Reviews

From director Luc Besson (THE TRANSPORTER, THE FIFTH ELEMENT), who also co-writes, comes the 1999 historical drama film THE MESSENGER: THE STORY OF JOAN OF ARC, a film which by and large follows in the tradition of other stalwarts in the genre (such as BRAVEHEART.) As the title may suggest, this movie is all about Jeanne D'Arc, the peasant girl who would later claim to have seen visions from God and lead the armies of France to several triumphs over the English during the Hundred Years War.

The film is impressive. Even if it is not perfectly accurate in a historical sense, it does outline the highlights of Joan's campaign, the prominent figures who fought with and against her, and works wonders in capturing the sheer brutality of battle.

Milla Jovovich (RESIDENT EVIL, THE FIFTH ELEMENT) is wonderful as the violent, aggressive, and zealous titular character, with her hatred for the English and desire to do God's will made plain on every shot of her face in battle.

Strong supporting turns from John Malkovich (BURN AFTER READING, BEING JOHN MALKOVICH), Dustin Hoffman (SLEEPERS, RAIN MAN), Tchéky Karyo (THE PATRIOT, GOLDENEYE), and Vincent Cassel (EASTERN PROMISES, OCEAN'S TWELVE) round out the film's acting retinue.

The battle sequences are brilliantly and brutally shot, specifically designed to do away with the glorification of war that is so frequently seen in movies such as this; men are decapitated, blood sprays, heads are smashed to a pulp. The savagery of 15th-century warfare is brought to the fore effectively and honestly.

But the post-capture sequences are equally entertaining, and this is largely because of Dustin Hoffman's spectacular turn as 'the Conscience'. In many ways, Hoffman carries the second act of THE MESSENGER, and his rendering should have been Oscar-worthy.

About the only place the film really suffers is in small areas of scripting. There are times when characters say silly, or outright stupid, lines. This is especially true in the moments leading in to battle.

All in all, the movie was entertaining, and worth buying for anyone who wants to expand their library.

7/10.

Following in the footsteps of MYSTIC RIVER and MILLION DOLLAR BABY comes another smashing success for director Clint Eastwood, this time in the form of GRAN TORINO.

The film also stars Eastwood in the role of Walt Kowalski, a veteran of the Korean War and former employee of Ford. Walt is intensely racist, and so his world is predictably turned upside-down when a Hmong family moves in to the house next door.

The film unfolds from here, with viewers being exposed to the gradual transformation of a man whose life was structured around being unyielding, unwelcoming, and most importantly unwilling to adapt to the new age of multiculturalism in western society.

Strong supporting turns by Bee Vong, Ahney Her, and Christopher Carley round out the film's strong script and powerful directing and camera-work, and a powerhouse ending leaves viewers thinking about the film for some time after it has ended.

Limitlessly rewatchable. 10/10.

Based on the pen and paper roleplaying game of the same name, MUTANT CHRONICLES is a science-fiction action outing in the tradition of ALIEN and other, similar films.

The movie centers around a small, multi-national group of soldiers, led by Thomas Jane (DREAMCATCHER, THE PUNISHER), who are sent on a mission to put an end to the recent and overwhelmingly brutal threat of mutant invasion.

Ron Perlman (HELLBOY, BLADE II), Sean Pertwee (WIlDERNESS, DOG SOLDIERS) and John Malkovich (BURN AFTER READING, THE MAN IN THE IRON MASK) each offer supporting turns, though Pertwee seems tragically underused and Malkovich is disappointing.

The film's saving graces are CGI, large amounts of action, and a willingness to stick to the traditional sci-fi/action formula. There are few to no deviations between this movie and others in the genre, such as ALIEN and PREDATOR, right down to the laundry list of casualties and the improbable situation into which the characters are thrust in the first place.

Though the acting is weak all across the board, it's hard not to have fun when there's so much blood and gore. The film is still watchable, but don't expect any awards come Oscar season.

6/10.

If anything can be said about the film industry in recent years, it is that there has certainly been no shortage of crime dramas to satiate anybody's appetite. From 2006's masterfully delivered THE DEPARTED to this year's THE INTERNATIONAL, fans of the genre have had no shortage of titles from which to select. EASTERN PROMISES is another entry into the field, and by far one of the finest in the past five years.

