hitechcleaning5 Reviews

Jennifer's Body (2009)

More ironic than horrific.

[8/10 · 30 April 2010]

If I like a film I will watch it several times. This is one of the exceptions. I did watch it several times, but aside from the actors and the acting, the film was a disjointed jumble of contradictions and misdirection.

One thing I liked about the film is it created its own genre; it wasn't a horror film but more of a mockery of the paranormal thinking some of us have grown to mistrust...or disbelieve altogether. I think this was more by accident than design, however. Diablo Cody is not that clever.

Part of the irony is casting. One might expect Amanda Seyfried to be cast as the beautiful antagonist. In this setting, she is the opposite. The glasses, the dowdy clothes and Needy's general demeanor actually work to plant her character as "nerdy." Her acting skills make it believable. A role reversal could work also. Megan Fox could be Needy and Amanda could be Jennifer. I think that might be just as good if not better. Fox states "she could never be the alpha female." Nevertheless, her character is.

After reading their bios and quotes, they seem very different. Megan Fox is much more intelligent than her image might have one believe. She is not promiscuous, ostentatious or amoral. She has a clear view of herself and how sexuality relates to her womanhood and her acting, but does not seem to let that affect her personal life. Amanda is straightforward, versatile and not complex or arrogant. Although they are very different, either could play the part of the other in this film. They are also friends, or so I read.

I liked "Jennifer Speak." Her one liners were cool even with the built in plugs: "You're Jello, you're lime green Jello, I've got the 03 Chrysler Sebring, where's it at Monistat." The writer must have stayed up nights thinking up witty things that are exclusive to Jennifer's character which is filled with "varsity moves and a white trash pig roast." Either actor could deliver those lines, but only Jennifer could pull them off. If Diablo Cody deserves any credit at all, it would be for that.

Johnny Simmons is the perfect Chip. He is so subordinate to Needy, but yet another irony. Needy would be expected to be subordinate and submissive, but she calls all the shots with Chip, and he goes along with anything. Is he to Needy as Needy is to Jennifer?

I didn't buy a lot of the script. After the fire and the killings there was a short period of remorse followed by great anticipation of a school dance along with an apparent obsession with Low Shoulder as both heroes and as a "killer" band. This was neither realistic nor credible as Needy, an independent witness, refutes the hero stories but is rebuffed. Also, the only bar in a small semi-rural town is not likely to lure the indie band genre over country and western music or older rock cover bands. Diablo (another irony) Cody doesn't research her writing very well, among other things.

Clearly shot in various locations, there were conspicuous inconsistencies. The opening shot showed Jennifer's house with a spacious lawn and a horse (grazing at night). But Needy's house was on a crowded street resembling a grubby suburb of Newark. Seconds later, Needy winds up on a narrow road flanked by dense forest. The montage identified Devil's Kettle as a small, rural town. So why does Colin get eaten in an abandoned row house? Needy's mom works in a factory (or something like that) but how many factory towns have only one bar? None of the pieces fit together as far as screen writing is concerned. I don't know what Cody was thinking. The production designer must have felt total frustration.

There were several things that make no sense. Even with the help of Satan, no band can rise from oblivion to "a sold-out national tour" in the course of two months. With several grizzly murders, one might expect some form of involvement with the police. But there is nothing. Why were Needy's scars not questioned? Did she tender no defense? Why did Chip disregard Needy's pleading by walking to the dance alone, in an open field? This is completely opposite of his ordinary behavior. How could Needy go to the dance "to keep an eye on Jennifer" when Jennifer wasn't even there?

Some of the directing was not what one might expect with such a good cast. This is yet another irony. The scenes with Jennifer approaching from a distance were boring and redundant. They added nothing. Low Shoulder played only one song, and the the part where Jennifer lures the foreign kid into the forest had no conclusion. If she ate him, why no funeral, why did she want to eat left overs from Boston Market? Why was there blood on her face?

Being campy is another irony. Some of the "black humor" was so bad it was good. Furthermore, Devil's Kettle may be an apt name for a place where "Satanic rituals" would be played out. But how would an indie band from the city even know it existed? Why didn't the orange balls get sucked into the bottomless pit? How did the murder weapon avoid the falls conveniently for Needy to find?

