Reviews

Since two motion pictures, A & E, PBS and National Geographic have jumped in after the newspapers and best selling books, The History Channel gives it their turn surprisingly with a formative take even after all of the documentation before it. This time around the main perspective comes from Fernando "Nando" Parrado who played a key role in the Andes plane crash of 1972. The Uruguayan Air Force Flight 571 involved 45 passengers, including a team of rugby players called The Old Christians and other family and crew, who were on their way to Chile with no danger in sight until the pilot makes a grave error that caused everyone involved to make impossible decisions to hang on for survival in a weather stricken region with no wildlife or vegetation in sight.

A share of the tone of this documentary is somewhat calm and relaxed and more text book at first than other mediums that have concentrated on putting the audience in the now from a dramatic side. Towards the latter half with Nando and Roberto going through the mountains, they can't help but tell the story with straight feelings, as that's all they had to back them, apart from their skin and bones which nearly gave out. Both of the segments from A & E's "Minute by Minute" from 2002 and National Geographic's "Trapped" from 2007 tried to do the subject in under an hour by concentrating on the main portions of action, but still didn't give a completely thorough approach or show exactly how they got to each one of their motivations apart from jumping dot to dot. Those served more as introduction pieces to further the ambitions of upstarting TV shows and point to another medium. Though "I Am Alive" stands on its own by being thoroughly researched, even if you've seen the other documentaries on the subject. It doesn't seem forced with distracting poetic license or snazzy filmmaking. While they still give some brief reenactments, this focuses on getting a clear perspective from facts and fine details with passionate interviews from the survivors and related experts who still find the experience endearing and engrossing this many years later. This includes mostly spoken English with some overdubbed Spanish.

"I Am Alive" unfolds like a picture book with a share of information and visual representations of the accident and the 72 days that followed. While moving "Stranded" documentary from 2007 focused on the spiritual bonding of friends and how they viewed their situation from an emotional context, this is by far out of the documentaries that I've seen the one that gives the most clear and concise technical understanding. For instance, precisely how and why the plane crashed. There are even diagrams with historians telling their track record. "Of the 78 Fairchild FH-227s built, 23 crashed, and there were a total of 393 fatalities." There are real life pictures of where they hit the mountains, and then CGI graphics to show how lucky they were to land just so to have not made a sudden impact and disintegrated. The surrounding area is shown of exactly where they ended up on the side of Argentina, not in Chile like the pilots anticipated.

As the events come up, the experts give facts about head injuries, starvation, avalanches, inventing devices from supplies, traveling through the Andes and mountaineering. A climber and a team went back to cover some of the same distances Nando and Roberto did, which took them 10 days and 37 long and hard miles till they seen green. Photos were taken of the road that Roberto saw from the top of the first summit that they argued about at the time if they should head that way, but at that point being lost, unsure and hungry and then making the wrong move could have been life or death. I found it interesting that they discussed if they went east towards Argentina instead of west towards Chile if their chances would have improved. In the after author Piers Paul Read talks about his book "Alive" and the fear from the survivors of how it would be written after all of the sensationalist press around the globe.

What's mostly effective about "I Am Alive" is they weren't frequently making justifications for their actions after the fact. Nando carries the bulk and speaks somewhat unscripted as if he knows the story like the back of his hand. At times they still speak their piece, such as Nando calling what they did "anthropophagy" rather than cannibalism, since it didn't follow murder. At other times he speaks rather candidly, such as explaining that the avalanche saved the remaining people's lives due to it covering them from further storms, and then incidentally taking 8 more bodies that they used for food for the remaining days till they could trek out when weather conditions improved. It says a lot for him and the 15 others, but not so much for those that didn't make it out. It does state some facts a little directly and somewhat coldly as a result, though, on the other hand, it leaves room for the viewer to decide their stance. What makes this work is it's capable of uncovering more answers from stepping back somewhat and not making this completely a heavy hitter that "Stranded" already did so well. (Also submitted on http://fromblacktoredfilmreviews.blogspot.com/ along with reviews for "Supervivientes de los Andes," "Alive," "Alive: 20 Years Later," "The 1972 Andes Survivors," "Alive in the Andes" and "Stranded")

As much as I enjoy the 1982 film, I'm going to review this as its own separate experience. The story element for the "Conan the Barbarian" 2011 felt pretty straightforward, as potential for more weighty subject matter was there but wasn't always emphasized, rather than jumping into one showy scene after the next. The quick pacing doesn't always give breathing room to think instead of a share of it just passing through. Since it doesn't always take advantage of one place for long, it often does itself a disservice for replay value when there aren't many layers to peel back.

A boy born in battle is destined to be a warrior, he grows up at first somewhat small and unappreciated, has another family member taken away from him and then seeks revenge at a much later time in his life when the villain so happens to be close to his master plan. It felt like too many flashy scenes surrounded by little substance of narrative to fully clench its epic proportions. It did give off certain sensations the first time around, I'll give it that, though there wasn't much to ponder on below the surface about the characters or the journey after it ended.

Jason Momoa held a presence of his own with a bulky and commanding physique, even if not ridiculously cut to the point of striation. He has a distinctive look on screen and a booming, almost professional wrestler voice. He appeared tough with some added scars and a deadpan stare, but ultimately well balanced when he was naturally wielding a sword like he owned it. Now, that's just his presence, because as for his aura there's not much else in the way of creating mystery about him, a relating ideology beyond the sword or fully capturing someone who's torn up with emotions about his lost relatives and village. He pretty much just moves from one place to the other with a loose strategy plan and it doesn't make this as gripping as the filmmakers intended with the fast flow.

The movie is very bombastic. There are various macho guy vs macho guy action scenes that include a share of candid blood shed and cruel wounds to show for it without pulling away. A particular creature scene with sand spirits was an inventive addition as they can appear from all around. There's a tad of humor, T and A nudity, a short lived love connection which leads to rescuing the damsel in distress, and then various sets of the real and CGI type that give presence of being splendid to dismal. Some of the dialogue and character setups give a sense of grand scope, though others can go over the mark to the point of hokiness. Especially some of the lines from both the villains Khalar Zym (Stephen Lang) and his odd, finger-bladed daughter Marique (Rose McGowan). I've liked both performers in other films, and they look their part here, just some of the lines delivered aren't always shown in the best light.

I've seen a share of 3D films by now and this one was somewhat distracting out of the bunch. The tight action sequences were jarring to the point of frequently throwing out my focus like no other 3D movie I've seen to date to the point of having to sit farther back than usual. For the regular, every-other-time cinema goer, I'd say "Conan the Barbarian" 2011 isn't worth the pricey ticket as it's not pressing to see beyond a fan of the genre or the prior source material. As for an action-fantasy movie it included a large amount of action to whiz by one's head, though for fantasy it had a fairly to the point unfolding of the story for the genre, which can make the experience more titillating than impacting. (Also submitted on http://fromblacktoredfilmreviews.blogspot.com/)

This is a film where the ludicrous story is in the background with the players throwing out banter, odd little quirks and working on friendship through the thick and thin in the foreground. There's the two buddies who've got each other's back, or at least they initially thought when secrets come out about Chet (Aziz Ansari) confessing to being the culprit for Nick's (Jesse Eisenberg) parent's divorce and Nick sleeping with Chet's twin sister one time way back. On the opposite corner, Dwayne (Danny McBride) lives at home with his lottery-winning, Marine-spouting dad who belittles him. So he turns right back around and acts all dominating and self-centered to the tag-along Travis (Nick Swardson) who wants to make an impression, so he'll do just about anything for his respect.

As the title suggests Nick is a "30 Minutes or Less" pizza guy who hates his job. Meanwhile Dwayne despises his dad and from the advice of a stripper decides to hire a hit-man to take care of his father and collect his remaining lottery bankroll. He'll need $100 grand of his own for the hire and decides to get some pizza dude to rob a bank for him with some convincing of a bomb vest. Yep, the story is pretty ridiculous to say the least--despite supposedly mirroring real life events in Pennsylvania--as point A doesn't always smoothly line up to point B in the film. Dwayne and Travis have an idea--wham!--they have a solution fall into their lap, literally. Nick is presented with a dilemma--wham!--he jumps right into it like it was his calling card. Director Ruben Fleischer along with Eisenberg did a great turn around for "Zombieland" and you might except them to have done so here. Except this is either a make it or break it movie, since the scenarios are over-the-top and the dialogue is going for broke with the goofy, juvenile and throwing a parade with low self-esteem--sex, gay, racist jokes that might be funnier on substances but a share of them throwaway otherwise--instead of possibly the witty or setting up punchlines, which makes this more a single shot film than a repeater.

It felt like they tried too hard at times for that laugh by saying whatever to get a reaction rather than working through a scene. Other films have gotten away and proved to be thoroughly funny gems with a similar setup, but that's pretty much all this has going for it with not too many tricks up its sleeves otherwise. It's an attempt at a simple laugh riot by taking a trip to the loony land of the thought to be implausible. Though it doesn't always fully sculpt that world they take you to. It feels like you got invited to a gathering, yet don't always get a full feel for the people around you to truly let loose and have a grand time yourself because they're nothing but loafers, idiotic and get themselves in entanglements for all the wrong reasons--not exactly charismatic to say the least, even when laughing at them. Not to mention the character development went in and out whenever they felt like it: from knowing better to not knowing better, to doing it because they're forced but then enjoying getting caught up in it.

