Month: March 2018

“This aggression will not stand, man!” —The Dude

Today’s quick review: The Big Lebowski. The Dude (Jeff Bridges) is a laid-back guy who spends his free time bowling with his friends Walter (John Goodman) and Donny (Steve Buscemi). But a case of mistaken identity entangles the Dude in a web of intrigue, beginning with a vandalized rug and culminating in a $1 million kidnapping. The Dude has a chance to walk away with part of the money, but only if he can solve the mystery of just what is going on.

The Big Lebowski is a quirky crime comedy from the Coen Brothers. Artfully directed in the Coen Brothers’ characteristic style, The Big Lebowski is a meandering odyssey that tosses an underachiever into a situation that is far beyond him. Much of the film’s humor comes from its addled dialogue, a thicket of half-baked ideas, false, and low-stakes bickering. The tone is on the lighter side for the Coen Brothers, with only a couple of dark or violent moments.

Oddly enough, the plot of The Big Lebowski most resembles a noir. The crucial elements are there: the missing woman and her rich husband, the mysterious threats and encounters, the twists and betrayals. But the cunning insight and dogged persistence of a noir detective are entirely missing from the Dude. Instead, he stumbles through the mystery in a daze, clueless but driven by his kindhearted nature and the manipulations of those around him.

As such, The Dude is one of the stranger heroes in modern cinema. His is an ill-defined, ironic sort of heroism, defined less by his achievements than his attitude. Though not the most fulfilling angle for a story to take, it’s a perfect fit for the Coen Brothers’ offbeat style, and the story does have a moral of sorts. Fittingly, the plot is unpredictable, almost random, but by the end reveals itself to be a clever pattern of false leads and comedic misconceptions.

Jeff Bridges gives the character of the Dude a charm that holds the movie together. He is backed by strong supporting performances, particularly from John Goodman as the Dude’s bowling partner Walter, a high-strung Vietnam vet and an active hindrance to the Dude’s investigation. The supporting cast also includes Steve Buscemi, Julianne Moore, David Huddleston, Philip Seymour Hoffman, Tara Reid, and John Turturro.

Watch The Big Lebowski if you are a fan of the Coen Brothers or simply in the mood for an unconventional comedy. The film’s vivid characters, smart script, and sprinkling of weirdness make it a unique and highly quotable experience. Skip it if you are looking for a straightforward comedy.

8.2 out of 10 on IMDB. I give it a 7.5 to 8.0 for impressive writing, tone, and characters.

“Remember, no matter where you go, there you are.” —Buckaroo Banzai

Today’s quick review: The Adventures of Buckaroo Banzai Across the 8th Dimension. Buckaroo Banzai (Peter Weller), a celebrity genius-of-all-trades, and his team of Hong Kong Cavaliers have made an amazing breakthrough: travel to the 8th Dimension. But their discovery draws the attention of Dr. Emilio Lizardo (John Lithgow), a mad scientist who plans to use the Cavaliers’ technology to free his army of aliens from their prison on Earth.

The Adventures of Buckaroo Banzai Across the 8th Dimension is a science fiction adventure comedy that pays homage to the adventure serials of yesteryear. The Adventures of Buckaroo Banzai is a whirlwind of tongue in cheek humor and free-spirited adventure. Peter Weller leads as the unflappable Buckaroo Banzai, while John Lithgow plays opposite him as the unhinged Dr. Lizardo. The supporting cast includes Ellen Barkin, Christopher Lloyd, and Jeff Goldblum.

The Adventures of Buckaroo Banzai achieves the peculiar sensation of stepping into a long-running adventure series. Buckaroo Banzai is an eclectic genius of comedic proportions: when not traveling between dimensions, he spends his time performing brain surgery, playing in his band, pleasing a worldwide network of fans, and leading his Hong Kong Cavaliers on various improbable adventures. Everything is done in good fun, and the movie never takes itself too seriously.

