brentsoffcenter Reviews

Blazing Saddles (1974)

One of the funniest and most important films of all time

[9/10 · 13 April 2008]

In the category of satire, no other film has been as aggressive or socially important as this one has been. Rated as one of the 10 funniest movies ever made, the screenplay and plot take every opportunity to make fun of the ignorance, past and present, of white racism in its most ridiculous context. But in addition to covering the issue of racism, the movie also brings to satirical accountability other sensitive social issues that were not only present in 1974, but that were present way in the past and far into the present. At some point in the movie, all of the sensitive hush hush social issues were somewhat abused.

The targets of a scathing satirical call to rational accountability by Mel Brooks include a little of everything. "Dock that chink a days pay for napping on the job"; "Can't you see that this man is a ni... !"; "Bah-dgesss! We don't need no stinkin' bahd-gesss!"; "Ready faggots! 1 and 2 and...." and "look girls, they've hit Bunny!", etc. Many more social nuclear warheads were detonated in the many different scenes in this ground breaking landmark film. All of the characterizations were memorable by all of the main characters. But among them, Madeline Kahn must be mentioned as perhaps the funniest, with her quasi Marlena Deitrich and saloon stage presence rendition of "I'm Tired". But, as mentioned before, the main brunt of the satire was the ridiculously stupid white cowboy racial mentality, and the closed mindedness in which he lived in small town western American in the late 1800's. "Howard Johnson is Right!".

In being taken aback and totally absorbed by the satirical tonality of this monumentally innovative story, we tend to overlook the plot and scenario where the actual premise of the movie is based. From the very beginning, we western fans knew that this was all about the western genre itself, in all of its glory, and the pride of them all, High Noon, from 1954. Even Frankie Laine in the opening musical introduction made the movie hilarious. He sang "Blazing Saddles" with the same gusto that he did when he sang High Noon 20 years before. Right from the very beginning, and all the way through to the end, the western genre fanatics were laughing and rolling their eyes with glee. The icon of the American Western, with all of its merciless clichés, brought to its knees in 93 minutes.

This film deserves only the highest praise on many accounts. Most notably, the courage with which it portrays the social absurdities of today, then and now. In 1974, it was outrageous; and today, it's still a classic. "You'd do it for Randolph Scott!".

O Brother, Where Art Thou? (2000)

Authentic southern culture of the depression era

[8/10 · 20 August 2007]

One of the many reasons that this film and story was so successful, is that it offers a true depiction and glimpse of part of depression era life in the deep south. It also offers a taste of that culture, social mannerism and behavior that is very interesting. As opposed to sliding by with approximating the southern personality, the director was able to pinpoint and authenticate the southern character and mannerism almost perfectly. It shows that everyone in the production either did their research, or came from that region of the country originally.

Homer's Oddessey was well adapted to the time and place depicted here. Just the right amount of pathos, irony, comedy, hard luck, and hard times give the principle characters something to really work with. And all of them have accomplished this in excellent fashion. John Turturro, particularly, has accomplished the quintessential down on his luck southern boy so well that he is almost the standard prototype of all time.

In addition to showing a historically accurate picture of southern rural life in the 30's, the film also deals briefly with the then condition of the Ku Klux Clan and its psychotic cultural behavior. We see, in this adaption, that the average African American was not hated and hunted down by all white men, but only by a small percentage of fanatical tribesman. It also suggests in a more masked way, that the Clan's behavior was highly influenced by a gangster mentality. Many of the participants in this behavior would not behave that way on their own, but only when masked, and in a large group. Sort of like sheep. For the most part, people of all colors were willing to get along at that time. But like today, race relations still had a ways to go.

Another treat was the depiction of the prison chain gang. Although not shown quite as hopeless and harsh as in Cool Hand Luke, Oh Brother does touch on the helplessness an inmate must feel, albeit done with a humorous slant. In this film, inmates are observed getting along well with each other, accepting their state of affairs, and working away without too much worry, frustration and fatigue. In real life, the chain gang was brutal, to the point where many of the inmates were on the verge of collapse almost everyday.

