You know, back when Spider-Man had just been released in theaters and people had comic book movie fever, the three properties that I said I couldn't wait to be made were The Incredible Hulk, The Punisher and The Fantastic Four. With all three now having had their time on the big screen, the word disappointment hardly begins to describe the feeling I have about what transpired with those film projects.
Hulk was a mess of a film and best left off the resumes of everyone involved and forgotten about completely. Punisher was a movie that completely exaggerated Castle's origin story to an unrealistic level and seemed to play out as, well, I'm still not sure how to explain the plot to this movie three years since it was released. Then there was the Fantastic Four, where the TV spots and trailers showed a nice mix if intriguing cinematography and the wit and charm that many people associated with the four main characters. I had hope that for once I wouldn't be let down, I had hope that for once I'd get the same level of excitement after leaving Spider-Man on opening night. And then the reviews started pouring in, each more bitter and cynical than the last.
I had never caught the original Fantastic Four movie until DVD, hoping that maybe if I held off the inevitable in terms of how the film would play out would wash away with time so I could see it without any preconceived notions. And for the first half, I was willing to go along for the ride and was mildly entertained, certainly more so than many reviews made the movie out to be. Then it started getting a bit rocky, and eventually wound up being a moderate let down. Maybe it was because my hopes were so low, or because I bought in to the "doesn't take itself serious at all" universe that Story had created for the movie.
Then I started to see the promotional material for Rise of the Silver Surfer. Could it be? Was this the darker, more mature film I was looking forward to the first time? No. If anything this sequel only adds more of the unfunny humor that only children under the age of twelve would find funny. The same campy dialogue spews from the mouths of the actors who are either written to sound like a couple teenagers or people with severe mental issues, they were afterall exposed to radiation, maybe it's brain cancer that makes them all so incredibly stupid.
The movie has Reed and Sue about to get married but their wedding has already been called off several times due to the whole "world needs saving" business. When unexplainable anomalies start to happen across the country(snow in Egypt, water becoming solid but not frozen), Reed is asked to help uncover what is causing these strange occurrences to happen. It's then when we meet the Silver Surfer, the messenger to the almighty Galactus, who eight days after he visits a planet, it's left destroyed depleted of all energy. Now the team needs to work together and stop him from calling his master and save the world. But when the US government doesn't trust Reed and his team, they have Victor Von Doom offer a helping hand (Oh, right, I forgot to mention that he's back. Don't worry, the movie does a poor job of explaining how or why also). Which doesn't bode well for the group of heroes who not so long ago stopped him from destroying the city.
If there is one shining moment in the film, it's the Silver Surfer (no pun intended). Of all the things they could have screwed up in this film, and subsequently did, Surfer stands out as one of the films few highlights. Norin Rad has always been an interesting and tragic character in the Marvel universe, and seeing what they have done here with the character and the potential to be found with his future spin-off film makes me hope that some good will come of this terribly campy franchise.
In the pantheon of horrible superhero films that have ever been released, there isn't a single one of them that can hold a candle to Tim Story's Fantastic Four films. That includes such cinematic masterpieces like Superman IV: The Quest for Peace, Batman & Robin, Catwoman, Elektra and the more recent Ghost Rider.
.::.
Review: Fantastic Four: Rise of the Silver Surfer
Review: Live Free or Die Hard
Director Len Wiseman's ardency for completely over the top action scenes and unrealistic stunts make the movie feel surreal, taking the series completely out of its former "real world" restraints. Which is a shame as the plot, if taken serious, would have possibly made for the second best film of the now twenty year old series. John McClain went from a completely realistic world to riding on the wing of a fighter jet. The character has gotten older, slower, and his witty one-liners feel incredibly forced. It just felt like he was there in name only.
The movie has McClain as an old vet that is seemingly given menial work simply to keep him busy, having the digital age pass him by more and more, making his maverick style obsolete. When the FBI is hacked from outside sources, they quickly have officers from all around the area seeking out some of the nations most notorious hackers. McClain, ready to call it a night, is asked to pick up one of the suspected computer nerds and bring him in for questioning. When he knocks on the door of Matthew Farrell, played by Justin Long, everything goes to hell.
He has seemingly helped a group of terrorists lead by Thomas Gabriel, a former Department of Defense leader (Olyphant) and is the last name on their list of people to get rid of so they can be tracked down. So now it's up to McClain to keep him safe long enough to get him to the Feds. But when Gabriel makes it personal and brings John's daughter in to things, well, we've seen what happens when people mess his his family...
Long's character is a fresh addition and supplies plenty of comic relief and emotion when needed. His reactions to the people around him, seeing what has happened due to something that he was a part of, the look in his eyes speak louder than words.
Olyphant plays an acceptable villain, but hardly a memorable or menacing foe like Rickman or Irons before him. He plays a character who, while seemingly knows the importance of keeping the country safe, sends it in to mass hysteria. Then plans to bring on the new dark ages, while stealing all the money in the US. Digitally. What does he plan to do with it all exactly? Go to the bank and ask for a withdrawal? Would money even have any value any more if the entire nation was in a panic? Did he have an exit strategy nobody cared to mention? For a seemingly smart villain, he sure doesn't appear to have the ramifications of his actions in mind.
The Die Hard franchise has always had detractors and apologists, for every person that loathes With a Vengeance, there's someone ready to defend Die Harder to the death, and vice versa. Live Free or Die Hard is sure to be yet another film in the series that will find both a balance of love and hate from fans. For those who bemoaned the lack of Willis repeating his famous line, get over yourselves. This movie is wall to wall action with plenty of gun play, car chases, and blood. It doesn't need four letter words to articulate what is going on. And if your one defense is that it's more realistic if he cursed, the presence of a guy jumping around a room like Neo from The Matrix proves that realism isn't exactly what the director is aiming for here. If you can look past that, there's a thoroughly enjoyable popcorn movie to be found here.
