Movie Review Kidnap

Kidnap (2017) 

Directed by Luis Prieto

Written by Knate Lee 

Starring Halle Berry, Lew Temple

Release Date August 4th, 2017

Halle Berry has been on an astonishing losing streak at the box office since she won the Academy Award for her starring role in Monster’s Ball. Ever since the night she won people’s hearts with her teary and historic Oscar acceptance speech, Berry has made one wrong turn after another whether making bad big budget comic book movies, all X-Men sequels or spinoffs, or bad low budget thrillers, Perfect Stranger, Gothika, The Call, or head-scratching, defiantly awful fare such as Movie 43, Cloud Atlas and Catwoman, Berry seemed bent on full career sabotage.

This brings us to Kidnap which by default, Things We Lost in the Fire wasn’t bad, may be the best movie Berry has made in well over a decade. The story of a mother attempting to retrieve her stolen child, Kidnap may be a super low budget, cheapie thriller, but Berry gives the role all she’s got, even if she is occasionally out shined by her magical car-chase minivan.

In Kidnap Berry portrays Karla Dyson, a waitress who somehow can afford a brand-new Ford minivan on a salary of tips and minimum wage. Karla is amid a divorce and a custody battle when she takes her son Frankie (Sage Correa) to a carnival at a local park. When her divorce attorney calls, Karla takes her eye off her son for a moment and doesn’t see him again until she spies a large woman wrestling the boy into a beat up old Mustang.

After attempting to wrestle the Mustang to a stop with her momma bear determination, Karla loads into her minivan to give chase and Kidnap becomes an almost non-stop car chase thriller. I will say this for director Luis Prieto, he keeps up a quick pace. Kidnap comes and goes in just over 80 minutes and there is very little fat on the narrative. The film’s camera work and editing can be a tad too chaotic but that’s likely a function of the setting, a New Orleans highway system, and the film’s very tight budget.

Find my full length review at Geeks.Media 

Movie Review John Wick 3 Parabellum

John Wick Parabellum (2019) 

Directed by Chad Stahelski 

Written by Derek Kolstad, Shay Hatten, Chris Collins

Starring Keanu Reeves, Halle Berry, Mark Dacascos, Ian McShane, Lance Reddick

Release Date May 17th, 2019

Published May 17th, 2019

The John Wick franchise is the best thing Keanu Reeves has done in his career. I realize that won’t be a popular statement with the fandoms of Bill & Ted’s Excellent Adventure or The Matrix, but it's true. The role of supreme assassin John Wick fits Keanu Reeves like a perfectly tailored bulletproof suit. Reeves’ very physical being seems to have been crafted to act out John Wick’s incredibly choreographed violence. It’s a joy to behold for fans of action cinema.

John Wick Chapter 3: Parabellum (Prepare for War) picks up in the immediate aftermath of John Wick Chapter 2. John now has a $14 million dollar bounty on his head and is considered Excommunicado by the community of assassins amongst whom he’d been considered the greatest of all. Now, thanks to his old friend, Winston (Ian McShane), John has one hour to get his affairs in order before his own contract goes live and he becomes a target.

Writer Derek Kolstad and Director Chad Stehelski, who’ve each been with this franchise from the start, have a remarkable talent for world building, as they’ve demonstrated in each of the first two Chapters of the John Wick story. The layer upon layer of dynamic mythology that Stahelski and Kolstad have crafted within this John Wick universe kicks right back in with John Wick Chapter 3 and draws you right back into this unique world in mere minutes.

The odds are well stacked against John Wick and yet, the screenplay does a remarkable amount of work to sell you the idea that an army the size of a small country won’t be enough to slow down our hero. The same mythologizing that gave us such compelling details as The Continental, a hotel for assassins only, a service that caters to killers by removing large numbers of dead bodies, and so on, also gives us a John Wick personal mythology that makes Wick both the Devil incarnate and Death in human form.

John Wick carries this remarkable air of menace and invulnerability, it’s like rooting for a horror movie villain. John Wick could come up on Jason Voorhees and you would fairly assume John Wick is the more fearsome of the two. That comes from Derek Klolstad’s exceptional script which takes care to include dialogue that never lets up in putting over the idea of John Wick as the most remarkable killer since the plague.

The fight choreography in John Wick Chapter 3 is insanely awesome. A fight scene inside what appears to be a weapons museum is gloriously staged with gut wrenching violence that also happens to be incredibly witty. The audience I was with watching John Wick Chapter 3 groaned and hollered and giggled with delight at the various unique ways John Wick murdered potential assassins. Knife throwing, neck cracking, close quarters combat, all of it at a breakneck pace that never feels too fast. It’s damned brilliant and director Chad Stahelski and stunt coordinator Jonathan Eusebio deserve all the praise imaginable for this remarkable work.

