A Striking Similarity to Another Movie and Actor
354358
This review is for Blackhat. I'm not much of a movie critic, but I'm extremely surprised that nobody, here or elsewhere, has picked up on something very obvious in this film:  It's remarkable similarities to the 1978 film, "Who'll Stop The Rain", directed by Karel Reisz, from the novel Dog Soldiers by Robert Stone, starring Nick Nolte, Tuesday Weld, and Michael Moriarty.  The male lead characters of both films are heavily involved in high-stakes crime, they're on the run with a woman they'd only recently met, and the odds are very much against them.  Chris Hemsworth channels Nolte throughout, Blackhat.  Not convinced?  How about this: The first name of Chris Hemsworth's character in Blackhat is named, aptly, Nick.  As for the rest of the film, read other people's reviews for more.  If you haven't seen, Who'll Stop The Rain, check it out for the best performance of Nick Nolte's career.
3562294
The plot of CYRUS is straightforward: Joihn (John C. Reilly) falls in love with Molly (Marisa Tomei), but finds his amorous advances frustrated by Molly's son Cyrus (Jonah Hill), who cannot contemplate the idea of his mother seeing someone else and leaving him (Cyrus) alone.  John and Cyrus end up fighting with one another, but the film ends by suggesting some kind of reconciliation between the three of them.  What distinguishes Jay and Mark Duplass' film is its underlying sense of irony: just like Cyrus, John appears unable (or unwilling) to allow his nearest and dearest to live their own lives.  John is perpetually conversing with his ex-wife Jamie (Catherine Keener), while remaining blissfully oblivious to the fact that Jamie is about to marry Tim (Matt Walsh).  Like Cyrus, John cannot let go: the two protagonists are uncannily similar to one another.  It is only at the end of the film that both of them come to recognize their kinship.  The film is shot in quasi-documentary style, with the camera perpetually encircling the characters' faces, punctuated by occasional zooms.  This gives CYRUS an intense quality: the directors will not allow us to focus on other aspects of the mise-en-scene.  The characters matter.  The script (also by the Duplass brothers) contains more than its fair share of ironies.  Definitely worth watching.
3011608
Let's face it, the late Heath Ledger is the real star of this movie, not Christian Bale.  The latter performs competently, though he also has a weird voice as Batman that made me want to offer him a cough drop or two.  Back to Ledger:  his accent never slips, he creates a character who had a brutal upbringing, he's diabolical and will stop at nothing, and he would prefer to keep Batman around just for the fun and the challenge.  He also smacks his lips a lot as a natural consequence of having had his mouth slashed--the salivary glands are out of control. Nice touch.
Michael Caine, Maggie Gyllenhaal, and Aaron Eckhart are great in their smaller supporting rules, esp. Eckhart, with his anguished portrayal of Harvey Dent.  The action sequences are done expertly, especially the circus big rig and the armored vehicle chase.
There is definitely a very dark tone to this film, with Batman not being quite the hero that people want him to be, and many people turning against him as a vigilante who can't always be what they want him to be and can't always stop the evil in time.  He's a regular person, after all.
3063036
An elegantly constructed and intriguing movie that has me ordering the book this story is based on as well as the musical sound track - yes, I liked this a lot!  Young Frank Avagnale begins his con game posing as a substitute teacher when family circumstances change and he finds himself in public school.  At lose ends when his parents break up, he constructs an outrageously glamourous, high flying life, supporting himself with bad checks.  The chemistry between the hunter (Tom Hanks) and the hunted (Leonardo DiCaprio) ads an element of reality to the outlandish movements of the young criminal.  Thanks to the cleverly interspersed flashbacks, there is no illusion that the criminal will eventually win this game.  And since Frank eventually DOES use his brain legally, a worthwhile moral lesson is contained within.-Mamalinda
3961962
I would hardly classify myself as a hopeless romantic, but I nevertheless really enjoyed this movie.  This is the type of movie I wish "Guess Who" had been when it came out a few years ago.  While "Guess Who" played the race card strictly for (forced) laughs, "Something New" delivers a message that touches upon, but ultimately goes beyond, race.  Interestingly, some of the personal attacks that appear in a few negative comments on Amazon, demonstrate why Something New's message of openness, living and loving "outside of the box," is still so current and very much needed in our society.  Generalized (and inaccurate) statements regarding white men's supposed lack-of-interest in black women, and classifying Tony Award-nominated thespian Sanaa Lathan as a "B-movie" actress, demonstrate that, unfortunately, the pre-conceived notions and stereotypes that Something new addresses are still very much alive and well.  As a white woman, I am sure that I am not alone when I say that Hollywood is in desperate need of more movies like Something New.