Live Free or Die Hard --a title that was lambasted on the internet yet actually makes some sense given the context of the film-- is in the strange state of showing up every single threequel (are we really going to start using that word now?) how to get the job done and entertain audiences. While the Pirates film was busy wrapping up the plot lines to everyone on the boat, and a few inanimate object, John McClain was sending a car straight in to a helicopter after narrowly avoiding death in a tunnel. While Spider-Man was acting all hardcore and emo the way he ate cookies and danced to jazz music, John McClain was busy shooting a guy out the window with the added assistance of a fire extinguisher. And while Shrek was busy becoming a daddy, John McClain was busy riding an 18-wheeler under a collapsing bridge while getting shot at by a fighter jet. Who knows, maybe when those other movies get around to a fourth installment they can have the same amount of energy that this movie did. For now, all I can say is "In McClain we trust."
.::.
Review: Ocean's Thirteen
Ocean's Eleven is hands down one of the best remakes to ever come out of Hollywood. The creative team did everything in their power to avoid every single trapping and cliche that ever reared its ugly head in a caper film. They collaborated on a project that took all of those over played conventions and spun them on their heads, creating a new style all their own. Which brings us to Ocean's Thirteen...
The third installment of the Ocean series kicks right in to fourth gear, where within the opening minutes we find Elliott Gould's Reuben character being hustled out of his stake in a new hotel by Willie Bank, a known swindler who cuts out his partners so he can claim all of the glory to himself. This betrayal leaves Reuben pennyless and he suffers a heart attack because of it. Now it's up to Danny and his crew to teach Bank a lesson he'll never forget and get Reuben his money back. But they'll need the help from their former adversary Terry Benadict if they plan to pull it off.
I'm not going to say that this movie was aimed at being anything more than entertainment, because it isn't aspiring for Oscar gold. In terms of being a fun two hours with a familiar group of guys that we've grown attached to, Thirteen proves to be a fun night out. Only it reminds you a lot of that guy from high school who hasn't changed one bit. Still talking about the good old days and hardly every bringing up a new topic for discussion.
Unlike Twelve, a film many of us like to believe never happened, the entire crew is brought in to the coupe and are used throughout the entire film. No jail time for anyone not named George, Brad or Matt this time! But the film still feels cluttered with the entire Eleven crew brought back along with Garcia's Terry Benedict, Cassel's French catburgler François Toulour, and introduces Pacino as Willie Banks and the exquisite Ellen Barkin as his assistant. Wisely, Roberts and Zeta-Jones don't reprise their roles this time, but there are still more characters than there is screen time for them to all share.
But the movie isn't a complete loss, Soderberg continues to provide enough visual stimulation that the film istelf, on an artistic level, will leave viewers wide-eyed. He fills every inch of the screen making ample use of tones and contrast and, once again, uses a unique color palate to make even the most unimportant scene look and feel as if they're the most essential scene to the story.
The predictable formula that Soderberg was so intent on shattering with his Eleven remake has now become a formula itself with Thirteen. Unless he plans to shake things up all over again, the last thing we need is yet another sequel where a group of guys once again spout off witty code names for jobs, miraculously find heavy machinery that is convenient to the job, cleverly disguise themselves in ridiculous getups, and Clooney being smug the entire time. 
.::.
Review: Fracture
The premise is a very promising proposition. Instead of ending with the main antagonist unloading his gun in the head of a character and fading to black, that's where Gregory Hoblit's taught drama chooses to start. Anthony Hopkins plays Ted Crawford, an aeronautical engineer and all around genius, so when he catches his wife's betrayal with another man, he shoots her in cold blood. What was seen as a slam dunk with both a written confession and guilty plea planned, a cocky DA on the rise by the name of Willy Beachum sees this as the prefect opportunity to add another check to his win column just before leaving civil work for a more prestigious law firm. But when Crawford changes his plea to not guilty and the evidence fails to add up, Beachum has to find some answer before the trial is acquitted and his career goes down the drain for losing such a high profile case.
Everything in Fracture felt like a rehash of every film that has ever centered around a cat and mouse type game of wits. There were times where I was finishing the characters lines in my head, it was that predictable. To its credit, the movie does a very good job of trying to put the story together in a new way. But it's not enough to simply shuffle the deck, some time you need to open up a new pack.
Without any real explanation the movie seemingly reaches the pinnacle of the story just after the midway point, and continues to fester until the obligatory big reveal at the end. Which is a shame, because the story, characters and idea in general are the types of things that provide for a very entertaining watch. But here we're never told the story in the right way, shown the characters personal sides, and the film is never allowed the pace it needs to be as methodical as it wants to be. Instead we're rushed from one thing to another given the bare details and not once allowed to settle down and understand why we should care about these characters.
Even the films big reveal at the end lacks the punch it needed because of the lack of build up and connection with the characters. All the time the creators wasted during the first two acts setting up the big reveals go squandered because they left out the one thing that brings everything together: the main character. While Ryan Gosling is without a doubt one of the best actors working today, we aren't given any reason to pull for him other than the fact that he's up against a man that we all know full well killed his wife in cold blood. That's it.
Incorporating several subplots and side characters that never seem to amount to anything, they are seemingly there only to drag out the story. Which forces the film to suddenly go in to overdrive, revealing countless pieces of information at an unrealistic pace. The main problem with the movie is that it thinks its being clever and coy but seems to become so full of itself that half way through realizes that it has wasted a lot of both the story's and our time.
The thought of both Anthony Hopkins and Ryan Gosling playing off of one another in a psychological game of cat and mouse was the kind of pairing that we hardly get to see these days. Their interplay with one another is almost worth a rental alone, seeing both a veteran and promising young talent on screen like this hardly ever lives up to expectations, but Fracture delivers in spades. Sadly, there isn't much more to the film then a couple of high caliber actors who single handedly save the production thanks to their talent; it would have been nice if like the main cast members, the screenwriter had been on his A-game.
DVD Review: Teenage Mutant Ninja Turtles: Season 5
Starting out as a modest hit as an underground comic book created by Kevin Eastman and Peter Laird, it didn't take long for the Teenage Mutant Ninja Turtles to be discovered by a much larger audience. After being approached to license their property, we soon began to see Turtle toys, pajamas, lunch boxes and many other products with their green faces plastered all over. While not unimaginable, I don't think anybody saw the characters doing a good job at interacting within the restraints of an animated show aimed towards a very young audience. So it's strange to look back at what started out as a five episode mini-series that ballooned in to nearly 200 shows during its ten season run on television.