Finally, since this observation is mostly about the depression era south, it was very enjoyable to experience the progress of the music of the region and the period, when the bluegrass style was in its infancy. The "Soggy Bottom Boys" were great, as was the audience they played for. This was simply another feature of this film that was done precisely as it was when the story takes place.

For anyone who has not read the Oddyssey, or has not been in the deep south, or just wishes to enjoy a story well researched and well presented, then this is the story for him. It is an enjoyable film from start to finish, with flair and creativity to spare.

Mr. Brooks (2007)

Unusual, creative storyline and scripting, exceptionally well done.

[9/10 · 1 June 2007]

The real star of this drama is the story, and the script. Costner's portrayal of a highly complex, sometimes tortured, character is superb in that he is seemingly always in control, always one step ahead of the challenges. One of the best stories in some time, this one covers all of the bases in a satisfying way, keeping the viewer completely involved from start to finish. There are just enough plot twists, blended seamlessly with just the right amount of predictability, to make this story completely believable, and totally satisfying.

Mr. Brooks, Mr. Citizen, is a soft spoken, highly intelligent man of the community, always in control of his job and family, despite the adversities he faces throughout the movie. Very enjoyable is the intricacy, detail, and discipline he is able to maintain throughout the chaos that befalls him throughout the entire plot. His total control of all of the challenges almost makes him a super hero in terms of skill and control in the performance of his self assigned, gruesome tasks at hand. The blending of his alter-ego, bad conscience side, Marshall, is seamlessly accomplished in this psychological escapade, to the point that one almost has to root for "them". Marshall, although the psychopathic side of Brooks, is almost likable, in a twisted sort of way. The ongoing dialog between the two is perfect, in that almost everyone can relate to conscience issues at some point in their lives.

The added sub-plots concerning detective Demi Moore, the would be wanna be killer Mr. Smith, and the ex-gold digging husband and his attorney, are extra, intriguing elements that are very well done. Though told with a considerable dark tonality because of the theme, one finds himself cheering for Mr. Brooks and his incredible ability as a master craftsman. Ironically, one can also cheer for the detective that is out to capture him.

If you are ready for a story that is intriguing, suspenseful, gripping, and present day, then this movie is a good place to start. Costner, Moore, Cook, and Hurt are all splendid. Each one is intense, tormented, fun, and believable in his respective role. Another positive feature about the storyline, and it's conclusion, is that it lends itself to, perhaps, a very interesting sequel potential. Kudos to the directors, producers, and entire cast.

Fargo (1996)

Skill in character study and story telling not often seen

[9/10 · 19 May 2007]

In terms of character study, this film is only rivaled by a few other movies in the last 30 years. Perhaps "The Godfather", maybe "Patton" and a very few others would approach a par on level of character study. Each one was superb, and right on cue. The dark comedy timing was excellent, in addition to the extreme nature and behavior of those involved, and of course the flawless flow of the story line.

William Macy's character portrayal makes one despise him immediately, for being an idiotic childish fool (while in real life Macy is an intelligent gentleman); and Frances McDormand's character is priceless as a very sincere, and very ethnic Norwegian cop. These, in addition to the entire cast, make this movie one of the most memorable of all time. The film's presentation is suspenseful, gripping, and entertaining from start to finish, mainly because of the strategy of the story, in addition to the built in environmental effects it possesses. This feel is further emphasized by the musical accompaniment and timing, and fine acting and reacting within a rather provincial setting.

Obviously, part of the comedic aspect of this otherwise horrific story is Macy's incredibly audacious hatched plan to begin with, and then the subsequent abilities of everyone else around him to respond according to his own character. In addition, Jerry Lundgren's behavior carries (and causes) the story's unfolding of events in an unbelievably believable way. But, just out of curiosity, where could one ever find such a collection of extreme personalities and behaviors coincidentally converging on one place at the same time? I suppose something similar happened 11 years later in "Smokin' Aces", but in a different context. But even then, that (Smokin' Aces' character development) was not as intriguing.

