Month: January 2018

Today’s quick review: Grand Piano. Tom Selznick (Elijah Wood), a world-class pianist with a bad case of nerves, is returning to the stage after five years of retirement. But his comeback performance is hijacked by a hidden sniper (John Cusack) with a simple threat: miss a note and die. Now Tom must find a way to get himself and his wife (Kerry Bishe) out of danger while giving the performance of his life.

Grand Piano is a minimalist thriller with an unusual premise. Elijah Wood stars as Tom Selznick, a pianist who flubbed a difficult piece years ago, shattering his confidence and tanking his career. John Cusack plays opposite him as a voice on the other side of an earpiece, who wants to ensure a perfect performance from Tom for his own mysterious purposes.

From this setup, Grand Piano plays out as a decent thriller with good direction and a linear plot. Elijah Wood and John Cusack both deliver solid performances, and while neither character is all that deep, they fit the story nicely. The plot works up a good bit of tension, setting up a fruitful tug of war between Tom’s tenuous grip on the music, his tormentor’s threats, and Tom’s attempts to worm his way out of the crosshairs.

The whole package is wrapped up by a dramatic classical soundtrack and a good deal of polish for what is clearly a budget production. Grand Piano does have a few failings, however. The concept doesn’t give the film too much to work with, just enough to squeak out an hour and a half of content with some padding. The ending, while satisfying, does not offer much in the way of escalation. The result is a succinct take on a gripping premise rather than a full-blown epic.

Watch Grand Piano when you are in the mood for an unconventional thriller with a few good moments that does not overstay its welcome. Though somewhat limited in scope, Grand Piano delivers what it promises: a tense dramatization of the concept of stage fright. Skip it if you are looking for a thriller with more action, better execution, or a more elaborate plot.

5.9 out of 10 on IMDB. I give it a 6.5 for an inventive premise and decent execution.

“Alright, I’ll do it. I’ll find this guy. But only because, when it comes to you and me, I truly—and I mean this sincerely—I truly have nothing better to do and I despise my job.” —David

Today’s quick review: The Trust. Jim (Nicolas Cage) and David (Elijah Wood), a pair of low-ranking Las Vegas detectives, get a lead on a secure location used by drug dealers to store something valuable. They hatch a scheme to make it in and out with whatever is there, but as their plans lead them farther into a situation they aren’t prepared for, David finds himself having second thoughts.

The Trust is a crime drama with a minimalist setup and a competent pair of leads. Though not a flashy or action-packed movie, The Trust has a smart progression and a strong sense of character. Jim and David are right on the border of competence: probably in over their heads, but just resourceful enough to push forward. The plot’s twists and unanswered questions turn an otherwise straightforward heist into an uncertain endeavor.

The Trust is one of the few recent movies to use Nicolas Cage to good effect. His character of Jim is a goofy police officer with a bit of an edge, and his awkward jokes and suspicious behavior are noted by the other characters in the movie. He plays opposite Elijah Wood’s character of David, a younger cop, a chronic underachiever, and the de facto straight man of the pair. Both characters are well-developed, interesting, and somewhat unpredictable.

The Trust is by no means a masterpiece. Beyond two good characters and a couple of clever twists, the movie has very little going on. Its tinge of nihilism makes it more of an interesting watch than a satisfying one. But for an admittedly midrate crime drama, The Trust shows unusual character and vision. Watch it when you are in the mood for a slightly experimental take on the crime genre and are willing to sacrifice quality to find one.

5.4 out of 10 on IMDB. I give it a 6.0 to 6.5 for decent characters and plot let down by general quality issues.

Today’s quick review: Guardians of the Galaxy Vol. 2. The Guardians of the Galaxy (Chris Pratt, Zoe Saldana, Bradley Cooper, Dave Bautista, and Vin Diesel), a crew of misfits with a knack for causing trouble, end up in a sticky situation when they are attacked by the Sovereign, their former clients. Ego (Kurt Russell), a man claiming to be Peter Quill’s father, offers a timely save, while the Guardians’ old enemies take up the Sovereign’s bounty on their heads.

Guardians of the Galaxy Vol. 2 is a science fiction action adventure with a hefty dose of comedy. Based on the Marvel Comics characters, Guardians of the Galaxy Vol. 2 picks up the plot threads and character arcs of the first film. The sequel delivers the same blend of sci-fi action, quirky humor, technicolor visual design, state-of-the-art special effects, and 80s nostalgia that made the original a success.