The difficulty of giving any type of seasonal synopsis at this point in the shows run is that there isn't much of an over aching story to talk about. Instead, the show seems to have gladly settled in as a program aimed purely to entertain kids on Saturday morning for a half-hour. The show essentially follows the same basic premise, but manages to hide it with slight alterations in the structure. The plots usually consist on Shredder and Krang trying to destroy the Turtles in one way or another. Be it them searching for a Mutagen to turn them back to tiny reptiles or world domination. Unless they feel a bit tired that week and will accept simply taking over control of the city. There are a few episodes thrown in between that either introduce new characters or bring back familiar faces for a fun new adventure, but those ones tend to be the weaker parts of the season.
TMNT has been well known to have a lull during the middle of its ten season run, where the writers seemed to rest on their laurels and put out bizarrely self aware episodes. There are times in the show where the Turtles look directly at the screen and talk to the viewers as if they're a fifth member of the team. Or they make snide remarks about problems being "resolved by the end of the episode." It's both a cute sense of humor for adult audiences and an almost biting remark about cartoon shows in general. All while still remaining a show acceptable for kids.
It's the occasional self referential humor that seeps in to some of the episodes that make the show really fun to watch. Seeing the Turtles tear down the fourth wall is one of those love it or leave it type of things, but I personally think it adds more humor to the show when the story falls flat. Because it shows that while they take themselves serious when telling a story, they also know how to have fun while doing so. Like pointing out how every villain hides out in a warehouse, or that Donatello manages to know the name of every cockamamie invention that Krang has come up with for the intent to destroy the world that week.
Sadly, following in the previous seasons footsteps, this season continues the trend of the show relying heavily on strange plots, forced humor and bland fight sequences, losing a lot of the edge and dark tones that can be found in the first three seasons. While the stories themselves are hardly the most entertaining things to be found here, being reintroduced so many long forgotten faces certainly makes the bad episodes worth sitting through. Characters like The Rat King, Napoleon Bonafrog, Mondo Gecko, and Muckman among others who seemed to vanish from my memory but instantly rush back the minute they appear on screen.
When reviewing an old animated show from your past that you still hold fond memories for, it can be like playing a game of Russian Roulette. Only with far greater risk. That, my friends, is the double edged sword known as nostalgia. While it's certainly not a show that one can wax philosophic about for days on end, there's an undeniable charm that the Turtles poses. While most of the stories fall flat, there is enough here to make it worth watching at least once, simply to relive the past.
While the show is listed to be the complete season, which it is, according to IMDB's list of original air dates, the shows themselves are not put in chronological order. The only reason I checked this was because watching the DVDs felt very inconsistent. It wasn't until I double checked to make sure all of the episodes were in the set that I realized just how disheveled the play order actually was. Below is a list of the episodes as they appear on the discs with the intended order in parenthesis.
Donatello's Bad Time (4)
Donatello's Duplicate (10)
My Brother, the Bad Guy (1)
Enter Mutagen Man (3)
Napoleon Bonafrog: Colossus of the Swamps (7)
Disc Two
Michaelangelo Meets Mondo Gecko (2)
Michaelangelo Meets Bugman Again (5)
Leonardo Cuts Loose (12)
Muckman Messes Up (6)
The Ice Creature Cometh (11)
Disc Three
Zach and the Alien Invaders (16)
Raphael Versus the Volcano (8)
Raphael, Turtle of a Thousand Faces (14)
Pirate Radio (13)
Landlord of the Flies (9)
Leonardo, the Renaissance Turtle (15)
Welcome Back, Polarisoids (17)
Michelangelo, the Sacred Turtle (18)
Okay, we can't go any further without discussing the really cool packaging that Lionsgate has put together for this new release. The series has been placed on a three disc digipack that can be found inside of a personal pan pizza box-type holder. It's a very unique and interesting container that, thanks to smart thinking on their part, can still be placed alongside the rest of the DVDs in your collection without appearing out of place.
Video:
(Presented in 1.37:1 Full Frame)
For a beloved animated show that has managed to go twenty years remaining in the public eye, these DVDs sure don't present them in the best quality. There are several problems found across the discs, from soft and unfocused scenes, poor color reproduction, and flecks are prominent in just about every single episode. Several mastering problems can also be found on a couple episodes where the video becomes choppy, or the image has heavy edge enhancements. If only they put in as much effort here as they did with the case...
Audio:
(English 2.0 Mono)
The show plays out very flat, with many of the effect sounds coming out flatter then they probably should be. With very little else in the way of demanding sound, the track presented here does an amicable job and does the show some justice.
Extras:
The Turtles: A Ninjatastic Look Back (17:55) - Talk about expecting one thing and getting another. Given how this series as a whole hasn't been given much in the extras department, I wasn't expecting much here. Instead, what is included may be the best retrospective featurettes that anyone could possibly ask for. All four of the voice actors from the show (Rob Paulsen/ Raphael, Cam Clarke/ Leonardo, Barry Gordon/ Donatello, Townsend Coleman/ Michelangelo) sit down--filmed in separate locations--and express what it was like to be a part of the series and their thoughts on the reaction that it received. Sharing both touching stories about their work with sick children and the humility they would receive from kids who scoffed at them for saying they were a part of the show, this is the type of bonus material that Lionsgate should start including on every release from here on out.
Also included are two Under the Shell installments. First is one for Usagi Yojimbo (2:54), and it gives us the back story behind the secondary character and also provides some commentary by voice actor Townsend Coleman about his work doing the role. The other one, for Baxter Stockman (3:26), is nowhere near as interesting. Seeing as it is basically a montage of his appearances on the show, very little is revealed outside of the profile information at the start of the clip. Very disappointing after seeing the work that went in the the other character profile.
Rounding out the collection are some Previews.