In addition to McDormand's very deserved Oscar in this film, it is not incomprehensible that Macy, and others, could have or should have received nominations as well. For anyone who hasn't seen a very involving and entertaining movie in a while, buy the DVD of this one. It's a winner in every way.

Epic Movie (2007)

Epic baddie

[2/10 · 3 February 2007]

It's not very often one has the opportunity to rate a movie as low as this one. But this movie seems to have something special that few movies can boast: very low quality. The original concept of the lampooning of real epic movies is a good concept, and the potential satire in this type of project is, or should be, a gold mine. Historically, these types of movies have been reasonably successful, and most of them rate at least a 5 on a scale of 1 to 10. But the uniqueness of this effort allows it a rating that only few producers can have nightmares about.

Some of the adolescent, and pre-adolescent audiences may find this story, and all of it's gags, to be funny. But not enough to make it successful. For most adults, however, this film probably misses the mark by a mile. With all of the gags being hinged together so loosely, and with no credibility or sensibility attached to pull them off, one can only hope the movie ends as soon as possible. In comparison, the first few installments of Scary Movie were funny, proving that the concept and format has a chance. But unless you have about an 8 year old mentality, and then are willing to let anything pass for entertainment, you may think twice about paying to see it. This gross, and raunchy type of humor is for children who get their parent's okay to watch it.

Unfortunately, the theatrical trailer is better than the overall production. There should be a warning for those kinds of things.

Smokin' Aces (2006)

Solid plot, good action, intriguing characters and sequences

[8/10 · 2 February 2007]

This familiar plot is carried off very nicely and neatly in its presentation in this movie. Although slightly contrived, the story line shows realism and creativity. All of the actors and gorgeous actresses were convincing in their respective roles, and sold the story 100%.

There were several features that made this a very entertaining movie, besides the plot, surprises, and twists. One of these features was the ability of each group of assassins to distinguish themselves convincingly as strong characters. Each characterization of an assassin showed his or her intensity and focus, both as plotting, fiendish and convincing, in addition to being the action characters they are hired as. Imagine, for example, these demented hillbillies being completely and psychotically irrational, and yet being so skillful and dedicated to the purpose of killing in a most brutal way. Then, the two incredibly attractive girls being incredibly skillful and mercenary like in their abilities as assassins. Along with the other assassins, the sequences involving them were top notch.

Also top notch were the FBI agents, trying to protect their number one witness against this incredible deluge and onslaught of highly skilled professional killers. In the story line, the FBI's approach, and usage of their personnel, was very believable. Their delivery in working with the story left no doubt that they performed up to the task at hand, and as well as any team could have under the extreme circumstances they were faced with.

It is recommended to anyone who wants to see this film that they pay very close attention throughout, so as not to lose the plot. In doing so, they will be very entertained, and satisfied with the conclusion of the story, and satisfied that each of the characters ended suitably for the roles they were given. For it's type, a very entertaining movie, worthy of being compared to Lock, Stock, and Two Smoking Barrels, and Snatch.

Rocky Balboa (2006)

Less glamor, and more human drama

[8/10 · 30 December 2006]

As in other comments you've read here, any Stallone fan will appreciate this latest effort. And by rights, any "non-Stallone" fan should appreciate this movie as well. While in past efforts Sylvester has been appreciated inconsistently by the movie going public, he should be recognized as an accomplished artist. This film should prove, once and for all, the highly artistic, sensitive, and skillful artist that Stallone is. His writing, directing, and acting are all superb. Did I mention athleticism? For a man of 60 to be a believable contender for a world boxing championship is a feat of accomplishment in itself, and Stallone delivers this believability absolutely one hundred percent. It goes without saying that he is in better physical condition than ninety percent of the rest of the world, young, prime, or older.