Compared to the first movie, Guardians of the Galaxy Vol. 2 has a somewhat unusual story. The backbone of the plot involves the return of Peter Quill’s alleged estranged father, an event of personal but not galactic significance. This unstructured center is buttressed by several more conventional subplots, continuing the character development begun in the first film and picking up the stories of Yondu (Michael Rooker) and Nebula (Karen Gillan).

Guardians of the Galaxy Vol. 2 is a highly entertaining watch. Its comic tone continues to be spot-on, its characters are near-perfect antiheroes, and its creativity in setting, visual design, and presentation makes the movie a wild and unique ride. To top it all off, Guardians of the Galaxy Vol. 2 introduces several promising plot hooks that should pay off in movies to come, particularly for fans of Marvel’s cosmic comics.

Watch Guardians of the Galaxy Vol. 2 if you have enjoyed any of Marvel’s latest offerings. The sequel has all the quality of the first, but with a less conventional plot and a new selection of 80s hits for its soundtrack. Skip it if you like your space opera dramatic or your sci-fi plausible.

8.1 out of 10 on IMDB. I give it an 8.5 for action, style, and all-around fun.

Today’s quick review: The Punisher. After his family is killed as revenge for an undercover operation, ex-soldier and retired FBI agent Frank Castle (Thomas Jane) launches a one-man war on Howard Saint (John Travolta), a Tampa-based crime magnate with deep pockets and a roster full of killers. Along the way, Frank befriends a trio of dysfunctional neighbors (Rebecca Romijn, Ben Foster, and John Pinette) who give his life renewed purpose.

The Punisher is an action movie based on the Marvel Comics superhero. Despite its comic book roots, The Punisher has little to do with the superhero genre. Instead, it is a fairly standard action movie in the traditional vein, with one highly-trained hero working his way through a criminal organization from bottom to top. Expect bloody kills, methodical acts of revenge, and plenty of firepower.

Though Thomas Jane’s Punisher is not quite the gritty, remorseless killing machine that the character has the potential to be, he fills out the role well in terms of muscle, resolve, and motivation. For his part, John Travolta hits a sweet spot as Howard Saint where he is given the freedom to be menacing without the overexposure that would make him ridiculous.

Watch The Punisher when you are in the mood for a plain but entertaining action movie with a very light dusting of comic book sensibilities. The Punisher is a good casual pick for action fans, satisfying to watch on a whim and easy to pass up without regret. For a stylish, creative, and well-polished take on a similar premise, check out John Wick.

6.5 out of 10 on IMDB. I give it a 6.5 to 7.0 for solid action with some missed potential.

Today’s quick review: The Business. Frankie (Danny Dyer), a British layabout determined to make something of himself, heads to Spain to seek his fortune. There he meets Charlie (Tamer Hassan), a nightclub owner and British expat whose criminal exploits have netted him a small fortune. Together with Sammy (Geoff Bell), Charlie’s violent partner in crime, Frankie and Charlie enter the profitable world of drug smuggling and reach new heights of success.

The Business is a crime movie with a generic premise and mediocre execution. Though it aspires to the punchy style of the Guy Ritchie movies, The Business falls well short of its goal. Instead, weak writing, uncharismatic actors, and an aimless plot keep it from making a proper impact. Like other crime movies, The Business straddles the line between comedy and drama; though it offers little as either genre, it balances its tone well.

For all its weaknesses, The Business does show glimmers of potential. Nothing about the movie is outright bad so much as lackluster. The plot could work with a few additions to cover some of the events the movie glosses over. Danny Dyer’s sporadic narration is mishandled, but a few tweaks to the script would have made it a focal point of the movie. The soundtrack is actually an impressive selection of 80s hits that helps the movie a lot with setting its tone.

Watch The Business if you are looking for a midrate crime movie with an unusually good soundtrack. With better writing and sharper execution, The Business could have been a contender in the stylized, borderline comedic corner of the crime genre. As it is, The Business is badly outclassed by movies like Snatch, RocknRolla, Layer Cake, Blow, and Lock, Stock, and Two Smoking Barrels, though it isn’t a bad watch in isolation.

6.7 out of 10 on IMDB. I give it a 6.0 to 6.5 for passable execution with a number of flaws.

Today’s quick review: My Cousin Vinny. When Bill Gambini (Ralph Macchio) and Stan Rothenstein (Mitchell Whitfield), a pair of youths, are arrested in Alabama, Bill calls in his cousin Vincent “Vinny” Gambini (Joe Pesci), an amateur lawyer from New York, to represent them in court. Together with his fiance Lisa (Marisa Tomei), Vinny argues the boys’ case in front of a strict judge (Fred Gwynne) to keep the boys out of prison.