Swardson probably has the most range as he's nearly capable--he was the one who built a complex bomb after all--but doesn't want to let down a friend, so he goes along to get along. The others arrive in one state and leave in a similar state: little growth, little to learn. The credits rolled down somewhat abruptly without showing the after party where their adventurous story is told or their reward is enjoyed. Yeah, it's a silly comedy but there doesn't feel like that much in the way of a challenge rather than a contrivance for life's struggles, as a share of the setups are there to a point, just not always capitalized on or transitioned to its own advantage. The twin sister literally feels like the twin sister without a name, as she's dropped off in the story somewhere as a mirage to work towards for the slacker Nick, as everybody else around him is becoming more successful. Chet so happens to like his full time teaching job, and Nick's lost love so happens to be moving to Atlanta during all this mayhem. There were some lines here that are funny from the jittery Aziz Ansari and some here nor there from the others, but overall hit and miss. To its credit the movie goes by very quickly, as in they move from one place to the next in a rapid succession, even if what they're doing doesn't always feel that gravitating or memorable past a cursory viewing, if that even. If you're a die hard fan of a performer here, I recommend a rental. A free rental. A free rental when you're all taxed out and there's nothing else to watch.

At one time, before it became the franchise and formula it is today, "Final Destination" was entirely fresh and new. It created a twist to the revived slasher genre that was building up and starting to die off again when it hit theaters in 2000. There were teens and they got knocked off one by one just the same, but it had such an ingenious reason for doing so: a deadly shadow was following them around to collect owed lives for dodging its originally intended plan. How are you supposed to escape that? An invisible killer that can be anywhere at anytime, not just some psycho that you can at least run through the woods from, or get on a plane and fly to some other country. But here this is the supernatural we're talking about, something that's probably as ancient as the first people to accidentally die doing an everyday thing like eating the wrong plant and berries or running off a cliff chasing a saber-tooth.

"I had a vision," Sam (Nicholas D'Agosto) said as he's being grilled by the no-nonsense agent Block (Courtney B. Vance) before all the facts are in about the bridge collapse that he and his friends got away from just in the nick of time. At first the eight survivors don't think anything more than they're just lucky, that is until the snide, low-toned William Bludworth (Tony Todd) shows up with ambiguity because he either has a message to tell--or is it a warning?--or he's just passing by to do his job as the local coroner. Each of the other movies had a gal and a guy who tried to prevent each accident but, of course, were always just too late. This plays on that somewhat with a cell phone call here and a show up there, but instead proposed a new rule that would allow said person to accumulate someone else's life total if you kill them. It creates a moral dilemma and inner tension to the story, though it got quickly stopped by its own creative hand when it pulled the plug on itself for a shock--a shock that might just make the audiences' mouth do an "Ohhh."

There are a few aspects thrown in to give the new set of characters--or should we say victims?--personalities, such as the young foreman named Nathan (Arlen Escarpeta) at the factory catching flack from the union rep, and Sam going through a split decision with a far away internship or a life with his girlfriend named Molly (Emma Bell) in New York. Though the thriller-like pacing often moved so fast as to run over its own dramatic scenes at the same time as building them up. It feels like a few back and forth views on what the filmmakers thought the flow should have been in the editing room. One foot in to make them memorable, one foot out because it's going to eventually not matter.

If you have no recollection of the other films, then this might be a more titillating experience. You can still definitely count on it to deliver the gory bits but it didn't always capitalize on the nail-biting anxiety and anticipation of something chasing the characters. The performers often act oblivious, helpless or like hamsters in a cage with something so much bigger to the point of being a condescending bully looming over top that they can't even focus on it with their eyes. The other films had a certain nervousness at the forefront about them, especially the first film, in that Death could be anywhere at anytime. "FD3" at least proposed the question of: Would you want to know or not know when you're going to die? Because knowing comes with extreme unease and paranoia, and not knowing comes with numbness, even though you don't get to say your goodbyes. "FD5" could have taken it to the hilt but plays on a tense and release outlook instead. It has a number of quips and one-liners to get the audience loosened up--especially with P.J. Byrne and David Koechner--but it makes the shadowy, people-dying-left-and-right experience less oppressive than made out to be to cater to the portion of the audience who's a cross-armed skeptic of the supernatural.

The gore traps look pretty grisly and can often catch you by unawares. Though some deaths aren't always playing on something that would be a relating experience to a general audience, since they have to tap into what hasn't been done beforehand. It creates some distancing from the screen, as the first and second film had more relating elements that made seemingly innocent areas now have a deadly shadow cast across in your mind: a kitchen, a bathroom, a stove, an elevator, crossing the street. For instance, here, a factory with dangerous machinery is only going to lead to dangerous accidents or most people aren't going to touch a gymnasium.

The cinematography and the picture quality looked great on screen compared to the slapped together job "FD4" was. This time around the new director has the technical side well worked through and used the 3D aspect to its advantage at points with various objects actually projecting out compared to the depthless job the recent "Harry Potter" had and "Captain America" with only so many things popping out. "FD5" still feels more a ritual and routine than a complete refresher. Though there's still some sadistic fun to mine at times and effort put into this as a fifth installment, even if the novelty is diluted if you've kept up since the beginning or at least watched the previous films a few times. (Also submitted at http://fromblacktoredfilmreviews.blogspot.com/ along with the first four reviews. /2011/08/final-destination-2000.html)

Brooklyn police detectives Jimmy (Bruce Willis) and Paul (Tracy Morgan) have been together as partners for the NYPD for 9 years, until they get suspended for 30 days without pay as per a botched sting operation involving Mexican drug dealers, excessive force and now an unusable informant. Jimmy's daughter is getting married and instead of letting his ex-wife's wealthy, condescending husband Roy (Jason Lee) foot the bill, he volunteers despite having no income for the next month and nothing to his name besides a very expensive, one-of-a-kind Andy Pafko baseball card.

This jumps over to a subplot that ties into the very reason they got suspended when the card gets stolen. They dodge giving information to the arch rival detectives Mangold and Hunsaker--who are constantly give them sarcastic flack for being screw ups--and decide to follow up the leads on their own. After getting some information off an effeminate cat burglar, who doesn't know when to shut up, they end up at the crib of the Catholic, murdering-dudes-left-and-right gang leader named Poh Boy who's got a posse that's armed to the teeth like a bunch of modern outlaw bandidos. The intimidating and potentially loco man named after a sandwich negotiates a deal that if they can get back his Mercedes Benz from some elusive guys who stole it then he'll hand over the card. Though a simple transaction turns into a fiasco that involves a growing list of illegal activities that these honest cops can't look the other way on.

"Cop Out" is a from-one-thing-to-another type movie, where the plot is loose and the players throw out some banter for the meantime. Problem is the story isn't note worthy and on top of that the chemistry between Willis and Morgan feels hit and miss, not to mention they frequently jump in and out of character. Ana de la Reguera as Gabriela is cute and likable, and the gang leader, played by Guillermo Diaz, is brutal to the point of exaggeration but also brings a certain on-screen presence just to see his next move. This isn't just a basic movie, it's a movie that doesn't hold that much power over its audience: they don't capitalize on what to root for, they don't take advantage of relating factors, there's nothing of value to polish with upkeep, light on mystery, small surprises, nothing to learn and repeat, little on growth, not as big on action and this produces superficial rewards--exhales. The one thing it does have is some nostalgia going on: '80s synthesizer music mixed with other radio hits, as well as more references to other movies than one can count. It plays on the cult, but doesn't produce a following itself.

This is purposely derivative and what makes it trip over its own shoelaces is it never fully crosses back over to walk with its own gait. "Lethal Weapon" and "Rush Hour" played on the tried-and-true and had their clichés as well, but still added some other elements to make the experience have their own distinctions to go back to. This is the second chance I've given this--being a fan of some of Kevin Smith and Bruce Willis' work--with the first time being okay if nothing special, but on the second time the slap stick jokes wear thin and have a shelf life of one time use with some currently having a stale taste as is. After awhile "Cop Out" feels like it's dragging through the mud as what's displayed isn't producing anything that's exceptional, even by simple escapism standards. For shame.

At first glance, this looks to be another same-ol', same-ol' buddy cop movie after just getting over the sour taste of "Cop Out." Though this was one of the better comedies of 2010, as generic, stupid or pointless it may initially seem--it ain't. This also works as an action movie spoof that is less exaggerated than "Loaded Weapon" and "Hot Shots" and more closer to "Hot Fuzz," if still unlike. It's off in its own odd-ball world where everyday life is noteworthy and completely over-the-top silly in a way similar to the director's other works like "Anchorman" and "Talladega Nights." The simplistic story has some relating points, though the scenarios and setups in between is what makes this an amusing ride that has capability of repeating and reliving.

Two NYPD detectives are begrudgingly assigned together and have to maintain the partner's code which entails getting each other's backs, except they have nothing in common to the point of being the absolute antithesis of one another. Terry Hoitz (Mark Wahlberg) is a man's man who's more street wise than book smart and also doesn't express himself through anything but anger and disapproval: a yell, a smirk, a cold stare at the slightest slip in his chauvinist view. Allen Gamble (Will Ferrell) is a learned but gullible man who's the everybody-make-fun-of guy due to everything he does going strictly by the book, not to mention looking like a straight-edge accountant that he is who plays it safe behind his desk, outdated specs and the wheels of a Prius.

The super cops--more like "superstars"--of the department get first dibs on calls and are practically treated like royalty. Highsmith (Samuel L. Jackson) and Danson (Dwayne Johnson) wear their shades, flashy clothing and drive their muscle cars, except until they unexpectedly check out early and someone else takes their place in front of the cameras and press stands. Hoitz wants him and his tight-end partner to step up after being stuck behind a desk--or as he puts it "I am a peacock, you gotta let me fly!"--by doing everyone else's paper work. Except first they have some competition with the wise crackin' partners Martin (Rob Riggle) and Fosse (Damon Wayans Jr.) who can't help to mess with Gamble, such as making him do a "desk pop" and fire his gun in the office as if it's just some supposed initiation. Gamble stumbles onto some evidence after making what seems to be a pointless arrest for a financial investor named David Ershon (Steve Coogan). After the Captain (Michael Keaton) tells them to repeatedly back off, they still urge ahead as they have a gut hunch and suspect something fishy's going with other people's money. That is only after they get bribed to sports games and concerts but are too stupid to realize, not to mention are being chased by a ruthless security team headed by an Australian named Wesley (Ray Stevenson) who keeps rolling a bolder in their path.

