Movie Review Roman J. Israel Esq

Roman J. Israel Esq. (2017) 

Directed by Dan Gilroy 

Written by Dan Gilroy 

Starring Denzel Washington, Carmen Ejogo, Colin Farrell 

Release Date November 17th, 2017 

There is just something off about Roman J. Israel Esq. The pieces are all there for a good movie but something intangible is lacking. That is strange considering we are talking about a Denzel Washington movie that is part character piece and part legal thriller. These commercial and artistic elements should work well together, especially considering that Denzel Washington is one of our finest actors, but it just doesn’t come together as I am assuming it was intended.

Roman J. Israel Esq. is a lawyer in Los Angeles who doesn’t try cases. Roman has worked with his friend Carter Johnson (Amari Cheatom) for decades, having come up together as both students and civil rights activists. Their dynamic seemed perfectly suited to Roman; he was the man behind the scenes, the savant who has memorized the legal code, and Carter was the charismatic attorney better able to articulate the law in front of a judge and jury.

Together, Roman and Jackson defended the small timers, the people being rushed through a corrupt system intended to fill privatized prisons by corrupt prosecutors burnishing their win loss records for future private practice opportunities. Roman would be too disgusted and incapable to manage among such people. So, naturally, that is where the story of the movie, written and directed by Dan Gilroy, intends to send poor Roman: into the system he loathes.

When Carter has a heart attack, Roman finds himself first having to go to court, something he is ill-suited for. Then, when the practice is set to be shuttered by Carter’s family following his death, Roman is further unmoored, forced to accept a job with one of Carter’s disciples, George Pierce (Colin Ferrell), a former idealist turned high-end defense attorney as concerned with marketing and bottom lines as he is with the guilt or innocence of his clients.

Find my full length review in the Geeks Community on Vocal 

Movie Review: The Banshees of Inisheren

The Banshees of Inisheren (2022) 

Directed by Martin McDonough 

Written by Martin McDonough 

Starring Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan 

Release Date November 4th, 2022 

The Banshees of Inisherin stars Colin Farrell as a farmer named Padraic whose life is thrown into chaos when his closest friend, Colm (Brendan Gleeson), randomly decides that they are not friends anymore. Without explaining why, Colm refuses to answer the door when Padraic comes to call at the usual time to go to the pub. Later, Colm returns only to find Colm has left to go to the pub. He assumes this means they will meet for a pint but at the bar, Colm tells Padraic to leave him alone. 

Did Padraic get drunk and offend his friend? He doesn't think so but Colm won't say either way. Eventually, after prodding from Padraic's sister, Siobahn (Kerry Condon), and the local priest, during confession, Colm finally says what is going on. In a blunt conversation, Colm says Padraic is boring and conversations with him are a waste of time. Colm wants to spend what life he has left, however many years that is, building a legacy for himself by writing music and creating art and he can no longer afford to have Padraic wasting his time with nattering, inane conversations about farming. 

The story of The Banshees of Inisherin is set in 1923 on a fictional island off of the coast of Ireland. The tiny village is lined with rock walls and dirt walkways and roads. Everyone is in everyone else's business all the time. Gossip is trade on Inisherin and thus, the unexpected conflict between Colm and Padraic becomes a top conversation. As the story evolves and the sweet, naïve, and sensitive Padraic tries to reach out to his friend, things take a dark and darkly comic turn. I don't want to spoil any of the oddity of The Banshees of Inisherin, the strange and unexpected twists and turns, especially from Gleeson's Colm drive the second start of the third act of The Banshees of Inisherin. 

The Banshees of Inisherin is strange only because it's a story that isn't often told in movies, a story of male friendship and companionship. Director Martin McDonaugh is exploring the complex dynamic of masculinity and friendship in a sensitive and terrifically odd way. The character of Padraic is representative of a group of men who define themselves in their work, they keep their head down and they let the world happen around them. Colm, through his age and experience, is eager to be a man with a legacy, a man to be remembered. He wants to make things happen while Padraic just wants to have a pint with someone. 

The unique dynamic between these two men, one complicated and fraught, the other simple and resigned, is fascinating as much for the heart and soul that Gleeson and Farrell invest in these characters as it is for the unusual topic of complicated male friendships. I'm resisting assigning political metaphors to each character but that is certainly one reading. One man thinking of the future and a legacy, the other wanting the world to stay as it is. One man willing to go to extremes to push forward the other lost in despair at what is being lost. 

Read my complete review on Geeks.Media 

Movie Review: Ask the Dust

Ask the Dust (2006) 

Directed by Robert Towne 

Written by Robert Towne 

Starring  Colin Farrell, Salma Hayek, Donald Sutherland, Idina Menzel 

Release Date March 17th, 2006

Published September 16th, 

Though one of the great screenwriters of the 70's; Robert Towne's directorial career is spotty at best. His Personal Best was groundbreaking in subject but banal in execution. Without Limits was well acted but laconic. And the less said about the Mel Gibson-Michele Pfeiffer thriller Tequila Sunrise the better. Back behind the camera for the first time in 8 years; Robert Towne's latest effort, the romance Ask The Dust, is likely his greatest failure yet.

A miscalculation of idea and performance, Ask The Dust is Towne indulging his love of Los Angeles and its history at the expense of telling an interesting story.

Colin Farrell stars in Ask The Dust as Arturo Bandini. Coming to LA in 1930, Bandini intended to write the definitive novel of that famed city. Unfortunately the city of Los Angeles in the 1930's is not as inspiring as he had hoped. The streets are dusty and dull, the people are either decrepit and living out their string or they're writers like Bandini trying to write the great American novel.

The lives of some Angelenos are less easily devised. Camilla (Salma Hayek), a waitress at a dive bar where our friend Bandini drops his last nickel on some bad coffee, claims to be an aspiring actress held back by her latino heritage. However, her real aspirations are far less obvious and eventually undone when she falls into a romance with the struggling writer.

The relationship between Bandini and Camilla is defined by conflict. Their first meeting, the bad coffee, Bandini insulted Camilla and poured his coffee all over the floor. Later, after Bandini gives a weak apology, the two share a romantic drive to the beach where Camilla implores Bandini to join her for some skinny dipping. She plays a cruel trick on him, pretending to drown, and the angry Bandini walks home the seven miles from the beach to his rundown hotel. Still the romance somehow persists.

Meanwhile Bandini has another girl, though not one he really wants anything to do with. The other woman is Vera Rivkin a needy Jewish princess, who Bandini finds passed out in his hotel room. She offers him a sad story and begs for sex which he turns down. Later, however, Bandini, after another strikeout with Camilla, does fall into Vera's arms but is blunt in telling her that he was dreaming of Camilla. Vera's character and her fate are two of the more puzzling aspects of Ask The Dust.

There are any number of puzzling things about Ask The Dust. It's clear that Director Robert Towne is crafting a dusty paean to his beloved city of Los Angeles. With the help of Cinematographer Caleb Deshanel, Towne turns his South African location into a lovely image of 1930's California. At some point however, Towne became too enamored of his scenery and neglected his characters and their romance. Thus why we get stilted angry exchanges that turn quickly to passionate love making and back again with little rhythm and zero chemistry.

Colin Ferrell's performance in Ask The Dust is, at once, the most entertaining and confusing part of the film. On the one hand, Ferrell's offbeat delivery and flashes of Johnny Depp-like tics and mannerisms are quite humorous. Unfortunately, it's unclear whether or not we are supposed to be laughing. Ferrell as Bandini schizophrenically moves from shy to belligerent, from belligerent to sweet and from sweet to cocky without warning. Caught in the maze of Robert Towne's direction, Ferrell likely just did what was asked of him in each scene, regardless of whether the performance would coherently cut together later.

The one thing that really works in Ask The Dust is Caleb Deschanel's lush and beautiful cinematography. While Farrell and Hayek bicker and antagonize us and each other, we can at the very least distract ourselves by gazing at the gorgeous sandy vistas of early South Africa standing in for 30's Los Angeles. The dusty streets and blaze orange sunsets are the stuff of picture postcards, lovely images of warmth and comfort, completely at odds with the war of the roses characters.

Movies are not supposed to work to the audiences' preconceived notions of what we think the movie should be. Movies are the visions of the filmmakers with only a modicum of consideration of what the audience might want. That still doesn't quell my disappointment over not getting what I expected from Ask The Dust. I was hoping for a classical, passionate romance with two hot stars burning up the screen and the kind of literate, well read dialogue that you get with the best literary adaptations.

What I got with Ask The Dust was angry banter that works like a sad, unintentional parody of the Cary Grant-Irene Dunne romances of the 30's and 40's.

Robert Towne is a very talented writer but his direction in Ask The Dust is as lazy as the dusty, windblown, sun drenched streets of 1930's Los Angeles. The script relies heavily on the performances of Colin Farrell and Salma Hayek who, whether they were directed this way or not, come off like petulant children playing dramatic versions of the Bickersons. Blowing the dust off of cliches of 40's melodramas, they bicker like cats and dogs and fall in love anyway. The film is updated only for the sex which runs hot and cold, but mostly cold.