Keanu Reeves, as I mentioned, has never been better than when he’s in John Wick’s black, bulletproof suit. His blank slate face is a perfect mask for the baddest killer on the planet. The character calls for an actor who masks his emotions and never betrays his thoughts to his opponents and Reeves is remarkably great at not letting anyone in on his inner thoughts. In the past, that might be me calling Reeves boring, or dim, but in John Wick, it comes off as the perfect choice for how to play this character.

John Wick doesn’t show weakness, he rarely appears to register pain, he’s never cocky or flashy and he doesn’t smile. All of those qualities are exactly the kinds of things that have held Keanu Reeves back in other movies and yet, with John Wick, it’s as if the character were tailored for Reeves’ unique acting talent. Reeves’ wiry physicality, and powerhouse use of angles and leverage, it could be a stunt person or CGI, whatever, it looks awesome. He doesn’t just play John Wick, his body appears to have been built specifically for the balletic violence of this character.

I completely adore John Wick Chapters 1,2 and 3. This is a great franchise with a remarkable pace, incredible style and a performance by Keanu Reeves that is relentlessly entertaining. John Wick is incredibly violent and that should be noted here for those who think they want to see what is likely going to be the number 1 movie in America on opening weekend. John Wick Chapter 3 is filled with bloody, gory, brutal violence, of the hard R-Rated variety. If violence is a turn off for you, John Wick Chapter 3: Parabellum is not the movie for you.

Movie Review: Things We Lost in the Fire

Things We Lost in the Fire (2007) 

Directed by Susanne Bier 

Written by Allen Loeb 

Starring Halle Berry, Benicio Del Toro, David Duchovny, Omar Benson Miller, Allison Lohman

Release Date October 19th. 2007 

Published November 5th, 2007 

The Oscar curse is over for Halle Berry. After subjecting herself and us to the horrors of mainstream flotsam like Catwoman, Perfect Stranger and Gothika, following her well deserved Oscar for Monster's Ball, Halle Berry is back in stride in Things We Lost In The Fire. This difficult drama, co-starring Oscar winner Benicio Del Toro, brings Halle Berry back from the brink with a character every bit as memorable and deeply affecting as her Monster's Ball award winner.

Steven Burke (David Duchovny) was loved by his family and loyal to his friends. He was the kind of guy who would go out of his way for you, friend or stranger. When he died, he left a hole that would be impossible to fill. Steven's death is the dramatic drive of Things We Lost In The Fire which stars Halle Berry as Steven's wife Audrey and Benicio Del Toro as his troubled best friend Jerry.

Playing out in flashbacks and flash forwards we see Steven as the Mr. nice guy that he was, we see his funeral and its aftermath. The style sounds distracting but under the skilled eye of director Suzanne Bier we are never lost or confused. Bier uses this style to great advantage, setting up dramatic points and paying them off with powerful, cathartic moments.

Benicio Del Toro's Jerry is a heroin addict and yet Steven remained his friend. Taking time week after week to drop in on Jerry, Steven is saint-like in devotion to his old friend. When he dies, Jerry is the last to know and his arrival at the funeral in his rumpled over sized suit and dark circled eyes, is greeted with great discomfort.

Despite her obvious discomfort, Audrey is driven to take up her husband's cause and check in on Jerry. When she see's him honestly attempting to get sober; she does what she thinks Steven would have done and invites him to stay in their garage, easily converted to a small apartment. The conceit sounds strained, she has two kids and brings a virtual stranger and drug addict to live in her home? It's a stretch but Berry and Del Toro make us believe it.

Suzanne Bier is from Germany and she brings a distinctly European conceit to Things We Lost In The Fire. Focusing on her actors to tell the story, rather than employing an arching narrative, Bier gets inside these characters through the eyes of her actors. Tight close ups, right on the eyes truly give us a sense of these characters' pained souls.

Things We Lost In The Fire can be oppressively sad at times. This is a very downcast film. It's about loss and pain and heartache. On the other hand it's also about remembrance, recovery and catharsis. Allison Lohman plays Kelly in the film, a member of Jerry's narcotics anonymous group and she has a moment in Things We Lost In The Fire that is beautifully bold and probing. It's about remembering, it's about forgiveness and it leads to more powerful moments of catharsis.