But the consequence of this kitchen sink approach to storytelling is that the plot, which isn’t all that complex, can be hard to follow. New characters, plot points, and situations crop up with no prelude and little explanation. These elements all have deliberate roles in the movie, but figuring out what they are takes a lot of effort. Even the basic jokes and world-building are buried in layers of easy-to-miss dialogue, and the viewer can easily end up lost.

For a viewer willing to piece it all together, The Adventures of Buckaroo Banzai is rather clever. In spite of its outward zaniness, most of the gags are subtle, countless absurd little moments given deadpan delivery. The trouble is that the deadpan is too convincing: by the time the viewer has realized there was a joke, the moment has passed. Meanwhile, the more obvious jokes are lost in the chaos the movie.

As such, The Adventures of Buckaroo Banzai is a film with an interesting concept and flawed delivery. The movie’s clever take on the sci-fi adventure genre earns it some cult appeal and makes it a film unlike any other. But its jumbled presentation makes its humor much less accessible than it could have been. Watch it if you are a fan of campy sci-fi and willing to invest some brainpower. Skip it if you are looking for an easy or conventional watch.

6.4 out of 10 on IMDB. I give it a 6.5 for a unique tone hurt by mixed execution, but your score will vary greatly depending on your taste in sci-fi and camp, as well as how much attention you give the movie.

“Gentlemen, trials are too important to be left up to juries.” —Rankin Fitch

Today’s quick review: Runaway Jury. During a pivotal trial between Wendall Rohr (Dustin Hoffman) and Vicksburg Firearms, the gun company hires Rankin Fitch (Gene Hackman) to sway the jury in its favor. But Fitch gets more than he bargained for when he lets con man Nicholas Easter (John Cusack) onto the jury. Together with his partner Marlee (Rachel Weisz), Easter offers to sell the jury to the highest bidder, throwing the trial into disarray.

Runaway Jury is a legal drama with thriller elements based on the novel by John Grisham. Runaway Jury has a strong dramatic cast and a tense, winding plot. The trial pits Wendall Rohr, an honest lawyer, against Rankin Fitch, a jury fixer who uses surveillance, blackmail, and intimidation to deliver the verdicts his clients want. The wildcard is Nicholas Easter, a meddler who threatens to steal the jury away from Fitch if his price isn’t met.

Runaway Jury’s main appeal is its plot. The three-way contest between Fitch, Rohr, and Easter provides ample conflict, and the film does a good job of managing its plot twists and reversals. Even the basic logistics involved in manipulating the jury are interesting to watch play out. The solid writing is backed by a quartet of talented lead actors, particularly the menacing Gene Hackman and the roguish John Cusack.

However, the film has a few drawbacks that keep its strengths from truly shining. The presentation style is busy, with lots of superfluous detail that distracts from the important events. The case itself is a disappointment, reducing a complex and politically charged topic to a two-dimensional backdrop. The moral component of the film is similarly lacking, fitting the story well enough but missing the emotional impact it might have had.

Watch Runaway Jury when you are in the mood for a legal drama with a little something extra. Its well-crafted thriller elements and solid cast make Runaway Jury worth a watch, but a weak trial and its flawed presentation style make it a harder watch than it needs to be. For another John Grisham drama with similar themes, check out The Rainmaker. For a legal drama with even more twists and turns, look for Primal Fear.

7.1 out of 10 on IMDB. I give it a 7.0 for an interesting plot with a few missed beats.

Today’s quick review: Arena. David Lord (Kellan Lutz), a firefighter mourning the death of his pregnant wife, catches the eye of Milla (Katia Winter), a scout for a website that streams real gladiatorial death matches. Kidnapped and tortured, David is forced to fight and kill in the arena. But as David is drawn in deeper, he sacrifices his humanity for a shot at Kaden (Johnny Messner), his tormentor, and Logan (Samuel L. Jackson), the man behind it all.

Arena is a budget action movie with a basic premise and plenty of gore. Though not a strong film, Arena delivers what it promises: brutal action on a low budget, a pinch of sex, and just enough plot to hold it all together. Arena’s specialty is melee combat, and David tackles his foes with weapons ranging from fists to swords to hammers. Samuel L. Jackson gives the film a dose of star power, playing the website’s arrogant mastermind.