In order to lend some level of credibility to the above statements, it would also be wise to balance this critique with a few other observations. In terms of the film being a human drama, it was nearly flawless. Rocky, the character, unable to come to grips with his wife's passing of four years ago, tends to be somewhat detached from the rest of society. His son, for example, has handled his mother's passing much better than he (Rocky) has. This portion of the script verges on the melodramatic, and yet is almost consistent with Rocky's personality. Mason Dixon is believable, also, and adds credibility to an otherwise slightly contrived set of circumstances.

A close look at the actual boxing is an important part of this film, in that it shows the reality of age and experience versus youth and speed. For those who actually do understand the physical challenges and limitations age places on one, it is not difficult to pick out some of the speed editing or punching synchronization loopholes. It is also not impossible to see that, although still quick, coordinated, and strong, Rocky's age does not permit him to out box the champion. Not only does Rocky not out box the champion, there are some sequences in which he looks slow, out of focus, and missing the mark strictly because of the age thing. Although Rocky Balboa does pull off the believability of the match itself, it is hard to fathom this type of thing happening in real life.

Also, for the benefit of the real profession of boxing, it should be pointed out that no amount of weight training, heavy bag training, speed bag training, and road work can make a complete training package. It was not shown anywhere in the story, where Rocky had any local bouts or practice sparring before the main event. The script would almost have us believe that Rocky, for all of his super human ability, walked into the ring for the main event in Las Vegas, on championship night, right out of the kitchen. George Forman, Joe Frazier, and Muhammed Ali might find that scenario to be showing just a little bit of wishful thinking. Never the less, Rocky somehow manages to pull it off, and make it believable.

Anyone interested in a good human drama with sentimentality and emotion should see this movie. Anyone who is interested in real boxing should also see this movie, but just not be too overly critical.

Apocalypto (2006)

Another fine Gibson film based on historical events

[8/10 · 9 December 2006]

Almost everything about this film was excellent. The direction, the story, the believability, the research behind the story, the photographic composition and general cinematography were all absolutely excellent. Gibson continues to be a top notch director, especially in terms of the realism of human behavior under vicious and savage circumstances. Although part of a familiar formula, and used several times in past Gibson efforts, this film adds a new dimension in drama, based on the social behaviors of a more ancient and distant civilization. If there was any flaw at all, it would simply be in the unavoidable context of predictability and the preconditioning of the audience for the inevitable tragic story to follow.

The fellowship and kinship of the village; the kidding and practical joking among the village's band of hunters; the playing on the warm fuzzy humanity of the children and parents of the village, and so on, are all part of an introduction to wring out emotions of compassion and sympathy for the small village's people. What was about to happen was somewhat predictable. But then, that predictability is probably unavoidable. There are just so many story formulas available.

In addition to being a gripping adventure, the story was also a good depiction and illustration of the social upheaval in a period of the history of the Mayan culture. This is not to say that it was depicted with one hundred percent historical accuracy. This was a movie based on fact; it was not a documentary, nor was it intended as one.

It should also be pointed out, because of who the director of this film is, that there is a great deal of negative publicity and review written about it. Much of this negativism sounds more like jealousy, revenge, sour grapes, and pettiness, than it does about film analysis. In looking at many of the reviews, it seems that most of the negative criticism of this film has come from one sector: one proportionally small, but very loud, section of one cultural community. Yes, the movie did contain the inevitable violence, no question about it. And yes, Mr. Gibson has a flair for leaving nothing to the imagination in terms of depicting what gruesome acts and savagery are committed by man against man. But these scenes were necessary in order to tell the story accurately.

Did we hear as loud a criticism about violence and gore regarding "Saving Private Ryan", "Flags Of Our Fathers", or the recent "Departed"? Although these are a few examples of movies that contained even more graphic violence and realism, we did not. And the reason we haven't heard unwarranted criticism about these, and others, is simply that the directors of those examples are not as controversial. In other words, Steven Spielberg and Clint Eastwood did not blunder into political incorrectness while talking with a police officer. And if they ever had accidentally said something carelessly, the media wasn't around at the time to exploit the mistake.