Fortunately, like myself, the majority of professional and audience critics recognized this movie for the gem that it is.  Sanaa Lathan has such magnetism that you can't take your eyes off her on screen.  Not only is she obviously beautiful to look at, but she has an inherent screen presence rarely seen in actresses nowadays, of any race.  Simon Baker is ridiculously handsome in grungy jeans and tee-shirts, and, instead of playing Brian purely as eye-candy, turns the leading man into a multi-dimensional character with flaws just like the rest of us (check out the break-up scene in the grocery store).  And, as usual, Alfre Woodard effortlessly nails the role of Kenya's insufferable mother.  The rest of the cast is a hoot, especially Kenya's brother Nelson, and her girlfriends.

If you are the type of person who was shocked by the original "Guess Who's Coming to Dinner" or "Jungle Fever," then you might find Something New uncomfortable to watch, but that's all the more reason why you should.  For the rest of us (hopefully, the majority) who can appreciate a solid movie with quality acting, and beauty/talent in all colors, shapes, and sizes, Something New will definitely not disappoint.  Add this movie to your DVD collection.
1346543
Calf-eyed actor Jared Leto - an actor many viewers recognize but can't name - delivers a strong performance in Mr. Nobody.  He is easily dismissed as the quintessential "pretty boy," but demonstrates stunning talent here.  He is required to alternate appearances as a 118-year old man with his 34-year old selves in this science fiction romantic fantasy.  The overall strength of the film is uneven, but Leto shines.

Long-time viewers may remember Dustin Hoffman's performance as a 100-year old man in the early Seventies film "Little Big Man."  Others may recall Guy Pearce's performance in Ridley Scott's recent "Prometheus."  Both Leto's makeup and performance are much better than its predecessors.  His voice, movements and rhythms are amazingly authentic.  Whenever his grizzled self is on screen, Leto mesmerizes.

The supporting cast is also very strong.  These are pretty people in almost all phases of their lives, but the child, teen and adult actors all give deeply affecting performances.  Fortunately, physical types were so carefully selected that they are plausible versions of single characters at different ages of development.

Audiences are challenged by the film's Multiple Worlds Interpretation structure, however.  Though the term (from Quantum Mechanics) may be new to most viewers, the narrative structure it uses is not:  the story is told in flashbacks from the elderly man's point of view.  It hops back and forth between the protagonist at ages nine, seventeen, thirty-four and 118.  Several films have been made using this format over the past fifteen years.  The novelty of "Mr. Nobody" is that the audience sees alternate-universe versions of the character at a given age.  These versions differ depending on which choice the protagonist chooses at key points in this life.  For example, does the nine-year old choose to live with his father or mother?  With neither?  We see vignettes of how his life develops after making his choice.  Feedback indicates that this novelty is too much for many viewers to accept; the plot becomes too dense here, without proportional rewards.

There are also other problems here.  Like the film "The Time-Traveler's Wife," many viewers grouse that they dislike that the science fiction premise of the story is used only to serve a romantic theme.  As one 34-year old self, Leto gives video lectures as a physicist-cum-biologist.  His pseudo-scientific explanations of what is happening in the film feel forced and hokey, but many viewers want to see more about what the protagonist has done with his life, other than make love.  Moreover, I can imagine the impatience many feminists might have with this film; many complained about how the time-traveler's wife's travails were reduced to her loneliness at his long absences.  Here, the protagonist experiences three sweet-but-tragic romances with different lovely women.  Each woman only experiences one part of the protagonist's multiverse life.  Is that fair?

In any case, many viewers give up in frustration long before the film ends.  That's unfortunate; this film does reward the viewer, but only after requiring great patience and focus.
1883339
When it was announced that a remake of the classic Clash of the Titans with Harry Hamlin was being made, I was quite enthusiastic, given the power of today's special effects and how it could bring to life the many creatures explored in the original. Now having seen it, I am firm in my estimation that the 2010 version is an interesting take on an old classic. Now before the numerous fans of the original gather to stone me in the street, I offer this reasoning for my assessment. The true power of a remake lies in how the movie goer defines the concept itself. One interpretation is that a remake should somehow "regurgitate" the original, but just provide some new polishing on it in terms of effects and visuals. However, I prefer a different understanding of the remake, where the film provides a re-envisioning of the original, while retaining some essential elements. The new "Clash of the Titans" fits this profile. I applaud the fact that the makers of this film were not afraid to take it into different directions. In doing so, what movie goers have with this film is a more condensed version that explores the inner turmoil of man rather than focusing centrally on the often childish inclinations of the Olympian gods. In effect, Perseus is more humanized by the fact that his existence is not so contingent upon the gods' favor, especially with his otherworldly father Zeus. Subsequently, the adventure he partakes in is more effectual for the audience since he grows as a person and leader with each step he takes in achieving his goals and fulfilling his purpose. Essentially, the stakes on the situation seemed so much more higher.  With the original, that type of growth, purpose, and gamble seemed absent since the viewer knew that Perseus would inevitably succeed since he had the favor of Zeus. Though the original version offers a more complicated and rich story, the minimalist approach exercised in the remake is still enough to entertain.