Movie Review: Dumbo

Dumbo (2019)  

Directed by Tim Burton 

Written by Ehren Kruger

Starring Danny Devito, Colin Farrell, Michael Keaton, Eva Green 

Release Date March 29th, 2019

Published March 28th, 2019 

Dumbo is a good movie that I feel good about recommending. The film is solid, well-made, sturdy, family entertainment with just enough laughs and good nature to make it work. I find myself in an odd position with this statement however as I have received some backlash from my radio review of Dumbo. On the radio, I said that I liked the movie, that it was ‘good enough.’ This led to more than one listener asking me why I ‘don't like’ Dumbo. I’m here to tell you, I do like Dumbo despite its many notable flaws. 

Dumbo is the story of a little elephant born with giant ears who learns to fly with the help of a pair of ingenious siblings. This is a live action take on the 1941 Disney animated movie that, at 65 minutes in length, barely qualified to be called a ‘feature’ film. This version, crafted by daft auteur Tim Burton, is more than two hours long and feels about that long. Gone are the talking animals in favor of some well crafted human characters. Best of all, no problematic bird characters. 

Newcomers, Nico Parker and Finley Hobbins star in Dumbo as sister and brother, Milly and Joe Farrier. Milly and Joe recently lost their mother but are lucky to have their war hero father, Holt (Colin Farrell), back home from World War 1 and ready to resume life on the road with the Medici Brothers Circus, under the leadership of Max Medici (Danny Devito). Unfortunately, Holt lost an arm in the war and without his beloved wife, he’s lost his once vaunted horse show. 

With nothing else available with the circus, Max puts Holt in charge of the elephants and specifically, a new baby elephant that Max hopes will be the savior of the circus. Then, Max meets Dumbo and sees his giant, ungainly ears. Max doesn’t believe that Dumbo will be an asset to the circus and when Dumbo is mistreated by the circus roustabouts, Dumbo’s mom, Jumbo leaps to her son’s defense and a man is killed. 

Jumbo is deemed a dangerous animal and is sold to another circus. With his mother gone, Dumbo is left in the care of Milly and Joe who care for him and teach him a game. They begin blowing a feather back and forth only to find that when Dumbo sniffs the feather and sneezes, he flies up in the air with his giant ears as wings. Eventually, with prodding from Milly and Joe, Dumbo learns to fly and becomes the star of the circus. 

Naturally, the flying baby elephant gains nationwide notoriety and the attention of circus entrepreneur, V.A Vandervere (Michael Keaton). Vandervere makes Max his partner in a massive money venture that lands the entire Medici Circus in the big city where Dumbo will star alongside Collete (Eva Green), an acrobat in a brand new, outlandish show. Vandervere means to exploit Dumbo for all he’s worth, even if that means making sure Dumbo never sees his mom again. 

There are no spoilers in that description as there are more characters and more action to what I have described in this review in Dumbo. Tim Burton does well to craft a large, entertaining and colorful canvas. Despite that, this is not typical of Tim Burton’s style. There is an impersonal, mercenary quality to Dumbo that is unusual for Burton’s work. Burton directs like a director for hire rather than a director with a dedicated vision for telling this story. 

Dumbo has a perfunctory quality that makes the film far more average and standard than truly great entertainment. There is nothing really, terribly wrong with Dumbo, but it is not transcendent or memorable in the way Kenneth Branagh’s Cinderella was or even as elaborate and fantastical as the live action Beauty and the Beast. The scale feels smaller and the story lacks the kind of stakes that those films established. 

The biggest issues with Dumbo are more taste issues. For instance, I didn’t care for the way that Tim Burton directed Michael Keaton to be Johnny Depp-lite. Keaton’s Vandervere has all of the quirk and cadence of Johnny Depp at his most affected. The same could be said of Eva Green who is directed by Burton to play Colette exactly as Burton’s wife Helena Bonham Carter would have played her, with the same lilting affectations. 

This, aside from a few scenes reminiscent of the lovely watercolors of Alice in Wonderland, though far better than those dreadful movies, are the only Tim Burton signatures in Dumbo. As I mentioned earlier, he doesn’t appear invested in this story or this production in the way he has in his previous movies, specifically the movies he wrote and directed on his own. Burton appears comfortable having delivered screenwriter Ehren Kruger’s simplistic story to the screen with little innovation. 

Nevertheless, Dumbo is not a bad movie. Dumbo the character is quite engaging for a CGI creation and the flying scenes capture the wonder of the circus and a world where magic still seemed possible. The period setting has a dreamlike, magical quality and though the milquetoast heroes don’t standout all that much, they do enough to be rousing and charming enough to keep audiences engaged and in a pleasant mood. 

Dumbo is a good movie. It’s at the lower end of the modern Disney live action adaptations, above Alice in Wonderland and The Jungle Book but well below the transcendent masterpiece that was Cinderella and the lovely Beauty and the Beast. It will be interesting to rank Dumbo when Aladdin and The Lion King finally arrive in theaters this summer and next summer respectively. For now though, I do recommend taking the family to see Dumbo. 

Movie Review: Widows

Widows (2018) 

Directed by Steve McQueen

Written by Steven McQueen, Gillian Flynn 

Starring Viola Davis, Elizabeth DeBicki, Brian Tyree Henry, Colin Farrell, Carrie Coon, Robert Duvall 

Release Date November 16th, 2018 

Published November 15th, 2018

Widows is one heck of a great movie. This firecracker of a suspense thriller isn’t just a rare occasion for women to stand at the front of such a genre flick, it’s just, as a movie, a really, really great movie. Writer-director Steve McQueen, whose 12 Years a Slave won Best Picture in 2012, says he’s been nursing a version of Widows for nearly a decade but finally felt that now was the right time to launch a mainstream feature after having established himself as an indie darling. 

Widows stars Viola Davis as Veronica, the wife of a criminal named Harry Rawlings who's just been killed during a heist. In the heist two million dollars burned up along with Harry’s corpse, two million dollars that belong to a gangster named Jamal Manning (Brian Tyree Henry) who has decided that Veronica needs to be the one to pay him back. She has 30 days to raise two million dollars or something bad will happen. 

Harry has left Veronica one thing that might help her out of this situation. It’s a book length description of a five million dollar heist that appears fool proof. Veronica certainly thinks show as she begins to believe that she can pull off this heist if she can recruit some help. With the help of one of Harry’s few friends that didn’t die with him in his fatal job, Veronica approaches the wives of the men who died with Harry and tells them that Manning will be coming after them if she can’t pay him. 

The other women who lost their husbands are Linda (Michelle Rodriguez) and Alice (Elizabeth Debicki). Linda lost her clothing store when her husband died deeply in debt. Elizabeth meanwhile is being pushed toward high end prostitution by her domineering mother (Jackie Weaver) now that her meal ticket husband is dead. Both are responding to Veronica’s threat but their circumstances are playing a role here as well. 

In the background of the heist is a battle for political power, also involving Jamal Manning. You see, the missing two million was intended to help Manning buy his way into respectability as the new Alderman of Chicago’s 18th Ward, a seat held by the Mulligan family for decades. Robert Duvall plays the aged Tom Mulligan who had planned on essentially gifting his ward to his lawyer son Jack but a political mistake has led to the redrawing of the Ward lines and left Jack with a contentious race against Manning. 

How the race for Alderman plays into the plot I will leave you to see for yourself. You can assume it’s about power and corruption but McQueen’s story is even more inspired than that. This a movie with strong plot mechanics and no wasted time or space. Widows is a movie that wastes little time on the extraneous even as it has a sprawling cast that also has room for Get Out star Daniel Kaluuya and Cynthia Eriivo as the final member of Veronica’s gang. 

The tight plotting also still has room for strong commentary on the state of politics and economics. One incredible scene transitions from Colin Farrell’s wannabe political scion holding a press conference in a rundown neighborhood and being questioned about missing money to Farrell and his campaign manager in his limo. This is an unbroken take where the camera doesn’t get into the limo, it remains outside on the front of the limo. 

We listen as Farrell complains about how he doesn’t get the respect he deserves, how he can’t stand the media and the situation his father created for him by not working with the Mayor. The visual is fantastic and the scene lasts about 3 minutes and in that time we go from a rundown neighborhood to Farrell’s well appointed mansion. The visual is powerful and evocative and the message of the movie could be contained entirely in this moment. 

Viola Davis is a goddess but the performance I want to highlight from Widows is Elizabeth Debicki. Debicki isn’t well known yet but this is a star making performance. She’s no mere pretty face, Debicki’s Alice is a victim of an abusive husband and a domineering mother who really finds her strength in going along with this seemingly insane heist plot. Debicki brilliantly inhabits a young woman finding herself in a bitterly smart performance. 