As dorky as Gamble is you realize there's another side to him, such as for some reason attracting all the fine ladies without even having to try. Hoitz is a straight shooter that you find out has something in him but is afraid to let it out, such as secretly knowing ballet, but only because he wanted to imitate how "queer" it was when younger. They have to prove themselves and reverse the decisions that landed them to desk jockey duty instead of being out there with the big boys. But first they have to dodge a couple of reprimands from the Captain who needs to keep his guys in line so he can put his bi-sexual son who wants to be a DJ through college. Now it's all about two cops going out on a limb by sifting through the politics and doing what's right. Yep, it's about as cliché as that but the story--still with some relating points about bailouts and Ponzi schemes--isn't the entire emphasis but also the inventive puns, jokes and comedic observations to go along with it about things in general, pop culture and cop movie fare.

Similar to "Cop Out," this has everything a bad movie usually has, except the difference is "The Other Guys" used its purposeful set-backs to its advantage with consistent timing and the chemistry of a team to pull that off with. Otherwise, it's such an overused convention that rides a fine line that can fall on its face when not pulling off the trick without a hitch. Where would this be without some shoot outs and car chases like a good ol' cop and bad guys story even if they are even more exaggerated than what they're emulating. This is often direct, unashamed, raunchy and mean-spirited, but at the same time hilarious in that it takes it all the way to the hilt without feeling guilty about it. They say some of the most ridiculous lines but while maintaining a completely stern-faced serious look. This has an abundance of I-can't-believe-they-just-went-there snappy jokes with a well-timed comedic side on all fronts that makes this such a thoroughly and highly entertaining and fun experience that should be fresh for some time.

On a drunken night two polar opposite buds--after saying they want each others' lives--switch bodies but not minds when accidentally swearing an oath in front of a statue while crossing urine streams into its fountain. Mitch (Ryan Reynolds) lives the complete bachelor life with no responsibilities beyond making a paycheck as a part time actor, and Dave (Jason Bateman) has his hands full as a lawyer with three kids and a wife. The fountain is moved and in the meantime they have to live one anothers' lives till it can be found. Easy said, easy done. Yeah, right.

The premise sounds awfully familiar, though this is a movie that skips out on the cleverness and goes more towards the profane by playing on taboos and shock value for a share of the way. Some of the jokes feel like they are too in your face to the point of stepping over their punch and the replay value is somewhat diminished in that they can only be looked at head-on and from a point-blank angle. Though one thing you can count on is it literally doesn't let up with what it shows or says, with kids included, which makes the experience extremely over-the-top in a titillating, one-off kind of way. Babies are more misused than females born in China, and then adults don't hold back in what they say with yougins in presence, cursing and urination included. That unabashed outlook is gonna cause a share of gasping and head-shakes, not to mention I-can't-believe-they-did-that laughter all at the same time. It's a movie that you gotta forget all social stigmas and just let loose to the ludicrousness, otherwise this is gonna be a tough watch and not recommended. The main culprit is the Mitch role, and then the raunchiness is continued when that persona has to be maintained when Bateman switches to Reynolds. He tries to keep up with the bachelor's extracurricular activities, including meeting his sex-crazed partners and showing up to the set of his "acting" job, which turns out to be something a little more risqué than the reserved dad and businessman agreed to.

The whole ride isn't a roller coaster of do-whatever-it-wants as it eventually turns into a safer formula that takes a lighter stroll for the latter portion where there is room for character learning and growth and things are more content. The original Dave character wants to make partner in the law firm he's worked so hard to get to, but at the same time doesn't have time for his wife. Jamie (Leslie Mann) has some funny and also serious scenes from uncertainty setting in with her "new" husband but that's not to say there weren't issues beforehand. The original Mitch character is always running away from finishing anything that he starts and uses the opportunity to hopefully rectify himself if that's even possible. Olivia Wilde shows with interest on both fronts as Sabrina: a pretty face that works in the law firm. Dave wanted her before the switch, and Mitch being Dave, being his sneaky perverted self, says they should go out and she turns out to be much different than the conservative lady she appears in the office.

"The Change-Up" plays on the absurd while others around them play it straight and act confused. Reynolds and Bateman definitely have their moments but don't always transition their reverse rolls back and forth smoothly as it feels like they can't always shake their stage names. This plays out the fantasy of how it would be if you did things differently in your earlier years and shows that it might not be too late to do so from a changed perspective. Yeah, the message was delivered a little fluffy and easily but, then again, this is simple entertainment that uses taboos to get its audience loosened up from the day-to-day of rules and what we're supposed to do. The movie rides a fine line between potentially getting someone on the complete defensive, or on the other side letting loose and going with the insane flow. It can be nice to see them--not yourself, mind you--break the rules for basic escapism even if that diversion wasn't without its over-daring snags that make it more closer to a minor comedy than an instant classic.

This is an early '70s crime/action/thriller, so there aren't going to be an insane amount of edits and the picture is going to be more focused on fleshing out the story than giving motion sickness or temporary epilepsy. It includes some extended shots to make the viewer feel more at home than cutting right to the chase and moving from temporary place to place. There are zoom ins, interconnected shots, bell bottoms and side burns for that contemporary time stamp that it can't escape, though that doesn't take away from it being an effective character driven piece that still holds up today.

The audience is introduced to the inner working of a "mechanic": someone who disposes of bad guys by making it look like an accident. Charles Bronson easily sells the part as Arthur Bishop with his rugged and tough looks, as well as a sarcastic and reserved outlook. Like he's perfectly capable of giving out harm at any time, but also has a certain amount of measurement and philosophy to what he does to make a system out of it. Bishop is a loner who doesn't show his emotions, which includes not speaking for the first fifteen minutes of the film and only first to his friend Harry (Keenan Wynn) who's having some trouble with the organization they work for. Harry knew Arthur's father well and he wants him to speak on his behalf to smooth things over, though the organization still makes their final decision by sending him a hit packet on Harry.

The arrogant son named Steve (Jan-Michael Vincent) could care less of his father's passing as he was a "pusher, pimp, thief, arsonist" and precedes to be as cocky and spoiled as he was before with raging parties and no sense for responsibility. A close woman called him and said she's going to kill herself for his attention and sympathy, though instead of showing concern he arrives with Arthur to watch with morbid curiosity. This sets up the ground work and with some active pursuit on Steve's part, including doing adrenaline junky type activities together, Arthur sees that he might have it in him to do the impassive line of work he does as a mechanic and takes him under his wing as an associate and possible companion.

They patiently study their target's habits and wait it out for the perfect opportunity by finding a hole in their security. They plan one way and the job goes another, leading to the organization being a little worried that Steve is on board without their permission and in turn this leaves a possibility that he might ruin what's supposed to be covert operations in the shadows, not a motocross chase during broad daylight and where witnesses can see. To smooth things over they end up in Rome, Italy to do a "cowboy job," which means their target needs to be immediately taken out at whatever the cost, accident or no accident. From what starts out as a training and character development piece with partnership in the making turns into a climactic finale with a heated shootout with car chases and explosions when the characters get pushed against a wall. If that wasn't enough a twist happens, where one of them has an ulterior motive, but like a calculated game of chess so might the other.

The cinematography, music and pacing are all well timed out. More times than not the camera and music are doing more talking and sharing than the players. It gives the film a solid backdrop and a particular atmosphere with extended strings and intermittent piano to make it intriguing and put all the clandestine operations into their respective places. This has some relating factors that include skipping the court system to see deserving bad guys immediately receive justice like "Dirty Harry" ignited just a year prior. It shows someone live the high-life, make their own hours, kill with purpose, sleep with escorts without consequence, though all at a cost of not having a productive social life with some consistency and true relaxation for what's around the next corner. Charles Bronson and Jan-Michael Vincent put on interesting performances though not all of the co-stars are very notable, with some that instead perform like caricatures of their type. There is also some misplaced dry humor when most of the film is rolling with a more serious structure. This has an abrupt ending but then again it's a cold business and closes the curtains more accordingly than, say, "The Italian Job," which ended up in the air. (Also submitted on Cinema Freaks, http://docuniverse.blogspot.com)