Aside from story analysis, the film does have fine performances by veteran actors Liam Neeson and Ralph Fiennes as Zeus and Hades, respectively. Neeson brings a very commanding presence to the king of the gods, and Fiennes really embodies the saying "something wicked this way comes" with his portrayal of Hades. Sam Worthington succeeds in his portrayal of Perseus, and the other cast and characters were handled well. Lastly, the special effects are stunning in the 2D version of the film.  Overall, I think that if a movie goer approaches this film with an open mind, he or she may be surprised by what will be seen. You decide.
3423070
THE STORY: A wealthy and articulate author of thriller books (Michael Caine) becomes a cuckold when his wife falls for a compelling young actor (Jude Law.) The young man travels from London (where he was shacked-up with the lady) to the very high-tech home of his nemesis, to gain his consent for a divorce, and an incredibly dangerous game of wits ensues.

Of course there's an earlier version of this film, also with Michael Caine (as the cuckoldER!):&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Sleuth/dp/B00005R24G/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Sleuth</a>. But I was more reminded of yet another terrific (1982) Michael Caine movie as I watched the 2008 version:&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Deathtrap/dp/B00000JGHT/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Deathtrap</a>, which was based upon an Ira Levin play. One encounters a parallel set of interactions between Caine and a youthful Christopher Reeve as we see between the old Master and Jude Law in the film under review.

What can I say about this movie to justify the five stars which I have awarded to it? The acting is stellar, the story is terrific, the cinematography is first-class, and all this gels into a marvelous film. I should additionally point out that the filmscore was clearly extracted from&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Stokowski-Beethoven-Symphony-No-7/dp/B002RS7MRW/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Stokowski: Beethoven Symphony No. 7</a>, Second movement, a loop of four repeated chords from a work which suits the entirety of this unique film.

My "Mousetrap" allusion in the heading is obviously linked to the famous Agatha Christie play, "The Mousetrap," where there are numerous "turn-abouts," a key feature of this movie. And frankly, I absolutely cannot reveal specific details of the 2008 film for that very reason -- nearly anything would be tantamount to a spoiler.

This film was produced in letterbox format (anamorphic widescreen, 2.35:1) and runs for and all-too-brief 89 minutes.

In summary, if you're up for a comedy-noir, dramatic movie, this one will surely entertain you though to its worthy conclusion.
66543
Presents Ben Stiller as you've never seen him, in a semi-serious and extremely intense role as a needy, angry, and unstable man with a myriad of psychiatric problems.  Very reminiscent of "Rain Man" in a some ways.

In this film, Stiller's character struggles to deal with past disappointments and continuing conflicts in glamorous, hedonistic Los Angeles.  Sometimes painful, and sometimes funny, it is not to be missed by the discerning viewer.  In fact, I really thought Stiller's performance approached Oscar level quality.
4351019
Watching two powerful and exceptionally talented actors play across from each other is something of a marvel, and that is certainly part of what makes BERNARD AND DORIS a great film.

Based around the late history of tobacco heiress Doris Duke (here played beautifully by Susan Sarandon,&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/In-the-Valley-of-Elah/dp/B0011VIODW/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">In the Valley of Elah</a>) and her close relationship with butler Bernard Lafferty (the phenomenal Ralph Fiennes,&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/In-Bruges/dp/B0018BD9DA/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">In Bruges</a>), the film is a fictional take on the pair's relationship. Although no one knows what really happened between them, it is obvious that a friendship of unique qualities emerged. And Ralph Fiennes and Susan Sarandon are to be complimented on their astounding performances. Particularly Mr. Fiennes, who seems to turn every role he touches into gold (he did this, too, with his portrayal of The Duke of Devonshire in&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/The-Duchess/dp/B001L57ZZQ/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">The Duchess</a>). That Ms. Duke left millions of dollars under the stewardship of Mr. Lafferty after her death is a documented fact, proving that she trusted him implicitly (Ms. Duke was a very savvy businesswoman).