Widows is one of the best movies of 2018. It’s smart, exciting, and exceptionally well made. Steve McQueen is a masterful director who makes brilliant decisions in keeping his narrative tight and the pace quick but never too quick. Widows is a suspense thriller with brains and guts, blood, sweat and tears. It’s gritty with a touch of glamour. Widows is a movie for adults with a strong respect for the wit and intelligence of adult audiences. 

Widows is a must see movie.  

Movie Review Pride and Glory

Pride and Glory (2008) 

Directed by Gavin O'Connor

Written by Gavin O'Connor 

Starring Edward Norton, Colin Farrell, Noah Emmerich, John Voight Jennifer Ehle

Release Date October 24th, 2008 

Published October 24th, 2008

The tortured history of Pride and Glory extends all the way back to 2001 when Mark Wahlberg and Hugh Jackman were attached to the script with director Joe Carnahan. The attacks of September 11th and the subsequent stories of NYPD heroism caused the project to be shelved. Revived and rejiggered by New Line Pictures and director Gavin O'Connor, Pride and Glory got the go ahead in 2006 with Edward Norton and Colin Ferrell in the leads.

And then things get murky. Whether Edward Norton went all Edward Norton on the movie or New Line had a disagreement with director O'Connor, Pride Glory completely found itself on the shelf. Two years later the film arrives and it may have been better off on the shelf.

Ray Tierney (Edward Norton) gave up on being a detective years ago. An incident involving his family, fellow cops and a cover up turned on Ray so badly that although he was never caught lying, he couldn't live with the guilt and hid out in a new assignment in missing persons. Now however, a case of four dead cops in his brother Francis' (Noah Emmerich) unit draws Ray back to being a detective.

The four dead cops it seems walked into an ambush as they staked out a seemingly low level drug dealer. The cops went for the bust and the dealer knew they were coming. Someone in the department tipped him off and four cops died. The case is a major headache for Francis as well as his Commander father Francis Sr. (Jon Voight) and thus why they turn to Ray for help.

Things grow much, much worse when a witness links the dealer to Jimmy Egan (Colin Ferrell) , a cop in Francis Jr's unit and Ray and company's brother-in -law. Jimmy married little sister Megan (Lake Bell) a few years back and now he is the main suspect in a corruption investigation that could bring not just the family but the reputation of the NYPD crashing down.

It's a familiar story: corrupt cops, NYPD, family of detectives, blah blah blah. What director Gavin O'Connor does is take these familiar elements and rearrange them into a slightly different form. He has good pieces to work with. Edward Norton  is a tremendous actor who can make the most of even the lamest material. Colin Ferrell has a more limited range than Norton but makes up for a lot with charisma.

These two actors make the most of what is given them but Pride and Glory remains a failure despite their best efforts. The script is just too familiar and Gavin O'Connor's attempts to reform those elements into a new story only serve to find further faults. Worse however, is the repeated moments of what is referred to rhetorically as Deus Ex Machina, the hand of god.

When a screenwriter is stuck he will often let slide a coincidence or two or three. These coincidences work to allow characters to be placed at just the perfect time. They allow characters to hold off on motivations or hunches or memories until just the moment they are needed as if the hand of god were delivering the character to the place they are needed or reminding them of just the right memory at just the moment it's needed.

These plot conveniences in Pride and Glory are groan-inducing to the point of modest chuckles for savvy audience members who recognize them.

What is a real shame about Pride and Glory is that it wastes an Oscar worthy effort by longtime character actor Noah Emmerich. As the conflicted captain of a corrupt unit. Emmerich walks a tightrope between drama and caricature and makes the right dramatic decision almost each time. On top of being the boss and dealing with all of this corruption, Francis has a wife at home, played by Jennifer Ehle, who is dying of cancer.

Many actors would be overwhelmed with so much sorrow to play but Emmerich handles it all exceptionally well. If the movie weren't such a dog overall Emmerich could have been a strong contender for best supporting actor. Thankfully, based on his work in Pride and Glory I have no doubt something like that is still in his future.

If your plot is too familiar you have to do more than just rearrange the elements slightly. Play with the tone, grim sadness and gritty gray skied backgrounds are so done. Play with the characters, make one a woman, give one an unusual quirk, work in some dark humor. Do something to keep the audience from sitting in the dark wondering where they've seen all of this before.

Also, if your script so often needs the hand of god to deliver characters to need locations or revelations, maybe you shouldn't make the movie at all.

Movie Review Ondine

Ondine (2010) 

Directed by Neil Jordan 

Written by Neil Jordan

Starring Colin Farrell, Stephen Rea

Release Date June 4th, 2010

Published June 12th, 2010

Lethargy in a movie tends to be a bad thing and yet the lethargic feelings induced by Neil Jordan's fable Ondine feels just right. Lingering on the details of a fairy tale while seducing us with the beauty of the Irish coast and unknown star Alicja Bachleda's supple calves, Ondine is a stroll where most other movies are a sprint. Sure, by the time the film's climax arrives, with some attendant threat, we have been relaxed to a near coma state, but who cares when it's all so very pretty.

Colin Ferrell plays Syracuse, a former town drunk now 2 years sober. Unfortunately for Syracuse his drunken antics are so memorable that no one will let him forget it, lashing him permanently to the nickname Circus for his clownish behavior. Syracuse isn't exactly miserable but he is less than content when his life is changed forever.

Casting his fishing net with little plans on catching much, Syracuse pulls up the shivering body of a beautiful young woman. He saves her life but she refuses medical attention or any attention at all to save him. She begs to be hidden and he happens to have just the place, a seaside cottage that once belonged to his late mother.

Thus begins a very unique love story made even more peculiar by Syracuse's 9 year old daughter Annie (Alison Barry. After hearing her dad tell the story of the woman pulled from the water as a fairy tale, she comes to believe that the woman, soon called Ondine or woman from the sea, may be a mythical creature known as the selkie.

A selkie is a half human half sea which sheds its seal coat once out of the water. To stay on land the selkie must fall in love with a landsman and bury its seal coat. It's a wonderful fairy tale and as the romance blossoms you can't help but be drawn to the mysterious Ondine and believe that she is some kind of mythic creature.

Director Neil Jordan has a great eye for quirks that are endearing rather than just odd. Where other writers and directors often merely assign a behavior to a character in order to give them something to do, the veteran Jordan allows the actors to find the quirk along the way and play it almost unconsciously. For Ms. Bachleda the quirks are numerous and charming and never merely for effect. Not bad for an actress better known for being her co-star's arm candy.

Indeed, Mr. Ferrell and Ms. Bachleda were a couple when she got this gig but credit Neil Jordan and Ms. Bachleda for showing this what not merely a favor to a big star but just the right bit of casting. The casting of Ms. Bachleda may be the reason why Mr. Ferrell seems so relaxed and pliable in Ondine. Almost non-existent is any star posing, even with his model ready mane of black hair.

Farrell melts into the role of an outcast quite well considering he never stops looking like Colin Farrell. His discomfort and sadness is tapped so perfectly that you actually believe that women would avoid him and even a town this small would ostracize him, even if he is the best looking man in town. Farrell's soulfulness, in the hands of the wrong director could become dreary. In the hands of a master of grief, loss and sadness, like Neil Jordan, the soulful qualities are something to cling to amidst the sadness. 

Nevermind what little inconsistencies exist in Ondine. This is a film about tone and beauty. Neil Jordan establishes a tone that ambles from one pretty scene to the next while the story drifts into the heart of the audience almost subconsciously until all are smiling and waiting patiently for a hoped for happy ending for this beautiful couple and the clever young towheaded daughter.

I am sure many will find Ondine boring but that’s their loss. The modern blockbuster has caused many to lose the ability to be patient and get lost in a story. If things aren’t moving a mile a minute they give up and start checking for text messages. Ondine is not for the impatient. It’s for the romantic, the indulgent, those who love a good director leading them on a strange wonderful journey. If that’s not you, skip Ondine.

Movie Review: Cassandra's Dream

Cassandra's Dream (2007) 

Directed by Woody Allen

Written by Woody Allen 

Starring Ewan McGregor, Colin Farrell, Hayley Atwell, Sally Hawkins, Tom Wilkinson 

Release Date January 18th, 2008 

Published May 22nd, 2008 

Someday this will be referred to as Woody Allen's London era. Whether this period of Allen's career will be remembered well is still in question. His Scoop was a cute, quick witted comedy that never caught on with audiences. His follow up, Match Point is a devastatingly smart thriller likely to be remembered by Allen fans as a masterpiece.

Now comes Cassandra's Dream another London set thriller that ups the ante on Match Point by going for big stars but comes up short on the smart thrills that made Match Point so brilliant.

Two brothers turn to crime to solve their financial problems only to find themselves not exactly adept. Ewan McGregor and Colin Farrell are Ian and Terry Blaine. Ian is a dreamer who aspires to high finance. For now he lives the life of a playboy without the actual means. Terry is more honest of his working class roots. He lives modestly with a longtime, loving girlfriend. His one indulgence is gambling and when we meet Terry he is on quite a hot streak. He eventually strikes it big at the card table to the tune of 30 grand.