Final Thoughts:
After displeasing fans with their previous tactics of releasing this series on DVD in the form of volumes (there are six single disc releases that make up the first three seasons), Lionsgate heard the outcry of their consumers and finally started releasing the show in complete season box sets, starting with the fourth season. And it's a good thing they finally got their act together with the DVD's, because otherwise the entire run of the show wouldn't have been complete until around 2012. While it's a nice step forward, there is still some work that needs to be done with these sets in the quality department.
.::. DVD: .::.
DVD Review: Wild Hogs
I remember when I was a lot younger I would try to write stories but it was in a time where things like character struggle was never an issue I cared to explore. So every time a problem would arise, the characters would give the quick solution to what was happening and avoid any and all possible confrontation. It made sense at the time, but was obviously a very, very boring story. Wild Hogs reminds me a lot of that poorly written fiction... from when I was eight. For someone who has worked on both Arrested Development and My Name is Earl, what's Brad Copeland's excuse?
The plot of the movie is about four middle aged guys who ride their motorcycles together on the weekend and enjoy a nice cold beer at the local tavern after a long day of riding the open suburban road. Then the inevitable happens... one of them mentions how they've all settled down and that life is either passing them by or stepping all over them. So they plan a cross-country biking trip to sit back, feel the wind against their face, and go where ever the road takes them. Sounds like a good (and I stess the word good, not great or original) idea for a movie doesn't it? No. The movie is so focused on telling silly jokes that it loses sight of anything resembling a plot and doesn't even attempt at character arcs other than simply writing a scene where everything magically gets resolved at the end.
The premise of the film was an interesting one, and that's probably why I sat through it all the way to the end. A story that has a couple guys who live for the weekend when they can enjoy some time with their best friends is a nice start and to then go off on a cross country road trip should have proven to be a very involving study of their lives. Instead we get a lot of jokes about people being hit with things in sensitive areas. And gay jokes, lots and lots of gay jokes. But the worst part of the story is that it's suppose to be about a group of old men but it's clearly been written as if it was originally for a couple of 20-somethings.
The script seemed to be written by either the smartest student in a fifth grade english class or the most timid screenwriter on the planet. Every time a hurdle is put in front of our main characters a quick resolution is just moments away. There is never a time in the film where anything these characters do are given levity or treated seriously. It simply goes from one problem to the next with simple solutions that require no confrontation or anything of the sort on their part. Which is sad, because it raises a lot of interesting problems for men in their position at this juncture of their life but it breezes right past them in fear of having to actually explore their inadequacies. Which is ironic seeing as the reason they took the trip was to find their inner manhood again.
Admittedly, somewhere along the lines of watching Wild Hogs, I enjoyed the idea of what the story was trying to explore. And then about a minute later I would be reminded why I wasn't enjoying the movie: it was too focused on slapstick and not enough about emotion. It favored sight gags over character development; simple jokes over telling a story. This isn't a movie about men trying to rediscover a sense of meaning, it's a series of gags that have been cut from previous cross country road films because of how unfunny they were that have been cobbled together together to form a Frankenstein-like comedy from hell. And the worst part is, a LOT of people paid to go see it.
The simple fact of the matter is that were it not for the film being pack with so many top name actors it wouldn't have even been considered for production in the first place. Does the film contain some laughs? Sure, but for all inappropriate reasons. Most will find themselves chuckling mainly trying to figure out how someone could a.) possibly have written such a thing b.) gotten others to agree that it was funny c.) convince financiers to pay for it to be filmed and d.) just how completely absurd all of it is. That is the only kind of laugh people who appreciate real comedy will find in this movie.
Video:
(Presented in 2.35:1 Anamorphic Widescreen)
As a big studio film with even bigger names, it's a given that the movie looks wonderful on home video. Of course, how good it looks technically will never make up for whatever it is that director Walter Becker calls blocking, or what he thinks is good cinematography.
Audio:
(English, French and Spanish Dolby Digital 5.1 Surround)
The movie boasts a surprisingly rich audio mix. From the music selection making their way through all five speakers to the vibrations coming from the subwoofer when a motorcycle revs its engine. Not bad considering most comedies usually get away with subpar audio by claiming that they aren't key to the movie, Wild Hogs proves them wrong here.
Extras:
The best thing about the new blog format is that I can breeze through extras if I feel like it.
Audio Commentary by director Walter Becker and writer Brad Copeland
Bikes, Brawls, and Burning Bars: The Making of Wild Hogs (16:19)
How to Get Your Wife to Let You Buy a Motorcycle (2:49)
Alternate Ending/Deleted Scenes (2:49)
Outtakes (2:34)
I'll probably a write-up on the extras tomorrow, but I wanted to get this posted by tonight.
Final Thoughts:
I can't think of a better example of the term "Vanity Project" than Wild Hogs. The film is an insult to movie making and relies on jokes that will only appeal to the lowest common denominators of the world. This is the reason why I've stopped going to the theaters all together and have lost respect for three of the four men involved with the film (don't worry William, you've still got me as a fan). The DVD has a decent assortment of extras but, considering what a dreadful film they're attached to, what's the point?
.::. DVD: .::.
DVD Review: The Lookout
The heist genre hasn't been shaken up in a long time, and The Lookout doesn't set out to try and reinvent the wheel. Instead we get a wonderful character piece within a genre that has had all of its avenues explored. Instead or unique twists, what makes the entire movie work is the relationship and bond we begin to form with the characters that inhabit the story. Because these types of movies are so run of the mill these days that it's nice to see a movie acknowledge it's limitations and try to get our attention from a new angle.
After a horrific car accident, Chris Pratt's life has changed completely. The former all-pro hockey player now finds common everyday tasks as hurtles he has to jump over just go go about his normal day. The head injury that he attained cases a lot or memory and sequencing issues, making simple daily tasks like getting ready in the morning very hard. Even his daily routine hinges on his ability of building repetition and familiarity.
