Battle: LA (PG-13)
Battle: LA begins with large blue balls of light shooting down from the sky. Wait, that’s Skyline. Battle: LA begins with large crop circles forming on the outskirts of—wait, no, that’s Signs. It begins when a large spaceship crash lands twenty years ago–no, that’s District 9. So, SO many alien movies have come out that it’s hard to find a difference these days, and though Battle: LA does explore some new ground, its set up and premise do not.
Battle: LA actually begins when meteors suddenly appear in the atmosphere, seen only hours before they hit. These meteors, upon touching ground, turn out to be some sort of mechanical creatures. Scientists speculate what they are, but to no avail. But one thing’s for sure: They aren’t here to make friends. Not wasting any time exploring what these aliens are, we are introduced to Aaron Eckhart, a war-torn soldier just days before retiring. After we learn that the aliens are here for war, the film turns into a movie surprisingly similar to Black Hawk Down. Eckhart and his team are sent in to eradicate the aliens and evacuate any civilians that are left now hiding in the cracks and crevasses of crumbling Los Angeles. But as things go awry (as they always do), the team of soldiers must bond and watch each others backs while they search for rescue.
In the films defense, it does create an interesting sub genre of alien invasion/war film. The soldiers carry their big guns down ally ways, helmets rocking back and forth on their heads, sending orders with hand signs. And don’t get me wrong, there are some very intense moments. But the film falls flat when the melodrama and cliches start pouring in like a rocket to the side of a dam.
The aliens are very well designed, and their weapons and vehicles are fascinating in how they function.
But throughout the film, I couldn’t help but wonder why I was watching it. There’s not much of a point, or plot, but it’s entertaining. A true popcorn movie. All brawn, and no brains, which isn’t always a bad thing, and I don’t believe it is bad with Battle: LA. But when the first real scene of the movie begins with a wide shot coming up over the title city with 2-Pac’s auto-tuned “California Love” playing, your hesitant to watch much more. But if you give it time and focus on the good (and they are good) aspects of the film, I think you’ll find it appealing.
The Mist (R)
Frank Darabont and Stephen King have had a relationship for years now. First Darabont adapted Stephen King’s The Shawshank Redemption. The film raked in so much (well deserved) critical praise that they thought they would team up again for The Green Mile. The film didn’t garnish as much love as the previous film, but it had its moments. Now, with The Mist, Darabont takes on putting up on the big screen a story that represents what the bulk of Stephin King’s career has been devoted to: horror.
The Mist centers around David Drayton, a comic book artist. David is a loving husband and father. After a terrible storm, the family–his wife and only son–wake to find their small town ripped to shreds by the winds. Off in the distance, slowly creeping across the service of their lake, is a menacing fog. “Strange.” David’s wife says. “Fog never appears on the lake.” Leaving the wife at home, David takes his son into to town to get some supplies. But while they are shopping, the fog envelops the whole town. A man comes in screaming, saying that there’s “something in the mist”. And thus, the horror begins.
What follows is both a relentless fright-fest, as well as a statement on mob mentality and moral ambiguity.
The cast proves to be very strong, the most famous actor here being Thomas Jane from The Punisher. Everyone is convincing not only as victims, but as people, now terrified of the town they once knew like the back of their hand, now shrouded in the unknown.
The only problem with the film is Darabont’s ending. I refuse to give anything away, but the shocking, fatalistic and ultimately hopeless finale may leave some with a bad taste in their mouth, but the ride along the way still warrants repeated viewings.
Rango (PG)
In 2009, we saw the visually arresting and highly emotional story of Up. In 2010, we were treated with the visually arresting and equally emotional story of How To Train Your Dragon. Now, in 2011, we are treated with the visually stunning, not so emotional, but utterly bizarre Rango.
The trailers for the movie point out that–besides having Johnny Depp in it–it’s from the director of Pirates of The Caribbean, also starring Depp. But be warned. Fans of Pirates will have very little to love about this film. They are nothing alike, and is in a completley different universe and has a completley different sense of humor. However, fans of Johnny Depp will fit right in and will love the almost incoherent babble that seems to constantly flow from Rango’s mouth.
Rango(the character) is a lonely, terrarium dwelling lizard who, upon being ejected from the back of a car via collision, is left both thirsty and lonely. After a few bizarre occurences in the desert, lands himself in the drought-stricken town of “Dirt”. For the writer to have the gawl to actually name a desert town “Dirt” pretty much gives you an idea of what’s to come. Rango decides to re-create himself as a cold-blooded killer, landing him the role of Sheriff.
And off we go into the world of Rango. Greedy mayors, a beautifully animated desert and town, and oh, I forgot to mention, there are Gatling Gun sporting Bats, dynamite throwing moles, and a rattlesnake with a machine gun for a rattle. And so, the weirdness goes on. But luckily, the weirdness is surprisingly easy to swallow, given how amazing everything looks. The tiniest details are rarely left unnoticed, completley immersing the audience in the world of Rango.