All said and done, this was a superb film. It is one that will be counted as one of Mel Gibson's finest efforts, and also as one of the better movies in the history of film making.

Deja Vu (2006)

The usual Denzel performance, with a strong, subordinate, supporting cast

[6/10 · 8 December 2006]

As an exciting, involving, thought provoking thriller, this film was an excellent example, and a great addition to the many other exciting thrillers of its type. It had the formula, the gimmicks, the characters, story, and the personalities.

Unfortunately, the formula of this movie was also based on the same character that the very competent Denzel always plays. Look closely, and you can see the same persona, same acting and reacting, and same influences and events in this movie that you see in almost everything else Denzel is in. He is the star, up against an incalculable amount of adversity and stress, including most of the other characters around him. But, as always, his character's ego is big enough to take care of the problem.

In every hi-tech, or not so hi-tech, story line our hero is in, the script demands that he manually manages the rest of the cast. This management is accomplished by the innuendo of shaming all of the others into their proper places, so that Denzel can accomplish his super hero mission and goal in the plot. A closer look might even suggest a very carefully concealed bias, or even racism, in Carlin, Denzel's character. This character always seems to find it necessary to put all of the others in their places, because all of the other character's explanations of technical conditions don't match what Carlin expects to hear? Presumably, this lecturing, or boisterous act of holding the rest of the cast accountable for every word they utter, sort of shows a little bit of self-infatuation. And, for further food for thought, could we picture Carlin behaving the same way toward a room full of black computer/time warp whizzes, as opposed to the white ones he seems to try to belittle? As a further bemusement, isn't this all too common necessity of the cynical trademark lecture to the subordinates or supporting cast getting a little dry? From a very middle of the road, neutral standpoint, and with an open mind, one can see that though he, Denzel, is the one doing the lecturing, it would be infinitely more logical if he were the one being lectured to. Or even belittled? The nonsense of his scolding the rest of his accomplices for not being clear in their explanations of technical conditions is strictly theatrical, and wouldn't hold any water at all in the real world of science and research.

Other than character flaws of this type, that are generally inherent in most ensemble settings, this movie has merit. The unbelievable plot is almost believable, and the film has enough going for it that it should be entertaining to a wide audience. The terrorism theme hits home, since almost everyone is familiar with it to some degree, and there is enough intrigue to hold most audience's attention. Also, as always, Denzel is the perfect and charming gentleman towards the opposite sex. After all, the hero should always be charming and magnetic to help form that hero and rescued girl combination.

From the standpoint of story telling, this one is good. From the super hero character standpoint, it is mildly flawed. For an escape, the story is definitely recommended. Just don't pay to watch it hoping to attach any credibility to it.

Flags of Our Fathers (2006)

An excellent and fully engrossing docu-drama

[9/10 · 23 October 2006]

One of the reasons that Eastwood is such a magnificent and successful director and producer is that he manages to give a very realistic portrayal of human events, without subjecting us to the over burdening political correctness of today. As the audience in good faith, we do not have to wade through the business of one white guy, one black guy, one Asian, one Hispanic for every 2.5 screen shots, etc., ad infinitum. We are given a magnificent production, and portrayal of true to life history, in the way things did happen.

Eastwood provides the basis and clear understanding of what this event is all about, and provides the highlights and important points necessary to leave a clear impression in the viewers mind. This film was more than just entertaining. It was an experience. It was also informative, historically accurate, and showed a balanced and impartial report of a major event in 20th century history. There were no filler scenes, there was no unnecessary or unrealistic flag waving, no out of proportion background music. The directorship gives us the facts, as close to absolute reality as possible. We see these events unfold from the perspective of the participants in the war on the sea, the air, and the ground, in a very large and all encompassing field of view.

Another reason that this film should be considered great, is that it points out, and shows in detail, what men and women have to endure during times of crises, both as soldiers and as civilians. We are also reminded that much of politics do not change, regardless of their placement in history. The politically motivated hero exhibitions that the main character soldiers were made to present in this film were not always desirable to the soldiers themselves; they were doing their patriotic duty, never the less, at home as well as abroad.