Hot streaks however, never last. As Terry risks the 30 grand to get the money he needs to buy his girl a house he winds up 90 grand in the hole. Naturally, Terry turns to Ian for help. Ian for his part has fallen head over heels for a young actress named Angela (Hayley Atwell). What little money he has he hopes to use to keep Angela in the comfort she aspires to. Now however, he must help Terry. With their options limited the brothers turn to their uncle Howard (Tom Wilkinson) a highly successful businessman. Howard has one condition for a lone, the boys must murder a man who threatens to tear down Howard's multi-million dollar empire.

To say Howard is asking alot is an understatement and that is at the heart of the issues with Woody Allen's latest tale of chance, chaos and morality. Allen has always been fascinated with cause and effect and the idea that while one action may lead directly to another there is no such thing as fate. In the end, Allen's world view is that we are the arbiters of our fate and our consequences. That view certainly plays out in Cassandra's Dream where Terry and Ian are not forced to do anything but decide to do something and then decide their own punishment until the random nature of the world intervenes in all it's unintentional irony and strange ordinariness.

The last shot of the film with the world in order but an emotional shitstorm in the offing is a strong, almost devastating conclusion. Unfortunately, the central crime is so outlandish that you are unable to truly invest in it emotionally. Yes, Terry and Ian are both desperate but are they really so desperate to do what they do? I didn't buy it. I especially didn't buy Ferrell's Terry who turns ashamedly from an average guy into the worst type of Ferrell character, the weepy, whiny mess well displayed in Phone Booth, far less interesting in Alexander, The Recruit and now in Cassandra's Dream.

Ewan McGregor on the other hand is right at home as Ian. With charm that intimates a certain moral flexibility, McGregor's Ian is more suited to the central story than is the caricature that is Ferrell's Terry. It is Ian and his relationship with Amanda that brings home the central themes of the film, the randomness of life, the luck, the chance and the lack of any real grand design. Also, in Hayley Atwell's Amanda we get Allen at his self deprocating best. In the film's best scene, Allen goes meta and breaks down the very existence of her character in the film.

The failure of Cassandra's Dream is unfortunately Allen's inabilty to craft a solid thriller plot to tentpole his favored themes. The Allen intellect, his philosophy on life, death and movies is on well display but fail for not having a structure on which to hang them. Thus Cassandra's Dream is a film of ideas with no driving narrative force that could have, with a little more care, been a devastating dramatic piece ala his previous London set masterpiece Match Point. That film delivers the same themes with a thriller plot that is involving, shocking and purely Allen-esque in how it underlines its ideals.

Rent Match Point and Cassandra's Dream off your Netflix cue.

Movie Review: Alexander

Alexander (2004) 

Directed by Oliver Stone 

Written by Oliver Stone, Laeta Kalogridis 

Starring Colin Farrell, Angelina Jolie, Val Kilmer, Jared Leto, Rosario Dawson, Anthony Hopkins

Release Date November 24th, 2004

Published November 23rd, 2004 

If Aaron Spelling had made a movie about Alexander The Great, it might sound a lot like the one Oliver Stone has just pushed into theaters: A breathy, overcooked melodrama of hot-blooded hardbodies falling in and out of bed in between fighting wars. Oliver Stone's Alexander is a big budget bio-pic that would feel more at home as a trashy TV movie than as a potential Oscar nominee.

Some 300 years before the birth of Christ, one man ruled most of planet Earth before his 32nd birthday. Alexander the Great, the son of King Phillip of Macedonia (Val Kilmer) and Queen Olympias (Angelina Jolie), was never supposed to be king. Because of a feud between his mother and father, Alexander was caught in the midst of a power struggle that leads to his father's murder and suspicion that his mother may have arranged the killing. 

Regardless of how he rose to power, once Alexander took power, he lead his charges to the ends of the world conquering and civilizing all barbarian tribes along the way. His story is marked with the deaths of thousands, but history is written by the victors which may be why Alexander is remembered as a benevolent conqueror who maintained palaces and people in power even after defeating their military forces on the battlefield.

Watching Stone's take on the life of Alexander would leave you to believe that Alexander's bloodiest battles were with his own top advisors, none of whom shared his vision of Asia as part of the Macedonian empire. Alexander's men simply wanted the riches of Asia to take back to Greece or the kingdom of Babylon, but Alexander -- a regular 4th century Jesse Jackson -- wanted a rainbow coalition of subjects who would help him rule the world and mix all the races of man; a regular united colors of Benetton style conqueror. 

Yes, according to Stone, Alexander was a champion of civil rights who even took a Persian wife, Roxana (Rosario Dawson), to placate his new Persian subjects. Alexander was also a champion of gay rights as well often sharing a same-sex canoodle with slaves of various ethnicities and sharing an especially close relationship with one of his top generals, Hephaistos (Jared Leto). The two soldiers never consummate the relationship on screen but it's clear from the dewy-eyed gazes and quivery-voiced declarations that if it wouldn't hurt the box office they might have hopped into bed.

Colin Farrell has played sexually confused man-child before, in the indie A Home At The End Of The World. However, there is a big difference between a broken home teenager searching for a family and an identity and the man who united the kingdoms of man before his 32nd birthday. If you want to play the character gay, that's fine, but do it with more depth than whiny schoolgirl stares and grandiloquent speeches whose only weight comes from the fact that they are delivered with an accent.

What happened to the fire that Colin Farrell used to carry him through his best performance in Tigerland? The fire that made him a logical choice for mega-stardom? Somewhere in the making of Alexander, that fire was replaced by the petulant longings of a dewy-eyed manchild. With his childish mood swings, it's hard to believe that this guy could have conquered his mother’s bedroom let alone the known world. I don't need Alexander to be John Wayne but a little butching up couldn't hurt. 

As for his mother, Jolie's performance provides the film’s only entertaining moments; not for her eloquent line readings or smoldering presence but rather the campy Joan Collins-style overacting she employs. Her every scene reminded me of the behind the scenes scheming that Collins made so deliciously goofy on Dynasty. Kilmer is no John Forsythe but he can bite into the scenery with the best of them and here he's a regular Jeremy Irons, absolutely chewing the walls.

Oliver Stone has always been prone to excess, but even by his standards, Alexander is a little much. His ego is way out in front of his storytelling here and what should be an epic feels more like an exercise of Stone's ability to raise large amounts of studio capital to feed his massive ego. A true disaster, Alexander will be remembered on Oscar night only as the subject of one of Chris Rock's biting monologue punchlines. 

Movie Review SWAT

S.W.A.T (2003) 

Directed by Clark Johnson

Written by David Ayer, David McKenna

Starring Samuel L. Jackson, Colin Farrell, Jeremy Renner, L.L Cool J, Josh Charles, Michelle Rodriguez, Olivier Martinez 

Release Date August 8th, 2003

Published August 7th, 2003

Can anyone give me one plausible reason why this film is related to the 70's TV show indicated in its title? Other than that killer theme song that is. Outside of the song, there is no necessity to relate this movie to that lame Robert Urich lead TV serial, other than maybe to avoid the hassle of having to explain that they are not related. Why tie the film to this sinking lead weight of a 70's TV bomb? S.W.A.T only lasted one season on ABC. It's not as if remakes of 70's TV shows are guaranteed blockbusters. That only works when you can populate the lead roles with super hot babes like Charlie’s Angels.

Then again, maybe that is the theory here, but with reverse genders. Colin Farrell, LL Cool J and even Sam Jackson to a point could be considered eye candy for the ladies. That said you could do that without the TV connection. So we are back to my original question. Regardless of the TV connection or the eye candy, S.W.A.T. as directed by cop show vet Clark Johnson is a somewhat competent action movie/police procedural.

Colin Farrell stars as Jim Streets, the same role as Bobby Urich on TV but the comparison ends there. Streets is a swat team member who joins his fellow teammates at the site of a bank robbery. It's a nightmare scenario that evokes memories of a real life incident in Brentwood, California just last year where two heavily armed men shot it out with police in broad daylight, a scenario they were rumored to have cribbed from the Michael Mann’s Heat. Call it art imitating life, imitating art.

Anyway, Street and his partner Gamble (Jeremy Renner) are deployed on the roof and gain access to the hostages being held by two more armed men inside the bank. Despite being told to wait, Street and Gamble make a move and put down the bad guys and save the hostages. Unfortunately one hostage is wounded during the rescue and the boys are rewarded with a demotion for Street and firing for Gamble who pulled the trigger.

Cut to six months later, Street is stuck cleaning guns amongst other of the worst jobs a cop can do and still be a cop. Things change though when an ex swat leader named Hondo Harrelson (Jackson) returns from retirement. Hondo's gig is to help the LAPD remake its image by assembling a top-notch new SWAT team, a team more competent and efficient than ever before. Hondo's first choice is Street, but not before he jumps through some hoops and watches the rest of the team come together. The recruits are Deke (LL Cool J), Sanchez (Michele Rodriguez), McCabe (Sports Night's Josh Charles) and Boxer (Brian Van Holt).