I would feel bad slobbering all over the film without mentioning the one aspect I didn’t enjoy. The dialogue in the film is…interesting to say the least. For example, in one scene the film is jaw-dropingly intelligent and witty (think Alan Sorkin), while moments later just mentioning the word “poop” or “pee” is expected to get a laugh. This is easily forgotten and half-forgiven by the cinematography and visual design, but it’s something that needs mentioning.
I for one would never call Rango a “kids” movie, just like you wouldn’t call the two films I mentioned at the beginning “kids” movies. Not because of the small amount of adult content, but because Rango is so flat out weird. It’s a movie for literally anyone who just wants to be entertained, whether it’s a 9-year-old who wants to see pretty colors, hear poop jokes and gunfire, or the 9-year-old’s father who will be charmed by the films odd ability to point to older movies in the genre without being obvious.
Hans Zimmer’s score is also a great tribute to the spaghetti westerns that the film is so excited to reference at every turn.
{SEE IT}
Brick (R)
Done on a hair-thin budget over the span of two weeks, Brick is an amazing work in story-telling as well as a great throwback to classic film Noir. Joseph Gordon Levitt plays a heartbroken teen who, after finding his ex-girlfriend dead, goes in search of finding what happened. Rian Johnson’s debut film is very clever, but some people may find it a bit too clever for their liking, due to the very confusing top-hat detective lingo. I recommend watching Brick with the subtitles on, to get the full effect.
Surprisingly strong acting from even the most minor characters only add to the cleverness, and the tongue-in-cheek-ness of the adult story happening inside a high school is either painfully silly or stylish and unique. Brick is the most hate-it or love-it movie I’ve seen. But those who love Brick keep it close at hand and watch it regularly. Definitely an acquired taste.
An amusing score by Nathan Johnson that compliments the films quirkiness is the icing on the cake.
A post script: do not take the absurd R rating seriously. This movie is completely without inappropriate content. I’ve even researched why it got an R rating and no one seems to know.
{SEE IT}
Let Me In (R)
My favorite movie of 2010, Let Me In boasts some of the strongest acting by two children I’ve seen in a long time. Chloe Grace Moretz (Of Kick @#!*% fame) and Kodi Smit Mcphee (Of The Road fame) deliver their strongest performances yet.
Let Me In is a remake of Let The Right One In, a Swedish film that came out in 2008. After its limited release, the film developed a cult following, with one of its followers being the director of Let Me In, Matt Reeves. Matt Reeves’ previous film, Cloverfield, got much critical praise for its documentary style filmaking.When the avid fans of it’s Swedish predecessor heard that Matt Reeves was directing, they had an odd fear that he would use the same tactics and style in Let Me In. They couldn’t be more wrong. Let Me In is a subtle yet terrifying take on the classic bloodsucker genre. One the best, if not the best vampire film I’ve ever seen.
After seeing both the Swedish and American version of the story (originally a book by John Ajvide Lindqvist), I believe that Let Me In is the best choice for someone torn between the two. Kodi Smit Mcphee plays Owen, a depressed boy who is mercilessly bullied at school. Without friends (or a father), Owen spends his evenings stabbing trees with a pocket knife, pretending to kill his bullies. On one of these evenings, he meets a barefooted girl. Moretz plays a sweet (though mysterious) young girl named Abbey who moves in next door in the large apartment complex. Owen soon learns that his new friend is actually vampire, in need of blood. From there, the story is one of love, vengeance, faith, and fear, all wrapped up in a bleak world where hope is scarce. Richard Jenkins (of The Visitor) plays Abbey’s slave/guardian who must go out and get blood for her.
Despite the films bleak, dreary, sad atmosphere, Let Me In provides a sense of horror rarely found. One that has more frightening implications than it does jump scenes or big scares. It aims to make you think, and succeeds with flying colors, mostly red.
Not for the squeamish.
{SEE IT}
District 9 (R)
Neill Blomkamp’s debut film is both an action thrill ride and pseudo-documentary. Blomkamp was originally recruited to directing the (Nerds rejoice!) Halo movie adaptation, which explains why the weapons in District 9 look so darn familiar. They made the props for Halo before shooting began, and before they realized they couldn’t make Halo yet due to budget issues. What we have instead is a well directed and well imagined story.
Set in Johannesburg, Africa, District 9 intruduces us to a world where a massive alien space ship came twenty years earlier. Unfortunatley, it was more of a crash landing, and the ship has been hovering over the city ever since. Upon entry of the ship, the government found malnourished alien life forms inside the ship. Removing the aliens from their mother-ship, they brought them to earth, sanctioning them in small shacks and huts until they can leave.
