Month: August 2017

Today’s quick review: Sin City: A Dame to Kill For. During a visit to Basin City, Johnny (Joseph Gordon-Levitt), a suave gambler on a hot streak, runs afoul of the corrupt Senator Roark (Powers Boothe) in a game of poker. At the same bar, a stripper named Nancy (Jessica Alba) contemplates revenge against the Senator for his crimes against Hartigan (Bruce Willis), the cop who saved her life. Meanwhile, Dwight (Josh Brolin), a private investigator with violent impulses, recruits Marv (Mickey Rourke), a local tough, to help him save Ava (Eva Green), a manipulative woman from Dwight’s past.

Sin City: A Dame to Kill For is a stylized action noir adapted from the Sin City graphic novels by Frank Miller. A Dame to Kill For sheds light on the characters and stories of the original film through another trio of short stories set in the corrupt and violent Basin City. The relation to the original film is somewhat muddy, but Dwight’s story appears to be a prequel, Nancy’s is a sequel, and Johnny’s is a separate story altogether.

Sin City: A Dame to Kill For has nearly as spectacular a cast as the original. Bruce Willis, Jessica Alba, and Mickey Rourke return as Hartigan, Nancy, and Marv, respectively. Josh Brolin replaces Clive Owen as Dwight, while Joseph Gordon-Levitt joins the main cast as the gambler Johnny. Many of the supporting characters return as well, giving the film a sense of cohesion, while Ray Liotta, Christopher Lloyd, and Jeremy Piven appear in minor parts.

A Dame to Kill For retains the heavy stylization of the original, particularly its black-and-white color palette and gritty narration. But several subtle changes give the movie a very different feel, and fans of the original’s polished writing, bizarre world, and perfect tone will be somewhat disappointed. Instead, A Dame to Kill For offers faster pacing, more sex, and more violence, trading atmosphere for spectacle. The result is a solid, stylized action film that lacks the subtlety of the original.

The stories themselves are well-written and reasonably interesting, but not as compelling as the first movie’s. Johnny is a welcome addition to the cast, but his story is short and linear. Hartigan’s story from the original continues with Nancy in the lead, but the sequel feels unnecessary. Dwight’s story is the standout of the bunch, with a complex plot and several important connections to the status quo seen in Sin City. For his part, Marv bumps around between the stories without much purpose, there mostly for screentime rather than any reason of his own.

Watch Sin City: A Dame to Kill For if you enjoyed the first film and do not mind a slight dip in quality. Those who watched Sin City for its artistry will be disappointed by the lack of polish here; those who enjoyed its stylized voilence will have plenty to chew on. Skip A Dame to Kill For if you are sensitive to violence or you have yet to see the first.

6.5 out of 10 on IMDB. I give it a 7.0 for stylized action missing the polish of the original.

Today’s quick review: Sin City. Hartigan (Bruce Willis), an aging cop with a bad heart, fights the odds to protect a young girl from a politically connected rapist (Nick Stahl). Elsewhere in Basin City, Marv (Mickey Rourke), an inhumanly tough thug, hunts down the man (Elijah Wood) who killed his lover. And deeper in the city, Dwight (Clive Owen), a murderer with a chivalrous streak, attempts to dispose of a dirtbag (Benicio Del Toro) to prevent a turf war.

Sin City is a gory, stylish noir with horror elements. Based on the graphic novels by Frank Miller, Sin City features an all-star cast, polished presentation, and attentive writing and direction. The movie follows Hartigan, Marv, and Dwight on their respective journeys, three short stories that intersect in subtle ways. There is no overarching plot, but the corrupt, violent setting of Basin City provides the stories with a common backdrop.

Sin City is heavily stylized. The movie’s art style gives it a distinctive look: a black and white color scheme with splashes of red. The shots are set up like comic book panels, while the film’s exaggerated physics and extensive use of greenscreen give it an unreal quality. Sin City takes itself perfectly seriously, with dramatic presentation of even the most unrealistic scenes and gritty, noir voiceovers from the main characters.