John Carroll Lynch, so good in David Fincher's Zodiac earlier this year, is a real scene stealer as Steven and Audrey's neighbor, Howard, who adopts Jerry as his new best friend. Desperately unhappily married  Howard is kind of pathetic but in a cheery sort of way. He first meets Jerry at Steven's funeral and after Jerry moves into the garage, Howard insinuates himself into Jerry's daily life, eventually offering to help him get a job.

Like the tremendous star turns of Del Toro and Berry, these supporting turns are nearly flawless in their execution and in the way that director Suzanne Bier reveals them.

Things We Lost In The Fire has a few minor issues. The structure can be a little jarring and there is one scene, late in the film, between Del Toro and Berry involving her asking him about drugs, that is truly wrongheaded, nevertheless this is an exceptional film. The acting is phenomenal. The direction is of near perfect pitch and though it is admittedly grim in tone, the cathartic moments more than make up for the sadness.

Hey, sometimes a good cry isn't such a bad thing.

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: Catwoman

Catwoman (2004) 

Directed by Pitof 

Written by John Brancato, Roger Ferris, John Rogers 

Starring Halle Berry, Sharon Stone, Frances Conroy, Benjamin Bratt 

Release Date July 23rd, 2004 

Published July 23rd, 2004 

I don’t know what your opinion is, but for my money Michele Pfeiffer’s Catwoman in Batman Returns rocked. She was sexy, she was funny, and she and Michael Keaton’s Batman had a fiery chemistry. If ever there was a chance for Catwoman to be made into a stand-alone film character, it was with Pfeiffer and director Tim Burton about 12 years ago.

Of course, timing and good buzz do not mean much to dunderheaded studio execs whose arrogance tells them they can sell anything at any time. That arrogance is what gives us this new Catwoman movie without Pfeiffer and Burton and without any connection to Batman. Halle Berry and someone called Pitof are behind this Catwoman and while Berry fits the costume that is about all that fits in this lame repackaged comic book misfire.

Patience Phillips (Berry) is a mousy wannabe artist who works in advertising because she’s too scared to be a real artist. While working on a big project for a new cosmetics line, Patience comes across a chilling secret; the company’s newest product is an addictive face-destroying disaster. Before she can do anything about it she is found by the evil cosmetic company henchman and killed.

Yes indeed, Patience died, but is reborn when a gaggle of Cat’s discovers her body and one special cat delivers some kitty CPR. The strange cat called Midnight is owned by an even stranger woman, a crazy cat lady played by Six Feet Under star Frances Conroy. The crazy cat lady explains how Patience was brought back to life as a Catwoman and that she will now have all sorts of new powers and odd cravings.

Before Patience became Catwoman she met a guy, a cop named Tom Lone (Benjamin Bratt). Tom happens to be the cop on the case when Catwoman is accused of robbing a jewelry store and eventually multiple homicides. The idea that Tom doesn’t recognize Patience is Catwoman is suspension of disbelief stretched to its breaking point. Catwoman must prove her innocence and stop the evil cosmetics company led by Laurel Hedare (Sharon Stone). If your thinking catfight, well duh.

Here is the amazing thing. Most, if not all of this mindblowingly-ridiculous plot is played straight. Anyone with half a brain could sense the camp potential of this material. Anyone that is, except for director Pitof who thinks he’s making a straight action movie. Pitof also convinced his star Halle Berry to play this material with a straight face which sinks any chance she had of succeeding in this role.

Halle’s Patience is a female Steve Urkel who, when she becomes Catwoman, is never believable. Delivering awful cat puns and mimicking cat behaviors, Berry comes off as something akin to a furry, minus the proper furry costume. She's got the cat cosplay down but any trace of anti-hero turned superhero is distinctly lacking. Part of the joy of Catwoman is her villainous side that softens ever so slightly via the tempting attraction to Batman. Since there is no Batman in this universe, Catwoman is forced to rely entirely on a badly contrived plot and the aforementioned and awful cat puns. 

There is the romance aspect, yeesh! Halle Berry and Benjamin Bratt spark the chemistry of two good friends or perhaps cousins who are a bit too close for comfort. But they never connect as potential bedmates. Benjamin Bratt has never been this bland on screen even on TV's Law & Order which didn't require much personality to begin with. Bratt is almost catatonic in Catwoman, his expressions rarely change. It doesn’t help that he’s saddled with a detective character more clueless than Clouseau.

The only member of the cast with any awareness of the camp material they’ve been given is Frances Conroy who tosses her dignity to the wind as the crazy cat lady. Conroy has to deliver the films most laughable dialogue as she explains what a Catwoman is and how it came to be. She deserves some kind of award for delivering her monologue with a straight face, though it likely took a few takes.