It's not the actual tasks that he forgets, it's remembering them after the fact. Every day is a new beginning to him, relying on his small notebook to remember things like using soap in the shower or something someone said to him in passing. Working the night shift at a bank as a janitor, he continuously tries to talk the manager in to giving him a chance as a teller so he can apply to the executive training program. Hoping for someone, anyone to see him as an equal and not a handicapped liability.
And it's all of these factors that makes him a perfect fall guy for a group of crooks, lead by a seedy character named Gary who plan on robbing the bank. As they con him into a friendship he doesn't know is a facade and sweet talk him into helping them carry out their plan, it's not until he's too far in that he realizes what's happening and needs to stop them.
The best thing about the movie is Chris. The character is someone who would have been arrogant and egotistical had he never been in the accident but when that's all stripped away, he's humanized and we start to care for him. Not pitty him, simply see what a kind and gentle person he's become and then we know what Gary and his crew are planning to do to him. It's almost painful watching Chris slowly catch up to what is happening, and when he finally does it's too late to turn back. But the single most painful thing about him is that his memory won't let him forget that night when everything changed, wen two friends died and his girlfriend left crippled. Since it's the last thing he can remember in complete clarity, it haunts him day and night.
Not to mention the performance by Gordon-Levitt, which is single handedly the best work he has ever done. The small little nuances that he puts in to his performances, from the way he changes to tone of his voice to drifting off in a conversation, are examples of method acting at its very best. The movie also features memorable work by Jeff Daniels as Chris' blind roommate.
Scott Frank, who wrote and directed the film, has put forth one heck of a directorial debut. The writing contains some of the most thoroughly enjoyable dialogue and character interactions that I've seen all year. The Lookout leaves the plot to the background, where it belongs, and allows the characters to drive the story, even the colorful background characters are allowed to shine here. The Lookout is one of the most enjoyable and well put together films of the year so far, and puts a great spin on both the heist and noir genres.
Video:
(Presented in 2.40:1 Anamorphic Widescreen)
The movie was filmed using the Panasonic Genesis HD camera, around the same time as both Superman Returns and Apocalypto used the same equipment. And if The Lookout tells us one thing, it's that these cameras are much better suited for smaller films that don't require such epic scope. The only problems found on the DVD are a few instances were grain is noticeable and the occasional dark scene where detail is lost, but both of those are well known problems with digital photography. Action is another things that is problematic with the Genesis camera, another common hitch with HD cameras. Apart from those problems that the creators had no real control over, the film looks beautiful on disc, and its superb cinematography is shown in glorious detail.
Audio:
(English and French Dolby Digital 5.1 Surround)
James Newton Howard's magnificent score has never sounded better than through this audio mix. That coupled with the actors dialogue coming through without any interference and a nice mix when guns start shooting make for a very nice movie watching experience.
Extras:
Audio Commentary - Writer/Director Scott Frank and Director of Photography Alar Kivilo sit down to discuss the film and its look. They don't waste the track with mundane information, instead they talk at great lengths about finding the look of the movie. Like how hard it was to set up shots and how they would improvise on set if their initial ideas weren't possible, or the troubles they encountered due to the weather. The track is certainly going to attract people who like to get an inside look at the more technical aspect of filmmaking, but people who just want to know how fun it was on set will probably be disappointed.
Sequencing The Lookout (19:58) - Unlike most of these "making of" type extras, it tries to cover all of the important topics. starting out with the cast and crew talk about the film and how they got attached to the film and subsequently prepared for their roles. We then get a look at the lengthy pre-production the film went through (it had been stop and go for over a decade before they actually got a chance to shoot). They then cover the shooting of the movie and what it was like on set. It's a well made piece that would have been even better had they been able to stretch it out to an hour.
Behind the Making of Chris Pratt (9:26) - This featurette is a very fascinating look at how actor Joseph Gordon Levitt worked to find the Chris character. He shares how he would interact with and observe people that have suffeed similar head trama like the Chris character. Joe also talks about the film and how he's glad that the director and producers didn't try to add a "happy ending" to the movie where Chris was miraculously normal again. Showing great pride and dedication in his work, Levitt will be a person to watch for years to come.
Final Thoughts:
As one of the years best, this is an obvious recommendation. It's just a shame that Buna Vista (Miramax) didn't add some more extras or even give it a better marketing campaign, because they have a winner here that will please all different types of audiences. The DVD is a buy, but not exactly Top Shelf material either.
.::. DVD: .::.
DVD Review: Vacancy
For most people, both the horror and thriller genres as of late have become so over saturated that you can't go two weeks without seeing a preview for the latest movie planning to scare the bejesus out of you. So when I heard that yet another movie was going in to pre-production with big name stars like Luke Wilson and Kate Beckinsale, all interest in the film, for me anyway, vanished. Then the trailers started airing in theaters and on TV, none of which gave me much belief that I was in store for anything other than a cookie cutter movie with big name actors playing paper thin characters, simply because there was a newfound demand for these types of films by audiences. Boy, was I wrong.
The movie is best left unspoiled, but if you've seen a trailer for it you'd know that the people who put together all of the promotional material clearly missed that memo. Wilson plays David Fox, and is on the road with his soon-to-be ex-wife Amy (Kate Beckinsale). After taking a detour due to road construction and barely avoiding a raccoon in the middle of the road, his car begins to make some abnormal noises. After a local mechanic fails at giving them a hand, they're left with no choice but to spend the night at a seedy motel in the middle of Nowhere, U.S.A. After entering their honeymoon suit, of which was upgraded free of charge, they soon find unmarked VHS tapes that contain horrifically violent Z-grade horror films or couples being murdered. But when David realizes that the room in the films bare a striking similarity to the one they're currently in, it's too late and the game is on, with the cameras rolling.
Vacancy's biggest positive is its simple yet nail biting story and realistic dialogue. It doesn't over complicate things with twists or annoying subplots, instead we get a story of two people fighting to survive long enough to find a way out, constantly in fear of becoming the stars of yet another installment of their captors twisted snuff films. The best thing about the movie is that it throws us right in to things while also allowing both the relationship and back history between David and Amy to unfold at a pace so that we have built up enough of a connection with them that the minute things start to go south we pull for their survival.
