Month: August 2018

Today’s quick review: Checkmate. Joey (Johnny Messner), a hotheaded criminal, and his reluctant brother Ron (Zach Touchon) lead a bold bank robbery in broad daylight. The robbery affects the lives of several strangers, including the father of a sick child, a pregnant woman, and a hitman priest (Sean Astin). Meanwhile, a heavenly figure (Danny Glover) and his diabolical counterpart (Vinnie Jones) play a high-stakes game of chess.

Checkmate is a crime movie with light fantasy overtones. Checkmate aims higher than most movies of its caliber. Its vision comes across clearly: a meaningful, multithreaded story with a touch of the divine that builds to an intricate finale. However, its writing, acting, and direction are not up to the task. Checkmate seems to know where it is going, but it lacks the skill to get there.

Checkmate makes a lot of little mistakes that add up quickly. The dialogue repeats itself constantly. Characters laugh for no real reason. The opening flash-forward depicts significant events that are never recapped later in the film. The camera focuses on the wrong people and objects, leaving important items out of the shot. The characters never quite manage to be sympathetic, and the moment-to-moment logic of the plot doesn’t hang together well.

Checkmate makes for a perversely fun watch for fans of well-crafted cinema. The movie’s ambitious ideas and honest mistakes give it a rare sort of charm. Checkmate is perfect for a casual viewing with a critical eye. Those looking for a better film should skip it. Those intrigued by the idea of an abstract crime drama should check out Revolver, which comes the closest to realizing Checkmate’s vision.

3.1 out of 10 on IMDB. I give it a 4.0 for quality of execution and a 6.5 for unintentional charm.

Today’s quick review: Set Up. After stealing $5 million worth of diamonds, Sonny (50 Cent) is betrayed and left for dead by his partner Vince (Ryan Philippe). To get his revenge, Sonny must track down his one-time friend and uncover the reason for his betrayal. But Mr. Biggs (Bruce Willis), a local crime boss, has taken an interest in the heist and sends his goon Petey (Randy Couture) to take a piece of the action from Sonny.

Set Up is a crime movie that aspires to be a dramatic tale of betrayal and redemption. However, its weak script, flimsy acting, and uninteresting characters keep it from living up to its ambition. Bruce Willis and Randy Couture are the only real rays of light in the film, with Willis as the affable criminal Mr. Biggs and Couture as his oddly casual henchman Petey.

Set Up’s main failing is its writing. The plot fits together poorly, the movie does a clumsy job of moving its pieces into place, and plot threads drop off and reappear at random. As for its main characters, Vince is an inept villain and his relationship with Sonny is never developed properly. For his part, Sonny is a bland but passable protagonist with a forced redemption arc and little style of his own.

Set Up makes for an uncompelling and occasionally confusing watch. It goes through the motions of a crime movie but only offers two supporting characters and a few mishandled plot hooks to make it worthwhile. Most viewers would be better off watching Four Brothers, The Town, or Snatch, different flavors of crime movie with better execution.

4.4 out of 10 on IMDB. I give it a 5.5 for glimmers of an interesting movie hampered by poor writing and acting.

Today’s quick review: Dog Eat Dog. Shortly after his release from prison, Troy (Nicolas Cage) rounds up his partners Mad Dog (Willem Dafoe), a violent drug addict, and Diesel (Christopher Matthew Cook), a deceptively smart bruiser, to resume their criminal activities. Not content with their usual small jobs, the three men accept a lucrative offer: $750,000 to kidnap a small child for a loan shark to use as collateral.

Dog Eat Dog is a stylized crime movie with a touch of black comedy. Dog Eat Dog takes a close look at the lives of three remorseless criminals. Troy, Mad Dog, and Diesel are dangerous men, but their poor impusle control keeps them from finding any lasting success. Their escapades are punctuated by surreal, drug-induced moments and bursts of graphic violence.

Dog Eat Dog’s distinguishing feature is its mature content. The movie is packed with drugs, sex, and spontaneous violence. These elements do a good job of showing the warped hollowness of the characters’ lives, but they make the movie an unappealing watch for any sensitive viewers. The plot is likewise meaningless; the individual scenes of the movie are interesting enough, but there is little in the way of overarching direction or payoff.

Watch Dog Eat Dog only if you are in the mood for a twisted take on the crime genre. Its subpar execution, grimy subject matter, and lack of a substantive plot make it a poor fit for most viewers. For a comparable movie that does more right, check out Bad Lieutenant: Port of Call New Orleans. For a stylized crime movie with better writing and presentation, check out Pulp Fiction.

4.6 out of 10 on IMDB. I give it a 5.5 for quirky characters, modest amounts of style, and low overall quality.

Today’s quick review: Vehicle 19. While traveling to visit his ex-wife in Johannesburg, American parolee Michael Woods (Paul Walker) picks up the wrong car at the airport and steps into the middle of a police cover-up. Alone in a new city, Michael must decide whether to risk his life helping Rachel Shabangu (Naima McLean), a local prosecutor, take down a ring of corrupt officials or to save his own skin.