Anyone who has an ounce of patriotism should see this film. Among all of its fine features, it also suggests the strong message that in WWII, the ground soldier knew exactly what he was fighting for, and didn't have to worry as to weather or not it was merely a potential waste of life.

A Prairie Home Companion (2006)

A refreshing twist: relying on story and acting for entertainment value.

[9/10 · 11 October 2006]

A magnificent statement to the rest of the entertainment world, and especially Hollywood, that older generation values and formulas can work. This story was wonderful, independent of the common crutches of today, such as fire and explosions, graphic violence, profanity, gratuitous sex and nudity. This story stands on its own without any unnecessary filler scenes or language. It was genuinely entertaining. Kudos to the producers, directorship, and cast for having the courage and tenacity to produce a film that is much more traditional in all aspects than the usual movie fare of today.

Especially entertaining were each of the actors portrayals of their individual roles. Even if one does not thoroughly fall in love with any of them individually, each of the characters were a viable, necessary part of the production. And each of the characters in this story showed immense talent in bringing a part of their own real life personalities to their portrayals. Meryl was Meryl; Lindsay was Lindsay; Lily was Lily; and there is only one Garrison, a class act all by himself. All the individual performances were great. The slight suggestion of a little black gospel music was a fabulous enhancement to an otherwise predominantly "wasp" flavored production. The directorship shows great foresight and character in placing that on the entertainment menu; and great skill in blending the two.

Virginia Madsen, the angel, was not so much of a threat or symbol of impending doom, as much as she was a symbol of comfort and support for those who's time had come. Kevin Kline was the perfect Guy Noir, adding his own comedic touch to an already successful character of the existing radio show. Dusty and Lefty: there are no words. Both musically and for comedy relief they were absolutely ideal. And although some of their jokes were on the brink of being a little bit off-color, they managed to keep it family oriented never the less. Tommy Lee was marvelous as the Snidely Whip-Lash villain type. When the angel accompanied him to his demise, the audience had a reason to snicker and cheer. A perfect example of how present day cynicism and rudeness by the bad guy still has its consequences. The plot of this story was great; an uplifting improvement over the average movie plot of today.

Garrison and company: we hope to see more.

The Departed (2006)

Good story, powerful performances

[5/10 · 7 October 2006]

As in all movies, this one had its strengths and weaknesses. It was a great story, gripping, absorbing, well acted and generally very powerful. The ensemble interaction was right on the money, and though the twists and surprises sometimes tended to outweigh the plot, the movie was not terribly difficult to follow. Among the many strong points of the film, the cast was exceptionally convincing in portraying their roles. Also, the chemistry between Damon and Farmiga, and subsequently DiCaprio and Farmiga was top notch. The entire production showed excellent, realistic story development.

On the down side, the movie was somewhat heavy handed and overly gripping, without a great deal of pause. In addition to the suspense and tension, the audience should at some point have a chance to breath. Also, there seemed to be almost no let up in the loudness, screaming, and language. Although we all understand that profanity is a part of reality, it doesn't necessarily mean that it has to be the force fed main attraction of the entire story. If the level of communication among officers and detectives in this story is true to life, then one might believe that it is a requirement of all law enforcement officials that their language is always ridiculously juvenile. All of the action characters say the "F" word at a ratio of 1 to 4, throughout the entire movie. It makes one wonder what the actual median level of education is among the officers and detectives. (Among the hoods, it is a given). It also makes one ponder the possibility of the story and portrayals being just as believable and realistic if we were to cut back the language to about one third of what this film offers. (It was done seamlessly 34 years ago in The Godfather, when there was still censorship). This juvenile language aspect is obviously common among almost all current mob and agency related movies. But this installment just seems to go above and beyond.