A well-written script from Steven Knight (who also wrote DIRTY PRETTY THINGS and the upcoming Scorcese/DiCaprio flick SHUTTER ISLAND, based on the Lehane novel of the same name) is brought to screen amazingly by Canadian director David Cronenberg (A HISTORY OF VIOLENCE, CRASH).

Spectacular characters and incredible camera work are trademarks of the film. Mortensen's Nikolai is brilliantly sinister, as well as intensely believable. It is hard to imagine him without that terrifying Russian accent, or to see him as any other character, after witnessing the depths to which he dives in this role. It is no wonder why the Academy gave him an Oscar nod for his work here.

Also of note are the strong supporting turns: Vincent Cassel is pitch-perfect as the repressed homosexual Kirill, prone to sudden and potentially violent outbursts. Naomi Watts plays at the heartstrings of the audience with her turn as Anna, an innocent London woman thrust into the center of the Russian criminal underground. And Armin Mueller-Stahl renders a stunning portrayal of Semyon, the Vito Corleone of this criminal masterpiece.

Brooding, pitch-dark scenery is used for much of the film, designed to depict the grungiest areas of London, England, which the Russian mafia calls home. In many ways these filthy, utterly intimidating settings act as a character themselves, calling out emotion in the viewer and preparing them for what is to come. And a public bathhouse is wonderfully transformed from a place of relaxation into the setting for one of the greatest fight sequences ever put on film.

In short, EASTERN PROMISES is everything that a modern crime drama should aspire to be. It is suspenseful, intriguing, and uncompromisingly savage in its depiction of the Russian underground as it exists in England. A contemporary tour-de-force, and a coup for the genre.

9/10.

Fans of Phillip Seymour Hoffman (MISSION: IMPOSSIBLE III, CAPOTE) will be pleased with this entertaining outing, also staring Laura Linney and Philip Bosco.

THE SAVAGES is the story of Jon (Hoffman) and Wendy (Linney) Savage, two somewhat distant siblings who are suddenly reunited when their father, Lenny (Bosco), is unexpectedly diagnosed with dementia. A dramedy at its heart, hilarity unfolds when it is decided that Lenny will be put into a nursing home in Buffalo.

In many ways this film is an acting showcase; Linney, Hoffman, and Bosco are all pitch-perfect in their respective roles and there are a number of strong supporting turns that effectively sell the story. There are many touching and emotional moments, and Bosco's depiction of an elderly man suffering through dementia is rendered with near perfection.

The Oscar-nominated screenplay also features a touching and effective conclusion which will leave anyone who watches the movie through with more than a touch of satisfaction and possibly even a smile on their face.

8/10.

"The Air I Breathe" is perhaps one of the most tragically overlooked films of 2007.

An ensemble cast featuring Brendan Fraser, Julie Delpy, Andy Garcia, Forest Whitaker and Sarah Michelle Gellar, among many others, is brought together perfectly in this study of the Six Degrees of Separation by relatively fresh director Jieho Lee.

The story, which is apparently based upon an old Chinese proverb, unfolds in four acts, titled Happiness, Pleasure, Sorrow and Love. Each of the acts focuses on a character representative of the suggested emotion, with Whitaker's Happiness and Fraser's Pleasure standing out as the strongest among a plethora of powerhouse performances.

Like other ensemble dramas -- smash hit and Oscar winner Crash (2005) comes to mind -- the film weaves a tapestry with its players, connecting them all to one-another in ways which may seem unimaginable at the start, but wholly believable and even touching come the film's stunning conclusion.

The film has it all, much akin to the proverb it seeks to replicate. I would recommend that anyone who is looking for a night of quality entertainment consider picking this one up.

Being a tremendous fan of Danny Boyle, I was almost certain that I would fall in love with "Sunshine", his take on a common Science-Fiction story.

The film was superbly cast, featuring a strong combination of international talents including Hiroyuki Sanada, Michelle Yeoh, Cliff Curtis, Chris Evans, Rose Byrne and Cillian Murphy. For the most part it was beautifully shot, written, and directed, featuring many positively stunning moments.

But where the film struggled was in the final act, when it seemed as though the movie couldn't decide whether it wanted to be a character study masquerading as science-fiction, or the next Alien/Predator analog.

