fuzzy_wunz Reviews

Redbelt (2008)

A hauntingly memorable tale about moral consistency.

[8/10 · 15 July 2008]

Up until the very last moments when I awaited the film's conclusion with bated breath, I found myself wrapped in Eljiofor's too-pure portrayal of Mike Terry.

From the film's onset, Eljiofor recites a string of aphorisms ("A man distracted is a man defeated"; "You know the escape!"; "I teach people to prevail") that strike the ear with such a compelling jolt as to convince viewers of his sincerity. And therein lies the film's core appeal: the protagonist's own integrity -- not as a quaint affect conjured up by Mamet to elicit sentimental admiration, but as Terry's sole capacity to weather the evils of human frailty. So when Eljiofor's character descends into an environment without scruples, we sense the groundwork for a morality play with an all too predictable conclusion.

The truth, however, is that Terry's descent is minimal if non-existent and we become witness to a man who uses conflict as servant to his convictions. So as those around him allow their characters to unravel in the face of confrontation, Terry endures in perfect adherence to his philosophies: "embrace it or deflect it... why oppose it?" Ultimately, Mamet submits, for our observation, a rare portrayal of harmonious integrity, undeterred and undiluted by pervasive self-debasement.

The Invincible Iron Man (2007 Video)

Quick! Someone help Avi Arad get a clue!

[4/10 · 15 April 2008]

Don't get me wrong, the guy's a success dynamo, but he got to the top by selling overpriced plastic toys to impulsive brats. So I get a little peeved when he looks at comic book fans as an extension of that same market.

See, "The Invincible Iron Man" wouldn't be bad if it were slotted on a Saturday morning and geared exclusively toward undiscerning children. But it's not directed exclusively at children. Periphery characters are killed every five minutes and there's enough bloodshed and semi-nude bodies to make network censors squirm, so it isn't quite cut out for children's television.

So what audience is this video aiming for then? It's the audience that enjoys nigh intelligible story lines about reviving a tyrannical Chinese emperor with 5 arcane rings, that's who. And I think that audience is restrictively small.

A lot of great writers have passed through Marvel's leathery yoni over the decades. So it's a shame that Marvel would risk their pricey animation investments on so many questionable storytellers and scribes who, like Mr. Arad, are better accustomed to peddling action figures during Saturday morning cartoons. How many lukewarm receptions do Marvel have to endure before they come up with a better strategy?

***

Animation: just passable cels, some segments are better than others, a low budget look all throughout -- this ain't no Bakshi (Ralph) and it ain't no Bluth (Don)! CG animation's okay, but far from impressive.

Story: a litany of clichés, all over the place, convoluted, contrived, and uninspired.

Characters: so why is Rhodes even here if all he does is add to Stark's sexual ambiguity? Hmmm... her Dad's in a wheelchair... Tony misses his mom... Asian chicks are hot and, apparently, little else; the female lead is thoroughly objectified by the feature's end.

Performances: can't blame competent voice actors for a bad script.

Art: very Western musculature, very clean lines, faces are very derivative of Eastern art, very boring mattes, very bland CG.

Conclusion: Not great, but worth a watch for the fans and those who enjoy superhero myths. A 'must-buy' for collectors. A valuable "what not to do" course for junior animators.

Smiley Face (2007)

Goofy stoner silliness.

[4/10 · 8 October 2007]

This movie is notable for perpetuating a collection of tired marijuana myths often found in any garden variety anti-drug pamphlet. The most egregious being that the drug is capable of transforming people into simpletons and paranoid head cases barely capable of dumb grunts. And therein lies much of the premise for this shtick-fest. Gone are the humor, intelligence, wit, and charm found in recent cult hits like Superbad or Harold Kumar. Instead, we're left with Faris' galling portrayal of a drawling caricature, replete with her perpetually unfixed gaze and the script's frequent reliance on gags that center on the character's short attention span. Add the inexplicable fits of mania and paranoia exhibited by Jane and you've got all the trappings of a very mediocre and forgettable carnival ride. Despite all of its over-the-top buffoonery, cheap antics, and Faris' ridiculous pantomime, "Smiley Face" is very short on laughs. A few interesting cameos do manage to conjure up a few quick chuckles, but any comic momentum is quickly lost. All this and an impromptu recitation of Marx for just the price of 90 minutes that you won't get back. Worst of all, the movie ends with a finger-wagging moral: a denouement that assaults what little intelligence you'll have retained after a single viewing. "Smiley Face" is a mindless observation of vapid stupidity and a waste in more ways than one.