As far as quality goes, Arena is poor but not atrocious. The fight choreography is nothing special, but the hits are hard and the intensity is high. The acting and writing are on par, not that good but not bad enough to detract from the action. The low budget shows itself in minor ways, from the quality of the costuming to the use of stock footage, but just enough polish remains to make the movie feel cohesive.

Watch Arena when you are in the mood for a gory action flick and don’t particularly care about quality. For fans of the budget action genre, its an easy watch that neither impresses nor disappoints too greatly. Anyone else should skip it in favor of something better. For a big-budget movie with better action and storytelling, check out Gladiator. For other violent schlock of various calibers, check out Battle Royale, Death Race, or The Tournament.

4.8 out of 10 on IMDB. I give it a 5.5 for watchable action with limited production values and fairly niche appeal.

“Gentlemen, you can’t fight in here! This is the War Room.” —President Muffley

Today’s quick review: Doctor Strangelove or: How I Learned to Stop Worrying and Love the Bomb. When General Jack Ripper (Sterling Hayden) of the US Air Force decides to deploy his nuclear bombers to attack Russia, he brings the world to the brink of nuclear war. Deep beneath the Pentagon, President Muffley (Peter Sellers) and his advisor General Buck Turgidson (George C. Scott) scramble to get the situation under control.

Doctor Strangelove or: How I Learned to Stop Worrying and Love the Bomb is a Cold War-era satire from director Stanley Kubrick. Doctor Strangelove is a dark and deeply cynical look at the nuclear arms race that skewers the military, the government, and nuclear war itself. Featuring a talented comedic cast, an absurd tone, and iconic moments throughout, the movie is a pointed, topical classic that sums up the worst fears of the Cold War.

Doctor Strangelove sets up an elaborate but disturbingly plausible worst-case scenario for the world’s nuclear superpowers. A deluded general launches a attack that will trigger nuclear war, and the attempts to recall it are thwarted by the military’s own anti-Soviet security mechanisms. The result is a catastrophe in slow motion, a comedy of errors where every passing moment brings the world closer to destruction.

Doctor Strangelove is a movie steeped in absurdity. Peter Sellers throws himself into three roles with gusto: the hapless Captain Mandrake, the ineffectual President Muffley, and the odd Dr. Strangelove. George C. Scott plays General Turgidson, whose misguided patriotism and boisterous personality are an active hinderance. Slim Pickens plays Major Kong, a bomber pilot determined to deliver his payload, while Sterling Hayden plays the unhinged General Ripper.

As a result of these colorful characters and their inane behavior, the situation moves from bad to worse. Doctor Strangelove masters the sinking feeling; each new development is another mark against the parties responsible. At the same time, the movie peppers in enough farcical silliness to keep the tone from being too dour. Doctor Strangelove very deliberately sets up a situation where the only rational reaction is to sit back and laugh.

Watch Doctor Strangelove or: How I Learned to Stop Worrying and Love the Bomb if you enjoy black comedies, take a wry view on the military, or simply haven’t seen it yet. The film is worth checking out if only for its reputation, but its unusual tone, sound writing, strong comedic performances, and creative satire make it a worthy choice on substance as well. Skip it if you are looking for a more conventional comedy or a proper nuclear thriller.

8.5 out of 10 on IMDB. I give it a 7.5 for sharp and well-delivered satire; your score will be higher depending on how well you like the humor.

Today’s quick review: The Outlaw Josey Wales. After his family is killed by a group of Union raiders, Josey Wales (Clint Eastwood) joins a band of guerrilla fighters on the Confederate side. But when his compatriots are betrayed at the end of the Civil War, Josey is one of the only survivors. Declared an outlaw and hunted by Union troops and bounty hunters alike, Josey makes for Texas, where he can lay low and plot his revenge.