There’s a couple of montages of the personal lives and training sequences and one very well choreographed training sequence set on a decommissioned airplane. We then move headlong into the main plot of the film which is the transfer of a high profile prisoner, an international drug runner named Montel (Olivier Martinez). Sounds easy, and it would have been except Montel has, through the throng of media covering his shootout with police and eventual arrest, offered 100 million bucks to anyone who can get him out of police custody and back home to France.

What's surprising is that despite the typicality of the stunts featured in the film’s trailer, S.W.A.T. unfolds very logically from the opening hostage sequence to the training all the way to the final gun battles. Director Clark Johnson makes even the biggest stunt sequences that have never been seen in real life seem perfectly plausible in the context of the film. Though I must quibble with the drug dealers who happen to have rocket launchers laying around just in case they have to break a rich guy out of jail for 100 million dollars. Hey, that is why we have the willing suspension of disbelief?

Almost everything in S.W.A.T. is pro quality, especially the casting which smartly unites a number of recognizable faces both well known and the type that you know you've seen before but you've never known the name. The cast makes any of the rough spots of the film easier to take because we like the actors. Each actor is very sympathetic to the audience.

However, despite all that I liked about S.W.A.T., the film has two massive, nearly unforgivable flaws. One is its ending which goes ten minutes too long. The other is one massive lapse in the otherwise impeccably logical flow of the film. There is a decision made by one character that calls that character's sanity into question. It's a decision that is so highly illogical that it renders what comes after it ridiculous. It's one of those moments where if the character makes the right decision, the one that is obvious to everyone but him, the film would be over right then. If you can't fix a logical hole better than this, don't make the movie.

For most of the time S.W.A.T. is a suspenseful, action filled thriller. It's a rare actioner with a logical narrative thrust to it. Until, of course, the demons of film shorthand step in and ruin everything. It's a shame because there are elements of a pretty good movie sprinkled throughout this otherwise dreary television retread. 

Movie Review: Daredevil

Daredevil (2003) 

Directed by Mark Steven Johnson

Written by Mark Steven Johnson 

Starring Ben Affleck, Jon Favreau, Colin Farrell, Jennifer Garner, Michael Clark Duncan 

Release Date February 14th, 2003 

Published February 13th, 2002 

Ben Affleck has this amazing quality that very few actors have, he feels like an old friend. His participation in the commentary tracks for Kevin Smith's Mallrats, Chasing Amy and Dogma, where his self -deprecating wit and frat boy charm remind you of someone you know. It is those same qualities that he has brought to every role he has played and it is endearing to those in the Kevin Smith fandom, maddening to those outside that cultish group.

This may explain the mixed reviews of Daredevil, where people like myself are willing to cut Affleck a lot of slack artistically, and allow the film to skate on his charm and the unreal beauty of co-star Jennifer Garner. Daredevil is yet another Affleck guilty pleasure.

When Matt Murdock (Affleck) was a kid, he was a nerd who was picked on by neighborhood bullies and never fought back because of his father's advice. One day Matt was taking a shortcut home when an accidental toxic waste spill cost him his sight but enhanced his other senses to superhero proportions. Young Matt's tribulations don't end with losing his sight however, as Matt witnesses his father's murder. Of course, he never actually saw the killer, only sensed the killer's calling card, one red rose.

Years later Matt is a lawyer who, by using his uniquely enhanced senses, defends only clients he knows are innocent. When things don't go well for Matt in court and it seems a bad guy got away with a crime, he uses his alter ego to deliver the justice the courts did not. Matt's alter ego is the urban legend Daredevil, a red leather-wearing hero who the police refuse to believe exists.

The difference between Daredevil and most other superheroes is his willingness to cross that line between good and evil and actually kill the bad guys that most superheroes are content to leave for the police. Though Matt/Daredevil has been able to convince himself that his quest is just, his skirting the line between justice and vengeance is exposed when he is confronted with real good in the form of Elektra Natchios (Jennifer Garner). Though she isn't pure as snow, her fighting skills are lethal as shown in a killer fight sequence set in a park. Her father is a partner of the evil Kingpin, whether she knows that or not is in question. Elektra is a good person and Matt falls for her immediately.

The relationship is put to the test however when Elektra's father is killed and she blames Daredevil, though the real killer is Kingpin's number one henchman Bullseye (Colin Farrell). This leads to another sensationally choreographed fight sequence between Affleck and Garner and leads into a shocking climax, which sets up the film's final battle inside of a church. Director Mark Steven Johnson is a perfect technician, he knows how to film the action and step back and allow his actors to do their jobs.

Johnson rightly keeps the film faithful to the comic's noirish antihero roots. How odd is it to see a superhero kill a villain intentionally.

The films supporting cast is excellent, including Michael Clarke Duncan as Kingpin, Joe Pantoliano in a rare good guy role as journalist Ben Urich and Jon Favreau rounding out the cast as Affleck's oafish law partner. Colin Farrell as Bullseye shows he learned something from Al Pacino in The Recruit and that is how to unapologetically chew scenery. Bullseye is a terrible villain, but Farrell is so terrifically over the top you can't help but enjoy his performance and revel in the character's fate. Daredevil gets extra points for Kevin Smith's giddy cameo as a morgue worker.

What Daredevil relies on in the end is it's two leads, Affleck and Garner, and they work perfectly. Though Affleck's overly earnest voiceover threatens to push the film over into self-parody, his humor and charm carries the film over the rough spots. As for Garner, words have not yet been created to describe how beautiful she is.

The films CGI effects don't always work and the editing is choppy and at times, but I liked enough of the effects and stunts to give them a pass. I also liked the film's soundtrack of rock ballads that while somewhat lame in their MTV style editing still are kind of cool because they are well placed throughout the film.

As much as I liked Daredevil, it pales in comparison to it's superhero brethren like Superman, Batman and Spiderman. However, in the same way Blade is cool, so is Daredevil. It's moody and atmospheric, has it's share of shocks and surprises and some well-timed humor.

In the end what it all boils down to is, Affleck is da bomb in Daredevil, Yo!

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: The Way Back

The Way Back (2010) 

Directed by Peter Weir

Written by Peter Weir, Keith Clarke

Starring Jim Sturgess, Ed Harris, Saorise Ronan, Colin Farrell

Release Date December 29th, 2010 

Published December 27th. 2010

Sometimes a movie will place a critic in the odd position of appreciating the artistry and craftsmanship involved and yet leaves the critic almost entirely incapable of recommending the film. Director Peter Weir's The Way Back is a movie that inspires such a feeling. The work here is exceptional but it is exceptional in delivering a cinematic experience that I would not recommend to the average filmgoer trained on mainstream, Hollywood genre films.

The Way Back tells a remarkable true story in a fashion that feels intensely real. In 1942 three men emerged in India, then under the British flag, claiming that they had walked 4000 miles from a Siberian Gulag. The journey, if true, cost the lives of 6 other members of their party and had taken them across the frozen forests of Russia, through the Gobi Desert, and finally over the Himalayas 

In 1941 we watch as Janusz (Sturgess) is accused of treason by Russian military authorities who tortured his wife in order to get a confession. Janusz is sentenced to five years in a Siberian Gulag where the harsh conditions hold life expectancy well below Janusz's sentence. The prison is surrounded on all sides by unforgiving frozen wasteland and with few supplies to hoard and fewer places to hoard them; death would seem to be the only possible escape.

The forbidding forest however, doesn't intimidate Janusz who enlists several other inmates in an unlikely escape attempt. Among the prisoners is an American named Mr. Smith (Ed Harris) and a criminal, Valka (Colin Farrell), whose only appeal is that he has a knife that could be handy for hunting and protection. Several other nameless inmates come along but all seem to melt into one behind thick accents.

The names aren't important; it's the remarkable and unlikely journey that is the star of The Way Back. Escaping the gulag turns out to be the easy part. The trouble for these brave journeymen will be surviving the forbidding wasteland and getting out of Communist territories where, if they were caught, they could easily be shipped back to Siberia. This means getting to India, more than 4000 miles away. 

The Way Back is based on a book ghost written on behalf of a Polish World War 2 veteran named Slawomir Rawicz. However, Rawicz’s account was found to be false based on documents, some in Rawicz's own hand, which showed he had been released as part of a general amnesty in 1942. Then again, records from Russian prisons amid World War 2 are notoriously unreliable, especially after more than 50 years. 

In 2009 another Polish vet named Witold Glinski emerged to say that Rawicz's story was true but also stated that it was his story as he told it to Rawicz. Investigators and historians are still weighing the truth of Glinski's claim. Regardless of truth or fiction though, the story, as captured by director Peter Weir, is a grueling trek filled with death, despair, and triumph in heartbreaking detail. 

Jim Sturgess is a terrific star for The Way Back. With his soft face and warm, kind eyes, you can't help but feel for him and root for him. Ed Harris meanwhile is just the right stalwart second in command of this journey, a man so hard you are welcome to wonder if the freezing cold of the forest or the intense heat of the desert could penetrate his cragginess. Colin Farrell then, is on hand to give the film a little life beyond Sturgess's straight arrow hero and Harris's distant toughness. I can imagine many film financiers saying no to The Way Back without someone of Farrell's star power. Even under dirty makeup and crooked teeth Farrell is a charismatic presence. 