With the exception of a few over acted moments and a very unnecessary tacked on ending, the movie plays like the non-stop thrill ride that so many films fail to deliver. Treating the audience like the main characters in the movie, it never allows us a moment to relax. The films cinematography keeps a wonderful mood and claustrophobic feeling that only adds to the tension. There aren't many times were a movie sneaks up on you and completely shatters all previous expectations and preconceived notions about what was in store, Vacancy is one of those rare but delightful surprises.
Video:
(Presented in 2.40:1 Anamorphic Widescreen)
The transfer produces the film nicely but there are a few instances where contrast seems to be enhanced and hurts the black levels. But for the most part the films color palate isn't harmed or compromised during compression and little edge enhancement is found.
Audio:
(English and French Dolby Digital 5.1 Surround)
Sound plays a key role to the movies mood and the audio option included has done a nice job of reproducing that atmosphere for home viewings. The score is cut out at precise times to maximize tension and is enhanced for those fun scares. Rear speakers are given some good usage and for a thriller are used quite nicely.
Extras:
Alternate Opening Sequence (1:17) - This alternate opening to the film was best left on the cutting room floor because it would have deflated most of the films climax. I won't go in to detail, but it was a good thing that they chose to not go with this.
Checking In: The Cast & Crew of Vacancy (21:38) - Be forewarned, if you enjoy watching stuff like this before watching the actual movie, DON'T watch this one first. The ending is both shown and talked about here and would spoil the climax of the film. That aside, this is a standard "making of," albeit with a little extra meat on the bone. The cast and crew talk about how the story spoke to them and that they came aboard the project because the story was so well written and that there was a lot of potential. An interesting bit of information found here is that the motel was actually built twice, once on a sound stage and again in an actual location for the exterior shots. Lighting and camera movement is talked about by the director and crew, with cinematographer Andrzej Sekula (Reservoir Dogs, Pulp Fiction and American Psycho) sharing how he approached the project. They also discuss filming the snuff material that played on the motel TV's and the stunt work. All-in-all, a very nice behind the scenes look.
Mason's Video Picks: Extended Snuff FIlms (8:59) Featuring our two main masked attackers from the movie with some of their victims. Roughly eight short clips are included and, even knowing that the footage is fake, it's still a very disturbing and unsettling thing to watch. Ironically, it's also one of the most original pieces of bonus material that I've seen in a long time.
Racoon Encounter (1:27) - Here we get a slightly extended scene after the couples car breaks down with David trying to take a leak on the side of the road, only to be scared by a noise that winds up being a raccoon.
Previews for Coming to Blu-Ray, 30 Days of Night, Resident Evil: Extinction, Vantage Point, I Know Who Killed Me, Revolver, Perfect Stranger, Rise: Blood Hunter, Hostel Part II, Bobby Z, and Fearnet.com.
Final Thoughts:
Vacancy is by and far one of the most thrilling films I've seen all year, with performances that are some of the best work I've seen from all of the actors involved. While the story may not be strong enough to support a purchase due to its minimal ability for repeat viewings (the lack of bonus material doesn't help much either), this is a solid rental recommendation. .::. DVD: .::.
DVD Review: Disturbia
There's no getting around the fact that Disturbia is an updated version of Hitchcock's Rear Window for modern audiences. I tried thinking up way to avoid the topic, seeing as so many reviewers make sure to point it out in all of their reviews, but it's so obvious that I simple had no choice but to include it here. So there it is. The plot of the movie is centered around Kale, a teen who's life has taken a turn for the worse ever since his father died in a freak car accident over a year ago. Now, during the last few days of school, Kale seems to be completely disconnected from his school work and when a teacher questions what his father would think of his behavior, he cleans his clock. Not a smart move.
Now on a three months house arrest, Kale finds himself without itunes, no Xbox Live, and all of his classmates off enjoying the dog days of summer. All while he sits in his room building a tower out of twinkies. With the reality of the house arrest finally starting to settle in, he begins spying on his neighbors to pass the time. That's when he discovers that his neighbor Mr. Turner may be a serial killer. Once that happens he recruits both his best friend Ronnie and his new neighbor Ashley to spy on Turner, in hopes of unearthing enough evidence to bring it to the cops. But with Kale's recent history, if he were right would they even believe him?
Admittedly, while it would have been nice of the creators to credit Rear Window as the basis for their story, it's not like Hitchcock owns the concept of voyeurism. Though, for them to remain completely oblivious to the idea that Rear Window even exits, well, that is certainly suspect. It's hard for anyone working in movies today to not have an understanding of Hitchcock's work. There are workshops dedicated to how the man set up his camera where they go over his films shot by shot. It's simply impossible to go anywhere where he hasn't made a mark, he's known for his original work, his adaptations, the way he directs, you name it and he's known for something about it. The guys very own shadow is famous for crying out loud.
Still, even though Disturbia remains blissfully ignorant to Rear Window's existence, it still has plenty of charm and character unto its own. The Kale character is one of the most interesting teen roles we've seen on screen in a long time. And the way the writers managed to balance all of his internal struggles is certainly commendable. Because it's hard for someone to deal with the lost of his father, fall in love with the girl next door and then try and catch his neighbor who may or may not be a serial killer, while still making the audience believe what they're seeing and stick with it. Regardless of how far fetched it might be. And that is where Shia once again needs to be praised for his acting. Kale has so much going on in his life at this juncture that very few actors could deal with that many things required of them. But LaBeouf manages just fine.
You know, it seems like every few years there is an actor who is seemingly pushed down everyones collective throats in what seems like an endless string of movies released in a twelve month period. The more recent obvious examples being Colin Ferrel and Jude Law who, for a while there, seemed to be in every single movie released. The more recent addition to that list is almost Shia LaBeouf. Having only appeared in three movies this year, it feels like triple that due to all of the marketing blitz around the projects. And that's the reason why he's nearly reaching that point of over saturation, by way of ads alone. Or people's short attention spans, neither would surprise me.