In spite of a "discombobulated" script, novice directing and tedious production designing, the cast made up for fundamental weaknesses in all areas. A good script, good direction and a mediocre cast doesn't work well either. Ordinarily, I would trash this movie. But, ironically, the cast and the one liners made it worthy of repeat viewing for me. . Therefore, my evaluation of 8 stars is ironic as well.

Terminator Salvation (2009)

Built for replication.

[8/10 · 1 March 2010]

Except for the Christianity v. Satanic references, this film offers excitement, irony, multiple sub-plots and peeks into a world that could be and almost was. While watching, TS seemed like a combination of "The Road Warrior", "Transformers", "Escape From New York" and "The Matrix" but is consistent with the thematic continuity of the Terminator series.

Not easily recognizable, Sam Worthington chalks up high marks as John Connor's half man/half machine enemy by programming and ally by his roots in humanity. His performance is loaded with validity, vitality and energy and challenges Bale's characterization of the man destined to save the world from the machines.

Bale is transitive in his portrayal of a modern day J.C., but adequately toughened up to fit into the framework of sophisticated weaponry and gritty close encounters with savage machines and not-so-friendly humans in the scary detritus of decaying old buildings, vehicle skeletons, lifeless trees and barren, unsightly backdrops of war and chaos. In this setting he prevails with strong support from his followers. This is where the symbolism ends.

The message left on tape from his mother spells out a mission wherein he must defy the command hierarchy set on destroying Skynet. But first he must learn to trust the man (or thing) he fears the most in order to save his own father whom he predates by a good twenty years. The elusive Kyle and his child companion, Star, are sought, and nearly lost in a prison accessible only by the T-800 he fears and later emulates.

Command fails to recognize his plea to stand down. Michael Ironside is credible in the role as the seeker of retribution, but his power is undermined by haste as his fool-proof plan backfires into a watery grave. Being cold and calculating is the machine-like trait Conner is determined to countervail with the message about what makes us different. But is defiance a good lesson?

Uncommon for an Indie film, the 200 million budget is exceeded to almost double and clearly sets the stage for what could be a long list of follow-ons. Will Bale return as Batman, too? Only scattered few know for sure. For the rest of us, the wait for both will be worth it.

Casino Royale (2006)

Three reasons why it's the best Bond.

[10/10 · 13 December 2009]

First is Daniel Craig and the lead actors. Craig is tough, convincing and breaks the mold by substituting overt sexuality, quirky one-liners and clever gadgets with bloody-knuckle action and steely body language. His interaction with Eva, who is by far the best Bond girl, is quite subtle. Thy spar at first, but as the plot unwinds, she is torn by the conundrum of saving her boyfriend and falling for Bond at the same time. During the shower scene, one must wonder if her distress results from the bloody skirmish in the stairwell or from her guilt for betraying him. The other actors fed their inputs to Craig and Green with acumen and zeal. Next, the story itself, while loosely fitting the Fleming cloak, is vastly different in portrayal and conforms to the basal conflicts so skillfully brought forward from the original and so vividly re-created using technology, solid physical action, extraordinary make-up (Bond's blood and bruises seem so authentic), great costuming and dramatic special effects.

Craig is so believable as a "rookie" OO7. While nettling M with his antics, she can not contain her need to defend him as she would a favorite son. He makes no excuses. He sniffs out a lead until it is dead, but only after it carries him to the next. As he kills them in rapid succession, he unravels Le Cheffre. Clearly taken by Vesper, he, not knowing her underlying agenda, is unable to detect her deceit which she finds easy to conceal due to her true feelings for him often over-riding the ugly truth that drives her. She is not the typical bond girl, but the anachronisms of progression, since this was the first OO7 novel, and the last to be adapted for film, make her role far from stereotypic, a change worth mentioning.

Finally, the direction infuses life into a host of enormously talented actors, and the directors extract the most from those behind the scenes. The concert of all three elements makes Casino Royale, even though quite lengthy, the standard by which all future Bond films, and other shared genre films, will be judged. As to how this one can be out-done remains to be seen.