Then, whatever became of the age old formula where the good guys are the good guys without always being abrasive, and the bad guys being the clear cut bad guys? Then, the two sides fighting it out and the ones wearing the white hats win? This didn't happen. Also lacking was the audience's ability to be able to smile and be satisfied with a reasonable ending. In the incidental romantic subplot, we didn't see the truly deserving good guy drive off into the sunset with the truly deserving good girl (as in Payback, of seven years ago). Apparently, street language and an unhappy ending were more important than anything remotely resembling a vindicating or satisfying feeling about anything. Almost like the movie "Poseidon", only with no winners at all, instead of just a very few.

Very few movies of this type can attain a perfect balance of reality, story, and satisfaction. Harder still is the one that satisfies all audiences, a virtual impossibility. But anyone who has a penchant for mafia and mobsters, cops and robbers, cover-up and covert operations should see this movie. And it is not for the squeamish, either. To enjoy this story, in addition to the above, one should have a strong appreciation for graphic violence, extreme profanity, and a no win situation plot.

The Illusionist (2006)

An absolutely splendid story

[9/10 · 3 October 2006]

One of the overall finest movies in years, this story has all of the elements of an Oscar winning film. Since the only special effects in the movie are contained in the illusions themselves, this production stands on its own merits without the need of the extra sensations, and the bells and whistles that move most of todays cinematic efforts.

The ensemble acting, and in fact all of the scenes, are top quality. The sequences are all essential and meaningful parts combining to make a greater finished product. Attention to the ambiance of the era, costume and design, lighting, and especially the direction make for an excellent production. Very engrossing, and very entertaining.

Norton is, as always, engaging and skillful in his character. Eisenheim is more polished, more mature, caring, and powerful than is Norton's more common character role of Mr. Nasty. In this story, Norton does exceptionally well as the one being accused and victimized, while all the while remaining a gentleman, as opposed to being the one usually doing the victimizing in other portrayals. Likewise, we see very convincing portrayals from police chief Giamatti, Crown Prince Sewell, and romantic interest Biel. (And isn't she gorgeous in this role?).

At the ending of the story, even though the twist is just a little bit predictable, it is done with such polish that no one really cares and just applauds. The highlight of the production, as in all successful endeavors, is the combined effort of the entire company, the directorship, the technical crew, and the period research. Will there be a sequel? We hope so.

The Protector (2005)

Above average martial arts flick

[7/10 · 28 September 2006]

This film exhibits many fine points, and is much more interesting than the average martial arts movie. In past years, 90 percent of this movie type has come from Hong Kong, and has relied heavily on a predictable formula for its plot. From this perspective, this movie deserves much applause, because it tends to differ from the norm. Especially with the style of fighting that is presented here, very unique in that there have been precious few movies showcasing Muay Thai. The plot about missing elephants and revenge is quite believable considering the cultural origin of the idea, and the direction and editing is done with more sensitivity and engineering than most similar films. This strength is similarly enhanced and driven home by the incredible skill of Tony Jaa. He shows remarkable athleticism and agility.

The inescapable flaws of this movie type, and specifically of this movie, relate to the direction and fight sequence choreography trying just a little bit too hard. In a real life fighting situation, where life and limb are truly at stake, it is unlikely that you would see so much flying through the air with the greatest of ease, or the constant screaming and yelling that permeates this movie from almost the beginning to end. Instead of Jaa using realistic Muay Thai fighting techniques, he is relegated to constantly being a flying and screaming showman. And to make matters worse, all of his adversaries are screaming equally as loud.

It is likely that much of the audience that went to this movie did so expecting to see somewhat of a continuation of the first installment, Ong Bak. In that movie, it seems we saw just a little bit more authenticity. That authenticity sets both of these movies apart from the average Kung Fu installment, and the audience has the opportunity to see the difference between the two fighting styles.

All in all, this is a fine martial arts vehicle, and a good one to see for fans of the genre.