My Cousin Vinny is a legal comedy with a strong cast and an entertaining script. One part culture clash, one part character comedy, My Cousin Vinny sees an argumentative and thoroughly underqualified Brooklyn lawyer travel to the South to defend his cousin. The script has a knack for setting up funny situations, while the case has just enough substance to make its resolution satisfying.

Where My Cousin Vinny excels is in its arguments. Joe Pesci is one of the all-time greats at vituperation, and the role of Vincent Gambini gives him plenty of room to show off. Pesci’s performance is matched by Marisa Tomei, who plays Vinny’s bullheaded fiance. Their fights over nothing scratch a very particular itch, a satisfying cocktail of pedantry, low stakes, and absolute certainty.

Watch My Cousin Vinny when you are in the mood for a light, loudmouthed, and well-executed comedy. The constant bickering will rub some viewers the wrong way, but the gags are funny enough and the arguments light enough that most viewers won’t mind. Skip it if you are looking for slapstick, wordplay, or some other flavor of comedy.

7.5 out of 10 on IMDB. I give it a 7.0 to 7.5 for good laughs and strong performances.

Today’s quick review: The Green Mile. In 1935, prison guard Paul Edgecomb (Tom Hanks) encounters John Coffey (Michael Clarke Duncan), a gentle death row inmate with miraculous healing abilities. As the time ticks down to John’s execution, Paul wrestles with his conscience over his duty to execute a man he increasingly believes to be innocent.

The Green Mile is a prison drama with supernatural elements based on a story by Stephen King. The Green Mile is a movie that features impressive writing, a strong dramatic cast, and a dash of the unknown. An unusual watch, The Green Mile touches on themes of life and death, punishment and repentance, and the afterlife, painting them in striking colors using the dramatic backdrop of death row and John Coffey’s mysterious healing abilities.

The Green Mile weaves a credible drama from simple elements. Tom Hanks plays a thoughtful and responsible Paul Edgecomb, the overseer of death row at a penitentiary. Michael Clarke Duncan plays opposite him as gentle giant John Coffey, a slow-witted but kind-hearted man with miraculous powers. The characters of the jail, an ailing woman, and a mouse are all the movie needs to tell a compelling, human story.

The most obvious comparison point for The Green Mile is The Shawshank Redemption. Both movies are prison dramas adapted from Stephen King stories, and both are written and directed by Frank Darabont. The Green Mile is somewhat more abstract than its counterpart, and The Shawshank Redemption trumps it in terms of plot, depth, resonance, and catharsis. Still, The Green Mile is a capable film in its own right, with all-around solid execution.

Watch The Green Mile when you are in the mood for thoughtful drama with good characters and a patchwork plot. Though its heavy subject matter and three-hour length make it something of a commitment, The Green Mile has the quality to make it well worth a watch for anyone curious. Skip it if you are looking for a light, tidy, or plot-oriented movie.

8.5 out of 10 on IMDB. I give it an 8.0 for excellent, moving drama.

Today’s quick review: Drive. In Hollywood, a stunt driver (Ryan Gosling) leads a solitary life, working for Shannon (Bryan Cranston), an unlucky mechanic, by day and freelancing as a getaway driver by night. He finds new meaning in life when me meets Irene (Carey Mulligan), a young mother of one who lives next door. But when he takes a getaway job to help her, he gets swept up in a bloody series of accidents and betrayals.

Drive is a stylized crime drama about a laconic getaway driver and the mess he finds himself in. Drive features smart direction, strong dramatic performances, excellent chase sequences, and a masterful handling of tone. The whole package is wrapped up in a stellar electronic soundtrack that draws the viewer into every scene, imbuing the film with the mellow, focused sensation of driving alone at night.

Ryan Gosling delivers an unusual performance as the driver, a man of few words, subtle expressions, and powerful eye contact. His character is the glue that holds the movie together, a rare protagonist who says little yet conveys all he needs to. The solid supporting cast includes Bryan Cranston as Gosling’s employer, Carey Mulligan as his love interest, and Albert Brooks and Ron Perlman as a pair of dangerous loan sharks.

The plot of Drive is a slow boil. After an intense opening sequence, the movie settles into a long stretch of build-up. Just past the halfway point, the main plot kicks off and things turn violent in a hurry. The action is tense and brutal, the chase scenes are realistic yet innovative, and Ryan Gosling sets about his tasks with a grim determination not devoid of conscience.