Quantum of Solace (2008)

Bottled in Bond

[8/10 · 15 May 2009]

This film has an apt title. Quantum taken from the Latin derivative quantus means: "how much", and solace means: "consolation." Bond and his female protagonist, Camile, have very different agendas but share a parallel need for as much solace as they can extract from one another. Their common denominator is the elimination of Greene, and while each seeks to confront their separate personal agendas, both key off of the diligence and connective energy between them which builds faster and faster as the film spools out.

Absent Q, Moneypenny, the high tech gadgets, the one-liners and the other icons we have come to expect, this Bond excels without them. Daniel Craig is different. He is more like an English Jason Bourne. The fights, the chases, the cold blooded action are similar to Boune, however Bond is suave, sophisticated and skillful at romancing. For this Bond, womanizing is a coping strategy and not necessarily a component of the male ego as we have seen in all the other Bonds that preceded. Strawberry Fields is a touch of Fleming without doubt.

The opening car chase is without peer. I can only imagine the preparation it must have taken to put this sequence on screen. The boat chase is another very exciting, albeit difficult, series of scenes to capture. As a pilot, a DC-3 can barely maintain altitude with the critical engine out let alone enter into a steep climb in that configuration. Nevertheless, I loved that scene because out-foxing a high performance prop fighter with a lumbering old relic was really fun to watch and equally as difficult to produce.

The fight scenes are extraordinary in terms of choreography and execution. Craig is tough, brutal and persistent. Camile used her long limbs to great advantage in her tangles, and her expedient response to threats was very impressive. In short, the action sequences delivered with full thrust while the underlying drama, although somewhat difficult to follow, delved into the one constant in all Bond films: one man's thirst for power and control at the expense of others.

Greene is one of the most vile antagonists of all. He is expert at manipulating the corrupt, evading detection, and acquiring wealth by destroying the very things he claims to defend. Bond's killing sprees and his sharp vigilance lead him on a world wide adventure in sinewy back rooms, opulent hotel suites, impoverished villages and high-end biz jets. All the while Bond defies authority, makes his own rules and "will light the fuse on any explosive situation." He eventually unravels the truth.

Both Bond and Camile find their rewards. Camile by execution, and Bond by delivering a fate worse than death to one adversary and slow death in the desert to the other. Killing, as an ironic twist, is a first for Camile while Bond, who could have easily killed both targets, chooses not to allowing a just cause to flourish. All the Bond films are great in their own ways. This one is great because it breaks the mold as Bond matures and will no doubt set forth on another adventure to come.

The Day the Earth Stood Still (2008)

Focus on the message.

[8/10 · 12 May 2009]

I have one major problem with this film and one minor problem. My major problem is Jared Smith. His character is without doubt the most arrogant, supercilious, narcissistic, obnoxious and overbearing child character I have ever seen in any media. The bit of it is the "acting" he did was to be less of a conceited little worm than he probably is in real life.

My minor problem was the corny reference to the Noah's Ark myth. In my mind the only thing more ludicrous than that story is the fact that some people actually believe it, would kill or die over it and hold deep hostility, hatred and prejudice against those who do not believe it. This a minor problem because, after all, unwillingness or inability to change and accept reality is the central thesis of the film.

There are those who are swift to criticize Keanu Reeves' performance as Klaatu because his character, to some, lacks emotion and depth. The simple fact is that Klaatu is something other than human inside a human body. For him to be like a spiffy trial lawyer with a 100% kill ratio simply does not fit the role. He has logic, purpose, power and zeal. He learns that change can and should occur in himself. I can't imagine anyone better suited for the part.

Others believe that Jennifer Connelly's character is disjointed and detached from the rest of the world. This may be true, but her character IS different. She sees Klaatu as more of a solution than a problem. She connects with him, defends him, believes in him and is the first to recognize that he is a force with reason, not just an agenda. She balances her fears with conviction and is the perfect protagonist.

Kathy Bates always pleases. At first she is the officious duty oriented subordinate to a typical U.S. president who clamors for exclusive control for something that is beyond control. She takes hostile action under the false belief that force and violence is the only way to confront something that is virtually impervious in terms of preemptive military intervention. She later softens but regretfully follows the directives of her leader. Her character arc, while subtle, is valid and believable.

While short, the role of the professor played by John Cleese is pivotal in the sense that his remark about "change at the precipice of destruction" has impact on Klaatu as he toils with a decision that can only be made by him.