Miami Vice (2006)

Authenticity that systematically undoes what the original series did

[8/10 · 8 November 2006]

A far cry from cop thrillers that overemphasize the inner workings of the protagonists' minds and draw the viewer in through intimate observation, Miami Vice is a detached and surgical ride through a near-predictable plot line. Gone are Crockett's loud turquoise shirts and Tubbs' ability to topple criminal schemes with sheer will and stoic cool. The characters that were once romanticized on the small screen for prime-time audiences are replaced with steely professionals who rarely mince words or deliver delightful quips that amuse. Where the television show employed charm and flash to boost ratings, the movie employs 21st century sophistication, ambiguity, and precision to give audiences an unapologetic glimpse at undercover work. Far from glamorous, the plot plays out with the calculated severity of a police report. Romance is reserved primarily for deception; and neither Sonny nor Rico are ever propelled to the admirably mythic heights enjoyed by their small screen counterparts. All in all, the movie is Miami Vice in name alone, yet the added dose of grit and realism cures the franchise of its 'cheese' and 80s pop culture malaise. In the end, Miami Vice is an ambitious effort that was easily undercut by its small screen ties and audience expectations of nostalgic escapism.

Save the Green Planet! (2003)

I liked it better when it was titled "Misery"

[7/10 · 5 June 2005]

Kathy Bates made audiences cringe with her portrayal of a fanatic woman gone mad. In later years, the formula was revisited to provide commentary and critique on obsessive behaviors. In "Save The Green Planet" the fanaticism centers around someone obsessed with UFOs and aliens, but the formula basically remains the same, though there are a few absurd twists to make it palatable to people who thrive on absurdity.

The acting is adequate, the production is slick and the mood is consistently stifling and dark. The requisite torture scenes are there as well as the brilliant sleuths who turn into bumbling idiots at convenient moments. Most of the plot is okay if not formulaic, but it's been done before and better. Lee Byeong-gu and Kang Man-shik both do great jobs and, for me, they're about the only things that save this movie from mediocrity.

I'd easily recommend this flick as it doesn't disappoint, but it's not entirely brilliant either. In fact, it's quite the opposite, yet it still manages to retain some desperate, silly charm. At moments it feels derivative--almost like a collection of movies were thrown into a permutation machine to produce this outcome--but over-analysis aside, it's mildly entertaining.

Born to Fight (2004)

A good martial arts film full of crowd-pleasing stunts.

[7/10 · 25 May 2005]

First of all, be wary of anyone who gives a score of 1. Only completely objectionable and morally bankrupt pursuits could warrant such a score.

Kerd ma lui is an action film that follows the life of an undercover Thai cop who is ailing from the recent loss of a partner. To salve his pain and to fulfill his duty as his sister's guardian, he decides to take some time to travel to an outlying village on a mission of good will. Whilst there, the village is overrun by murderous terrorist with sinister motives, not least of which being to indiscriminately slaughter innocent villagers for all the world to see.

The story in Kerd ma lui is solid and well paced. The cast of characters are adequate and they all serve their immediate purpose. There's a good deal of nationalism in the film as it does deal with terrorism and nuclear holocaust, but the Thai nationalism was refreshing to me as it offered a perspective that I had never before experienced. It was nowhere as political as the nationalism prevalent in many US films, but it was inspiring never the less.

The real meat of the film is its action. It's a reckless brand of stunt mastery that actually inspires fear and concern for the performers. Each stunt and flawless take seems to tempt fate. For example, trucks perform jumps only to land a couple of feet away from an actor's head. And though some of the choreographed fights between the less skilled performers utilize camera tricks for impact effect, there are some fights with hits that simply aren't pulled--high flying moves full of so much momentum and speed that they need to be slowed down in order to be appreciated. Speaking of slow motion, it's used quite liberally throughout the film. I've heard complaints against this, but it's important to note that some of the choreography would simply not be seen at 24 fps.

Kerd ma lui is a good film that has a lot more going for it than Ong bak. It has a deeper storyline and characters that are likable and interesting. The suspense is more genuine and the fights aren't as repetitive. Comparisons to Ong bak aside, Kerd ma lui manages to be a decent film that is certainly worth a watch and, as always, it provides a glimpse into a foreign approach to the action genre. Without doubt, the Thais have succeeded in creating an action fighter that outperforms many of its counterparts from the west.

Gantz (2004)

Not a great series, but has some shining moments

[25 May 2005]

The Gantz anime series is an amalgamation of events that occurred in the first few volumes of the manga. It's an introduction to the Gantz universe and its inhabitants--most notably, the aliens and their human hunters. Like the manga, the anime centers around the growth and emergence of Kurono (Chrono) as a hero and his effort to win and survive at all costs. There's a good deal of sex and violence as well as long stretches of philosophical banter and social critique, but it often comes across as being so self-righteous and ultimately defeatist that most messages would only be appealing to audiences that already had the same beliefs.