Watch Drive when you are in the mood for an atmospheric crime film with weighty violence and stylish presentation. The engrossing soundtrack, the pointed camerawork, and Ryan Gosling’s intense performance are enough to make Drive a unique and very interesting watch. Skip it if you need a fuller plot or more exaggerated action, or if you dislike gore.

7.8 out of 10 on IMDB. I give it a 7.5 to 8.0 for atmosphere and style.

Today’s quick review: The Three Musketeers. In early 17th-century France, D’Artagnan (Logan Lerman), an impetuous country boy, seeks to join the legendary Three Musketeers: Athos (Matthew Macfadyen), Porthos (Ray Stevenson), and Aramis (Luke Evans). The four are sent to Britain by the Queen to foil a plot by Cardinal Richelieu (Christoph Waltz) to plunge the two countries into war.

The Three Musketeers is an action adventure movie that offers a fanciful take on the clasic novel by Alexandre Dumas. Apart from the usual affordances for action sequences, the film’s creative liberties include an array of improbable gadgets and an airship designed by Leonardo Da Vinci. The result is an adaptation that attempts to take swashbuckling action to new heights but falls short of its creative ambitions.

The Three Musketeers has significant weaknesses in acting, tone, and writing. The dialogue comes off generic, the characters smug. The movie shoots for a cocky, adventurous style, but it lacks the finesse to pull it off. The situation is not helped by weak performances and dubious accents. The golden ideal of adventure is visible in The Three Musketeers, exhilirating, suave, and unfettered, but its slips through the movie’s grasp.

To its credit, The Three Musketeers does a few things well. The CGI models of Paris and London used for the aerial shots are quite impressive. The action scenes, while not groundbreaking, are certainly fun. The roster of villains includes a few familiar faces: Milla Jovovich as Milady de Winter, Mads Mikkelsen as Captain Rochefort, Orlando Bloom as the Duke of Buckingham, and Christoph Waltz as Cardinal Richelieu.

Watch The Three Musketeers only if you are an adventure fan willing to accept a dip in quality for the sake of novelty. For a truer adaptation of the source material, check out one of the other movies of the same name. For another loose adaptation of a classic that better captures the tone The Three Musketeers shoots for, check out the Guy Ritchie version of Sherlock Holmes.

5.8 out of 10 on IMDB. I give it a 6.0 for free-spirited adventure hamstrung by poor execution.

Today’s quick review: Three Kings. At the end of the Gulf War, American soldiers Troy Barlow (Mark Wahlberg), Archie Gates (George Clooney), Chief Elgin (Ice Cube), and Conrad Vig (Spike Jonze) discover a map to one of Saddam Hussein’s bunkers of stolen gold. The four soldiers sneak away from camp to pick up the gold, but become entangled in a conflict between Saddam’s troops and the Iraqi rebels, turning their simple heist into a disaster.

Three Kings is a war comedy that provides an on-the-ground perspective of the Gulf War. One part satire, one part drama, Three Kings follows four opportunists as they attempt to steal millions in Kuwaiti gold, only to end up caught in a complicated and dangerous situation. Three Kings is a mixed bag, a blend of good and bad ideas that keeps it from achieving anything significant.

Three Kings has a peculiar tone that makes it difficult to categorize. The early parts of the movie are a satire of the Gulf War: a sloppy group of soldiers wrap up the last of their duties in Iraq as a struggling reporter (Nora Dunn) tries to make sense of the war. Eventually Three Kings morphs into a fairly credible drama about the tangled morality of war and the difficult and often futile nature of trying to do the right thing.

The result is an uneven war film with a few interesting themes, distinct political overtones, and enough of a plot to get by. The execution is mixed: a solid cast is offset by mediocre characters, the generally passable direction is hurt by a few bad choices, and the hybrid of comedy and drama gives the movie an odd tone. The film has its moments, but as a whole it does not click the way a classic would or entertain the way a popcorn film would.

Ultimately, Three Kings is not a bad watch, but it is a poor choice for anyone looking for an overt comedy, a tense military drama, or a conventional action flick. Instead, the optimal viewer is a fan of political commentary with a taste for satire and an appreciation for the human side of war. Watch it if you liked The Men Who Stare At Goats or are looking for a subversive take on the war genre. Skip it otherwise.

7.1 out of 10 on IMDB. I give it a 6.5 for a mixture of interesting and mediocre content.