Director Peter Weir spares no image to demonstrate how difficult this journey was, as if merely describing a 4000 mile trek from Siberia to Tibet, over the Himalayas and ending in India were not enough. There is yeoman work on the part of the cast and the makeup department to demonstrate the physical toll this 11 month journey took on the seven men and one woman, played by Saorise Ronan, who made it. 

The Way Back is extraordinarily effective. Watching the film, it is as if you can feel the bone chilling cold, the burn of the sweltering heat, and the emptiness of starvation and dehydration. Peter Weir, not unlike Danny Boyle in 127 Hours, wants to give you some approximation of the physical toll being exacted on his protagonists so those feelings can underline the feeling of triumph at the end of this allegedly true story. 

I want to recommend The Way Back because it is so very well made. Peter Weir is a master director who gives this story a visceral, agonizing and yet triumphant feel. But, based on my description is this a movie you want to see? At well over 2 hours The Way Back is an extensive and exhaustive inventory of suffering even with it’s thrilling and cathartic conclusion. The poster for The Way Back could boast the word ‘Grueling’ and count it as a positive. 

Film buffs and historians perhaps will be rewarded with a comprehensive, fictional account of what may be the greatest single physical feat that a man has ever undertaken. The truth of Witold Glinski's story remains in question but history buffs may find the details of Weir's telling of this story revealing. Film buffs will surely be impressed with director Peter Weir's masterful direction but beyond the buffs The Way Back is a tough movie and one that I cannot recommend for a general audience.

The feel good ending is great but the journey to get there is agonizing and that’s not really the reason most people go to the movies. Unless you are someone who hears a movie described as ‘Grueling’ and ‘Agonizing’ and gets excited, I would recommend not seeing The Way Back. Perhaps as a primer, read Ronald Downing’s book, ‘The Long Walk, on which The Way Back is based. If you can get through that book and think you want to see that in a movie, then see The Way Back.

Movie Review Minority Report

Minority Report (2002) 

Directed by Steven Spielberg 

Written by Scott Frank, Jon Cohen

Starring Tom Cruise, Colin Farrell, Samantha Morton, Max Von Sydow 

Release Date June 21st, 2002 

Published June 20th, 2002 

I have never cared for science fiction. Most science fiction, to me, is gory trash referred to as sci-fi because no one knows what else to call it. The science in sci-fi films is usually somewhat suspect, lacking in any real possibility. Furthermore, the vision of the future is usually very bleak and depressing with a low opinion of us in the audience, often blaming us for the destruction of the fantasy future. Steven Spielberg's Minority Report is nothing like the recent trend of trash sci-fi. This film has a brain and a point and it also happens to be entertaining.

The film stars Tom Cruise as John Anderton, the head enforcer of Washington D.C's Precrime division. Precrime is designed to stop murders before they happen through the use of computers and genetically engineered humans called Precogs. The Precogs can see a murder before it happens and communicate the images to computers which are manipulated by the police to figure out who the murderer is and where the murder will take place.

As we enter the story there hasn't bee a murder in DC in six years. The system, in Anderton's opinion, is flawless. Colin Ferrell, as a cop for the justice department, is more pragmatic and investigates on the basis that nothing is foolproof. We soon find out there may be a flaw as Anderton is fingered as a future murderer of a man he's never met.

This leads to some spectacular chase scenes and awesome special effects that are surprisingly realistic. Spielberg employed real sets and stunts with special effects and CGI which helps Minority Report to feel more grounded and real than say George Lucas and his entirely CGI backgrounds or Sam Raimi's CGI Spiderman. The integration of the real sets and stunts with the CGI and effects is flawless and Janusz Kaminski's cinematography makes everything just that much more dynamic and real. Minority Report however is no mere technical achievement. The story is fascinating. It's based loosely on a Philip K. Dick story but punched up for a more modern, futuristic approach by Scott Frank.

Legendary science fiction writer Isaac Asimov once said, and I'm paraphrasing, that the best science fiction is a logical extension of existing technology. Minority Report has the feeling of eerie prescience. It's not prophetic but it seems like a logical extension of existing technology. Scenes of touch screen computers and holographic images are science already in sight. Also the idea of genetically engineered people is not the least bit far fetched with the recent controversy over cloning and the genome project. Of course engineering people who can see the future is unlikely, but it is just a movie.

If I had any trouble with the film it was the ending. Spielberg may still be feeling the effects of his downer ending in A.I. I don't want to give too much away but let's just say the false ending is slightly more satisfying than the one that follows it. Still, Minority Report worked for me. I was fascinated by its ideas, drawn in by its story and awed by its adventure. Let's hope Cruise and Spielberg work together again soon as they bring out the best in each other.

Movie Review Phone Booth

Phone Booth (2003) 

Directed by Joel Schumacher 

Written by Larry Cohen 

Starring Colin Farrell, Kiefer Sutherland, Katie Holmes, Forrest Whitaker, Radha Mitchell 

Release Date April 4th, 2003 

Published April 3rd, 2003 

Like many fans of the D.C Comics Superhero Batman I have harbored a good deal of resentment toward Director Joel Schumacher for screwing up the Batman movies. However, whether I've become more mature or Schumacher's films have gotten better, that resentment has lessened. As Bat nipples and bat credit cards recede into the past, I find myself not liking Schumacher's take on the blockbuster franchise, but also not caring nearly as much as I once did about Schumacher having made a bad Batman movie. 

Since his Batman debacle Schumacher has done good work. Schumacher's work on Tigerland, for instance, was astonishingly low-tech yet very artful as the director coaxed a star turn out of then unknown actor Colin Farrell. Now with Schumacher's return to the big budget Hollywood machine, he brings Farrell with him in the minimalist action pic Phone Booth. I find myself once again appreciating the artistry of the man who killed Batman.

In Phone Booth, Colin Farrell is shady public relations guy Stu Shepard. Though Stu is married to Kelly, played by Radha Mitchell, he is also romancing a young starlet named Pam, played by Katie Holmes. When Stu decides to use a payphone booth to call Pam rather than one of his three cell phones, he finds himself the target of a crazed assassin (Kiefer Sutherland's voice). If Stu leaves the booth, he will be shot.

Stu's situation is complicated by a group of prostitutes who want the phone booth and are becoming increasingly more agitated. When the prostitutes get a male friend to try and remove Stu from the booth the assassin shoots the guy and Stu is blamed. As cops arrive, led by Forest Whitaker as the police negotiator, so do the media as well as Stu's wife and girlfriend.

This is quite a daring setup and the execution is flawless. When writer Larry Cohen pitched this story he had to have been met with a number of blank stares. So it comes as no surprise that he's been pitching the story for nearly 20 years. It wasn't until Joel Schumacher signed on that studios began to get interested in this challenging premise. Schumacher's involvement brought some interest from big name stars such as Jim Carrey and Will Smith but it's Farrell (admittedly the cheaper alternative to Carrey and Smith's $20 Million dollar price tags), who took the role and proved to be the perfect choice.

Farrell brings just the right combination of smarm and charm to the role of Stu. Farrel recalls a young Al Pacino, with his sweaty, passionate and energetic performance. Farrell melts down like a pro. As Stu slowly melts from cocky confident defiance to contrite good guy, Farrell never panders to the audience, never begs to be liked. Farrell remains true to the character’s nature, attempting to lie and negotiate his way out all the way to the end, always looking for an angle. 

The real star of Phone Booth however is Joel Schumacher, who's sweeping camera ratchets up the tension from beginning to end. Schumacher does a first rate Hitchcock impression taking this difficult premise and wringing every last bit of tension from it. Using the same real time approach that Hitchcock employed in Rope, Schumacher uses dialogue and stellar camerawork to keep the audience constantly off balance and on the edge of their seat.

Recently Joel Schumacher admitted that he screwed up Batman. That admission and a few more excellent films like Tigerland and Phone Booth and maybe I can forgive him. Of course, there is still 8MM to apologize for but let's leave that for another day. -

Movie Review Miami Vice

Miami Vice (2006) 

Directed by Michael Mann 

Written by Michael Mann 

Starring Colin Farrell, Jamie Foxx, Gong Li, Naomi Harris, Ciaran Hinds, Justin Theroux

Release Date July 28th, 2006 

Published July 27th, 2006 

Miami Vice the movie bares little resemblance to Miami Vice the TV show. Gone are the warm pastel colors, the linen suits and the alligators kept as pets. The trivial elements of the TV show are gone, replaced by a gritty sense of reality. Director Michael Mann, who created the TV show back in 1984, has eliminated the cheese factor of the TV show but in doing so also jettisoned the shows sense of humor and fun in favor of a grim belabored police procedural that is so consumed with presenting a realistic portrayal of the inner workings of being an undercover cop that it forgets to be entertaining.