Pitof a former visual effects supervisor on films like Alien Resurrection and Luc Besson’s Joan Of Arc flick Messenger, he learned a little on those films as he does show some visual flare. However as a novice director he also has an unhealthy obsession with closeups and flashy unnecessary camera movement. The guy has some talent and with time he could round into a pretty good director but he is very raw and much too raw for such a high-profile project.

Though his background is reportedly in special effects, director Pitof comes off like an amateur when it comes to CGI. The Computer Generated Images in Catwoman are absolutely abysmal. Part of the problem could be that many of us have recently seen great CGI work in Spider-Man 2 and or I, Robot, two tremendously accomplished special effects spectaculars. But, the real problem is the seeming lack of care and ability behind the CGI in Catwoman. Just look at the way Halle Berry's Catwoman glistens when she becomes a special effect. She becomes shiny and rubbery and obviously not a person. She could be a character in a Pixar movie, that's how damningly obvious the special effects of Catwoman are, it's as if a Toy Story character emerged in real life but remained animated. 

The problem with Catwoman is the fact that it was made at all. There was a clamor for a female Superhero franchise but not this one. Wonder Woman has been gestating for awhile with a number of actresses and directors attached and unattached at various times. Catwoman had its moment in time back in the nineties on the heels of the success of Batman but that time has passed,

This Catwoman was doomed from the moment it was greenlighted. Doomed by executive overkill, businessmen whose only concern is printing money off of well-known properties. They put this film on the fast track, rushed the production, went cheap on a young, inexperienced director and maybe thought casting one of Hollywood’s hottest actresses would guarantee box office even if the quality film wasn’t there.

They were wrong. Very, Very Wrong!

Movie Review: X2 X-Men United

X2: X-Men United (2003) 

Directed by Brian Singer

Written by Michael Dougherty, Dan Harris, David Hayter 

Starring Patrick Stewart, Hugh Jackman, Ian McKellan, Halle Berry, Famke Janssen, James Marsden

Release Date May 2nd, 2003 

Published May 1st, 2003 

The first of 2003's many blockbusters is here. The sequel to the 2000 cash machine, X Men, X Men United once again has Professor Xavier's clan of mutants attempting to prevent a human-mutant war. The twist however in X2 finds our hero's on the same side as archenemy Magneto against an evil army general with a double secret agenda. The familiar story combines with spectacular effects for an enjoyable popcorn entertainment.

The film opens with a sensational effects scene involving a new mutant called Nightcrawler (Alan Cumming) and an attack on the White House. Using his mutant ability to turn to smoke and float through walls, Nightcrawler evades the secret service and attacks the President. Through luck, the President's life is saved, but now the tentative peace between humans and mutants that started at the end of the first film is over.

Despite the efforts of Mystique (Rebecca Romijn Stamos who is not bad when she's not saddled with too much dialogue) disguised as the late Senator Kelly (Bruce Davison), an army General named Stryker (Brian Cox) convinces the President that a strike against mutants is necessary. His target, Xavier's School for the Gifted, AKA the X-Men compound.

In the meantime, Professor Xavier has begun searching for Nightcrawler to uncover why he attacked the President. Xavier dispatches Storm (Halle Berry) and Jean Grey (Famke Janssen) to find Nightcrawler, while he and Cyclops visit archenemy Magneto (Ian Mckellen) to determine his involvement. Wolverine (Hugh Jackman) returns to the school just in time to take charge of the student while everyone is gone. Of course this is when Stryker and his army attack, forcing Wolverine to empty the school and go on the run.

With Rogue (Anna Paquin), Iceman (Shawn Ashmore) and Pyro (Aaron Stanford), Wolverine heads for safety in the home of Iceman's parents. In one of the films most talked about scenes, Iceman "comes out" to his parents about being a mutant. It's not long though before the cops show and they are on the run again.

Once reunited with Storm and Jean, they find that the Professor and Cyclops are missing and they are being hunted by military jets as they escape in the X jet. After taking a hit the jet nearly crashes, they are saved at the last minute by the unlikely savior, the now free Magneto. With the mutual enemy of General Stryker, they must team with Magneto and Mystique to free Xavier and stop Stryker from launching the war against mutants.

Summer blockbusters aren't about great storytelling, they are about special effects and sly humor and X2 delivers both. Not only is there the awesome White House attack sequence, but also the jet fight with Storm attempting to lose the military jets in a series of tornado's that she creates.

Most of the film’s humor comes, surprisingly from Wolverine in subtle commentary in his surroundings. Thrown in to babysitter mode while the rest of the crew is hunting for Nightcrawler, Wolverine has some fun interaction with the students before the military attacks. Then as witness to Iceman's coming out, Wolverine's annoyance of his conventional surroundings are very funny. Jackman's gruffness is perfectly in tune with his humor.