Which is a shame, because as someone who has watched him grow as an actor from small guest roles on shows like 'Freaks & Geeks', up to his entire run on 'Even Stevens' and even his inclusion in the second season of Project Greenlight, he is without a doubt one of the best young actors working today. An actor with the charisma and talent that very few posses. He's built up a nice resume over the past few years in terms of smaller screen roles and managed to make them all memorable; movies like I, Robot, Constantine, Bobby, and A Guide to Recognizing your Saints all show how good he can be at lighting up the screen once he's in the frame. There aren't many people who can not only come out of Dumb & Dumberer unscathed, but also be the only entertaining thing about the film. That requires some real talent, folks.
As a suspense thriller, Disturbia does very little in terms of originality but makes up for it with how it manages to keep everything entertaining and moving fast enough to where we don't ask questions while watching. It spends the entire 100 minutes progressing the story forward, never back peddling or stalling for time. Disturbia is certainly one of the most rewatchable films to come out so far this year, and also one of the more enjoyable ones. Even if it is an unofficial remake.
Video:
(Presented in 1.85:1 Anamorphic Widescreen)
Paramount did a wonderful job on the visual presentation here, with noticeably fine detail throughout and no pixilation or color bleeding what so ever. And that's important for the films very stylistic look and it's very important lighting structure. The DVD transfer is handled very well, and preserves the films tone without any digital hang ups.
Audio:
(English Dolby Digital 5.1 Surround EX, French and Spanish 5.1)
The included audio track does a wonderful job of setting the mood and atmosphere when the film calls requires it to do so. Actors are heard in complete clarity and the rear channels are used nicely during the film.
Extras:
Audio Commentary - Director D.J. Caruso is joined by actors Shia LaBeouf and Sarah Roemer to sit down and discuss the film, but it isn't very entertaining. Caruso spends most of the time saying the same things about the different shooting locations, repeatedly reminding us that upwards of three locations were combined to make up a scene. Shia does lighten it up by talking about what it was like filming, while Sarah only chimes in occasionally.
Deleted Scenes (4:35) - Four scenes are included and are mostly cut because they don't add much to the story. Most worked well in the script, but didn't translate to the screen all too well. Outtakes (1:27) - are the standard assortment of on set goofs. There are some good laughs to be found, but it's too short. The Making Of Disturbia (14:51) - Has the cast and crew talking about the movie, sharing the same kinds of information that these kinds of quick features provide. Things like what it was like working with one another, the different shooting locations and the general story. Not the most indepth extra, but is entertaining nonetheless. Serial Pursuit Trivia Pop-Up Quiz - a pop-up track that plays throughout the film and gives some pertinent info, while also throwing in some obscure bits of info, like how March 1st is National Peanut Butter Lovers Day. One down side to this feature is that it repeats a lot of facts that were mentioned in the commentary track.
Also included are a Photo Gallery, the films Theatrical Trailer (2:33), a Music Video (4:03) for This World Fair's song "Don't Make Me Wait," and Previews (13:12) for Beneath, Super Sweet 16: The Movie, She's The Man, Stardust, Blades Of Glory and Next.
Fina Thoughts:
While Disturbia isn't the best film of the year, it will certainly find a nice audience for itself. The DVD has a very nice audio/video presentation but the extras are a big disappointment for such a well received studio project. This one is probably best left as a rental, with the possibility of being a "buy" once it hits the previously viewed racks at your local video store of choice. .::. DVD: .::.
DVD Review: TMNT
Long before Al Gore's global warming documentary, the world was going green. Only in the form of Turtle-mania, where the masked vigilantes with a background in aquatics and martial arts were sweeping the nation by storm. Starting out as a little known comic book, the characters have found their permanent place in modern pop culture. From animated TV shows, to live action films, even a few concert tours, all the way down to their popular line of action figures. And now, fourteen years since their last foray in to film, they're back!
Taking place several years after the previous live action films, we find our group of shelled crusaders disbanded. Leo has taken a sabbatical to South American where he has spent the past few years trying to learn what it means to be a leader; Raphael is roaming the streets under a new guise of "The Nightwatcher" and tries to keep the city as safe as one possibly could by their lonesome; While Michaelangelo and Donatello have taken up menial jobs as both a children's party entertainer and tech support analyst. The good ol' days of fighting off Foot Soldiers are nothing more than fond memories to them now.
The one thing about the movie that makes it a bit too hard to bare is the actual plot. Were we have Alex Winters, a billionaire businessman who, three thousand years ago was an exalted warrior that opened up a portal and unleashed thirteen monster on the world. That action then turned four of his generals to stone and made himself immortal. Now, realizing the errors of his ways, he has the opportunity to fix his wrong doings by recapturing all thirteen of the monsters with the help of the four generals -- who are now living statues -- and sending them back to where they came. When they figure out his plan, they turn on him. Now only the Turtles can save the day -- if they can manage to work together.
April O'Neil and Casey Jones are still around, and the film continues their relationship from the prior movies, only it's not handled as well as it could have been. They seem to be in a constant flux of "nearly breaking up" to happily together. It's certainly the films one weakness. And it's never fully explained why April quit her job as a news anchor in favor of becoming someone who now hunts down old statues in far off countries, either.
Mikey and Don have also been pushed to the wayside in this story, in favor of focusing on the mounting tension between Raph and Leo. And while some may be disappointed at this (I was always a big Donatello fan growing up), it's important to the story that these two finally reconcile their differences. After the first two movies, it was only a matter of time before the brothers would finally settle this long standing grudge, and it was wise of them to make that the main focus of this film. Still, here's hoping the others will get some of the spotlight if and when a sequel comes out.
The new incarnation does a wonderful job of paying homage to all of the thing we loved about the heroes in a half shell, while leaving all of the late 90's baggage behind. Although, it does tend to focus a bit heavily on the more modern Turtles that have made their way to TV in recent years. So there is certainly a little bit of everything here for both new and old fans to enjoy.
There are numerous send ups in the film to both the live action and animated incarnations, one that made me grin from ear to ear was a reproduction of the early teaser poster to the very first Turtles live action movie, the one with a turtle peeking through a slightly opened sewer cap. It's those little things that make the film fun, but it's the story that Kevin Munroe has crafted that will make this film live on, and be put in the same league as the previous films.