This starts out like a coming-of-age drama with a young woman named Amber who's sick of small town life in Famfield despite her close friends, mother and part time job. There are some unexplained snippets with ominous visions that include people chasing her and decomposing bodies. Is something calling her, or is it just the stress and mounting pressure of cabin fever? She wants to move away and get her own apartment in Chicago but first she has to get there with a deposit before another prospective tenant. Her five friends tag along for the road trip, until right outside of the city limits their car breaks down. As chance would have it, a friendly semi-truck driver pulls over and they beg him to take them to the windy city, but not before telling him they want to snap his picture, that one should ride up front and, of course, their family should know who they're with for safety's sake. Can never be too careful, or can you? They hang loose in the back cargo area by playing games, drinking and smoking drugs. Suddenly they take a nasty swerve and get thrown about. They call the driver and he gives them the run around to stop, which makes them suspicious enough to call 911, though where they just entered the signal doesn't go through. The driver backs in to a loading area of an abandoned warehouse that looks like it used to be a slaughterhouse. After the back door opens, everything turns into chaos when they step out into the factory with no visible way out and strange creatures who fly through the air, crawl on the walls and want to consume their flesh sooner than they can rip it off. From then on out it ends up being something like "The Most Dangerous Game" as these victims are treated like not only lunch but challenging sport. "Prowl" is a director's film first and foremost. It has a steady pacing that keeps up a certain element of mystery without laying out a full view of its blueprints, as well as it manages to escalate the story to different levels while still slowing down in a few areas to catch its breath and explain. The dialogue also dances around and doesn't lay it all out for the audience, which gives it some challenge and curious questions even after the credits roll. It manages to cover up its plot holes--sometimes after the fact, which makes you wonder about a few in the meantime--such as certain physicalities. It gradually unveils the blood-craving beasts from quick shots to extended, which keeps a viewer guessing as to what they are and what it all means while--thank the horror Gods!--doesn't fold in on itself and make what they have going too cheesy. This is more intriguing and mysterious like a thriller than it is continually scary like a horror, though there are still a few jumping shocks used to rile one's pulse, even if not terrifying. What at first seems like it's only prolonging the inevitable, comes full circle and turns into a tale of finding out what Amber's life means before she even gets to her promised land. The blood is more watery than the truly crimson looking stuff and there are frantic camera shots that go a little overboard. Though this was a quick, basic and entertaining piece that could have been a run-of-the-mill movie with different direction, less measurement and passion put into, not to mention it's a simple story that only has a few conventions tweaked around and isn't the most original out there, but the way it carried itself was turned into an effective experience that urges forward. One where it's a little more unexpected than other don't-take-rides-from-strangers fare.

This opens up with a bloodied woman running away from "something" in the terminal of a subway station only to be slaughtered with no one to hear her desperate cries for help. Now, four guys in the wee morning are celebrating a bachelor party at a strip joint when they get kicked out and head for another club by using the subway to get there. They catch two ladies on the train from earlier--one drunk and ditsy, the other confident and collected--and try to continue the party up until one of the woman gets fed up and uses pepper spray on the unruly brother of the polar opposite nice-guy bachelor. They all step off to clear their eyes, when suddenly the nonchalant operator takes off and leaves them stranded.

The terminal exits are locked, there's no cell phone reception and even if another train comes through it won't stop. Four of them head up the tracks on foot while a man and woman stay behind to get a little frisky--yes, the filmmakers went there, partial nudity to boot. Soon enough they realize they're in danger when three modern day cavemen looking vagabonds brutally kill a cop after he catches them raiding a vending machine. The villains end up being one-note savages who's stench alone could make one keel over, who are so dirty they look like they have permanent tans, who's obnoxious growls could make any wild beast run with tail between legs and who's skin is so greasy it could be bottled up to make everlasting Jheri curl solution. From what was initially just a time-killing mistake turns into a killer game of hide and seek till they can come up with a plan to get out safely, including manning and womanning up to fight back as these tunnel dwellers are far from lethargic pushovers looking for a handout but skilled warriors that like to taunt their opponents for the challenge. Now, it's explained that their situation and the groom to be have a coincidental connection in that bachelors some ages ago would be sent out for the night to hunt a stag to prove they could survive the test and provide for their families.

"Stag Night" doesn't even try to be great. The acting is adequate if not award winning. It's more unintentionally funny in some areas than scary despite some foreshadowing and other sections that attempt to stack tension. It uses excessively frantic camera shots to translate the action and fight scenes, but instead cause more hangovers than palpitating hearts. Sometimes the music seems independent from the film with attempted build ups to translate an atmosphere that seems nonexistent. This is a purist horror film that relies heavily on conventions down to the finish line--though one that tries and keeps up and falls short of even breaking through the ribbon. But let's face it this is a one-off movie for rowdy group gatherings that everybody can half pay attention to or wildly talk over, as other classics have been outlined better, came with more interesting characters, had villains that were more mysterious and menacing, or just included more inventive death scenes even though this does produce some decent blood shed and gore. On one hand you can count on it but on the other there's not going to be a ton of things to write home about afterwards. One thing in its credit is the story is pretty straightforward, which isn't always a bad thing as it had its share of plot holes but didn't get entirely confusing or overly ambitious. It sticks to its tried-and-true guns, even if those guns are somewhat dull and worn thin. (Also submitted on http://fromblacktoredfilmreviews.blogspot.com/)

After Peter Highman (Robert Downey Jr.) gets a quick look at the guy who just hit the door off of his chauffeur's car at the airport, like with everything else he's a busy man who doesn't think very much about the bearded guy who's probably got more than an issue or two hidden behind the facial fortress. But soon enough that man with a perm to match turns into that person who just won't go away. He's the most foulest, unashamed "companion," but one who instead acts more like a capture of his every next move. As the saying goes, "Sometimes you have to give a little to get a little," but no matter what he does to compromise, the pesky man named Ethan Tremblay (Zach Galifianakis) just keeps getting worse and causes Peter to nearly reinvent himself along the way so he can just get to his wife's labor in time but first he has to cover a stretch from Atlanta to L.A. Simple enough, right?

This is easier said than done, as he's got no ID, money, luggage or car, and he just got put on the No-Fly list due to a misunderstanding involving Ethan. Now, the man who just caused him enough grief offers him a ride in his rental car with his little dog Sonny because he's going to Hollywood to become an actor, face-shot portfolio, impressions and all. Peter grudgingly excepts, because how bad could it really be? Well, he probably puts up with more idiocy than Charles Darwin himself researched and catalogued. He's the Clint Eastwood of comedies as he's a man of fewer, quicker words and isn't used to opening up. Ethan, on the other hand, is an imploding, extroverted personality all his own. Though he's a walking, talking conundrum: nice, but rude, giving, but takes, a talker, but not a listener, and then sympathetic in one way and a jerk the next. If that wasn't enough Peter meets all kinds of contradictory characters in middle America that he might not have ever seen or wanted to see ever again. Including rude and violent employees and drug dealers who want him to watch their obnoxious kids while they score a deal.

"Due Date" is a comedy/adventure that is often delivered with deadpan humor that revolves around the ridiculousness of the situations and interactions, rather than droves of inventive dialogue or witty one-liners. The whole trip is a trip, so some impossible and implausible scenarios happen that can insult one's intelligence from getting into fights, near death accidents and possible trouble with the law, but that is only if you take it seriously. Zach Galifianakis puts on a detestable but commendable role as a delusional, sheltered man who's naive and unapologetic but he doesn't even realize it himself. Robert Downey Jr. plays it straight but is able to still line up the comedic scenes and slip in a few lines of his own when it gets the best of him. The R is for drug use, frequent cursing and some minor sexual references. The greatest aspect about this movie, is it never lets up. Even when there's a supposed sad and touching scene, something still manages to goof up, go unexpectedly wrong or put the two actor's back on the ropes. Like the old gag of pulling away with a handshake, it puts the unsure audience on edge but still leaves room to anticipate what will happen next. It's still a growing experience that breaks down their barriers to make the two leads who are entirely different people beforehand now either best friends or just knowledgeable chums that are still at each other's throats. (Also submitted on Cinema Freaks, http://docuniverse.blogspot.com)

A memory impaired man (Daniel Craig) awakes with a strange metal shackle on his wrist and a wound on his side. After showcasing hidden skills like a 19th century Jason Bourne on some rough and tough dudes, he heads to the nearest town of Absolution only to find more hassles. He deals with a spoiled, troublemaker named Percy Dolarhyde (Paul Dano), who's father is a not-to-be-messed-with head honcho of sorts. Percy lands in jail and soon enough the man with no memory ends up in the cell next door, as he turns out to be the infamous Jake Lonergan who has a rap sheet longer than the Oregon Trail. When Woodrow Dolarhyde (Harrison Ford) gets word of his incarcerated son, he storms the streets with his cowboys. Right before a tense showdown, the alien part of the equation shows to make things go boom and people disappear. Jake's bracelet suddenly turns into Mega Man status and he blasts one of the ships down with an energy beam. The creature that operated the vessel flees and they round up a posse to track it back to where their kidnapped loved ones are.

"Cowboys & Aliens" is more about the journey to the final showdown involving various characters that it never fully scratches below the introductory surface on, which at times makes them more plot device than natural. Along tags a bartender who's more business than brawn; a mysterious woman who eyes Jake; a practical preacher who knows how to pray and shoot; a young boy who's not yet a man; a loyal Indian who looks at his boss as a father figure; and the former colonel Dolarhyde who's got a thing or two to teach the youngins about battle. Now, where westerns in the past had everybody out for their ruthless selves, this uses the enslaving extraterrestrials as a means to get along for the greater good of humanity, including fierce outlaws and warrior Indians who are in the same dire straits. In the meantime, no one ever claimed the abominable aliens didn't have punctuality as they make a few well-timed appearances to the point of predictably just before a human vs human conflict is about to get all gun crazy. Though like throwing a rock at a tank, these basic, booze-drinkin', boot-wearin' westerners look to be completely overrun and overwhelmed. That is until they have to get sneaky and use strength in numbers to put a stop to the aliens, which at this point are so one-dimensional the movie plays out like an easily sold good vs evil template with nothing left over to put in the bank to accumulate interest.

This is more the former than the latter of the title. The western portion on its own isn't groundbreaking to the genre, and the sci-fi side isn't inventive enough to blow the lid off a long time fan, even if the combination is definitely original. Other aspects to fall back on like the pacing can feel like it revs the engine, then levels at a lower gear. This wouldn't be such an issue but it's not that contemplative of a film to hit the locker room in between for a break, and as a result creates a building list of questions from the viewer that never end up answered about certain plays. It's a film that treads more on mystery when it comes to its antagonists, by at first seeing a shadow, a claw and then a quick full frontal, as well as it only gives little snippets of information for the viewer. Problem is, it doesn't create that intriguing enough of creatures to pull the enigma off--no communication, no interaction with each other, very few distinguishing elements with behavior or appearance--or even go further into why they're on Earth other than laying out a questionable reason at face-value.