The effects are strong, but suffer in comparison to the Matrix trailer that precedes it. The Matrix trailer was so good I missed the first couple minutes of X2, still reveling in Reloaded. That is not to say I wasn't impressed by X2 but it is made to look conventional by comparison.

The performances aren't much to be remembered Halle Berry's Storm gets more screen time this second time around but not much insight is made into the character. Jackman as Wolverine gets the most screen time and is undoubtedly the star but the more Wolverine is on the screen the less impressive he becomes. In comparison with Jean and Storm, Wolverine's powers, his adamantium claws and superhuman healing ability seem small. You know when it comes to the major save the world stuff it will be Storm or Jean doing the saving with Wolverine as a spectator.

Director Brian Singer does an efficient job of balancing his large cast and huge effects scenes, and while the story isn't all that impressive it's all very well choreographed and follows a certain logic. To balance all of this big budget stuff and make a film that is semi-coherent is a feat all on it's own. It's an entertaining popcorn film that effectively sets the stage for the next sequel. It's no Spider-Man, Batman or Superman, but it's still pretty good.

Movie Review: Die Another Day

Die Another Day (2002) 

Directed by Lee Tamahori 

Written by Neil Purvis, Robert Wade 

Starring Pierce Brosnan, Halle Berry, Rick Yune, Judi Dench

Release Date November 22nd, 2002 

Published November 21st, 2002 

I've wondered recently as I awaited the release of the latest in the James Bond series, whether it's the character I like or a perception of the character that I've built in my own mind. I've always thought I liked James Bond, but I don't seek out the films. In fact, I haven't seen any of the Bond movies all the way through since the last one was in theaters. I have my own preconceptions of what Bond should be based on vague memories of movies I haven't seen in years. Maybe that is why Die Another Day is so disappointing, because it doesn't match my memory. It may be quite faithful to the legend as it actually exists but for my notion of James Bond, it doesn't work.

Pierce Brosnan takes on the role of 007 for the 4th time, still in the shadow of Sean Connery and not likely to escape it being that this is likely his last go around with the character. In the opening scenes Bond surfs onto the shores of North Korea and kidnaps a diamond dealer who is on his way to sell diamonds to a corrupt North Korean General. Bond takes the dealer’s place with the intent of killing the General, however his cover is blown during the deal and Bond is captured. 

A flash forward during the credits shows us Bond being tortured for several months ‘til he is freed in a prisoner exchange with South Korea. Under normal circumstances a double 0 agent would be left to die but Bond's bosses fear he may have cracked and before he can give up any important information they trade a most dangerous prisoner, Zao played by The Fast & the Furious star Rick Yune, for Bond.

Now suspected of treachery, Bond must escape his own people and find the people who blew his cover. Along the way, Bond makes the acquaintance of an American operative named Jinx (Halle Berry). The only person who knows who set Bond up is Zao, who Bond tracks to Cuba and finally to Iceland and the part time home of a megalomaniacal diamond broker named Gustav Graves. The connection between Zao and Graves is a good one and typical of the franchise, anyone with a vague understanding of the legend will see through it immediately.

SPOILER ALERT – YOU’VE BEEN WARNED

Indeed throughout Die Another Day, Director Lee Tamohori and screenwriters Neal Purvis and Robert Wade, tip their hand with a sly wink to the audience. There is not one twist or surprise in Die Another Day save for a terrific cameo by Madonna. If you have seen any of the previous Bond films then you know everything that will happen in Die Another Day, including the agent that turns on Bond, the true identity of Gustav Graves, and where Jinx's loyalty lies. Here is a hint, she is getting her own spin off film so safe to say she isn't the bad guy.

SPOILER ALERT OVER

Director Lee Tamohori is to be commended for the film’s action, which is very well staged. The special effects and stunts in Die Another Day are spectacular. If the only reason your seeing the film is for the action and special effects you will be very pleased. Die Another Day is a well-oiled machine of a movie. Think of it like a perfectly running car engine. It's quite brilliant but do you want to watch an engine run for 2 hours?

Ultimately, Die Another Day has no heart, no soul and no passion. And accuse me if you like of asking too much of a Hollywood popcorn film, I don't care. I need characters and story. Die Another Day has neither. It has paper-thin caricatures going through the motions of special effect and action. And as for Bond, the character is now skating entirely on past glory. That past is quite glorious even in my fuzzy memory but reputation can only carry you so far and Pierce Brosnan, since taking over the role, has brought nothing new to the character. 