Yes, there were flaws. And yes, there were glitches. Nevertheless these are well compensated by the inherent message and by the question "what happens now?" The answer to that question is a controversy, but controversy sells and if it weren't for Jared Smith I'd give this one a 9 without doubt.

Contract Killers (2008)

Not Bourne again.

[4/10 · 10 May 2009]

I ordinarily comment about movies I like. This is an exception. Frida looks the part of of a hardened, stealthy assassin. Nevertheless, a weak script, disjointed segments and sloppy direction supplant her latent talent and place it under a thinly veiled insult to her ability.

By no means a Robert Ludlum thriller, the film is merely an inept reprise of the Bourne trilogy. Tougher, smarter and much more gutsy, Jason rarely used a firearm to execute his agenda, but that is Frida's only counter to the loosely conceived threats she faces. Her unwitting English accomplice bears little resemblance to Jason's love interests.

Always the bad guys, the C.I.A. hierarchy and subordinates lack the sophistication we have come to know in the film media. Easily duped, they are outwitted at every turn, and their "assets" are more like liabilities. Humanizing them weakens their ability to pose a serious threat to Frida as she unravels a truly ludicrous scheme that would effectively undermine the economy of the world.

The fights, the car chases, the helicopter intervention (why didn't the asset just shoot it down?) and the predictable climax made a dismal excuse for an action thriller. I hope Frida's paycheck compensates her for the what is truly a stab at her credibility as an actor.

Death Race (2008)

Small road, big Warrior

[8/10 · 3 May 2009]

With barely recognizable cars and characters with every known personality anomaly, this film is a distant relative of its precursor: "The Road Warrior." The implicit difference is"Death Race" actually has a plot.

Given that prison inmates with access to and use of rocket propelled grenades, Gatling guns and napalm is not a strong correctional probability, this film is not a prison cliché. Rather it portrays an innocent man's retaliation for the unspeakable act of framing him for the murder of his wife in order to create entertainment value in "a world gone mad."

Jason always pleases as the contemporary tough guy, and Joan is the ultimate alpha female with a diabolical taste for the decadence of amorality fueled by a Cheney-like quest for dirty money at the expense of others.

Jason is smarter than she thinks. He quickly unravels her sinewy intent and her conspicuous misuse of power. He deftly eliminates the foes with whom he is surrounded, wheedles the truth and devises a plan to set himself free by playing to her greed and misguided motives.

The action, the casting and the directing creates an apt conclusion to a riveting story that kept my attention throughout. Not perfect by any means, I enjoyed it enough to watch it several times, each time more rewarding than the previous.

Walled In (2009)

Shining antithesis.

[9/10 · 25 April 2009]

Not since "The Shining" has a film in this genre captivated me unequivocally. What makes it so is simply the reverse of the former insofar as there was only one truly insane character. "Walled In" has only one sane character surrounded by a gaggle of obsessed, deranged, demented and wretched characters.

Sam is exposed to her deepest fears and her most convulsive nightmares as she attempts to make sense out of something that travels far beyond that which is sensible. Her engineering discipline is immediately compromised as she confronts the lunacy of the other characters and of the building she is hired to destroy.

The blueprints read a dubious meaning due to being incorrect by engineering standards and utterly preposterous in terms of what she discovers, either by accident or design. Her curiosity compels her to confront her fears as she leads and is led into secret passageways pointing to the reality of her terror.

The building itself emulates the ancient pyramids in reverse as evidenced by the form of the windows. What is consistent is the self tortured architect's believe that a building can have soul only if human beings are sacrificed within its walls, an irony not easily discounted.

The affects of all the various forms of torture, insanity and oppression are virtually unimaginable as Sam struggles to live within the depths of a nightmare. Deftly played by Ms. Barton and ably supported by a finely honed production staff and equally as adept actors, the film gave me some nightmares of my own.

The House Bunny (2008)

Blond wisdom.

[8/10 · 23 April 2009]

The only thing that I found troublesome was Shelley's eviction. Why didn't she just call Hef or why didn't he just call her? It's really a collateral issue as no story is without fault, and her exit is key in the plot. I couldn't find a better way to do it, so on with the show!