Daniel Craig played a simple but commanding presence, as he said little but when it came time for action delivered with full force as if he meant it, and then some. It causes you to focus in on him to not miss his next move, despite getting knocked about with a lesser blow or two. Clancy Brown plays a memorable role as a tough holy man that adds humor to the situations, but Chris Browning includes cartoon flavor with his crusty chompers and oafish demeanor. Paul Dano, as much as he tried and has the most range, his performance felt misplaced as if he's a tortured man rather than just a fearful kid with no perspective from growing up safe and spoiled. Harrison Ford's character is built up and built up, with other people making not only a legend of him but a power not to be reckoned with, though by the time it comes for him to show his stuff, he falls somewhat short on punch. It's a shame that some of his gruff lines come off as unflattering imitations rather than truly compelling. On an entertainment level, you get massive explosions, O.K. Corral-thumping gun fights, built up thrills, mystery, situational humor, potential love, tragedy, resolution and you get to see two separate genres at the same time. It sounds like a lot, but it didn't always come one after the other or always in a smooth, edge-of-your-seat transition together. The mentioned certainly made this enjoyable and an interesting concept to see but unfortunately it wasn't capable of thoroughly traveling beyond expectations for such a cool premise. (Also submitted on Cinema Freaks, http://docuniverse.blogspot.com)

Phil (Carell) and Claire (Fey) Foster are an average couple from New Jersey who have harmless full time jobs, two highly active kids and most importantly no time to build on the romance and adventure they once started out with. They seem to have become a cross between best friends and brother and sister, as they're familiar enough to give out sarcastic and sometimes dry jokes with some comedic observations thrown in at what was them or could really be them. They're so busy and responsible that they hardly noticed the slump of doing the same ol' things in the same ol' order until their close friends the Sullivans (Mark Ruffalo, Kristen Wiig) are getting a separation from lack of wind in their sails. Claire and Phil decide to turn a regular date night into one they'll remember, except it ends up being more than they bargained for.

After getting shot down for a reservation at a trendy, upscale restaurant called Claw over in New York, they pretend to be the Tripplehorns to snag a table. Quicker than you can say, "If you're looking for trouble, it's bound to find you," two guys who appear to be restaurant employees ask the now drunk couple to step outside. Soon enough things turn for the "North by Northwest" worst, as these are gun waving fellows are looking to get a flashdrive back for their boss Joe Miletto (Ray Liotta) and don't believe the two aren't really the Tripplehorns. Instead of getting filled with lead, Phil and Claire go with the flow and make up information in hopes that something will come up in the meantime. Opportunity strikes and they get away only to find themselves jumping back and forth to escape the two that look like henchmen but might be something else.

From one location to the next, they end up breaking every other law, get help from the continually shirtless private security guy named Holbrooke Grant (Mark Wahlberg), to meeting the real Tripplehorns called Whippit (Mila Kunis) and Taste (James Franco) that are just a couple of movie referencing Bonnie and Clydes who got in over their heads. This is an exaggerated cinematic world where regular people exceed and bad guys are really bad. Everyone is a caricature of their type from shady gangsters, perverted politicians to corrupt cops, which makes the experience purposely silly and far from ground-breaking but still a somewhat fun formula because it doesn't even take itself seriously. Some situations jump the ship of just being plain dumb, such as both attempting to pole dance and then like a miss episode of SNL it carries on far too long. There's a tad of action between the one-liners and sometimes inventive remarks, including an impossible but wild car chase and some guns waved and fired. Fey and Carell are both energetic and well-timed out with their back and forth banter in between their characters trying to figure out an exit strategy. This is about two regular folks attempting to save their own skin and simultaneously save the day. Been there, done that countless times, but it's still an easy and unchallenging ride to relax and loosen up with to pass the time even if it doesn't claim to be a first rate film. (Also submitted on Cinema Freaks, http://docuniverse.blogspot.com)

This is another movie that uses a bait and switch with its trailer. It's made out to be an action/thriller with a constant, heart-racing traction, though the actual tone plays out as a somewhat light hearted mystery with an element of humor and some romance that comes across as lackadaisical, never knowing which angle to stick with, which makes the general mood an emotionally confusing and conflicting experience for a viewer. It's a film where the music acts as another character--sometimes distracting, sometimes getting the job done--to do the talking over panned shots that capture the rustic scenery of Italy that "The Tourist" primarily takes place in.

A woman named Elise (Jolie) is related to an investigation by the Financial Crimes Division of the Scotland Yard and in turn is being followed by agents wherever she goes in Europe. She receives a letter from a past lover named Alexander Pearce who she hasn't seen for over two years due to laying low after stealing billions of dollars (or millions of British pounds) from a gangster named Reginald Shaw who deals in businesses of vice such as casinos and brothels. Pearce, who reportedly had plastic surgery, tells her to find a man that looks similar in build, as others don't know what his new face looks like, to use as a distraction so Elise and him can finally meet up again and take off. While on a train destined for Venice, she picks a tourist that catches her eye. Apart from being bashful, Frank Tupelo (Depp) is a math teacher from Wisconsin despite his odd accent who reads spy novels and is more brain than suave. He lost his wife to a car crash three years earlier and is looking to rekindle a relationship, and what better way to do that than with a stunning woman who compliments himself, as he's honest and reserved, and she's sophisticated yet confident.

The Yard realized the ruse from a quick background check and let the dogs off of Frank, yet Shaw hears that Frank might actually be Alexander from a tipster going on old information and still places a bounty on him. Shaw surrounds himself with Russian henchmen and with his wealth pays off a few people to get ahold of Frank. This leads to a few chases--one involves a roof top and another a boat--but the amount of action scenes in this film can be counted on one hand. Even so, the tone feels up and down and has its moments of plodding along as it shoots inconsequential scenes and scenarios while the characters don't always feel like a solid part of the framework. The shots of the scenery and the bombastic score over top seem like they're more imposing than the human interaction at times.

Jolie isn't stretching very far outside of her range, as she acts more as a staggering presence who's seductive and elegant, not to mention secretive, while giving subtle looks and gestures to maintain the enigma. For the most part Depp surprisingly plays it normal and held back. The police and lower gangsters, despite some well-known names such as Paul Bettany and Timothy Dalton, feel like they play their parts evenly with nothing extra to remember them by. Steven Berkoff gets a chance to shine somewhat by bringing some distinguishable and compelling elements to the role of Shaw. The movie has a final twist, though the problem is prior to that it wasn't able to maintain a firm command even if the viewer gets a little reward for the wait. (Also submitted on Cinema Freaks, http://docuniverse.blogspot.com)

"Easy A" is about a mixup that spirals out of control in a moderately populated town high school in California that blends literature, religious fanaticism, homages to '80s John Hughes flicks as well as adolescents at their peak with hormones. This is frequently narrated with snappy dialogue that's self-aware of its every move to a fault, as it often arrives at conclusions even before it allows the viewer to. It includes some humorously awkward situations of high school life, as well as pokes fun at other teen flicks even though it ironically embraces some of the same clichés. Minus the honesty and self-degradation and it's still riding as a passenger on the same train.

Olive Penderghast (Emma Stone) is overheard in the ladies room by the do-gooder Marianne Bryant (Amanda Bynes) when she tells her best friend Rhi (Aly Michalka) that she slept with a fictional guy named George despite still being a virgin to dodge going on another uncomfortable camping trip. Marianne, being the antagonist of the story and the moral crusader she is, sticks her nose high and uses the modern day equivalent of a rumor mill--text messages and social networks--to self-righteously put Olive, who was previously hidden from view, back in her place. Or so she thought. Olive has a hide thicker than a rhino and attempts to use reverse psychology on her hecklers and simultaneously fake it till she makes it about her own dating status. Marianne's lackeys come at her but she's like instant oatmeal with comebacks. After getting in trouble over calling one the "T" word, she serves detention with Brandon (Dan Byrd)--a gay kid who's made fun of and gets into fights--and he begs her to pretend to have sex with him so people will lay off his back. They go to a party so the socially elite can be a witness and both put on a noisy stir in the bedroom while none of the drunkards are the wiser.

Why this charade wasn't stopped short was because Olive has liberal, adoptive parents who still think they're cool and trust that she'll make the right choices and correct her own mistakes. The overly honest mom played by Patricia Clarkson is hilarious because she says everything the daughter doesn't want to hear and doesn't always come with the best advice. Olive goes about in seductive outfits with an "A" stitched on relating to a literature story called "The Scarlet Letter" and takes it all in with stride as to whether she's gawked at or dismissed. From what at first started out as having sympathy for Brandon, turns into a gift-card giving business where she pretends to give nooky to unconfident guys who want the status but without actually doing the physical deed. This part of the story doesn't exactly transition due to it never being explained that she's greedy or desperately needs money. Though despite her cunning wit that's twice her age, she still seems a little naive with the trappings of a teen as to what she's doing and without exactly thinking about the afterwards. It has moments of causing the pacing to get lost in the shuffle and her character development to feel up and down: one moment helping those who can't help themselves, to going with the flow and then back again when she volunteers to take the rap for someone other than a student. After a date gone bad and a meet up gone right, she wants people to revert their stances to get her life back in order until she finds out people's true colors.