In fact, he lacks the qualities that made Bond so glorious before him. Much like his immediate predecessor Timothy Dalton, Brosnan's Bond is wooden and charmless attempting to pass solely on looks and legend. Both Connery and Roger Moore brought unique characteristics to their Bond. Connery's Bond was charming and dangerous and just so cool. Moore's Bond lacked Connery's charisma, but he too was cool and he brought a new humor to the character that wasn't a part of Connery's Bond.

The next in the series is likely to bring a new actor to the role of Bond, and my hope is he can bring something new to the character, but he will need the help of a director with vision and a writer with the wit enough not to fall back on effects and stunts and provide real suspense and, heaven forbid, dialogue. Not too much though, I wouldn't want to take away from the effects too much. Just enough to allow an actor to act.

As a technical feat, Die Another Day is flawless. As a movie, it’s lacking.

Movie Review Monster's Ball

Monster's Ball (2002) 

Directed by Marc Forster 

Written by Milo Addica

Starring Billy Bob Thornton, Halle Berry, Heath Ledger, Sean Puffy Combs, Peter Boyle 

Release Date February 8th, 2002 

Published February 7th, 2002 

In my continuing effort to become a more well-rounded filmgoer, I have considered taking an acting class. It might be helpful in understanding just how difficult this craft truly is. After seeing Monster's Ball with Billy Bob Thornton and Halle Berry, I can save the tuition price. I simply need to purchase this DVD and watch it a few more times as this film is a lesson in what great acting is all about.

The story begins with prison guards preparing for an execution. Billy Bob Thornton is Hank the head guard. Hank has just hired his son Sonny, played by Heath Ledger, to be part of the crew and the execution of Lawrence Musgrove (Sean Combs). It will be the first he has ever taken part in. As Lawrence prepares for his execution he is visited for the last time by his wife Leticia (Halle Berry) and his only son Tyrell (Coronji Calhoun). Lawrence wants a meaningful goodbye but Leticia explains that she is only there so he can say goodbye to his son. In one of the film’s most touching moments Combs explains to his son that he is a bad man and that Tyrell is the only good to have come from his life.

As the preparations for the execution continue, Hank explains to Sonny a tradition known as the Monster’s Ball wherein guards sit with the condemned while he prepares to die. Yet again Combs has an effective bit of dialogue as he discusses the difference between drawing a portrait and taking a photo. The drawings will be important later in the film but not in the way you would expect.

After the execution, a shocking series of events leads Leticia into the arms of Hank, not knowing that Hank had taken part in her husband’s execution. The relationship between Hank and Leticia is complicated, not just because Hank is white and Leticia is black, but because of Hank's father Buck (Peter Boyle), a twisted old racist who has destroyed the lives of everyone he has come into contact with, with his hatred. There are also a series of tragic events that give Hank and Leticia more common ground, albeit a common ground based on pure sadness and desperation.

Both Thornton and Berry are outstanding, they put on a clinic for actors with their perfectly pitched roles. The romance between these two desperate and needy people is communicated by looks and gestures that are uncomfortable and tentative but also tender and longing. The supporting cast is equally good, especially Combs whose natural delivery brings a realistic depth to his character. Heath Ledger deserves extra credit for taking on this highly unglamorous role, his Sonny is skinny and desperately weak willed. Ledger sells it even with a suspect southern accent.

Director Marc Foster pores on the tragedy and sadness. At times it seems a little too much and yet he does manage to make a film that is surprisingly romantic and uplifting. Monsters Ball develops slowly but once Berry and Thornton come together the film lifts to amazing heights. I highly recommend Monster's Ball.

Movie Review: X-Men The Last Stand

X-Men The Last Stand (2006) 

Directed by Brett Ratner 

Written by Simon Kinberg, Zak Penn 

Starring Hugh Jackman, Halle Berry, Patrick Stewart, Kelsey Grammer, Elliot Page, Shawn Ashmore

Release Date May 26th, 2006

Published May 25th, 2006 

Director Brett Ratner is a hack. That is the reputation he has earned over a career of nine features including two Rush Hour films (and soon a third), Red Dragon, The Family Man and After The Sunset. Each of these are examples of the basic mainstream formula pictures that few would call innovative or relevant. Ratner is a mainstream showman who works only from studio approved genre templates and thus, the label of hack, is appropriate. 

Ratner's style is safe, conventional and boring. So it was quite understandable that when Ratner was hired to direct the third film in the X-Men series, X-Men The Last Stand, longtime fans gnashed their teeth and prayed to whatever mutant god that controls such matters that Ratner not be allowed to screw up their beloved franchise too much. The fans prayers have been answered, for the most part. Though X-Men: The Last Stand has plot holes you could drive a truck through and cringe inducing moments unsuitable to the franchise, Ratner has not screwed the thing up too bad. Actually it's not that bad at all.