Vehicle 19 is an action thriller set in South Africa. Vehicle 19’s main selling point is its unusual cinematography: the entire movie is shot from inside a single car. However, the novelty is not enough to make up for the movie’s weak execution. The premise has potential, but a flimsy plot, unlikable characters, and limited aciton hamstring what could be a competent thriller.

Vehicle 19 has flaws that keep it from making the most of its premise. The movie takes a long time to get going relative to its length, and the setup is a dry sequence of Michael driving around Johannesburg. Michael is as reluctant a hero as they come, making poor decisions and taking the initiative only very rarely. The few supporting characters are shallow and fail to give the movie an emotional backbone.

The movie does get a few things right. The car mix-up lets Michael get dragged into the main plot gradually, one discovery at a time. The in-car camera ends up being a wash, but the technique does give the film a sense of focus. There are only two or three instances of actual action in the film, but the restricted camera perspective places the viewer in the car with Michael, something that few other movies do.

Watch Vehicle 19 if you are in the mood for a lower-stakes thriller with experimental cinematography. Vehicle 19’s limited budget and scope keep it from being a noteworthy film, but it has just enough going on to be watchable for a dedicated viewer. Most viewers would be better off skipping it. For a better thriller with a similar plot, check out 16 Blocks. For a vehicular thriller with a bike instead of a car, check out Premium Rush.

4.9 out of 10 on IMDB. I give it a 5.5 for a decent premise, some novelty, and weak execution.

“Nothing changes unless you make it change.” —Foley

Today’s quick review: The Samaritan. After twenty-five years in prison, Foley (Samuel L. Jackson), a reformed grifter, returns to the outside world with no friends, no money, and no prospects. He finds a kindred spirit in Iris (Ruth Negga), a troubled young woman, but their life together is derailed when Ethan (Luke Kirby), the son of Foley’s dead partner, approaches him for one last con.

The Samaritan is a crime drama with a dark tone and an unpredictable plot. The Samaritan starts out as a sober look at the life of an ex-con, following Foley as he tries to put his past behind him. But as the movie progresses, it morphs into a plot-driven tale of revenge with several sharp twists. The Samaritan has ideas that could be great in another movie, but it only realizes some of their potential.

The Samaritan is a decent movie with clear flaws. The story is interesting and handles its twists well, but the drama feels artificial and the ending is flat. The direction is competent enough, but the movie misses opportunities to give its drama weight rather than just going through the motions. Samuel L. Jackson does a fine job as Foley, but the role is more passive and subdued than the roles he is known for.

Watch The Samaritan if you are a fan of dark crime movies and are looking for one with a focus on plot. The Samaritan offers little in the way of action or confidence schemes, but as a drama it does enough right to be a worthwhile watch. Skip it if you are looking for a light watch or a higher-quality drama. For a classic con movie with a lighter tone, check out The Sting. For an even darker drama with more revenge and better twists, check out Oldboy.

5.6 out of 10 on IMDB. I give it a 6.0 to 6.5 for an interesting plot, dark subject matter, and mixed execution.

Today’s quick review: The Saint. After Arnold Valecross (James Remar), a banker for a powerful criminal, tries to turn $2.5 billion in stolen relief funds over to the FBI, hish boss (Ian Ogilvy) retaliates by kidnapping his daughter. Arnold’s only hope is to enlist the help of Simon Templar (Adam Rayner), an international thief with a charitable streak, and his associate Patricia Holm (Eliza Dukshu).

The Saint is a budget action movie based on the classic TV series. The Saint aims for a light tone, with a crafty hero, an adventurous story, and a smattering of action. However, thin characters, a generic plot, and budgetary constraints undermine what appeal it has. The result is a dull watch with only a few glimmers of potential to show for its efforts.

The Saint’s flaws are varied. The cast is young and lacks dramatic impact. Simon’s reputation as a master thief, much like his banter with Patricia, is forced and not nearly as slick as it is meant to be. The movie suffers from a surfeit of supporting characters, with several roles that could have been merged or dropped with no loss. The Saint’s emotional payoff is limp, and the plot thread about Simon’s past is unnecessary and handled poorly.

Most viewers would be better off skipping The Saint. Its plot, action, and characters are outclassed by the typical action movie, while its flaws are not crippling enough to make it comical. Halfway decent action and a few quips are all it really offers. For a better take on the premise, check out the Val Kilmer version of The Saint, which has better characters, a decent plot, and a credible romance that gives the film some identity.

4.8 out of 10 on IMDB. I give it a 5.5 for a passable action, a light tone, and poor execution.

Today’s quick review: Following. To stave off his loneliness, an unemployed writer (Jeremy Theobald) takes to following strangers around. His activities catch the attention of Cobb (Alex Haw), an unconventional burglar who teaches the young man his craft. But when Cobb’s apprentice falls for a woman (Lucy Russell) he robbed, he gets drawn into a tangled situation involving her dangerous ex-boyfriend.