Not that Miami Vice is a bad movie, hardly. In typically Michael Mann fashion, Miami Vice is sexy and violent with an air of undeniable cool.

Sonny Crocket (Colin Farrell) and Ricardo Tubbs (Jamie Foxx) are partners who, when we meet them, are about to take down a prostitution ring. Before the bust can go down however, Crockett gets a call from a frantic former informant, Alonzo (John Hawkes), who babbles about not having given up Crockett and Tubbs. Having given Alonzo to the feds, Crockett and Tubbs know that something bad is about to go down.

A group of white supremacists, cutting deals with Colombian drug lords, used Alonzo to ferret out FBI undercover agents and have killed them. Now only Crockett and Tubbs can go undercover and take down the supremacists and the Colombians headed up by Jose Yero (John Ortiz) and his partner Isabella (Gong Li). They work for another man, an untouchable named Arcangel (Luis Tosar). The game Crockett and Tubbs run involves inserting themselves into the transportation operations of the Colombians using high speed boats and planes.

The plot of Miami Vice is typical cops and criminals stuff that many other directors have presented before. Mann's only real twist on it is in indulging his love of the procedure of being an undercover cop. Mann loves the planning that goes into an undercover operation, he loves the execution and conclusion. Unfortunately his love only extends to a mere presentation of the facts of procedure. He fails to make these procedures come to life in an engaging and entertaining way.

Miami Vice is as slick and stylish as the TV series ever was. The difference comes in the general tone which is not merely serious but rather angry. Farrell and Foxx play Crockett and Tubbs as scowling, grim faced thugs with zero humor who only become human when they are bedding beautiful woman, Farrell bedding down the lovely Gong Li in a passion free subplot and Foxx in a simmering scene with a fellow undercover officer played by Naomie Harris.

Colin Farrell continues his war with stardom in Miami Vice by delivering yet another glum charisma free performance. Like his Alexander The Great, Farrell's Sonny Crockett is a mumble mouthed downer who barely sparks to life even when bedding a beautiful woman. His intensity does pick up near the end during a climactic gun battle but for most of the film Farrell is pissed off at some point in the distance that he keeps staring at.

Oscar winner Jamie Foxx deserves better than a role that has him playing second fiddle to Farrell. Where Farrell is mumbling and charisma free, Foxx gives a charge to his few featured scenes. There is simply no explanation why Michael Mann gives most of the movie away to Farrell while keeping the multiple Oscar nominee Foxx in the background. More Foxx, less Farrell, better movie.

One of the few things that Mann's Miami Vice movie excels in is hot transportation. The boat, the Donzi triple engine ZF -one of two different boats used in the film- is pure speed on water. The plane, the Adam A500 twin engine, is state of the art with props on the front and back for speed and maneuverability. And, of course the cars are hot and make you wonder just how police departments are spending your tax dollars. The Bentley that gets blown to smithereens certainly would set the average undercover unit back a pretty penny

Regardless of the many problems with Miami Vice there is still much to enjoy about the film. Michael Mann's direction is typically assured and his violence is first rate. Watch for a standoff scene between the Vice squad and some trailer dwelling white supremacists. Actress Elizabeth Rodriguez stars in this scene delivering a very quick, very powerful monologue before dispatching the scene with a violent flourish.

For Michael Mann violence is like a symphony building to grand awesome crescendos. From the street gun battle in Heat to Tom Cruise's charging nightclub chase in Collateral to the final gun battle in Miami Vice, Michael Mann proves himself a master conductor of screen violence. The action in Miami Vice is quick and visceral like a concerto at 33 rpm's. The blood that is spilled is spilled quickly and splatters with the explosive power of real bullets.

The look of Miami Vice, grainy, gritty digital video, bathes the picture in a documentary realism that is at odds with the mundane presentation of the plot. Michael Mann's obsession with the behind the scenes of an undercover cop plot never really gets any entertaining momentum. When Farrell, Foxx and their team are planning the next phase of their operation the film lapses into serious tedium that lasts even as they begin to get into the action where Mann excels.

Deeply flawed as an entertaining action movie, Miami Vice is undeniably artful and even at times very cool. With a more charismatic lead performance, a little more Jamie Foxx, and a little less of the inside baseball on being an undercover cop, Miami Vice could have been quite an awesome picture. As it is I recommend it for fans of Michael Mann, women who love to ogle Colin Farrell, and fans of screen violence.

For everyone else Miami Vice is just another TV spinoff.

Movie Review: Crazy Heart

Crazy Heart (2009) 

Directed by Scott Cooper

Written by Scott Cooper

Starring Jeff Bridges, Maggie Gyllenhaal, Robert Duvall 

Release Date December 16th, 2009 

Published by December 15th, 2009 

Very often the Oscars turn into the Hollywood Lifetime Achievement Awards. That will likely be the case with the Oscars this year as one of Hollywood's most beloved actors, Jeff Bridges,is the front-runner for one of Hollywood's biggest prizes, Best Actor in a Leading Role. Now, to be clear, I love Jeff Bridges. “The Big Lebowski” is my favorite film of all time. However, Jeff Bridges' work in “Crazy Heart” is solid but not spectacular and certainly not the Best Performance by an Actor in a Leading Role. 

For one thing, George Clooney delivers a far more complex, thoughtful and engaging performance in Jason Reitman's wonderful drama, “Up in the Air.” For another example Jeremy Renner's intensity and focus in The Hurt Locker would be a winner in any other year. Bridges' performance is authentically battered, broken, and genial but there is little depth to his drunken country singer, Bad Blake, in “Crazy Heart.”

Bad Blake was once a pretty big star in the world of Country Music but alcohol and a lack of a good accountant have laid him low. These days ol' Bad can be found playing rundown taverns and in an early scene, a bowling alley. There is still hope for Bad but he will have to clean up and swallow his pride a little. Bad's former back up band member Tommy (Colin Farrell) is now a huge star and he's willing to give Bad a break if he'll take it.

While Bad's busy fending off Tommy and his second chance, a trip to New Mexico brings Blake into the life of Jean (Maggie Gyllenhaal), a wannabe music journalist. Jean wants and gets an interview with Bad Blake that she believes could be her big break. Bad, meanwhile is quickly smitten with the much younger and very beautiful writer. His music charms her into his bed and soon Bad is bonding with her very young son.

Where the story goes from there is for you to discover. Jeff Bridges makes all the minor melodramatic turns affable and helps avoid most cliches of this kind of redemption drama but there is nothing particularly special about Crazy Heart. Director Scott Cooper doesn't reinvent the wheel with his dusty, slightly battered shooting style that, though it does well to match Bad Blake's boozy and beat up lifestyle. it lacks insight and the drama is relatively inert in its predictability. 

Movie Review Fright Night (2011)

Fright Night (2011) 

Directed by Craig Gillespie 

Written by Marti Noxon 

Starring Anton Yelchin, Colin Farrell, David Tennant, Imogen Poots, Toni Collette 

Release Date August 19th, 2011 

Published August 18th, 2011 

"Fright Night" is a mixed bag of a remake. On the one hand there are a few very effective scares and moments of skin-crawling creepiness. On the other hand, the two leads, Colin Farrell as Jerry the Vampire and Anton Yelchin as Jerry's teen neighbor turned Vampire Hunter, are on such awesomely different wavelengths that you're left laughing at Farrell's arch, over the top vamping and yawning at Yelchin's vanilla good guy.

The population of the Las Vegas suburb that is home to the 2011 "Fright Night" is not a very observant group. Their ranks have grown smaller and smaller ever since that handsome overnight construction worker, Jerry (Farrell), moved into the neighborhood. In fact, people keep not returning from his house whenever they visit. Charlie (Anton Yelchin) is among those who don't catch on quickly. Jerry is Charlie's next door neighbor and yet Charlie is quick to deny there is anything odd about Jerry. Charlie's nerdy ex-pal Ed (Christopher Mintz-Plasse) however, is onto Jerry from the get go. 

When Ed falls victim to Jerry it finally gets Charlie motivated to figure out what's going on with his unusual neighbor. "Fright Night" pits Farrell's Jerry against Yelchin's Charlie in a life and death battle in which Charlie must defend his mother, played by Toni Collette, and his hot girlfriend Amy, played by Imogen Poots, while trying not to tell them that Jerry is a Vampire. That notion lasts far too long and causes only a series of painfully awkward scenes where Charlie acts strange and then denies that he's acting strange.

Finally, Jerry puts an end to the awkwardness by flatly demonstrating his Vampire-ness in attempting to kill Charlie, Amy and Mom. This reveal leads to the best sequence of "Fright Night," a late night chase in which Farrell's Vampire chases down the trio in their minivan, gets dragged beneath said minivan, and is eventually stopped, for a few minutes anyway. It's a terrific sequence; unfortunately the rest of "Fright Night" lacks the energy and invention of this sequence and the film as a whole suffers. 