"Easy A" seems like an abstinence ploy within a ploy, but I digress this isn't out to make a major point about the subject of promiscuity besides to say that you should own up to your own actions and not perpetuate notions if you didn't actually do any action. This is more sarcastic, playful and clever than roll-on-the-floor funny--partly because it seems too well scripted than naturally delivered--but it comes with a relating factor that a chunk of teens go through when it comes time for blossoming sexuality: how to tell what they like, how to go about finding it and most importantly how to do it. Not to mention double standards of girls and boys, and peer pressure to do it and then an opposite pressure not to do it. This has an original take on an age old idea that covers common ground but came with some contrived caricatures such as the I-know-exactly-what-to-say knight in shining armor conveniently showing up at just the right moment despite being peppered throughout and giving a nod to John Cusack. Is that supposed to qualify as a reward? Not to mention what sucked out intrigue was a chunk of the story feels laid out like a spoon fed blueprint with easy little chapters and nearly every nuance told to what's going on even though the story is fairly simple on its own. Fortunately this did right by not having any closing morals pushed on the audience rather than letting them choose themselves where they stand. (Also submitted on Cinema Freaks, http://docuniverse.blogspot.com)

This is a romantic comedy on the candid side that attempts to evenly round up both the female/male viewer by throwing out some honest, self-depreciating jokes about the sometimes awkward and frustrating aspects of what either side goes through when dating and attempting to secure a steady relationship. "Friends with Benefits" is an unchallenging film that comes across more as a spoof of other contrived rom-coms while still managing to fall into a few of the trappings and part of the formula itself the more involved it gets.

This is by no means quintessential and it's hard to say if it tackles the promiscuous question any better than "No Strings Attached" as they don't always take themselves very seriously but are more for brisk and painless recreation instead. "Friends (with Benefits)," the indy flick from 2009, answered a little more about the debatable question. The main difference between the recent "NSA," is it had one side who felt more attached than the other and previously they were more acquaintances than friends. All three seem like different experiences in their own little ways, but where both "FwB" 2011 and "NSA" borrowed off of "F (wB)" 2009 was they all start off as silly comedies and then revert back to a similar rom-com template, not to mention all boil down to emotions that everyone was trying to suppress. Now that a template is officially established, hopefully this is the last of 'em.

This has a very loosely laid out plot that instead of going for layer upon layer keeps it simple by concentrating on character development, leaving ample room to evaluate emotions and coming with little recognizable patterns throughout in the meantime that looks at their on-the-fly lives in the city and charismatic friends and family members. There's the premise: they go through unserious and unreasonable dates, then meet through business--Dylan (Timberlake) is from L.A., Jamie (Kunis) is from N.Y., now he moves to N.Y.--they become close friends and, of course, they're done with the emotional side of sex, hence they should be friends with benefits. Problem solved! Not exactly. Both are still romantics at heart even though they try and hide their emotions so they don't get hurt again with Jamie being a blunt, cursing New Yorker, and Dylan avoiding talking about private issues when confronted. They try and keep it cut and dry or as a "tennis match," but if it wasn't inevitable enough start to grow onto each other. They want to keep the friendship, so both date outside but confusion sets in if they should go back and further the connective bond they had.

From what at first has them yelling out calculated directions of how to please one another like a business transaction, this turns into some believable chemistry between Mila Kunis and Justin Timberlake with some spontaneity thrown in to give them some natural interaction. This comes with lots of undergarment shots, a few butts, as well as plenty of bedroom banter that only holds back in showing the full detail. Shaun White shows up as the token and somewhat pointless antagonist who's nice to everyone else but chides on Dylan because he had a thing with Jamie prior. Woody Harrelson plays the proud and macho gay friend Tommy who's got a thing for sports. Harrelson tries a little too hard, but still manages to keep one's undivided attention whenever he enters the screen just for what he'll say next. Patricia Clarkson--from "Easy A"--plays Jamie's irresponsible mom Lorna who goes through more men than floss and has some pretty humorous lines despite not being the perfect role model.

Everybody seems to be checked out when it comes to steady relationships, including Dylan's father (Richard Jenkins) who's going through Alzheimers but wishes the mother was still around and that he actually went after a former crush. This causes Jamie and Dylan to reevaluate what they had, despite the flaws and hangups, and the film from having rapid edits and quick quips in the beginning starts to eventually ramble on and turn a tad bit long so it can avoid falling into a cliché and sappy closer, which it nearly does so anyway. Who are they fooling? Even though some of the humor and serious subjects don't always mix at this stage, it was still somewhat mushy, easy fun that's perfect enjoyment for a date night or a relaxing nothing-to-do day. "FwB" doesn't necessarily answer any questions as it shows more than it tells, but when it concludes still comes with a few relating puns and jabs at what people go through just to find the right person, or who that right person actually will be outside of our preconceived notions. I guess there's hope even for the ones who want to cut to the chase and eliminate all those courtship rules. (Also submitted on Cinema Freaks, http://docuniverse.blogspot.com)

What if your friends step in and say you might be a hopeless fool to pass up what you have despite how unconventional it appears? Yet, those tingling little jitters aren't there, that is unless you're afraid to confront them or are purposely pushing them away.

Fifteen years ago Adam (Kutcher) tried to get a little somethin' somethin' at summer camp with an emotional ruse about his parents getting divorced but was deflected from the unaffectionate Emma (Portman). Adam and Emma by chance catch each other five years ago at a frat party and she invites him to her father's funeral as if it's just some "stupid thing." He shares that he likes her but she's again upfront that they probably won't ever see each other. Now, one year ago they stumble into each other for the third time and he gets her phone number. From a drunken stupor about finding out that his dad is with someone he knows, he ends up at her place naked, thus starting their physical, get-in-get-out, wham-bam-thank-you-mam entanglement that comes with no strings attached, rules and boundaries included to make sure of it.

This is a comedy first and foremost, though it begins a little too headstrong and in the audience's face as there's no build up to the point-blank jokes. It's incredibly self-aware of its own ridiculousness and it becomes forced at times. Though after meeting more characters and getting an outline, this handles the unabashed and crude humor a little better as it turns over to the relationship angle. Despite the R rating--which is more for drug use and cursing--this takes a PG-13-like route about the physical side and doesn't exploit the angle such as provocative pictures like "9 1/2 Weeks" or the more extreme "9 Songs" as it's a little more fun and goofy than seductive. "No Strings Attached" also transitions between phases of growth as they continue to see each other more frequently to the point of appreciating one another and liking the stability--yet still don't use those no, no words like "girlfriend" and "boyfriend."

This starts wild and crazy and then lessens down to a mildly serious simmer that leaves the characters both torn between regretful decisions and emotional tangles. If it's not obvious enough this is going to get a little sappy for the hopefully romantic and everybody's going to end up some kind of winner no matter if it's how they planned it or even if it is who they thought it would be with. But that should have been expected from the humorous angle, as there's nothing dark or racy about this. Sometimes even coming with hip and trendy music and playing on the immature angle despite everyone's age.

"No Strings Attached" on its surface is an easy movie that's made to be briefly rewarding and give a momentary good feeling when the credits roll. It comes with some challenges for the skeptics, such as how it deals with that coincidental thing called "Fate" that relationship movies abuse too often with all too convenient scenarios. Yes, this definitely has them--stumbling into each other at the coffee shop and all--but they're a little more buried than the normal formula as some complications arise and time is spread out. This borrows some conventions, as well as goes against a few, such as the guy being the fonder one despite growing up with an absent mother but instead a playboy, celebrity dad who chases tail.

The co-stars range from token black and gay guy, to socially awkward for the sake of quirkiness if we cinema goers haven't seen enough of it. The sister adds the element of marriage and the alpha male co-worker poses a threat by attempting to step in. Despite the clichés, some of the specific scenarios promote easy beguilement to the storyline even if they don't tally up enough to make this a classic down the road. Natalie Portman plays Emma by going through a few different phases from emotionless and direct to sentimental and confused. Her character development feels a little up and down as she attempts to transition back and forth till she's an adapted person, which makes the tone of the picture go from dealing with a risqué subject, to a rom-com, to reevaluating herself by searching for answers. There's not much to anticipate from Ashton Kutcher's role as he plays Adam with a big heart, which makes him spontaneous, giving and sometimes a little slow on the upkeep and spaced out, which gives him that teddy bear persona that he consistently carries from movie to movie.

Six gals and guys--Chloe, Owen, Alison, Jeff, Shirley, Brad--who are all close friends figuring out what they want out of life, in a non-linear fashion candidly hang around with back and forth talks about drinking and sex with a lingering question in the middle: Can you be friends first before being physically involved and would it jeopardize the friendship if feelings arise? It just can't be done everybody defends. Little do the rest know that recently childhood companions Owen and Chloe are already rustling in the sheets currently without consequence.

They're all promiscuous anyway with everyone else but themselves, with Jeff a porn webmaster, Shirley a frisky bartender, and Alison a goody two-shoes looking gal who sees a sex therapist and has a plethora of wants and desires. Soon enough the cat jumps out of the bag about the two and eventually the other four are all going at it in a free-for-all, including man on woman, woman on woman, and man on man. For the most part it leaves out the point blank shots, except for one of the chicks being topless and everybody kissing. Some can't get the lust out of their heads, though feelings get hurt and things feel awkward as some didn't want to go that far. Meanwhile Owen and Chloe can't figure out what they have and if it should be taken to the next level since he's gotten a scholarship offer and she wants him to go on the road with her band.