The cast is bursting with familiar faces, all the way down to the smallest parts. Bruce Willis, Mickey Rourke, and Clive Owen star, with Jessica Alba, Rosario Dawson, Benicio Del Toro, and Elijah Wood as prominent supporting characters and Michael Clarke Duncan, Rutger Hauer, and Josh Hartnett in minor roles. The actors all match the grim tone well, with stern, unhinged, or downright unsettling performances depending on the character.

Sin City is not for the faint of heart. Packed to the gills with torture and senseless violence, Sin City explores the darkest parts of humanity through two protagonists who are only heroes compared to the demons they face and a good cop who can barely change anything. Sin City offers little catharsis or redemption, only violence and style. As such, Sin City can be a hard watch, even for seasoned viewers.

Sin City is a remarkable movie that lives up to its considerable potential. Fans of Quentin Tarantino will have plenty to chew on, as will those with a taste for gore and artistic presentation. Those who are even slightly sensitive to violence should steer clear, as should those who prefer a more cohesive plot, need a more uplifting tone, or are simply not in the right mood.

8.0 out of 10 on IMDB. I give it a 7.5 to 8.0 for dedicated execution of a unique vision; your score will be higher or lower depending on your appreciation for its exceedingly dark tone.

Today’s quick review: Beverly Hills Cop III. When his boss is murdered, Detroit cop Axel Foley (Eddie Murphy) follows the clues out to Wonder World, a Los Angeles amusement park hiding a massive criminal operation. With the help of Rosewood (Judge Reinhold), an old friend on the police force, Axel investigates Ellis De Wald (Timothy Carhart), the head of park security for Wonder World and the leader of its shady activities.

Beverly Hills Cop III is a crime comedy that sees the return of Axel Foley, a crafty Detroit police officer with unconventional methods. Beverly Hills Cop III is a departure from the previous two films in several ways. Taggart, the straight man of the previous films, has been replaced by Jon Flint (Hector Elizondo), a cop who treats Axel with undue familiarity. The cultural clash of Axel arriving in Beverly Hills is nowhere to be seen.

The tone as a whole is more serious, with a more dramatic hook, a higher body count, and steeper obstacles for Axel to overcome. The comedy focuses less on Axel and more on weak satire of everything from Disneyland to gun shows. The combination of high stakes and misplaced humor leads to a muddy tone that undermines its mediocre plot.

Watch Beverly Hills Cop III only if you enjoyed the previous two movies and want to see one last adventure with Axel and Rosewood. Its weaknesses are not fatal, but they are enough to make it noticeably worse than its predecessors. Skip it unless you have already seen the first and second movies and simply want a bit more in the same vein.

5.5 out of 10 on IMDB. I give it a 6.0 to 6.5 for modest entertainment value hampered by poor decision-making.

Today’s quick review: Beverly Hills Cop II. Axel Foley (Eddie Murphy), a brash cop from Detroit, returns to Beverly Hills when Andrew Bogomil (Ronny Cox), a police friend of his, is shot while working on a case. There he teams up with Taggart (John Ashton) and Rosewood (Judge Reinhold), two local cops, to resume Bogomil’s investigation into a series of daring crimes.

Beverly Hills Cop II is a crime comedy with a quick-thinking protagonist, a comic pair of sidekicks, and a reasonably interesting crime plot. Beverly Hills Cop II picks up two years after the first film. Axel has settled back into his role as the least-respected officer in the Detroit Police Department, while Bogomil, Taggart, and Rosewood are struggling under the thumb of a new police chief.

Beverly Hills Cop II hits many of the same beats as the first film. Axel disobeys orders to fly to Beverly Hills and investigate the shooting of a friend. Once there, he meets resistance from the local police department, lies his way into luxurious accommodations, and causes enough chaos to smoke out the culprit. The key change to the formula is that Axel is on friendlier terms with Taggart and Rosewood, who help him out with his dubiously legal investigation.