The biggest problem with "Fright Night" is the complete lack of chemistry between Farrell and Yelchin, each of whom is playing a vibe that is completely at odds with the other. In "Fright Night" Colin Farrell chews the scenery so much that Bela Lugosi might advise him to take it down a notch. Anton Yelchin meanwhile, is so staid and low-key you wonder if he has forgotten what movie he's making. Yelchin's entire Vampire fighting comes off as perfunctory as a result of his laconic performance, as if he were only roused to action because the script requires it.

When Yelchin is later partnered with David Tennant, as Vampire expert Peter Vincent, the mismatch of energies becomes even more pronounced. Tennant, a fine actor, best remembered as Dr. Who, sadly comes off as a prancing, slightly more serious version of Russell Brand. You can decide for yourself whether you think that is a good thing or a bad thing; the main point is that Tennant, like Farrell, is more energetic and attention grabbing than Yelchin's dull hero.

Fright Night was directed by Craig Gillespie, whose best work, Lars and the Real Girl, was an oddly sweet movie about an oddball in love with a sex doll. Gillespie used the strange energies of his lead actor, Ryan Gosling, to craft a movie that was unlike any other movie you've ever seen. Gillespie may have been attempting to find something strange in Yelchin's performance but neither he nor Yelchin ever finds that point of uniqueness and the film suffers for it.

Gillespie also, quite unfortunately, is not above hoary clichés like people running upstairs when they should look for a door or a window, or employing a cheap yet popular theme with modern Vampire movies, making up rules for Vampire behavior that are vague enough that Jerry and his Vampire minions can break some rules while adhering to others at the convenience of the plot. I cannot deny that moments of "Fright Night" are honestly scary and creepy but those scenes can't make up for all the stuff that just doesn't work in "Fright Night."

Movie Review: The Recruit

The Recruit (2003) 

Directed by Roger Donaldson 

Written by Roger Towne, Kurt Wimmer, Mitch Glazer 

Starring Al Pacino, Colin Farrell, Bridget Moynihan, Gabriel Macht 

Release Date January 31st, 2003 

Published January 30th, 2003 

Is Al Pacino's act running thin? An unquestionably brilliant actor for most of his career, Pacino has been uneven at best in his most recent work. His last, the Hollywood satire Simone, was a middling comedy that featured a mugging, forced performance by Pacino. However, the film before that, the ingenious thriller Insomnia, showed Pacino at his best. His newest work continues the spate of uneven performances as Pacino plays mentor/tormentor to Colin Farrell in The Recruit.

In The Recruit, Al Pacino plays CIA recruiter Walter Burke, a grizzled vet whose job it is to find the next generation of agents. Burke has his eye on an MIT student named James Clayton (Farrell), whose father may or may not have been an agent himself. Clayton isn't interested at first, but suspicions as to whether his father was an agent and whether Burke knew him, and how his father died, cause Clayton to join up.

Soon Clayton is shipped off to the Farm, the CIA's highly secretive spy training ground. Burke is the Farm's lead trainer and though he was friendly with Clayton while recruiting him, Burke is quick to let Clayton know that things are different on the Farm. From now on, nothing is what it seems as students and teachers turn tables on each other in a series of testy spy games meant to wash out the weak and send the strong on to the CIA. While at the Farm, Clayton meets Layla (Bridget Moynihan), another potential agent whose alluring chemistry with Clayton may or may not be an act.

The Recruit is a construct of numerous setups meant to lead the audience in one direction and then pull the rug out from under them. Unfortunately, the setups are rather ham-handed and lack any real suspense. Any intelligent audience member can see where the film is going. That is, until the end--which is a minor surprise--but by then, the movie has spent so much time jerking the audience around with one random twist after another, it becomes hard to really care.

Farrell is very good in a role that requires his character to be very smart but yet, easily manipulated by Pacino's character who may a bad guy or may be a good guy. Farrell has the look of a star; he's charismatic and engaging with a strong good-guy swagger. There are moments where he evokes a young Mel Gibson. Like it or not, that Hollywood buzz about Farrell being the next big thing may be more than just hype.

If the rest of The Recruit were as good as Farrell, it would have been a very good film. Unfortunately, director Roger Donaldson takes this intelligent character and buries him with an uninteresting love interest, a hammy Al Pacino, and a plot that twists and turns so much as to exhaust the audience rather than entertain it. Colin Farrell has a very bright future in front of him and The Recruit will do little to slow his momentum as he builds towards bigger roles in Daredevil and the delayed, but much buzzed about, Phone Booth. The Recruit will be just another film on his resume soon enough.

Movie Review: The New World

The New World (2005) 

Directed by Terence Malick 

Written by Terence Malick 

Starring Q'orianka Kilcher, Colin Farrell, Christian Bale, Christopher Plummer, Wes Studi 

Release Date December 25th, 2005

Published Decemeber 23rd, 2005 

A Terence Malick movie is an event. Not just because that, in his thirty plus year career, he has only directed four features. It's because each of those four pictures have been accomplished by a master director. That doesn't mean that Malick or his work is universally beloved. Only that his work is undeniably the work of a director who's heart and soul goes into every film.

All of Malick's features have the divisive of power of great art that brings out strong emotions in those that love it and those that do not. Malick's latest feature may be the ultimate example of his polarizing work. The New World has split the critics and moviegoers more than any of his previous films. The New World examines the founding of America in a stylized epic fashion that utilizes its environment as a character as much as its actors. It's one extraordinary experiment.

By 1609, The New World had long been discovered by Europe, but it was yet to be colonized. A ship carrying the very first Americans, as they would someday come to be called, arrived with all of the grandeur and arrogance that has come to define the American character in the nearly 400 years since. Great English ships with huge sails soaring arrive in what would become Jamestown to establish the first colony.

Led by Captain Newport (Christopher Plummer) the settlers are aware of the indigenous people, or naturals as they call them, that await them in the new world, and Newport sets the tone early on, urging his people to engage the naturals peacefully. The first encounter between these two tribes is a fascinatingly Malick experience. Mostly wordless, they meet in a field of high weeds with the soundtrack bereft of all but the sounds of nature. The naturals greet these alien newcomers with wary fascination; the settlers with edgy excitement bordering on murderous fear.

After this initial encounter, the naturals watch as these newcomers begin building their makeshift forts and homes. There is more interaction but the language and cultural barriers lead often to violent misunderstandings. Eventually it is decided that in order to make peace with the naturals, a group of settlers must go forth to their encampment and attempt to establish trade, while Newport sails back to England to gather more supplies.

Captain John Smith (Colin Farrell), who arrived in the new world as a captive, is chosen to lead this expedition because of his military training. The trip initially becomes a violent encounter as the naturals defend their camp from this outside intruder. Smith is beaten and captured. Taken to Chief Powhaton (August Schellenberg) he is sentenced to die until the chief's daughter, nameless in the film though history calls her Pocahontas (Q'orianka Kilcher), throws herself across Smith's body and begs for mercy. The Chief acquiesces to his daughter and Smith is allowed to live. Staying among the naturals, Smith and Pocahontas begin a unique and transfixing love affair.

The story of The New World continues beyond Smith and Pocahontas' love affair and basically bypasses the story of the founding of America to tell the story of this extraordinary young girl who braved the frontiers of her family, her tribe and the unknown dangers of the of Americans and their English home. When John Smith chooses to disappear, Pocahontas meets John Rolfe (Christian Bale) and eventually makes her way to England in scenes that are just as powerful as the initial scenes in set in America.

The New World is as much a beautiful travelogue vision of early America and England as it is a history lesson or a love story. All of these diverse elements work because each is part of the same symphony, all being conducted by Terence Malick. His mastery of visuals is unquestioned, and his legend only grows with the wondrous landscapes of The New World. Terence Malick is underrated is in his storytelling which, in this case, mixes perfectly a realistic representation of American history with a powerful and deeply moving love story.

15-year-old Q'Orianka Kilcher is the centerpiece of The New World and is all the more amazing for the fact that this is one epic film that she holds together brilliantly. Malick's camera seeks her at every moment and bathes in her radiant spirit. It is not difficult to see why Malick cast this beautiful teenager, she has that innocent star quality and assuredness that can only be ascribed to the naivete of youth. She is never nervous about being the center of an epic movie because she doesn't appear to realize that she should be.

Be forewarned that The New World is not for every audience. Fans of Malick, like myself, walked into The New World expecting to fall in love with it and were not disappointed. On the other hand, non-fans may find Malick's love of scenery and luxuriant pacing off-putting. The film is long, at nearly three hours, something else that might test the patience of non-Malick fans.

However, if you consider yourself a film fan, I cannot imagine not loving The New World. Malick's painterly directorial strokes, Q'Orianka Kilcher's enthralling performance and the wide historical scope of the film are just the kind of ambitious film-making exploits that film buffs love. Malick is an auteur, a visionary whose genius makes even his indulgent flaws endearing.

A work of wondrous imagination and skill, The New World is Terence Malick at the height of his powers. Not for all audiences but for an audience willing to indulge a masterful director's vision, The New World is a more than rewarding experience. If you can't tell, I love this movie!