The Caine Mutiny (1954)

Powerful performances by some of Hollywood's legends

[9/10 · 24 September 2006]

Typical of military movies of the era, this film furnishes what audiences came for. The typical march song background whenever the ship was shown sailing somewhere; the all for one, one for all call to arms ambiance; the usual and predictable boy-girl squabbling, etc. If one were to watch this movie not knowing approximately when it was made, the style and performance of a song sung by May Wynn alone would be a dead give away. The innocence and style of the time is sorely missed, as is this generation of film making.

Humphrey Bogart is at his best, as is Van Johnson and Fred MacMurray. Robert Francis was a fine up and coming young actor playing one of the lead characters also, who's film career was so unfortunately cut short. Among the many fine features this film offers, we see excellent reacting and authentic true to life responses to a highly realistic and credible situation aboard the confines of a war ship.

All the elements and characters in a fine story are present in this film, including the heroes (Johnson, Francis), the villain (MacMurray), the antagonist and disabled(Bogart), and the innovation needed by normal human beings in a highly abnormal situation. Obviously, this movie is less about war, and more about what people have to do in order to overcome severe and life threatening circumstances. The writing, direction, editing, and cinema photography are all top notch, and thoroughly engrossing from start to finish.

Crank (2006)

Over the top action, with little breathing room

[7/10 · 24 September 2006]

Of course, this is exactly what this film intends to deploy: non-stop action; and it does so with a rare ferocity. Stathem is great as an all action character, and certainly fills the bill with this latest installment. With an almost satirical, tongue-in-cheek approach, while fuming with anger at the same time, he accomplishes one mission after the next in perfect loose cannon order.

Although somewhat contrived as an over all plot, the story line stimulates the imagination. Chevios battles insurmountable odds and leaves a swath of destruction through Los Angeles without blinking an eye. Action fans will admire this movie for innovation. But many may not appreciate it quite as much for the constant, no pause, incredible, over the top action sequences. There are also a few scenes which some may question their actual necessity or validity within the movie. As a pay-back, revenge oriented movie, this is one fine thrill ride film.

Fearless (2006)

Jet Li's finest martial arts film

[9/10 · 24 September 2006]

Almost flawless, this new release improves on the style and genre in a significant way. The film is presented in a way that the viewer can appreciate it from several perspectives without heavily relying on the genre's standard formulas. We don't have to wade through the typical love triangle, the maniacal drug lord contracting a hit, or the beloved school's instructor being tortured and murdered before the ultimate revenge takes place. This film has a legitimate story line, skillfully presented in a clear and well edited manner.

Although the film was generally concerned with the development of a specific fighting style and philosophy, the audience is also treated to some authenticity of the then Chinese culture and the biography of a Chinese martial arts master. These features seem to give the production a much higher level of credibility than the average martial arts action movie.

Although we did experience some speed editing in fight scenes, it was done in such a way that it enhanced, rather than detracted, from the believability of the film. In "House of Flying Daggers", for example, the ballet and acrobatic like choreography of some of the fight scenes tended to undermine, rather than enhance. If there was any flaw in the fight scenes present, it was minor. This flaw may have been inescapable because of the inherent limitations of the style of the film itself. For example, trivial features such as disconnected striking combinations at the expense of speed editing, or the fact that the Japanese martial artist did not seem to be using a typical Japanese style of fighting. (It appeared to be a combination of Chinese and Korean oriented styles).

This film should, by all rights, reset the bar for the standards of martial arts films from now on. It was simply an outstanding film in every way.

Kung Pow: Enter the Fist (2002)

The perfect satire of a unique genre

[9/10 · 12 September 2006]

The more of a basic understanding of the history and genre of this movie type the viewer has, the more he will appreciate the good natured satire that celebrates it. Oedekerk exploits all of the essential points of this movie style's formula, and does so from a very alert and skillful standpoint. The extra attention and energy given to the inherent goofs and inconsistencies in the original movie ("Tiger And Crane Fists", Hong Kong, 1976) are priceless. The accuracy of the spoofing, and its entire purpose in this film has been needed for quite some time (since 1976), and it's very welcome and highly applauded by those of us who appreciate satire at its best. This film deserves an award.