As usual, Anna is the center of rotation in a centrifuge of adaptation, change, renewal, acceptance, rejection, reform, awareness, self-help and in the end: wisdom. She is the comedic nexus of the film with extraordinary support form a cavalcade of wonderful actors and a keen director.

As the film spools out, physics cause the tip speed energy to increase. Shelley works to revitalize a bevy of female misfits and transforms them into a viable force against a snobby rich-kid sorority and their egocentric house mother. In the process, she stumbles over herself seeking romance failing to realize that her inner self is the real prize. As she teaches the girls, they teach her how to be her in a symbiotic manifestation of balance.

Among this, additional beauty of the film is Shelley's decision to place true friendship and virtuous values above superficial rewards. Her speech at the climax is the deliverance from being a mere "meteor" to the wisdom associated with what is truly important in life and in coming of age. This film was eloquent testimony of Shelley's affinity with her new friends and her new life, and Anna's interactions with a highly professional film making organization.

Body of Lies (2008)

Too close to the truth.

[8/10 · 20 April 2009]

Most people know the motto of the CIA is: "The truth will set you free." Conversely do lies make one captive? The intrinsic problem is how (or if) one can tell the difference. In this instance, Di Caprio, Crowe and Scott make this conundrum all too real.

In the central thesis of this film lies a problem that predates the CIA and the intelligence gathering communities of the world. It is the enduring conflict of religion testing the mettle of its non-believers. Referred to in the film as "infidels", are those of the Islamic world trying to rule the rest of the world until all others are "bled dry", or is it just dirty politics fed to the masses via the film media?

Even deeper is the question: who can you trust? The ball crosses the net several times in the film. In the end does the ball go out of bounds or is it "fair game?" Ferris seeks to draw the enemy into perspective by technology while the enemy uses messengers to convey clandestine plans which is the oldest and most secure form of communication. Ferris finds trust in Jordan and solace in the company of a woman from Persian culture. Is he betraying "the company" or is he seeking relief from it?

As the story plays out, the ego of the "terrorist mastermind" gets the better of him as he crosses a line drawn by himself. Ferris senses that Hoffman is just a presser of manipulative buttons and discovers that betrayal is a truth that does not set him free but takes him captive.

Whether or not the CIA can literally "spy" on anyone is a moot point. Nevertheless, the creation of the film makes this probability a fear-inspiring statement of what ifs and suspension of disbelief. Some are certain that elements portrayed in this are real while others hope it is not. As such, the title may be a true lie.

The Triangle (2005– )

What if was true?

[9/10 · 18 April 2009]

I am not a big fan of television because commercials offend me and burble the dynamics of most programming, especially movies. I saw this film on DVD. Accordingly, the continuity caused me to enjoy this film infinitely more than if I had seen it in small segments.

I have piloted civil aircraft over the triangle many times, and the stories about it caused concern for me albeit never becoming a victim. As such, the premise of the film grappled my interest immediately. Expertly written, the screen play posed daunting questions about what may actually be occurring, and the actors brought this story to life with a high degree of professional acumen.

What if the Navy, or some other government entity, is playing with the electromagnetic stability of a very precise region of the ocean? Is there a "crux event" in our future? Are real-life scientists trying to stop it or cause it? Having been in the military, nothing would surprise me, and quite frankly, the film inspired realistic causes for concern.

Insofar as the movie is concerned, the ending made sense. A well crafted story portrayed by veteran and new, but talented, actors and hands-on directing is a winning formula. Nevertheless, I keep trying to separate fact from fiction in a story that could end in a frightfully different manner.

Sex Drive (2008)

Fresh take on an enduring story.

[8/10 · 12 April 2009]

In spite of being a few generations apart from the cast members, I related to this film because it's an enduring story that is re-told by every generation. In this instance, the comedy is without peer and the thesis is valid and fun. The computer jargon and tech references supersede the passing of notes, serenades, and "private" phone conversations, and the buzz words (twatblocking, etc) are new but the story remains the same.

A teen boy wants sex. He uses every ruse he can contrive to "get it on"with someone, ANYONE! His continuous failure creates self doubt and he fails to realize that his BFF is the answer. The girl really cares for him but does not know how to make him aware of her feelings and has concerns that intimacy might undermine their friendship. Nevertheless, she puts her self out there, hoping for the best.