All in all it was a solid film, and one I would recommend for anyone's film library. I just wish that Alex Garland could have found a stronger way to bring it all to climax.

In "W.", Oliver Stone has rendered an interesting, if somewhat speculative, portrait of the man who led the Free World for the past eight years, and of those who surrounded him.

Weaving in and out of the man's young and adult life and featuring many of the more comical moments which those who followed the news will remember, the film seems to build a case for the younger Bush as a simpleton who was manipulated by those around him.

Regardless of whether one agrees or disagrees with Stone's portrait, it is difficult not to chuckle at the carefully rendered caricatures of many of the people who ran the United States for almost a decade, most notable among these being Condoleeza Rice (portrayed by Thandie Newton), Karl Rove (Toby Jones) and Dick Cheney (Richard Dreyfuss).

Meanwhile, Jeffrey Wright's rendering of Colin Powell brings a touch of sincerity and legitimacy to the film, and serves to remind us all that while Bush's government may not have made the right decisions all of the time, they certainly had good intentions. Most of them, anyway.

Most die-hard fans of the Bond Franchise have always been incredibly divided, their loyalties pledged to one of the Bonds or another. Connery, who was known for his suave, sophisticated Bond brought action and a touch of lightheartedness to the role, while fans of Roger Moore's rendering would say that he added a greater degree of comic relief. Brosnan was lively, and Dalton ruthless, while Lazenby's one-shot appearance is generally seen as the low point of the series.

In his second outing as the iconic super-spy, Craig has again proved that he can masterfully combine almost all of the better elements of the five prior Bonds. His wit, though dry, is still present (albeit in limited quantities). His dogged pursuit of a goal and his recklessness hearkens back to the days of Dalton, while his emotionally-charged drive for revenge touches on that human side which fell flat in Lazenby's hands. And the return of an overarching, multi-film criminal organization is a welcome addition to the storyline which has, for the most part, struggled since the collapse of Soviet Russia.

And while "Quantum of Solace" is far from the best Bond, it is definitely entertaining, featuring the customary, climactic battle with the latest of super-villains (again an enterprising, if not unscrupulous, business tycoon); another alluring femme fatale; and a number of hurdles over which the titular character must leap.

In essence, it is a strong move in the right direction for the series, tapping not our fear of a menacing rival with a face, but our fear of the enemy without one.

When I had first heard of a "Battlestar: Galactica" film which was going to delve deeper into the storyline of the Pegasus and its crew prior to their dramatic collision with the heroes of the television series, I was excited.

I have always been a fan of Michelle Forbes, who has delivered time and again in the Science-Fiction genre with solid recurring performances in Star Trek, LOST, and Galactica. Her turn as Admiral Cain in the television series was arguably the high point of Season Two and every bit as iconic on the show as the moments in which our heroes and villains struggled during the occupation of New Caprica, and the Final Four discovered their hidden identities.

But the film, to my chagrin, was laden with rushed subplots, over-the-top moments, and annoying flashbacks with little relevance to the overall storyline. The result was a weak hodgepodge of character development and ham-acting (courtesy of the individual who played the young Admiral Adama), peppered with sub-par dialogue.

Maybe it's because of the show's tremendous quality that I felt this way; I'm not entirely sure. What I am sure of is, as a fan of the outstanding series, I felt cheated. And it's a feeling I don't particularly appreciate.

If you were to ask the bulk of people who have seen this movie, they'd probably tell you that "Lions for Lambs" is a politically-charged film with an ensemble cast. They would likely continue to explain, dependent on their own political stance, that it was either terrible or enlightening.

As a Canadian Conservative (which really doesn't say much, when you look at the Canadian definition of 'Conservative'), I would have to place myself firmly in the latter of the two camps.

Like most ensemble pieces, this film features a number of actors who are hungry for work. Unlike most ensemble pieces, this film has a pair of actors who actually manage to stand out from the endless sea of familiar faces, and who manage to turn in memorable performances.

Their names? Robert Redford and Tom Cruise.

The characters which these two individuals portray -- an idealistic professor and a cut-throat, ambitious senator -- are juxtaposed wonderfully. Their ideologies are almost entirely in opposition of one-another; one of them is old and the other young; one of them dreams and the other deals in cold, hard reality.

