was deeply excited for this sequel to two movies that I absolutely adored in Unbreakable and Split. So, for me to say that Glass is a bizarre, cheap, sloppy mess of a movie is really saying something. I tried to like this movie, I attempted to will Glass into being a good movie. I tried to rationalize it into working as a narrative. Nothing I tried worked as my logical brain overwhelmed my fanboy instinct, forcing this admission: Glass is terrible.

Glass picks up the story of Unbreakable and Split in the wake of the revelation that the two are in the same universe. David Dunn (Bruce Willis) has been fighting evil since the day he sent Elijah Price, aka Mr. Glass (Samuel L Jackson) to prison for his terrorist acts. Using his super strength and extra-sensory perception, David has turned his attention to The Horde, the name given to the multiple personalities of Kevin (James McAvoy).

The Beast, Kevin’s most violent and dangerous alter-ego, has been feeding on those who he believes have never felt real pain. He’s murdered several more teenagers in the time since we met him in Split but finally, David Dunn, known in the media as ‘The Overseer,’ for reasons never determined, has a lead on The Horde. David has tracked Kevin's location with the help of his son, Joseph (Spencer Treat Clark), to an empty factory in Philadelphia.

The confrontation between David and The Beast is cut short by the arrival of police and a doctor, Dr. Ellie Staple (Sarah Paulson). How did the police find them? Your guess is as good as the movie’s guess, as the movie offers no notion of how the police got there. How they got there with the one doctor in the world who has created a machine that can stop the superhuman qualities of Kevin and David, even though they had no idea where or who they were, is one of many contrivances of the idiot plot of Glass.

David and Kevin are taken to a psychiatric hospital where, waiting for them, unwittingly, is Mr. Glass. It seems that Dr. Staple has a very particular specialty: people who believe they are superheroes. She believes that the three men are delusional and sets out to prove to them their seemingly superhuman abilities can be explained through science. Naturally, Elijah Price, the ultimate ‘True Believer’ won’t be easily convinced.

The trailer for Glass spoils the fact that Mr. Glass and The Horde/Kevin become a team and that David and The Beast will go head to head in the yard of the hospital. One thing the trailer doesn’t tell you is how cheap and unfocused these scenes are. The final act of Glass is reminiscent of Shyamalan’s The Village, a film where the final act completely destroys what was not a bad movie until that point. Glass is bad throughout but the final fight does manage to make things worse. 

Glass isn’t that bad headed to the third act, it's relatively watchable, and then things go completely off the rails. In his attempt to recapture past glory as the king of the ‘Twist,’ director M. Night Shyamalan packs a ludicrous number of twists into the third act of Glass. There are so many twists at the end of Glass that it becomes downright exhausting. It’s as if Shyamalan was so desperate to fool us that he hedged his bets and put in as much craziness as he could think of in order to convince us that at least one of these twists would legitimately surprise us.

I mentioned that Glass was cheap and boy howdy, for a movie that is a sequel to a pair of blockbusters, this movie looks as if it were a Sweded version of a sequel to two blockbusters. Glass has one location for the most part and while it promises a big showdown at a high profile location, that location is revealed as CGI that somehow looks like a below average matte painting. The biggest twist in Glass is how M. Night Shyamalan turned a blockbuster movie into a cheap, forgettable failure. 

The number of corners cut in the making of Glass are rather shocking. The makeup used in many scenes is below average for even a modestly budgeted movie and the costumes are shockingly low rent. The production is stunningly mediocre and reflects the fact that Shyamalan no longer carries favor of a major studio, or studio budget. The former blockbuster director is now in the strictly low rent district, working with indie outlet Blumhouse, home of cheap, shlocky horror movies. 

No one was more excited for Glass than I was. I was endlessly excited for this movie. I ignored how the trailer appeared to reveal important plot points. I ignored the cheesy lines made just for the trailer. I was completely blind to these flaws out of fealty to my love for Split and Unbreakable. Glass was going to have to fail so remarkably for me to dislike it. The failure of Glass would have to be undeniable and complete and it truly is. Glass is undeniably terrible.