The artwork is dark and is true to Oru Hiroya's concepts down to the intricately detailed weapons and power suits. The characters range from the sexually eager and aggressive Kurono, to the gallant Katou, to the buxom Kishimoto. The animation is mostly satisfying. Since Hiroya's artwork uses 3d models for scale and proportion, they can seem stiff and often lack fluidity. That same flaw is evident in the anime as well.

The story is intriguing, at the least, and seems to be inspired by movies such as The Cube. The sci-fi aspects are cool and even I would like to run around in a power suit for a day or two.

Altogether, it has some great ingredients that are marred by plodding progression and preachy characters. The fan-service is there, though not to an excess, but this is certainly not for children or those that are easily offended by violence, gore, or opinions diametrically opposed to your own. It's definitely worth watching and depending on who you are, you might just like it a lot.

The Ladykillers (2004)

Not an adequate remake, but rather a reinterpretation

[8/10 · 11 May 2005]

Certainly, the Cohens have enough decency to know when a task should be left undone, and when that task is the re-creation and improvement of a comedy classic,they know better than to regurgitate old gags infused with modern flair, or do they?

I will admit that I did enjoy this novel retelling of the Mackendrick classic. I enjoyed Hank's brilliant, earnest, and flawless delivery. I also enjoyed Irma P. Hall's sincerity. I enjoyed the score, the locale, the warm-lazy essence of Mississippi, and the mythological progression of events that is so common in the Cohens' films. Most of all, I enjoyed the charm of this film more-so than its predecessor.

Of course, in deference, the originators deserve their due praise, but this is certainly no simple remake--it's a retelling. Retellings don't need to improve, dazzle, or impress by comparison--they simply are what they are, and this was enjoyable.

The Place Promised in Our Early Days (2004)

Simultaneously beautiful and disappointing.

[8/10 · 25 April 2005]

Approaching this from the perspective of a sci-fi enthusiast, I was pleasantly surprised to discover that, despite the complexity of its theories on divergent realities and their harmonic coexistence with dreams, there was a far simpler coming-of-age story that centered on a childhood promise. The score is haunting. The visuals and animation are stunning and the characters are charmingly awkward. Although there are some action sequences and a pint of blood thrown in for measure, the film's pace is decidedly that of a romantic reflection on loneliness and bittersweet affection. In the end, the story telling is adequate, but viewers who were eager to be exposed to fantastic alternate universes will be disappointed.

A Marriage of Convenience (1998 TV Movie)

At home with the other Lifetime tripe

[3/10 · 19 April 2005]

My girlfriend loves Lifetime. I mean she really,, really loves Lifetime! I, on the other hand, am left utterly baffled by the swill that appears on that network. This just happened to be the latest show I happened to watch along with my girlfriend, and boy, was it awful! Chimps could write better scripts! The whole Cinderella story should appeal to many women (especially those whose boyfriends are far from princely and spend most of their time working to pay rent), but the plot implausibilities and the unforgivably irresponsible playboy crusades of the male lead make for a very chilly romantic conclusion. Avoid this if you have a sensitive intellect.

Ghost in the Shell 2: Innocence (I) (2004)

Good or bad, a movie that doesn't reflect its audience.

[16 September 2004]

Ripe with philosophical references to Confucius, Milton, The Bible, and Siddharta, GITS2 comes across as an exercise in contemplation. The central theme of searching to define humanity in the midst of disparate, conflicting, alternate realities and perceptions that was prevalent in the first movie dwarfs the gorgeous animations, the whodunit story line, and the meticulously choreographed action sequences of its sequel. Mamouri-san's heavy-handed approach to conveying a message--obfuscated, veiled and confusing though it may be--seems assaultive and belittling at times and painfully pretentious at other moments, but the world that he has crafted--a technolyzed dystopia constantly on the verge of identity malfunction--makes all the belly-button pondering appropriate and even necessary.

My greatest criticism would be that this movie simply arouses feelings of discomfort. The cinematic experience is atypical because in order to immerse yourself into what's happening on screen, you have to invest a good deal of thought into what the characters are saying, otherwise it all breaks down into a collection graphic shootouts and pretty colors with long pauses of torturous boredom cluttered with dense dialogue interspersed throughout. In other words, this film doesn't grip you, you must instead grab onto whatever tangible pieces of inspiration that have trickled down from Mamouri's mind to the screen, and finally, to you. Be prepared to shift in your seat, anxiously waiting for Batou to pull out his gun.

Visually, GITS2 is stunning! I can only say that the decision to incorporate different types of animation into the production has certainly helped to expand the artistic possibilities. You can barely argue that Japanese animation isn't expressive and experimental; and since mostly landfills are inhabited by mass-produced copies of copies, the willingness to be experimental and innovative needs to be commended.