But they're both passionate, and they're both believable. I would argue that they're both inspirational, as well. While the one (Redford) urges his pupil (and us, the viewing audience) to stand up and exercise our democratic rights, and to contribute to our societies, the other (Cruise) lights a fire under our inner patriot, and encourages us to evaluate the War on Terror and its impact on the world.

All political bias put aside, the film is a powerhouse. Its message is sound, its delivery both strategic and superb. No matter your political stripe, you should try and give it a go. You might just find some inspiration.

What can I say that hasn't already been said? Robert Downey Jr. was solid as debonair industrialist Tony Stark. Jeff Bridges builds on an already impressive resume with another spectacular turn as ruthless executive Obadiah Stane. Gwyneth Paltrow was enjoyable as the attractive Pepper Potts.

Throw in some solid direction by Jon Favreau, a rousing soundtrack, and some good voice work by Paul Bettany (as JARVIS), pepper the flick with a fair dose of CGI, and toss a few explosions into the mix, and we have ourselves a powerhouse worthy of the title 'blockbuster'! Hands down, it was the most entertaining adaptation of a Marvel comic book series to the big screen yet. And I'm actually kind of looking forward to a sequel.

X-Men Origins: Wolverine is a non-stop romp featuring improbable scenarios, ripping biceps, and a massive amount of CGI. It is action packed, exciting, and more than a little over-the-top. In essence, it is precisely what every superhero movie should aspire to be.

Alright, so the movie isn't likely to win any Oscars. To be honest, it probably won't even curry a single nomination, unless the venerable Academy decides to throw it a bone with a nod for the spectacular CGI (cheesy rendering of Patrick Stewart notwithstanding).

But unlike half of the so-called dramas that are released every year, this movie isn't chuck full of pretense. It doesn't even try to push some tremendous social statement into its length. It just aims to entertain. And whether you're in the cinema looking for a touch of drama, or some explosive action, or just the latest muscle-laden action/adventure outing, you'll probably leave the theatre with a smile on your face.

Why? Because there's something supremely entertaining about watching a bunch of ridiculously pumped-up (or, in the case of the superb Kevin Durand, ridiculously 'chunked-up') guys smack each other around.

The film takes liberties with a few story lines, but by this point in time any fan boy with a brain stem should understand that the latest comic book-to-cinema screen outing isn't going to follow the series directly (it'd be far too difficult to bring new blood into the fold that way, don't you think?). And Taylor Kitsch may not have been the best pick for the Gambit role. And they probably could've left some of those excess mutants (Emma Frost, for instance) out of the picture. And the storyline was a tad predictable. And there were a few tragically cliché/corny moments. But overall, the film was solid, and well worth the money I dropped on it.

Seriously, take off the critic's lenses and kick back. You might find yourself enjoying it.

Anyone who has ever fancied themselves as fans of character development, plot twists, mystery, intrigue, and drama will find that this show delivers all of these elements in spades.

Never have I seen a television program with so many outstanding elements as this series. While other shows approach perfection, LOST has attained it.

Whether it be the outstanding acting from the main cast, most notably Terry O'Quinn, Matthew Fox, Naveen Andrews, Evangeline Lilly, and (in later seasons) Adewale Akinnouye-Agbaje and Michael Emerson, or a fascinating soundtrack scored by television and film theme maestro Michael Giacchino, LOST delivers.

A show which is driven by its diverse cast of characters (it focuses on a single person's story each week), LOST offers well-scripted and well-acted drama with uncompromising quality and flare.

It is rare for a show to maintain its strength over two consecutive seasons, let alone four. LOST has done this. LOST will likely continue to do this for the remaining two seasons. And I can't help but watch.

It has been more than two decades since Sean Connery appeared as the suave, sophisticated super-spy that many millions have come to know and love. And, for me at least, it has been equally as long since the role has been occupied by somebody worthy of it.

That was, until now.

Casino Royale was plagued with doubt prior to release (a blonde playing Bond?!?), but that doubt was unwarranted to say the least. Daniel Craig delivers a smashing performance as a slightly darker, slightly more violent, and incredibly more entertaining Bond than we've seen in a long time. And, as others have noted, he is the closest to Fleming's Bond as has ever appeared on screen.