"Friends (with Benefits)" is like a feel-good party that you wish you had an invitation as everybody is charismatic and happening with a beer in hand and is openly telling stories and jokes without an end in sight, but then suddenly somebody shoots the clown. Friends run in all directions with confusion and mixed feelings, but then attempt to carry on and mend what they had back together again. The beginning feels all over the place with random people, time lines and conversations that spark interest but only a minimal interval to appreciate them unless you hit the rewind button three times. That at least gives this replay value, but the dilemma with "F (wB)" is its latter pacing that attempts to show rather than say, but in contrast makes the picture look top heavy with ideas. It starts fresh with engrossing and inventive energy by saying a lot in a short amount of time, and those creative aspects can be appreciated in an indy film, but then it gradually turns into a predictable rom-com formula despite a few misdirections.

The exaggerated world they live in is filled with anywhere from catchy to sympathetic music of the soundtrack kind to lend feeling and atmosphere, with a tone of crude but fun perversion and at times seduction. The jokes range from interspliced shots with all cast included doing private interviews with a sex therapist named Dr. Richard Weed, to just exceptional sex stories and mishaps. "Friends (with Benefits)" has extremely good chemistry and at times surprisingly good performances between the cast. It sets up what their profession and hobbies are so the audience gets to know each of them and how it relates to their conversations and interactions. The principle players could have made several other movies together similar to how Kevin Smith's View Askew Universe is connected because they all seem like believably good friends who have some hiccups here and there but for the most part seemed tailored to their part.

This is a simple story surrounded by some workable and not so workable gimmicks, such as tediously being broken into 19 chapters ("A novel with moving pictures"), which at first seems innovative but eventually its ornate sails only get blown so far, not to mention it holds the audiences' hand every step of the way to what's going on. There are some split screen shots that effectively handle the characters interacting similarly but in different locations. It definitely has some funny moments, dialogue and performances that are charming enough that you wish you were actually there to be apart of, but part of this feels unrefined from getting a little ambitious with trying to tackle everything at once about the "big question" and then letting itself off the hook a little easily when it concludes. This goes from a snappy, somewhat wacky comedy to a slowly developing melodramatic romance. It went from not taking itself seriously with everything being in excess to expecting you to still be with them when they flip that upside down to polar opposites, as it turns sober with weighing the gravity of what they've done.

In regards to "No Strings Attached" and "Friends with Benefits" from 2011, this early movie from 2009 actually attempts to answer some of the questions, where those others had more of a guise at being provocative. "No Strings Attached" didn't actually have them as friends but rather childhood acquaintances with a guy with a heart who convinces a gal who hides hers to go further with what they have after getting used to each other and liking the stability despite it being unorthodox and not a "normal" relationship. "FwB" 2011 was a simpler and safer version but more in the direction of a poke (no pun intended) at other rom-coms with two suppressed romantics at heart who click because the unconventional terms they established were actually relationship material for them specifically. Where those others did borrow off of "Friends (with Benefits)" 2009, was they start out as somewhat goofy comedies that present a promiscuous premise and then revert back to a hopeful rom-com outlook, not to mention all boil down to emotions and show that it can possibly work under exceptions that they themselves frequently dismiss. Now that Hollywood ran the idea into the ground we need Adrian Lyne to make another come back with one of his sexy thrillers.

We currently live in a consumerist world where almost everything is on a payment plan--car, house, flat screen TV--that comes with exorbitant interest rates and endless monthly bills in the mail. This film gives that sentiment a gut-wrenching yet darkly humorous and sometimes flashy twist as it shows a company in the slightly distant future that has a right to legally take back their manufactured organs from living, breathing people who can no longer make payments. A person is tracked down by commissioned bounty hunters called "Repo Men" who knock someone unconscious and then literally extract the merchandise right then and there in a hasty, gruesome fashion. No time for ambulances and hospitals, because guess what? You ain't gonna to make it.

A suburban man named Remy (Jude Law) works in this corporate, uncaring business where humans are moved along and disposed of like cattle. Where there's money, there's always someone to do the dirty work to their own kind and over the years he's seen all the reactions and pleads that you can name just before they bleed to death. Except it pays the bills and supports his wife and kid, giving him more power to his do-what-I-have-to, do-what-I-can philosophy because at this point he's got all the reason and nothing can touch him. Though his wife wants him to move over to sales with less pay but more stable hours despite racking up the bounties by the boatload. His partner Jake (Forest Whitaker) is the true sadist of the two and the only person that he respects is his childhood buddy Remy, despite having two wildly different looks and accents. He's always been there with him and sees him stepping away from what they built up together as a slight in their close knit friendship.

This switches between several tones as it progresses, going from a movie with some wit about the unstoppable power hungry, then turning the tables and gaining some perspective from an accident and Remy getting a manufactured organ of his own, to some romance with a former singer that played at a bar he frequented, and then a fugitive on the run flick as he by chance catches back up with her and has to erase both their names from the system. It manages to grow and expand, all the while maintaining a purposeful exaggeration and a certain pessimistic playfulness and sarcasm. This is a futuristic world where there are new gadgets and gizmos as well as space is small and advertisements are everywhere in the inner cities like "Blade Runner." Though Remy has to go through some gritty locales that are unkept like a World War III backdrop to avoid scanners picking up his and her organs being tagged as behind in payments.

Forest Whitaker plays a frightening role by managing to keep you guessing if he's completely bonkers or has some reasoning somewhere under that bulky front. He holds their motto "a job's a job" to heart and the only thing that cools his heals is money: to making it or getting in the way of it. Jude Law keeps the various tones together, going from tough and untouchable to contemplative and caring. Alice Braga as Beth keeps it simultaneously strong and sexy as she kicks a drug habit, gets a few nasty injuries and manages to get intimate despite the often dirty settings. Some of the fight scenes are somewhat surprising for a Hollywood film, as there are still frequent edits in between takes, though the camera usually captures the actor doing their own stunts in plain view instead of showing a fist flying this way or a blank back of the head shot that. Not only that, when a guy gets shot or stabbed, he takes one for the bloody team in full view.

"Repo Men" is a modern day satire at its cruelest down to its twisted ending with a twist. There are some plot holes glazed over for poetic license though the movie moves at a steady enough pacing and gets its main areas right. Like "The Road" it has a message about what we can become and are capable of as humans when we travel down a dark pathway, though delivered in a lighter, jeering manner. This is a future where there's no human rights activists, just a cold and calculated empire that gets people hooked and then drains them. With diminishing health, drug dependency and addictions (here Q habit) our bodies are pushed to the limits of what they can endure, and it was only inevitable that a company would step in to capitalize and make a commodity out of it.

This is an entertaining social commentary that manages to treat serious subjects like popcorn cinema with some black humor and homage to other films. It gives mention to our constant demand for possessions, health care, our obsession with bigger and better, and other contemporary disorders such as surgical and cosmetic addiction. In one way it is reminiscent of "Gattaca" in which we want to upgrade ourselves to perfection, not realizing those certain kinks make us unique even if they aren't what the supermarket magazines tell us who we should be. What made this film work was it was capable of balancing an excessive side and then include a certain bit of measurement to make it seem slightly possible enough to raise some questions for productive debate. (Also submitted on http://fromblacktoredfilmreviews.blogspot.com/)

While other superheroes are just out to stop thugs and fight crime for what the police and average citizens can't handle, instead Captain America is a political savior with a chunk of the world in his sights: someone who has a knack for heroics, team leadership and is capable of changing the tides of war with not only his brawn but his determination and unselfish attitude.

"Captain America: The First Avenger" is set during World War II and like "X-Men: First Class" it creates an alternate universe with shared commonalities to the past, as what's unfolding isn't just working in the shadows like, say, "National Treasure," rather it's stepping out to the light to make its own substitute history with different names and faces. In doing so it manages to pose a series of what if questions: What if Germany perfected scientific weapons before the US? What if one man could actually make a significant difference in war? What if they had more advanced artillery and technology in the '40s and how would it have panned out otherwise? Hitler is only mentioned with mock and referenced talk, but instead the main Axis bad guy named Johann Schmidt (Weaving) is at the forefront with possibly more ambition than the tiny mustached dictator could hope. Nazis and swastikas aren't delved into but instead an organization/political party/cult named "HYDRA" with a different but still threatening emblem to wave.

A scrawny guy named Steve Rogers (Evans) from Brooklyn, who has the underdeveloped frame of an average 13 year old but the courage of a warrior, is doing all but holding his breath to enlist in the military so he can serve his country despite health issues and a Hobbit stature. After continually getting denied, he gains his chance when meeting an honest man named Dr. Abraham Erskine (Tucci) who's an idealist scientist who sees potential in Rogers for a new experiment. The serum can't be used on just anyone as it will transform the person into an unstoppable super soldier as well as amplify their temperament from bad to really bad, and good to extremely good. Thus when the ultra-patriot-to-be comes out a taller, bulkier one-man-army, not to mention a lady magnet, he has the perfect antithesis of a rival with Red Skull on the side of HYDRA who uses his powers for gain and domination.

Like "Green Lantern" this thoroughly concentrated on character development, including what it means to have these awesome strengths and how to direct and use them to their maximum potential. Though when it came time to get his hands dirty, the antagonist vs protagonist element seemed somewhat straightforward, glossed over and easy to the unchallenged Captain. The only moment the brain kicks in is when a scene is too vague rather than being too complex. From doing campaign pledges for war bonds and gimmicky shows that include American flag dressed woman dancing to hooting soldiers, Cap gets heckled off stage by real combatants and decides to put his abilities to the test to save his friend Bucky (Sebastian Stan) and fellow soldiers held prisoner. Soon enough with the help of Howard Stark (Dominic Cooper) with his uniform, he has a motley crew of fighters that go out on missions that somehow have a detrimental effect on the war effort, yet it's never fully explained how that's possible. It makes things extremely simple and that part of the story only seems there to do nothing but perpetuate fast flying, combustive action.