The Outlaw Josey Wales is a Western with a gritty tone interrupted by dashes of humor. The Outlaw Josey Wales sees Clint Eastwood in a familiar Western role: a taciturn gunman with few ties and a risky moral streak. His flight is fraught not just with enemies but unlikely allies, and along the way, he accumulates a family’s worth of misfits and rogues. Clint Eastwood makes for as strong a lead as ever, tough and unflappable but with human weaknesses.

The Outlaw Josey Wales is fairly well executed. The story wanders from incident to incident, but in sensible and realistic ways, and the characters met along the way give each encounter a sense of purpose. The tone is unflinchingly serious: death, loss, and betrayal are simply the facts of life, with scant few lasting victories. But Josey’s interactions with his talkative companions give the movie a touch of humor and keep it from being a downer.

Watch The Outlaw Josey Wales when you are in the mood for a solid Western with a strong lead, a good script, and plenty of gunplay. Though not quite the masterpiece that Clint Eastwood’s very best Westerns are, The Outlaw Josey Wales is not far off the mark. For more in the same vein, check out A Fistful of Dollars or The Good, the Bad, and the Ugly.

7.9 out of 10 on IMDB. I give it a 7.5 for good execution and a well-used lead.

Today’s quick review: War of the Worlds. When a massive mechanical tripod erupts from the earth and begins slaughtering people, Ray Ferrier (Tom Cruise) flees with his son Robbie (Justin Chatwin) and his daughter Rachel (Dakota Fanning). Their destination is Boston, where Ray’s ex-wife is staying with her parents. But to get there, they must cross a countryside packed with desperate survivors and more of the alien tripods.

War of the Worlds is a science fiction disaster movie based on the classic novel by H.G. Wells. Directed by Steven Spielberg, War of the Worlds features strong source material, impressive special effects, and a tense, consistent tone. The plot loosely follows the original story, but adapted for a modern, American setting. Character issues and odd presentation make the overall execution a mixed bag.

Fittingly for the subject matter, War of the Worlds is a heavy movie. Ray and his children are by themselves in a sea of displaced people, with the ever-present threat of the tripods turning sanctuaries into war zones. The tension and sinister elements are enough to give the movie some weight, while the PG-13 rating keeps the darker content from eclipsing the whole film.

The presentation is skillful as well. The special effects do a great job of conveying the scope of the action, with several massive set pieces to inject some awe. The long, roaming camera shots capture the chaos of the film well, showing plenty of information at once while still keeping close to Ray’s perspective. However, strange lighting effects and too-realistic sound mixing muddy the presentation and give it an odd quality.

The characters are a source of both drama and frustration. Ray is an inattentive father, and his veneer of charisma quickly wears thin. He spends much of his time bickering with his children, often taking the objectively wrong side of the argument. Although the disaster forces him to step up his game, his best moments are when he is taking action rather than talking. The same goes for his children, who are decent characters with annoying tendencies.

Watch War of the Worlds when you are in the mood for a moderately dark survival movie with strong special effects. The film has enough issues with character, plot, and presentation that it doesn’t live up to its full potential, but what is there constitutes a credible, well-polished pass at the genre. For a zombie movie with a similar disaster tone to it, check out World War Z.

6.5 out of 10 on IMDB. I give it a 7.0 for good special effects and decent drama held back by weak characters and a mediocre plot.

Today’s quick review: Starsky & Hutch. As punishment for a botched assignment, David Starsky (Ben Stiller), a high-strung cop who takes his job seriously, is partnered with Ken “Hutch” Hutchinson (Owen Wilson), a detective with a relaxed attitude. With a few tips from Huggy Bear (Snoop Dogg), Hutch’s smooth informant, the pair investigate their first case together: a massive cocaine deal by Reese Feldman (Vince Vaughn), a wealthy businessman.

Starsky & Hutch is a buddy cop comedy based on the classic TV series. Starsky & Hutch has a good premise and a strong comedic cast, but mediocre writing and a thin plot keep it from living up to its full potential. It hits most of the beats a buddy cop movie needs to, but doesn’t bring much that’s new to the table. The tone skews comedic, with Starsky and Hutch bumbling their way through most of the case with just enough competence to make progress.