As such, Beverly Hills Cop II is a competent comedy that misses out on some of the charm of the original. The streamlined plot drops a few of the less prominent characters from the first film, in the process omitting some of Axel’s personal connection to Los Angeles. The tone also veers toward the wilder side: Taggart and Rosewood have come around to Axel’s style of investigation, removing one of the original film’s key tensions.

In exchange, Beverly Hills Cop II boasts more action and a more elaborate investigation, addressing the weaker side of the original. Watch Beverly Hills Cop II if you enjoyed the first film or you are simply looking for an entertaining take on the crime genre. Eddie Murphy is still great to watch in action, and if the sequel lacks the finesse of the first film, it is still a funny, enjoyable watch.

6.4 out of 10 on IMDB. I give it a 7.0 for a strong comedic lead and a decent cop plot.

Today’s quick review: Beverly Hills Cop. Axel Foley (Eddie Murphy), a clever but reckless Detroit cop, heads out to Beverly Hills to investigate the murder of his best friend. His prime suspect is Victor Maitland (Steven Berkoff), a powerful art dealer. But Axel quickly finds himself in trouble with the local police department, and he is assigned two officers, Taggart (John Ashton) and Rosewood (Judge Reinhold), to keep him from causing more problems.

Beverly Hills Cop is a crime comedy with entertaining characters, a decent plot, and a catchy synth soundtrack. Axel Foley makes for an interesting, funny protagonist. A troublemaker even before he joined the police, Axel plays fast and loose with the rules for as long as he can get away with it. The trouble is that his gambits only work for so long, often leaving him worse off than he was before.

Axel forms a very effective comedic trio with Taggart and Rosewood, the by-the-book police officers assigned to watch him. Axel is the sharpest of the three, running circles around them so he can continue his investigation. But Taggart and Rosewood are not his enemies, and he takes care not to push them too far. Their lopsided friendship is the most unique part of the movie and drives much of the comedy.

Axel’s tendency to improvise is the film’s greatest strength and its greatest weakness. His ability to think on his feet leads to some of the film’s best scenes, letting Eddie Murphy cut loose as Axel bluffs his way out of trouble. But Axel’s temper leads him to jump the gun and cause needless trouble for himself, making the plot feel like a series of lucky gambles rather than a deliberate investigation.

Beverly Hills Cop is worth a watch if you are a fan of Eddie Murphy or just in the mood for a light, 80s-era crime comedy. While not a home run as either a comedy or a crime film, Beverly Hills Cop delivers solid hits for both, with interesting characters, amusing humor, and a reasonably solid plot. Skip it if you are looking for action or you dislike Eddie Murphy.

7.3 out of 10 on IMDB. I give it a 7.0 to 7.5 for good comedy and competent execution.

Today’s quick review: The Losers. While on a mission in Bolivia, the Losers (Jeffrey Dean Morgan, Chris Evans, Idris Elba, Columbus Short, and Oscar Jaenada), an elite special forces team working for the U.S. government, are betrayed by Max (Jason Patric), a CIA bigwig with an extensive criminal empire and no regard for human life. Penniless, thought dead, and stranded in Bolivia, the team is approached by Ayesha (Zoe Saldana), a mysterious woman who wants them to kill Max in exchange for her help.

The Losers is an action film with a fun attitude and an ensemble cast. Based on the DC comic book, The Losers embraces the action genre wholeheartedly, from its larger-than-life villain to the team’s extensive history together. The action itself is decent but not stellar, with a couple of big stunts but nothing truly memorable. The script features a fair amount of comedy, most of it stemming from the Losers’ colorful personalities.

The cast is talented but misused. Jeffrey Dean Morgan leads the team as Clay, a character a bit too bland for the weight he is given the film. His conflict with Roque (Idris Elba), the team’s demolition expert, adds a bit of spice, but Roque himself lacks the depth to be all that interesting. The Losers has better luck with Jensen (Chris Evans), the team’s talkative tech expert, and Max (Jason Patric), the team’s comically villainous nemesis, but neither of them manages to steal the show.