X3 turns on the idea that a wealthy industrialist has discovered a cure for the mutant X gene. It's a revelation that rocks the burgeoning mutant community at a time when a tentative peace had come between mutants and humans. The President of the United States (Josef Summer) even has created a dept. of mutant affairs headed up by a mutant, Dr. Hank McCoy aka Beast (Kelsey Grammer). The cure while good for some mutants is a divisive and even deadly issue for others.

Standing against the cure is Magneto (Ian McKellen) who, with his brotherhood of mutants, including Mystique (Rebecca Romijn) and Pyro (Aaron Stanford), plans to use the cure as a rallying cry for mutants to renew the war against humanity. Then there are our heroes the X-Men. Conflicted and confused, most are opposed to the idea that mutants are in need of a cure but against any kind of war with humanity, the X-Men are caught dead set in the middle.

In the midst of the controversy the X-Men face an even bigger crisis. Jean Grey (Famke Janssen), thought dead after the last major X-Men conflict, is alive but she is no longer the Jean Grey the team once knew. Her near death experience has released her secondary personality known as the Phoenix, a being of unimaginable and uncontrollable power and rage. With war on the horizon and Jean Grey an even greater danger than that war, X-Men The Last Stand is bursting at the seams with plot. 

Throw in the introductions of several long awaited X-Men characters and you can understand the herculean task that Director Brett Ratner endured in making X-Men The Last Stand. That X3 is as coherent as it is with all of that plot and so many characters is a credit to Ratner. Not that I can let him off the hook completely for the films many flaws but even the biggest Ratner hater out there must cut the guy some slack for the sheer massiveness of X-Men The Last Stand.

Where Ratner succeeds in X3 is in crafting some serious blockbuster action scenes. A fight with Wolverine (Hugh Jackman) and Storm (Halle Berry) facing down Magneto's brotherhood, including Pyro and new members including the super strong Juggernaut (a massively muscled up Vinny Jones) and the empathic speed demon Callisto (Dania Ramirez), is terrific, fast paced action and a terrific lead up to the films most shocking moment.

The ending is the films strongest moment as Wolverine is forced to face off with Jean Grey/Phoenix as she prepares to destroy the entire planet. The scene is exciting and emotional incorporating massive special effects and the entwined histories of these two characters into one powerhouse scene. Predominant amongst the films flaws however, are the younger X-Men, especially Shawn Ashmore as Iceman. The dewey eyed teenage Iceman is an emotional cypher who lacks power and presence. Iceman's main plot function is as the opposing element to Aaron Stanford's Pyro but since Stanford is also an underwhelming presence their time together onscreen is forgettable at best.

The less said about Iceman's romantic triangle subplot with Anna Paquin's Rogue and Elliot Page's Kitty Pride (the girl who can run through walls) the better. I could go on for several more paragraphs picking apart the flaws of X-Men The Last Stand even though I honestly believe that the good outweighs the bad. Brett Ratner's work is not exactly a masters class in direction but it is competent and professional and even thrilling when it really needs to be. The performances of the leads Hugh Jackman and Halle Berry are as good as they have been in the first two films with Jackman's wit becoming more prominent each time out. His work here makes talk of a Wolverine stand alone franchise something to look forward to.

Kelsey Grammer even cuts a surprisingly strong action hero figure as Beast. Fans of the comics have long looked forward to seeing the blue haired monster Dr. Hank McCoy with his unique combination of super strength, agility and erudite intelligence. Embodied by Kelsey Grammer, Beast has the gravitas of Dr. Frasier Crane combined with agility and strength of a classic comic book character. If you can put aside the flaws and concentrate on the terrific performances and often exceptional action scenes and shocking surprises of X-Men The Last Stand you will have a great time. X-Men The Last Stand is big time summer blockbuster entertainment.

Movie Review Gothika

Gothika (2003) 

Directed by Mathieu Kassovitz 

Written by Sebastian Gutierrez

Starring Halle Berry, Robert Downey Jr, Natasha Lyonne, Charles S Dutton, Penelope Cruz 

Release Date November 21st, 2003 

Published November 21st, 2003 

The title Gothika seems curious even after you've seen the movie. Only after looking up the film’s website and consulting my dictionary for the definition of the word 'Gothic' does the film's choice of a title become clear. It relates in fiction writing as a horror mystery and in architecture as dark imposing stone structures, buttresses, arches and high ceilings. The title has a double meaning related to the film’s story and its choice of locations, but mostly it just sounds cool. In fact, everything about Gothika from it's super hot star to it's indie credible director sounds cool. Sadly the film never meets its cool potential.