What follows is a compelling-though very bizarre–journey of one man’s desire to finally do good. Older audiences might notice the obvious underline of the Apartheid that took place in Africa many years ago. Blomkamp was actually born into the world of Apartheid, and wanted to make a movie about it ever since.
If you can take the weird premise seriously, District 9 offers up a thought provoking message of redemption while delivering the goods of an alien-laden action movie.
{SEE IT}
Faster (R)
Hmm. What to say about a movie like Faster besides that it’s exactly what it should be. I doubt that Faster was looking for any Oscar or Golden Globe buzz. Dwayne the Rock Johnson gets into his type-casting boots again as an angry, muscly man being released from prison. No names are given for any of the main characters. Johnson is just “Driver”, Billy Bob Thorton is “Cop”, etc. For the first time in his career, Billy Bob Thorton seems like he’s phoning it in a little here.
The quick-paced direction and adrenaline fueled violence was probably an attempt at originality, but it comes off like a straight to DVD ripoff of Kill Bill or Crank. Not to say it’s a total rip off. It’s a solid action movie. Dwayne does his thing as he seeks revenge for the death of his brother. Four men were responsible for his death, and Driver makes a list of all of them before setting out on his vicious adventure. The originality wears off after nothing really original happens. But, if you’re bored on a Friday night and want to watch something entertaining, pick it up.
Rent It
United 93 (R)
On September 11, 2001, one of the darkest days in American history, the country suffered the loss of nearly 3,000 people. Three out of the four hi-jacked planes that crashed reached their target. The fourth plane never succeeded in it’s plans to hit the state capital, thanks to a group of complete strangers. The events that took place on board that plane are captured with unbelievable power.
This is United 93.
There was quite a bit of controversy regarding the film United 93, mostly because people weren’t sure if America was ready to revisit that fateful day just six six earlier. It’s hard to say that this film was “entertaining” the same way I would say that something fictional is “entertaining”, but it is an action packed movie. The movie begins quite similar to how that morning began. People getting ready for work, pilots chit chatting about what they would be doing that day. But multiple camera shots of terrorists reciting their prayers to their god reminded me what this film is really about. And so, until the actual hi jacking took place, the butterflies in my stomach were rattling uncontrollably.
I expected the anxiety to stop, but after the hi jacking, it got more intense. The way that the director, Paul Greengrass, shoots the movie, makes you feel like one of the passengers. In fact, all the way until the very end, I felt like I was doing nothing but looking over the shoulders of the various passengers as they try and figure out what to do. It’s powerful stuff. This review is a bit short, but I think I have an excuse: I was floored by the film. Unlike other movies about American tragedies such as Pearl Harbor, this one feels real. It’s cinematography is not beautiful to look at, nor does it provide the distracting faces of celebrities. United 93 provides, for once, a raw experience of those very disasters that are turned into what we often label as “cool movies” instead of powerful experiences that actually give you an honest interpretation of what happened.
There’s not enough I can say about United 93, except for it’s undeniable importance in the recollection of that tragic day, and a sobering testament it is to the bravery of each and every one of the passengers aboard United 93.
I would like to end with a quote from David Beamer, father of Todd Beamer, the leader of the group who tried to re take the plane. “Clearly there are people who aren’t ready to see this,” the elder Beamer said, “I certainly understand that, and that’s their decision to make. But we must not forget.”
10 American heroes out of 10
United 93 is rated R for language, and some intense sequences of terror and violence.
Review by Jason Holland
There Will Be Blood (R)
Daniel Day-Lewis leads a mesmerizing role in a tour de force of American Films that boasts beautiful imagery, a booming score, and one of the finest performances I’ve ever seen.
At the turn of the 20th century, oil was big. Oil men all across the U.S.A were, as Daniel Plainview said, “scratching in the dirt” looking for an easy way out of their poverty. “There Will Be Blood” not only captures the essence of that time with pinpoint accuracy, but it projects a frightening view of greed and all of its negative attributes.
Daniel Plainview is a talented and wealthy oil man drilling for the liquid gold in California with his son. There are a few subplots to this film, so it’s hard to give an exact story line. The main thing about this movie though is Daniel and his son. The film spans across about twenty years of his life. Throughout the years, Daniel faces various trials, often caused by himself. He also gets more and more greedy and, to be blunt, kind of evil. The entrancingly talented Daniel Day-Lewis plays the oil man perfectly. His performance is one of the best I’ve ever seen. He’s a gritty, raw man. Plainview is a character with so many layers that the film requires a couple views in order to fully understand and dissect it. The great thing about his personality, though, is that Day-Lewis’ talent adds so much more to Plainview than what was there originality. Every little thing he does on screen is perfect. His eyes movement, his gruff southern accent. Nothing makes you not believe what’s happening.