For all that The Losers tries to be a slick, stylish action movie, it falls short of the mark. From its soundtrack to its characters to its plot, the movie never quite clicks the way it should. The problems are all subtle, little errors in judgment or execution, but taken together, they turn what could have been a snappy, entertaining experience into a mediocre action film.

Watch The Losers if you are in the mood for a stylish action movie with a sense of humor. While The Losers does not live up to its potential, it remains a fun watch for fans of light action. For a better take on a similar style, check out Red, 2 Guns, or The A-Team instead.

6.4 out of 10 on IMDB. I give it a 7.0 for enjoyable action with some missed potential.

Today’s quick review: Kiki’s Delivery Service. Kiki (Kirsten Dunst), a young witch, leaves her hometown to set up shop in a distant city, a rite of passage for witches. With her talking cat Jiji (Phil Hartman), she opens up a delivery service in the spare room of a kind baker (Tress MacNeille), using her broom to carry packages around the city. Kiki must overcome a skeptical public, the perils of the delivery business, and her own doubts to make it on her own.

Kiki’s Delivery Service is an animated family adventure from Hayao Miyazaki and Studio Ghibli. Kiki is a plucky young girl who ventures into the city for the first time. With no friends or city experience, Kiki relies on determination and a bit of good fortune to make her start. Her struggles form the heart of the movie, touching on themes of hard work, self-reliance, and adapting to new situations.

As with most Miyazaki films, Kiki’s Delivery Service has gorgeous animation. Studio Ghibli pays attention to the smallest details, from the way Kiki kicks off the rooftops while riding her broom to the minutiae of the city’s architecture. Coupled with the film’s beautiful landscapes, the animation gives Kiki’s Delivery Service a remarkably consistent tone and makes it a deligh to watch.

The setting blends early 20th-century technology with picturesque architecture, sprawling forests, and ocean vistas. Kiki’s new home evokes all the wonder and trepidation of moving to the big city with none of the skyscrapers, noise, or pollution. The result is a pleasant, idealized story backdrop that lets Kiki’s adventures play out in a relatable way without undue cynicism.

The only real weakness of the film is its lack of plot. The story follows Kiki as she moves to the city, sets up shop, and tries to make it on her own. The progression is natural enough, and the events of the story are tied together by Kiki’s excellent character arc, but the absence of an overarching plot means that the ending feels tacked on and arbitrary. As such, Kiki’s Delivery Service joins My Neighbor Totoro as a Miyazaki movie more notable for its tone than its story.

Watch Kiki’s Delivery Service if you are looking for a cute, gorgeous film with lots of heart. The production quality is high all around, from Studio Ghibli’s lovely animation to the excellent translation and voice cast provided by Disney. While the light plot keeps it from firing on all cylinders, Kiki’s Delivery Service is a wonderful watch that any Ghibli fan should check out.

7.9 out of 10 on IMDB. I give it a 7.5 for excellent charm hampered only by an unfocused plot.

Today’s quick review: Good Will Hunting. Will Hunting (Matt Damon), a young janitor at MIT, has an incredible mind but lacks the ambition to use it. When Gerald Lambeau (Stellan Skarsgard), a renowned math professor, discovers Will’s brilliance, he introduces the boy to Sean Maguire (Robin Williams), an unconventional psychiatrist. As he begins to work through his issues with Sean, Will must decide what he truly wants out of life.

Good Will Hunting is a drama about genius, purpose, and fulfillment. The movie makes the most of its excellent cast, with phenomenal performances all around and interesting, nuanced characters to match. The writing is just as strong, with a multifaceted plot, engrossing dialogue, and top-notch characterization. The movie is rounded out by solid pacing, sensible direction, and a soft, emotional soundtrack by Danny Elfman.

The drama stems from several subplots involving different parts of Will’s life. These subplots are interwoven quite nicely, and together they paint a detailed portrait of Will Hunting. The main thread deals with Will’s relationship with Sean, a psychiatrist dealing with issues of his own. Will’s antagonism eventually turns into respect as Sean begins to understand him and anticipate his thoughts. Their dynamic forms the core of the movie.