As far as buddy cop movies go, Starsky & Hutch is middle of the road. Ben Stiller and Owen Wilson are generally a good comedic duo, but the script doesn’t make the best use of their talents. Even by comedy standards, Starsky and Hutch are implausibly reckless cops, making it hard to treat them like heroes. The jokes range from decent to pretty good, but there are no iconic bits to make the movie memorable, and the joke density is lower than the actors’ other work.

Still, Starsky & Hutch is watchable and reasonably entertaining. Give it a look when you want something light with a familiar cast. For better movies in the buddy cop vein, check out Rush Hour or Beverly Hills Cop for comedy or Lethal Weapon for action. For better comedies with similar casts, check out Dodgeball or Zoolander.

6.1 out of 10 on IMDB. I give it a 6.5 for decent comedic potential held back by middling writing.

Today’s quick review: Ninja Scroll. After saving Kagero, a female ninja and the sole survivor of her scouting party, from a supernatural assailant, Jubei, a traveling swordsman, finds himself tangled up in the deadly plans of Genma, a shadowy man who has a history with Jubei. Forcibly recruited by Dakuan, an old man sent by the Japanese government to investigate, Jubei must fight his way through the Eight Devils of Kimon to stop Genma and secure Kagero’s safety.

Ninja Scroll is a Japanese animated action film with fantasy elements and plenty of violence. Set in feudal Japan, Ninja Scroll pits ninja against ninja in a battle of wits, swordsmanship, and superpowers. The plot is given a touch of depth by the film’s large cast and their conflicting objectives, but at its core, it remains a straightforward, action-oriented affair. The animation is detailed and energetic, although the style shows the film’s age.

What Ninja Scroll mainly offers is fast-paced, brutal action with a fantasy twist. Nearly every character has a trick up his or her sleeve, from a rock-skinned brute with a massive blade to a deadly assassin who can control snakes. The fight scenes are well-choreographed and unpredictable, while the steady stream of dangerous enemies lets Ninja Scroll pack a lot of action into its 90-some minutes.

The violence and other mature content limit the appeal of the film to anime fans who are not squeamish. For those who like animated action and are not averse to some darker elements, Ninja Scroll makes for a solid, standalone watch with very strong action. For those who are sensitive to gore or sex, look elsewhere.

7.9 out of 10 on IMDB. I give it a 7.5 for great action, interesting ninja powers, and a nicely self-contained storyline.

Today’s quick review: The Guard. Gerry Boyle (Brendan Gleeson) is a small town Irish policeman with a good heart and a lax view on protocol. His quiet days are interrupted when a trio of drug smugglers (David Wilmot, Mark Strong, and Liam Cunningham) arrive in the area with a $500 million shipment of cocaine. Together with American FBI agent Wendell Everett (Don Cheadle), Boyle must locate the criminals before their deal is completed.

The Guard is a crime comedy with a good sense of character. The Guard captures the attitude of small town Ireland, as well as the personality of one cop in particular. Brendan Gleeson leads as Gerry Boyle, an unflappable rural cop who is smarter than he looks. Not above a little graft, Boyle is nonetheless a good man and a sympathetic figure. His quirks give the movie its unique personality, and his interactions with Don Cheadle are surprisingly touching.

The Guard is notable for its unusual tone and sense of humor. Packed with Irish sarcasm and understated humor, The Guard walks a fine line between subtle and overt comedy. Like other generally low-stakes comedies, its jokes are more charming than outrageous. But unlike its brethren, The Guard earns some outright laughter thanks to its slight edge and strong characters. A dash of action also helps the movie from feeling too tame, yielding a light but engaging tone.

Watch The Guard if you are interested in a somewhat lighter crime film without breaking into full-blown comedy. The film is worth watching for Brendan Gleeson alone, and a good script, a well-handled tone, and Don Cheadle are added incentives. Skip it if you are looking for a lot of action, over-the-top comedy, or an involved plot.

7.3 out of 10 on IMDB. I give it a 7.0 to 7.5 for good humor and great characters.