In a time when we're seeing countless franchises brought back with movies like Superman Returns and Batman Begins, I never imagined that this group of heroes would ever see another chance to appear on the silver screen. TMNT has reminded me why I fell in love with these characters when I was a kid, bringing back fond memories of playing with their plastic counterparts while I watched the animated TV show in my parents living room.
While many people were turned off by the notion of watching a Turtles movie without foam rubber suits and Corey Feldman, after watching TMNT I couldn't possibly think of a better medium to portray these characters than CGI. The actions scenes in the movie are some of the most entertaining things I've seen all year, director Kevin Munroe choreographs the fights to take full advantage of the animated world the turtles inhabit. While Ratatouille is being heralded as the best animated film of the year, TMNT is certainly the best comic book film of 2007.
Video:
(Presented in 2.35:1 Anamorphic Widescreen)
For something that is a direct digital-to-digital transfer, there sure seems to be quite a bit of haloing and edge enhancement throughout the entire movie. They aren't overly obtrusive, but people watching on larger screen will surely notice them. Some occasional aliasing/jagged lines also pop up in several scenes. Those few problems aside, the film looks absolutely beautiful. Colors pop off the screen and are reproduced nicely. The lighting and texture add so much depth and realism that it makes to film both enjoyable to watch while also allowing audiences to appreciate it a lot more as a piece of cinematic art.
Audio:
(English, French and Spanish Dolby Digital 5.1)
The audio is one of the best features on the disc. Klaus Badelt's music here is simply perfect for the tone of the movie and when it come blasting out of the speakers you find yourself being pulled even further into the story. The action scenes give the subwoofer plenty of things to do, and when it rains in the movie the rear speakers provide a nice atmosphere to envelope the viewers.
Extras:
Audio Commentary - Writer/Director Kevin Munroe sits down alone for this one and remains relatively modest; giving everyone who worked on the film a pat on the back for all of their hard work. I just loved how he managed to talk about so much of the films history and production in such a short period of time. This was 80 minutes of a guy talking passionately about what it was like to make a movie and going in to full detail on the troubles/happy accidents. Very entertaining.
Alternate Opening (3:02) - Seems like it tries to bridge the gap between the three live action movie and this new incarnation. It's told in a very unique way of sketches, drawing, and photographs edited in a very classy way. While it certainly evokes more of an emotional reaction, the entire scene was written back when the film had a much different story structure. But it's still nice to see what could have been. A commentary track is included with Munroe and is the only audio option, and can't be turned off. This is a common problem with almost all of the bonus material.
Alternate Ending (1:16) - Shows a different end were Casey proposes to April on the motorcycle that Raph gives him. This isn't nearly as interesting as the final ending that was used because it brings the story to a halt and then tries to build up steam again. Munroe talks about why he liked the idea, but still shares how he liked the general idea of the scene.
Mikey's Birthday Party Full Sequence (3:16) - This is seemingly meant to be a big reveal at first, but with Munroe's commentary talking over the entire scene, it takes away any enjoyment viewers could have found from watching it. Which is a shame because simply watching the animation shows a very interesting scene that would have been nice to see without interruption.
Raphael's Rough House Fight Test (1:41) - Here we get a previs that was made so the animators could see how far they could take the fight between Leo and Raph. Munroe says the footage was created in early 2005 and served as a starting point and has clearly evolved over time. The scene shows a much darker tone to the fight.
Monsters Come Alive (2:50) - Your simple garden variety storyboard comparison, with a commentary that can't be turned off.
Donny's Digital Date Files (1:56) - Is one of the shortest EPK pieces I've seen in years. They go over the difficulty of finding the balance for the properties and textures of the turtles skin, the way they approached the human characters and how much work was required on Splinter. They breeze through one of the most fascinating parts of the entire movie, and that's a shame.
Roof Top Workout (5:34) - Is a deleted scene that never went past the pre-vis stage. Munroe is once again on a commentary that can't be turned off, talking over the entire thing. The scene is about Raph and Leo in a bit of a tussle, it's a very confusing scene and probably wouldn't have been made much clearer by being finished. While it would have been nice to see another seed planted for their ultimate fight, this just seemed silly.
Still Wanna Fight?! (3:09) - An alternate scene where we get a better look at where Casey and April's relationship has gone. The scene better explains the Casey character and how he misses the old days of beating up street thugs. It winds up ending on the roof top where he discovers that Raph is the Nightwatcher, only in this version Casey isn't quite so quick at putting the pieces together in terms of outing Raph.
Additional Scene: Splinter Gets Cake (2:09) - The first half of this is the same scene of mikey coming home from the kids party, only for some reason they chose to use unfinished greyscale footage instead of replacing it with the final footage. Anyway, from there we see Splinter enter the room, brooding, but quickly lightening things up by asking if Mike brought him home a piece of cake. Don takes it away but Mike hands him another piece behind his back. It looked funny but, sadly, the footage is once again ruined by having a commentary track that can't be shut off.
TMNT: Internet Reel (3:52) - What we get here is basically an elongated trailer, too bad they couldn't include the films wonderful teaser trailer instead.
TMNT: Voice Talent First Look (5:04) - For something that's named for the vocal talent, this feature hardly ever talks about the voice actors in its short runtime. In fact, the only voice actors who are interviewed here are Sarah Michelle Geller and Patrick Stewart, the voices of two background character. The majority of this has the director and producers talking about the project, and barely even cover the vocal work, outside of a quick joke about coming in to work with sweat pants and no make-up.
Final Thoughts:
While it's certainly one of the most entertaining Ninja Turtles movies, the DVD remains a bit lackluster. Even with a highly entertaining commentary track for the feature film, it hardly makes up for the poor assortment of special features. And the irremovable commentary tracks on said special features aren't even remotely as entertaining as the full length version. Turtle fans will want to pick this one up, but for everyone else this is best left as a rental. .::. DVD: .::.