The vitality of the film springs from the energy of the actors. The conflicts within the sub- plots, the references to cross culturing between young and older, white middle class and Amish, rural folks v. big city people, and morality over immoral behavior create viable messages and themes that maintain the dynamics while spelling out traditional values, acceptance and "coming of age".

This was a totally enjoyable movie experience for me and reflects great credit on the actors, the writers, the production staff and the director. I give this film high marks. It is one of the best blends of comedy and real life I have seen in some time.

The Devil Wears Prada (2006)

Ethics v. career: A tough call.

[9/10 · 5 April 2009]

Some might characterize this as a"chick flick" or a "teen flick" from the MTV generation. This could be true. Nevertheless, my take on this film is the enduring conflict of family values and personal ethics v. the need to succeed.

Anne's entrance is superlative as is her character arc while the film progresses. Streep is the perfect Miranda and Tucci is absolutely Nigel. All the actors and even cameo performers did a wonderful job. I believe Simon Baker was miscast because his "good looks and killer charm" were no match for Anne.

The actual story is believable and defines conflicts that rage from fashion icons to night manager jobs at McDonald's. These conflicts erode relationships, friendships and marriages, and they create stress, anger and doubt about how to actually live.

In Miranda's case, she fails while she prevails, albeit temporarily, but Andy catches herself before crossing that faint line separating what is really important from things (and people) that become out of place and out of style.

I read comments regarding Nigel's alleged homosexuality. What does that matter? He refers to "a boy in Rhode Island with six brothers who pretends to go to soccer practice while reading "Runway" under the covers with a flash light." But was he referring to himself? He states: "Give me a full ballerina skirt and a hint of saloon and I'm on board!" Can you imagine him with a big head, and a conspicuous Adam's apple in drag wearing size twenty? I do not understand the relevance of such comments as they have nothing to do with the film. This was a great blend of comedy and real life challenges that kept my interest due to high energy, characters with vitality, and sharp direction.

Just Friends (I) (2005)

Should be retitled and redone

[5/10 · 17 February 2009]

Anna Faris is the glue that held this film together. Without her, the movie would be trite, mundane and tiresome. All the actors did a fine job, and Roger Kumble made the best out of a weak script. Nevertheless, I did not buy the story.

Jamie is a self-indulgent, narcissistic little reprobate. She does not care about Chris and uses him because he fits perfectly into her comfort zone. When they're not watching "Party of Five" or practicing their cheers, she's "getting it on" in somebody's love truck. When Chris leaves the graduation party, she makes no attempt to contact him during the following ten years.

Chris should have seen that Samantha really cares for him and looks up to him as a mentor. She often refers to him as "baby" or "lover" but Chris, who has been unable to establish and maintain a productive relationship, fails to recognize her signals because he remains obsessed with Jamie.

The first thing Jamie does when she spots him at the Maple is dive behind the bar. She humiliates Chris at lunch and then allows young children to publicly disrespect him which is bad mentoring and is not consistent with any kind of friendship. It's I.H.B.S.(interminable head butting syndrome).

The movie should be retitled "Escape From The Friend Zone" with Samantha and Chris making sweet music together. The prologue and the return to Jersey could be condensed to twenty minutes. The character transition could take place when Chris is trying to dupe Samantha into playing a gig. Samantha would then vocalize her feelings and inform Chris that he is crazy to give up his career, and her, for Jamie because even if he got her, she would wind up getting fat in front of the T.V. with two babies while he sells major appliances at Sears. This wake-up call breaks his obsession and Chris and Samantha go to Paris where "Forgiveness" is developed into a hit single with other love ballads to follow.

Chris finally realizes that Samantha's zany persona is armor, sword and shield and that the premise of "Forgiveness" reflects her inner self as passionate and loving and that she wants only for love and for him to guide her emergence as an artist. The two argue and fight but then quickly make up several times a day while producing. This maintains the comedic genre. The ironic conclusion occurs when Jamie, now a "chubby bunny", watches on T.V. as Chris escorts his new wife Samantha to receive her Grammy for best album. Jamie then mutters: "Oh s---"!