Some might think that sex had a part to play in it, but that would be a fools mistake because Mr. Lafferty was gay. And Ralph Fiennes plays the part of an early homosexual with perfect subtlety. His blossoming occurs under the keen eye of Doris, and the two give each other what they both need: companionship. It is a touching moment when Doris -- in a flustered state -- yells as Bernard and asks him, "What do you want from me?!" To which he simply replies, "To take care of you." And that is exactly what Doris needed in her waning years.

As Doris grows older and more ill (a debilitating stroke hits her), Bernard is given the opportunity to truly care for her, and he does so with Doris' final wishes at the forefront ("No one sees Ms. Duke without my permission.") Much of this leads to confrontations with her legal council and those worried about Doris' accumulated wealth. Was Bernard doing as Ms. Duke wished? Or was he just biding his time until Doris died and then pounce on her funds?

Regardless what you believe, Bernard was only given $5 million dollars and the rest he oversaw as a steward of many of Doris Duke's foundations. And upon his death (only a few years after Doris'), he donated all of his remaining money back to the Duke Foundation ...which should put to rest any worries about his motives.

Strangely enough, after this film was shown at a film festival, it was switched from a theatrical release and went straight to cable television. But the bigwigs at the film companies were dead wrong to do that. The performances are stellar and the movie engaging. It has now garnered 10 Emmy nominations (that's a ton!), three Golden Globe nominations, and two Screen Actors Guild nods. Had this movie been released to the general public via theaters, I feel certain it would've garnered even more notice. Shame on whoever let that slip through their fingers...
1205535
Think of Clarence (Christian Slater) in "True Romance" as Kit Carruther's (Martin Sheen) illegitimate kid from "Badlands"..And you start to get the picture, and the intended or unintended overlaps..Both sets of couples in both movies are on the dead run from trouble and or the law, Kit on a serial killing spree up in the Dakota's, and Clarence from Alabama's (Patricia Arquette) dead pimp's crew, and later Chistopher Walken's Sicilian drug trafficking warlords..One major difference however, Clarence didn't intentionally rip anybody off, he just incidentally grabbed the wrong suitcase, stuffed with a cache of cocaine, implying in the grander scheme, a more innocent, less sinister, anti-hero, trying to do the right thing by his girl, by the way, hotter than a four alarm fire!..Both "Badlands" and "True Romance" are "roadie" cross country flicks, and utilize the same haunting background score, originally made familiar in Terrence Malick's "Badlands"..See both movies in tandem at your earliest convenience, and then studiously compare them..You won't be dissapointed in either effort..And further, will undoubtedly notice the striking similarities, those familial ties..The families that slay together, stay together!
2276689
For the novice fan of Johnny Depp (i.e., "Edward Scissorhands" and "Pirates of the Carribean"), this movie will prove to be a pleasant surpise, into the world that Mr. Depp truly dwells.  His portrayal of a man, William Blake, already broken, yet unknowing of his future, is exuberantly interesting and beautifully unsettling.  Jim Jarmusch is known for his keen sense of cinematography and laughs, but this picture shoots straight from the hip of seriousness and straight-forward conciousness:  Silent, subtle, and poignant, this film is brilliant.
  Driven by a powerful subtext, this movie finds Johnny Depp as William Blake (hint:  Not the dead poet) who is steering a seemingly promising life, straight into a dimming light, toward a city of burgeoning industry, somewhere in the old west.  Complete with an encounter with a an Native American Indian named Nowhere, whom soon becomes his guide, he sets out to find, unknowingly, what it is that his life has in store for him.  Throughout his travels, deep into woodlands, he makes his way toward, to meet what it is he does not yet completely understand.
  The underratted facet of this movie, is the fact that it is shot completely in black and white (or, as my friends refer to it, Blake and White); an aspect of film that has not been efficiently accomplished since "Young Frankenstein".  A perfectly foreshadowing cameo from Crispin Glover rounds out a cast that includes Robert Mitchum and Iggy Pop.  Watch this and please be impressed by the purely natural feel to this movie, for it is an art that has been lost with the passing of such directors as Alfred Hitchcock and Akira Kurosawa.
1070971
This ain't the Malamud novel put on screen.  Yet this movie is very effective in its own right.  While inspired by the book (many scenes are pretty much out of the book), there is a very different sensibility.  The book is a kind of morality tale, with a dark view of the human condition.  The movie, after an elegaic beginning, also gets dark--but then ends with a dramatic moment and a touching, affecting close.

There are mythical moments in the movie that are most catching--the lightning bolt and the cover coming off the baseball, breaking the clock at the stadium, the climactic closing baseball moment in the film.

Roy Hobbs, though, isn't superhuman, although he is less prone to human foibles than his namesake in the novel.  He is human and very talented.  His life went haywire when he went to try out for a major league team early in his life(with a contract in his pocket).  A meeting with a mysterious woman derailed his baseball career for many years.