A modern update (the film seems to be set in 2006) of an old franchise, Casino Royale crackles with intensity from the opening black and white frames to the dazzling finish, and with new style and flare, too. The Bond Girl(s) are, for once, used more as sideshows and plot elements than eye candy. The technologies utilized are more function than flare. And, perhaps more important than anything else, Bond actually suffers loss and copes with serious injuries.

Add to this the fact that there is a marvelous supporting cast (perhaps not from Eva Green, but definitely from Mads Mikkelsen), and some simply eye-popping chase scenes (I'm thinking of the one foot chase near the opening of the film), and you have a formula for success that is simply unparalleled.

Definitely more delightful than many Bonds before, and it leaves me waiting for more from Daniel Craig! 10/10

There are not many films from '06 that can be considered even equal to this fantastic achievement. A masterful tale of deceit, mystery, intrigue and, of course, love, "The Illusionist" is delivered seamlessly through the work of Edward Norton and Paul Giamatti.

Norton, once again, proves his worth as a lead-- his performance in this movie is as memorable as several performances from his past (I'm thinking of "Fight Club" and "American History X", most specifically).

Rufus Sewell and Jessica Biel deliver strong supporting appearances as the foil and love interest, respectively, and as previously stated Giamatti offers a marvelous turn as an inspector torn between duty and personal beliefs.

9/10.

I was, upon first viewing of this film, completely oblivious to the existence of any of the characters, concepts, and etcetera featured within it: I was, as some of us Firefly fans refer to it, a "Firefly virgin".

Of course, things have changed since that momentous evening. I have since become enthralled by Joss Whedon's brilliant creation, have thoroughly enjoyed each of the many Firefly episodes-- and the film-- half a dozen (or more) times, and have fallen in love with several of the regular (and a few irregular) characters. Whoa.

My only criticism for the film-- and the only reason why it did not get the perfect ten-- is the downscaling of Ron Glass' role (for those who aren't as obsessed as I, Ron Glass portrays Book). Book was, and remains, one of my favourite characters in all sci-fi universes.

9/10

As a child, I can remember gathering with my family to watch Babylon 5. It was something of a tradition in our household, being one of the few occasions in which the entire clan would gather over a bowl or two of popcorn and a few sodas to enjoy a well-scripted, well-acted and most importantly well-designed series.

Due in large part to the marvels of DVD technology and the willingness of almost every television studio to re-release old series on that technology (regardless of the length of the show's run, or even how successful it was), I am now able to relive those moments. Perhaps not with all of the old faces, but definitely with the same sort of reverence for quality.

The writing is just as awesome as I remember it always being, the acting as superb, and the design still spectacular. The ability to last is something that is sorely missing from many shows, but not from this one.

10/10.

When I first watched Flatliners, I was amazed. It had all the necessary features of a good movie: the cast was superb, the plot was superb, and in the case of thrillers, there was genuine "thrills" throughout.

Keifer Sutherland offered a marvelous performance as the male lead in the piece, portraying a scientist who believes he can find the answers to life and death by killing himself and then coming back to life, essentially "stealing" death's secrets away. Kevin Bacon offers an excellent performance as the more morally decent counterpart to Keifer, while Julia Roberts offers her most convincing role. William Baldwin portrays a student who excels in class and, apparently, intercourse. And Oliver Platt, in another outstanding performance, portrays the voice of reason for the group and the most innocent.

The story is relatively simple, yet original, and the acting is refreshing-- definitely a stand out film for the genre, and one that has set the standard for measuring other thrillers for me.

8/10.

Wow.

Bringing Out the Dead is one of the finest pieces of cinematic art I have seen from Scorcese. Featuring an outstanding cast (especially Cage) and a rather quirky, fun story, the film follows the adventures of a paramedic.

Offering both a chilling (and, in some ways, twistedly humorous) look into the everyday happenings for a paramedic on the job, and some interesting (and again, twisted) mind work, the film focuses on Nick Cage's struggles to come to terms with what he lives through day by day, as well as the struggles of his colleagues.

Kudos goes also to the cinematographer, who pieced together an amazing visual experience to accompany the outstanding script and acting.

8/10.