Another thread deals with Will’s relationship with his friends, particularly his best friend Chuckie (Ben Affleck). His friends are loyal to a fault and are a large part of why Will sticks to blue collar work rather than making the most of his intellect. Yet another thread follows Will’s relationship with Skylar (Minnie Driver), the Harvard premed student Will is dating. Their natural chemistry is offset by their differing backgrounds and Will’s inability to open up.

Watch Good Will Hunting if you are in the mood for a personal drama with excellent writing and acting. The plot mostly focuses on relationships, so it misses out on some of the punch of an event-driven plot, but the movie more than makes up for this with the quality of its characters, their dialogue, and their relationships. Skip it if you are looking for a punchier, less sentimental story or you dislike dramas about flawed characters.

8.3 out of 10 on IMDB. I give it a 7.5 for excellent writing and performances; your score will be higher depending on your taste for drama.

Today’s quick review: Macaroni. Robert Traven (Jack Lemmon), an airline executive, returns to Italy on business for the first time since his deployment there in World War II. While there, he is contacted by Antonio Jasiello (Marcello Mastroianni), the brother of the Italian girlfriend left behind years ago. As he reconnects with Antonio, he catches up with the people he left behind, discovers his inadverent legacy, and reexamines the current state of his life.

Macaroni is an Italian dramatic comedy with themes of aging, missed opportunity, and happiness. The film is driven by its two complex main characters. Robert is an American businessman who begins to doubt his career when he sees the warm, familial life he left behind. Antonio is a bureaucrat who spends his free time bringing joy to his neighbors and family. Their reunion is joyful yet bittersweet, as Robert revists a tender part of his life he had buried.

The humor is understated but natural, from the banter between Robert and Antonio to the simple pleasures in life Roberto rediscovers. The film takes a sharp dramatic turn partway through, but the drastic change still fits the tone and characters surprisingly well, and it does not detract from the earlier comedy. What little plot there is moves slowly, but Robert and Antonio are rich enough characters that it barely matters.

Macaroni suffers a lot in its translation from Italian. The subtitles handicap the performances of two very skilled actors, while poor translation into English makes the dialogue difficult to parse. The movie itself is hard to come by, as it never gained much traction in the United States. Coupled with the unusual tone, story, and pacing, these factors make Macroni an aggressively hidden gem that requires effort to truly appreciate.

Watch Macaroni if you are interested in a rare film that captures something meaningful about life. The minimal plot, translation issues, and genre swerve are enough to keep Macaroni living up to its full potential, but its amazing characters, snippets of comedy, and mountains of heart make it worth watching nonetheless. Skip it unless you are willing to stick it out for its considerable payoff.

6.4 out of 10 on IMDB. I give it a 7.5 overall as a balance between its virtues and its flaws; translation and pacing would put it lower, but individual moments score much higher.

Today’s quick review: The Naked Gun 33 1/3: The Final Insult. After his marriage, Lt. Frank Drebin (Leslie Nielsen) retires from Police Squad to lead a quiet domestic life with his wife Jane (Priscilla Presley). But crimefighting is in his blood, and he soon finds himself doing police work behind her back. To stop Rocco (Fred Ward), a dangerous hitman, he must go undercover as a criminal, putting his marriage on the line to save the day.

The Naked Gun 33 1/3: The Final Insult is a crime comedy and the third film in the Naked Gun series. The Naked Gun 33 1/3 offers the same wacky humor as its predecessors and is packed slapstick, parody, and wordplay. Leslie Nielsen is as sharp as ever, and O.J. Simpson and George Kennedy return as Nordberg and Ed, Frank’s partner and boss, respectively.

The Naked Gun 33 1/3 does have a little less meat on its bones than the original. The plot is less of a police spoof and more of a grab bag, while the humor is a bit coarser. Still, the film delivers a couple of great laughs and makes for an enjoyable watch for any fans of the original. Watch it if you are a fan of silly humor and slapstick. Skip it if you are looking for a sophisticated or mature comedy.

6.4 out of 10 on IMDB. I give it a 7.0 for silly humor only missing a little polish of the original.