At the beginning of the film, Daniel is an independent and honerable oil man doing the drilling by his own hand. In fact, the first fifteen minutes of the film are in complete silence, and it’s one of the best parts of the movie. It’s only about five or six different shots, all of Plainview and his pickax, searching for oil in his hand made well. As I began to watch it, I realized that the entire movie seemed to rely and rest on Day-Lewis’ shoulders. And he carries it like it was as light as a feather.
As the various plots progress, we see that Plainview might not be all he
s cracked up to be. He turns evil, and makes some very bed choices, including abandonment and murder. As the nearly 3 hour tale came to a gritty end, I found myself looking back on everything I watched, trying to find something wrong with it. Nothing was out of place. I would have liked to watch the movie for another hour or so. Luckily, I got the two-disc set with a lot of bonus features to keep me fixed on the life of this honest oil man a bit longer.
With each eerie, wild violin chord and booming cello, even the slightly slow scenes are usually very interesting. The music was composed by Jonny Greenwood. Greenwood is the lead singer for the ultra popular British rock group Radiohead, though you wouldn’t know it while watching it. The music is top of the line, and I would suggest buying the soundtrack after seeing the film.
Daniel Day-Lewis won the academy award for best actor for his role in this film. By itself, the film got more than four nominations, including best picture and best director for Paul Thomas Anderson, who also wrote the screenplay. This epic tale won the award for Best Cinematography, as well. Just the look of the film breathes fire and brimstone, damnation to hell, and grit.
As oil sprays up from the earth, we get the name of the movie from Plainview. He calls it the “blood of the earth” in various scenes. And so, “There Will Be Blood”. A lot of it.
It’s long, and it’s time consuming, but in the end, There Will Be Blood is a brilliant and moving film about wealth and what it can do to those with the potential to be great, rendering the film downright impossible to miss.
10 bursting oil wells out of 10
There Will Be Blood is rated R for some violence
Review by Jason Holland
Land of the Lost (PG-13)
Will Ferrell leads the cast in this unnecessary adaptation that does nothing but injustice to the campy 70′s TV series.
For the few who haven’t heard of it, The Land of the Lost was an intriguing and inventive Saturday morning TV series created by Sid and Marty Kroft back in 1974.
The Marshall family; father Rick, son Will, and daughter Holly are out on a camping trip when the raft ride they take plunges down a waterfall and into a crevasse following an earthquake (Oh dear heavens no!). In this unknown world they encounter prehistoric animals, the remains of a very old city carved out of stone,a race of humanoid lizards, and mysterious pylons located throughout the jungle. Wonderful stop motion animation was used in this show, a special FX rarely seen on television shows. There was also some terrific matte work depicting this lost land. It was, simply, a kids’ show that aspired to bring spectacle, nifty effects, and quality writing to each episode.
This year, a new comedy came out with the same title. At the head of the cast was none other than the crude Will Ferrell. Basically, it’s the same premise, with a few minor tweaks. Will Ferrell is a washed up scientist named Rick Marshal who has been trying to prove that a parallel universe exists. When he meets an attractive scientist who happens to be a huge fan, he is inspired to pull an all-nighter and build the parallel universe machine he dreams of creating. The two go out to a deserted circus tent to try out the machine that they hope will shoot them into the parallel universe. Danny McBride(The Foot Fist Way, Hot Rod) plays the tour guide of the circus, and is forced to tag along when an unexpected earthquake opens a chasm that swallows the trio and spits them out in an unknown time. In this time, dinosaurs and lizard-people roam the earth.
The fact that this movie has the same title as the campy 70′s show, as I soon found out, is the only thing the two have in common. While the television series was charming and funny, the film adaptation is grosser, weirder, dirtier, and more unnecessary than the series. Will Ferrell is slightly to blame for its womanizing efforts at comedy, but mostly it’s Danny McBride’s edgy and questionable comments that make half the audience go, “Whoa, careful man!”
In fact, at some points in this movie, it seemed almost impossible to me that this was PG-13. Its source material has the potential to make a great movie, but as soon as you cast men like Danny McBride and Will Ferrell to lead the cast, it’s bound to be smutty, crude and, much like the film’s narrative, out of control. The way the plot progresses makes me think that the screenwriters only goal was to either make a lot of girls wince and squirm, or make twelve year old boys laugh their heads off. Either way, neither makes for a good movie. The development and story come off as nothing but shallow and hollow segues to another gross sight gag.
In the end, Land of The Lost doesn’t even permit me to say that it “has its moments”. The only moments that the movie does have are awkward and in bad taste. The only “Land of The Lost” that exists here is inside the minds of the creators of this downright crummy adaptation.
5 Dinosaurs out of 10
Review by Jason Holland
Land of the Lost is Rated PG-13 for crude and sexual content, and for language including a drug reference.