Halle Berry stars in Gothika as criminal psychologist Miranda Grey. Dr. Grey works in a prison for the criminally insane treating female patients under the watchful eye of her husband Dr. Douglas Grey (Charles S. Dutton), the hospital's administrator, and alongside her good friend Dr. Peter Graham (Robert Downey Jr.). Dr. Graham seems to be harboring a rather obvious crush on Miranda.

After working late on a dark and rainy night, Dr. Grey is driving home when she swerves off the road to avoid a young woman standing in the middle of the road. When Miranda goes to help the girl, played by an almost unrecognizable Natascha Lyonne, the girl bursts into flames but not before touching Miranda's face. The next thing Miranda knows, she is locked up in her own hospital being treated by her own staff and her husband is dead.

What else can Miranda do in this situation other than break out of the hospital and investigate the situation herself in hope of finding out whether she actually did kill her husband and why she's being haunted by this ghostly girl? Mostly though, Miranda wants to know for herself if she really is crazy. There is also mystery surrounding her connection to one of her patients, Chloe (Penelope Cruz), who is also being haunted by a dark spirit that may be more real than Miranda's ghost.

Halle Berry is a terrific choice for Miranda because she quickly earns our sympathy and her understated performance early on perfectly sets the stage for her brief meltdown and finally for her more rational approach to accepting her situation and solving her problem. She plays her intelligence on her face with her eyes and her perfectly controlled emotions. Even as the film goes off the rails around her, you never question Ms. Berry's commitment to the role, she damn near saves the movie.

Sadly, no one in the supporting cast has much of an opportunity to make an impression. Robert Downey Jr. continues to be a welcome presence even in an underwritten role. I wished Downey Jr. had more to do in the plot. Mostly, he’s concerned about his friend and nurses his unrequited crush. He has a brief hero moment but the role is otherwise far too bland for someone as talented and charismatic as Robert Downey Jr. 

A big failure of Gothika is how director Matthieu Kassovitz and writer Sebastian Guttierrez never establish the rules for the film. Obviously a film with ghosts isn't playing straight with logic but in a horror film, the filmmakers must establish film logic, a set of rules that govern the film’s created universe. In A Nightmare On Elm Street, Freddy could only come out of a dream if Nancy held onto him and woke up. 

In the recent horror flick, Darkness Falls, you were only a target of the killer if you looked at her. That film repeatedly violated its own rules and thus failed. Gothika doesn't establish its own logic and without it, the story never feels grounded. Why, if the ghost can open doors and manipulate objects, does it need to possess a body? Why use Dr. Grey to begin with? Was it just because hers was the car that happened by at that moment? There are many more questions but they are spoilers. See the movie and see if you can answer those questions. A game might make the movie more interesting. 

There is one moment in Gothika where I was willing to forgive the film’s lack of story logic. It comes when Dr. Grey herself questions the necessity of logic. It's a very funny line of dialogue because it’s a haphazard comment on this moment in the movie and about the movie itself. It’s not an intentional joke, but it is one moment when the need for story logic didn’t matter and I didn’t mind being subjected to Gothika, an oasis of unintentional charm in a desert of horror atmosphere and murky motivation. 

Director Kassovitz does have the other important elements of filmmaking in place. He is terrific at manipulating the camera. The way he keeps the camera moving is hypnotic and unlike David Fincher in Panic Room, the camera moves never seem flashy. In the few moments when the camera isn't moving, Kassovitz finds interesting angles and visually interesting backgrounds.

Gothika makes excellent use of its gothic location though I would hope a prison for the criminally insane doesn’t look so frightening, the people inside are frightening enough.

Gothika has been compared with The Sixth Sense and The Ring but I found it had most in common with the Kevin Bacon ghost thriller Stir Of Echoes. Both films are about normal people driven to mental breakdown by ghosts. Both are about the mystery surrounding the deaths of the ghostly characters. The difference between the two movies is that Stir Of Echoes has the established film logic that Gothika lacked as well as stronger supporting characters. In addition, Stir Of Echoes has the Rolling Stones’ Paint It Black in a prominent role in the film. Gothika, on the other hand, features an awful cover of The Who's Behind Blue Eyes by Limp Bizkit. Ugh! 

Then, as the movie was mercifully coming to an end, they teased a sequel. As if what came before wasn’t misguided enough, this nakedly commercial, ‘just in case this movie makes money,’ sequel tease is a rotten cherry on the rancid sundae that is Gothika.