Red Skull, apart from his intensely commanding appearance and dress, wasn't as outlined and the performance came across at times like a run-of-the-mill, snide villain who ends up being somewhat predictable. Not to mention some of the delivery was scripted to a fault as some lines felt preplanned and a lost cause to the quick pacing. Chris Evans went for sincerity due to toning down his usual showmanship and humor from past films like "Fantastic Four" and instead lets others take on one-liners like the hilarious Tommy Lee Jones who plays the no nonsense, southern Colonel Chester Phillips. Evans performs the role as somewhat naive to the world at large from knowing exactly what he wants and everything else along the way being second, such as dames and his own well-being. Peggy Carter (Hayley Atwell) shows up as the physically attractive agent on the surface but underneath is confident and not to be underestimated. There's a budding love angle but fortunately the picture never slows down to entirely make it a distracting cliché that every blockbuster summer flick "must" have.

"Captain America: The First Avenger" never lets up from being relentlessly theatrical as a number of scenes are set up with the intention of going for a grand show and timed out unveiling rather than attempting to create a piece of naturalism or history lesson. Despite its exaggeration and garish ways, it indeed works as a mostly simple and entertaining experience with a little food for thought about Cap's little guy background and eventually plenty of action fodder to give it energy. The 3-D wasn't completely maximized to its full potential but it did have its moments of shining, such as a few particular scenes that for the first time actually made me flinch with his iconic shield coming right out of the screen! The film moves steadily along and doesn't feel its two hour time length partly due to frequent location changes. The effort put into the art direction and set pieces while melding CGI positively showed as they were generally constructed down to the finest detail. In terms of fire power in a war movie, this shuffles between guns that shoot bullets and fictitious ones with beams of energy, as well as flame throwers and tanks, and, of course, more fiery explosions than can be counted on fingers and toes in a packed theater. (Also submitted on Cinema Freaks, http://docuniverse.blogspot.com)

A bound and gagged woman in central Florida is driven to an out of reach location in the middle of the night by a stranger and has her photograph taken as she's tied against a tree in the woods. Leaving her alive and alone, the man drives off and somewhere on his trip suddenly has a deer go through his windshield killing him. An experienced detective named Emory Lane (Judd Nelson)--who's at home with his terminally ill wife Sirena (Joey Lauren Adams)--is called out to what initially looks like a normal car wreck but because there is a photograph, blood and handcuff keys the police want to look further into the suspicious evidence that might point to foul play.

A young, former west coast detective named Zeth Arnold (Deven Sawa) is called in as an apprentice in account of Lane being tied up in his personal life. They frequently butt heads as Arnold is over-confident and has a somewhat brash way of handling the case than the by-the-book veteran. Judd Nelson plays the character somewhat reserved and contemplative to the point of appearing detached. His character has trust issues, but gives some leeway as he can't be two places at once. Devon Sawa delivers some dry banter and his character speaks what's on his mind, which comes off as cocky but might actually have something to offer under that rookie demeanor.

There are hundreds of miles of roadway and five hundred thousand acres of swamp to comb through, so the detectives start with what they know. They question the dead man named Macey's neighbors, who explain that he was a loner, not right in the head and doesn't have any living relatives that he keeps in touch with. The girl is identified as Daphne (Clare Kramer) by a friend who said she just talked to her last night but is currently missing. A profiler is called in and suggests that there might be an accomplice that he seeks approval from. Taking cues from John Lithgow in "Dexter" of who you wouldn't expect, Tom Arnold brings a good-guy face to his role as Simon but makes you think twice about what's underneath. From one revelation to the next the detectives uncover an underground network, which gives them more to contend with to save the young woman's life before it's too late.

This is a gradually paced drama about searching for answers. It also deals with saving a life and watching one depart. Lane's wife is cooped up with nowhere to go, and he wants to stay but has everywhere to be; though he eventually uses the time away to push aside his feelings and in an odd sense cope. What a viewer gets: a basic story about human suffering that isn't confusing or muddled with layer upon layer of twists as it keeps it conventional as far as crime plots go. This is more held back than the typical shoot-'em-up-warrantless-bustin'-down-the-door-alcoholic features you normally see in the genre. This injects some feelings and leaves ample room open for the viewer's own interpretations, as well as the actions and motivations in the movie seem reasonable.

The major issue with "Endure" is it doesn't always capitalize on its own story line due to trying to meld two different subplots and be thoroughly realistic while at it. This isn't going for the usual cinematic experience, as the editing and cinematography are restrained, the dialogue is close enough to how real people speak and the situation isn't glamorized or sensationalized. There's drama to be had here though the delivery felt somewhat flat and the characters didn't end up being as memorable as they could have. At times it comes across as cut and dry, even when a piece of evidence is unraveled to get closer to finding the victim while she's still alive. Not until the latter portion is there much in the way of being gripping. There's no sense in over-dramatizing the story like so many do and force it, but the atmosphere feels calm and relaxed to the point of being dozy and less important than it should be, as the dire circumstances at hand don't always have the capability of captivating one's undivided attention for the then and now. (Also submitted on Cinema Freaks, http://docuniverse.blogspot.com)

This is a movie that would be followed by "The A-Team" and "The Expendibles" with a team of varied guys out on high-octane missions at the tax payers' expense. "The Losers" is simple entertainment down to the frequent location changes, thousands of ammunition fired, casual property destruction, inventive covert missions and party-like jokes in between like everyone is having a ball of a time even if their lives are in danger and their country is in peril.

A colonel with a conscience named Clay (Jeffery Dean Morgan) gets an order to paint a target for an air strike in Bolivia, when he spots a truck full of innocent children that are going to be collateral damage. Control tells him to stand down, yet he goes against orders anyway for a quick rescue with his four other team members that have varied specialities ranging from driver, tech, sniper to demolitions. After telling them to take the kids first on the helicopter safely away, headquarters orders a missile to obliterate the chopper thinking they're on it as they stand by idle and watch in horror. They're now thought of as deceased and with the help of a newly met woman named Aisha (Zoe Saldana) who's tough, seductive and sneaky, they plan how to take out the eccentric man named Max (Jason Patric) who set them up and is so deplorable and devoid of emotion that he makes the typical Bond villain look neighborly. At first the rough around the edges "heroes" want to give up and look the other way, though they all have something to look forward to back home. Soon enough they pit their skills together and act like a tight-knit brotherhood who's got each others' backs through thick and thin to clear their names and possibly figure out the truth in the mean time. Except where money's involved who knows what could happen.

This is an action/comedy with flashy camera setups and hip music to move things along without a moment's pause. The serious and comical scenes don't always transition smoothly back and forth, with some one-liners feeling out of context and like crickets and drum rolls should proceed instead. This is cinematic amusement at its most basic, such as trained professionals never hitting their target, so they have to expend countless rounds of ammo to make it look more intense and dramatic. This tries to be gritty with a certain chromatic look at points and some shady locations, but the action is typically exaggerated and feels preplanned to the point of not always lending out any serious weight. "The Losers" has its moments and passes by with some excitement but feels like a one-off movie that can be soon enough forgotten because there's not much to it that already hasn't been done apart from a few gimmicks up its sleeve.

James Reese (Jonathan Rhys Meyers), an assistant to the US ambassador in France, is working covertly as an operative in Paris with a secret "voice" or control officer to give orders on the other end of a phone that he never meets. They're starting him out small as they want to see what he's capable of, such as planting a microphone in the conference room of the Foreign Minister to gather intelligence. He eventually wants to become special ops and his next assignment might give him all the experience he'll need after picking up his new partner Charlie Wax (Travolta) at the airport.

Right from the get-go you realize both are nearly polar opposites: Reese is step-by-step and methodical with a studied background in politics and foreign language, and Wax is spontaneous and unpredictable with know-how for combat and weaponry, not to mention a humorous slang for every situation he encounters. He's a man who doesn't turn his back to vices but like Jack Bauer from "24" or William James from "The Hurt Locker," he's able to cast his own feelings aside to get the job done at whatever the cost. Wax, being the loose cannon he is, takes his new partner on a series of misadventures through the city from drug dealers leading to gang members leading to pimps leading to terrorist cells and more spies.

Wax is an American operative who's supposed to be covert but instead tears up the shady areas of Paris to demand the info he needs because their mission is time sensitive. The audience gets to experience all these over-the-top scenes through the eyes of a new man on the job who signed on to something more dangerous than he initially expected to get himself into. Reese maintains an unsure trust with Wax but also tags along with a glued fascination to see what's around the next corner while his pretty and caring French girlfriend Caroline (Kasia Smutniak) stays at home with no idea that they're spilling copious amounts of blood and racking up a substantial body count. She just proposed to him that night with her father's ring, and now he has to make a sacrifice for the woman he loves when she gets wrapped up in the operation.

This is a rapidly moving action film with secrecy and espionage that barely has time to stop and take a breather, so it can be a little spoon fed at points and exaggerated for effect to keep things looking forward and never back. This results in some plot holes glazed over so things can conveniently line up, but, on the other hand, this manages to take serious stuff like protecting national security and turn it into a fun and wild ride more so than a couple of stiffs negotiating official business. There are car and foot chases, shoot outs, some quick hand to hand combat and then fast paced music over top to give it all charge. The viewer's perspective is through Reese, so events seem to happen so quickly that it feels like a dream sequence only to be remembered in pieces and snippets, but for the moment a massively diverting one at that. John Travolta plays the character Wax as brazen, brash and belligerent, and is able to keep you guessing about him by making you wonder if he's formulating decisions on the fly or has a game plan already in place--maybe both. "From Paris with Love" is basic entertainment in the end but an experience that feels energizing, steadily paced and ultimately unpredictable. (Also submitted on Cinema Freaks, http://docuniverse.blogspot.com)