He comes back in his 30s and has a brief moment of glory, suggesting what could have been if things had worked out differently.

Thus stated, this sounds like a sad movie.  But the ending, bringing a family back together after a dramatic moment in the playoffs, provides an upbeat ending, testifying to the possibilities that our hopes can be realized.

Robert Redford's acting style plays well in this movie. Glenn Close provides an affecting counterpoint to Kim Basinger's Memo Paris and Barbara Hershey's mysterious woman.  Darren McGavin is wonderful as the gambler and Robert Duvall as Max Mercy, the sports writer. Wilford Brimley is terrific as the gruff old manager. Good acting; nice special effects; wonderful cinematography by Caleb Deschanel.

I know, it's a baseball movie.  But it remains powerful for me after too many viewings.
1583018
I was surprised by how much I enjoyed this movie and how much I thought about it afterward. I walked out of the theater onto a Los Angeles street at midnight and everything seemed more interesting and alive than normal. Even walking into a 7-11 for a Coke seemed interesting.

There are obvious parallels to "Frances Ha" (which I also liked) but I think there are more levels to Coffee in Berlin. Both films are "slice of life" films about a meandering 25 year old. Coffee in Berlin takes place over about 24 hours. Niko is a 25 year old with a sometimes girlfriend who dropped out of law school, putters, and lives on a stipend from his businessman father - who THINKS he is still in law school. The day starts badly when his ATM account is frozen - Dad has figured it out. Through the course of the day and night Niko meets various characters in unpredictable circumstances, never manages to get his cup of coffee, and has a meeting and brush-off from his disappointed father. It's not clear exactly what Niko's "character development" is, in the classic sense. He's living out the hour of 3 pm because, well, that's the hour that follows 2 pm. People suggest where he should go or take him there. For me, such a movie could be a flat tire or a winner - some odd combination of interest and resonance makes this movie a winner for me.

I like to think you can also see a level of symbolism below the surface story (though you don't have to). His father pretty obviously symbolizes postwar German industry and recovery - nose to the wheel, no time for laziness, and hard work. An old man he meets at the end with stories of the Hitler era clearly symbolizes that era. I think the crazy ex girlfriend he encounters might symbolize East Berlin or East Germany - "I used to be ugly, but now I am better, and I'm right here in your face, and I want you to love me, and by the way, I'm crazy as a bat from all the change I've been through." Two grifters he meets on the subway might represent either government or capitalism or some other kind of bully which is a paper tiger. Nearly every character he starts the movie with - his main girlfriend, or father - seem to disappear. (Even the crazy girlfriend who pops up in the middle, then disappears.)

Niko's hour-by-hour episodes of adventure through a hard day's night might also remind you of the 1985 film AFTER HOURS.
4556081
Both Freeman and Nicholson have made their share of poignant (read: soppy) coming-to-terms movies in the past ten years. The Bucket List is not one of them.

It could be seen as a buddy flick in which two near-strangers conspire to race death to the finish line by cramming a lifetime's worth of unfulfilled dreams into an ever-closing window of opportunity. The Bucket List is more than that.

This is Nicholson's movie, though fact is artfully subtle until the very end. Reiner's invisible hand lets the script and characters take their respective paths without cliche, or excessive use of violins in the backing track.

Though the cover art might lead one to think otherwise, this is not a happy/funny movie in the traditional Hollywood sense and, thus, it is (thankfully) neither blockbuster nor Oscar-bound.

The Bucket List stands as a "Reiner Classic" (a lineage to which both father, Carl and son, Rob ascribe)... resonant cinema crafted from the focused work of gifted writers, directors and actors.

A must see.
935537
This is an enjoyable film that comes across like a play at times.  I liked the way it wrapped up quite a bit.  I'm pretty sure it was at least partly meant as a nod to Batman.
1867380
When I saw this movie, I didn't know that it is based on Terence  Rattigan's play. Then I had an opportunity to read the play and found that  director David Mamet adapted it remarkably. He kept original plot,  characters, and even dialogues from the play, yet, he altered several  scenes(for example, sir Robert Morton's powerful speech at the House of  Common) which make the movie more vivid. "Winslow Boy" is based  on a true story which involves a lawsuit, but, it is focused on Winslow  family rather than Winslow case in the court. So, it could be an unexpected  approach. People who expected thrilling arguements in the courtroom might  be somewhat disappointed. But this unexpected approach gives a real value  to this movie and it makes it masterful. Anyone who is tired of seeing  typical hollywood movie will find a pleasant surprise in this film.