Following is a minimalistic crime drama from writer and director Christopher Nolan. Following begins with the simple premise of stalking as a hobby and spins it into a mysterious quasi-thriller with an engaging plot. The film’s black-and-white direction, unusual themes, and smart writing make it a fascinating watch in spite of its short run time. However, its limited scope keeps it from making the most of its premise.

The directorial debut of Christopher Nolan, Following introduces many of the elements Nolan would become known for. Nonlinear storytelling makes the film a small, self-contained puzzle, with clues dispensed cleverly throughout it. A few sharp plot twists give the story a good payoff, although the plot is neither as elaborate nor as gut-wrenching as Nolan’s later work.

The film’s only major tradeoff concerns its initial premise. Following has the makings of a tense psychological thriller, but the concept of stalking strangers falls by the wayside as soon as Cobb appears. This shift paves the way for the movie’s strong, actual plot, but the unique, disturbing premise of escalating stalking is never fully explored. As such, Following is an intellectually satisfying film that misses out on the raw tension of, say, Memento.

Watch Following if you are a fan of Christopher Nolan or you are in the mood for an experimental story whose risks pay off. The movie handles its darker elements delicately enough that it remains a fairly accessible watch, even for sensitive viewers. However, its serious tone and complicated plot make it a poor chose for anyone looking for a light or straightforward story. For a darker, more developed thriller with a similar tone, check out Memento.

7.6 out of 10 on IMDB. I give it a 7.0 to 7.5 for an interesting premise, an engaging plot, and solid direction.

Today’s quick review: The Saint. Simon Templar (Val Kilmer), an international thief and master of disguise, takes a job from Ivan Tretiak (Rade Serbedzija), a zealous Russian politician, to steal the secret of cold fusion from Dr. Emma Russell (Elisabeth Shue), a beautiful scientist on the verge of perfecting the mythical energy technology. But when Simon falls for Emma, he goes to great lengths to protect her and her research from Tretiak.

The Saint is a spy romance based on the classic TV series. The Saint draws from the spy genre in its technology-oriented plot, its politically powerful villain, and Simon’s globe-trotting lifestyle. But unlike most spy movies, The Saint has romance at its core. There is some action, but little in the way of major stunts or violence. The movie spends almost as much time developing its two romantic leads as it does on the main plot.

The Saint’s best qualities are its acting and the romance that stems from it. Val Kilmer makes for a charming but troubled Simon Templar: his criminal profession and his many disguises can’t quite hide the altruistic man underneath. Elisabeth Shue plays a shy, bright, and sweet Emma Russell, a woman who slips past Simon’s defenses without ever meaning to. Their romance develops naturally and has a central place in the story.

As a spy movie, The Saint is decent but far from great. Emma’s cold fusion equations make for a better plot device than the usual doomsday machines. Simon’s disguises are always interesting, and his bag of tricks is deep without being implausible. But the movie only has a little genuine action, even near its finale, and the plot does not aim very high. The Saint has enough quality to entertain, but not enough to impress.

Give The Saint a shot if you are looking for a lighter, more romantic take on the spy genre. The movie’s likable characters and reasonable plot make it a pleasant watch for anyone who appreciates a love story with their action. Skip it if you are looking for an exciting action thriller or a deep romantic drama. For an adventure romance with similar appeal, check out Romancing the Stone.

6.2 out of 10 on IMDB. I give it a 6.5 for a sweet romance and a decent plot.

Today’s quick review: In Bruges. After a job goes wrong, hitmen Ray (Colin Farrell) and Ken (Brendan Gleeson) are sent to the picturesque town of Bruges, Belgium, to hide out and wait for their next assignment. While Ken takes in the sights, Ray strikes up a relationship with Chloe (Clemence Poesy), a worker on a local film crew. But when their temperamental boss Harry (Ralph Fiennes) finally gets in touch, the hitmen balk at the orders he gives them.

In Bruges is a black comedy and crime drama from writer and director Martin McDonagh. In Bruges features witty dialogue, a pair of interesting leads, and a few beautiful moments. The movie stars Colin Farrell as Ray, a novice hitman struggling with guilt after his first assignment, and Brendan Gleeson as Ken, a laid-back and amiable veteran of the job. The two men play off each other well, demonstrating true friendship in spite of their differences.

In Bruges makes for an unusual comedy in that, for about half of the movie, there is not a lot going on. Ray and Ken are stuck in a small town with nothing much to do but chat, talk to the locals, and work through their personal issues. The main plot kicks in about halfway through the movie, at which point the pacing picks up some. But even then, In Bruges never drops its methodical storytelling, and even the action-heavy finale takes its time.

As a result, In Bruges is a much more grounded movie than its quirky sense of humor and criminal subject matter would suggest. Every time the story threatens to spiral into chaos, In Bruges pushes the focus back onto its characters. Over the course of the movie, Ray, Ken, and Harry are developed into nuanced, likable characters that give the movie a strong sense of heart and an organic source of humor.

In Bruges will not suit every palate. Depending on how the dialogue catches you, the humor can range from mildly amusing to hilarious. The movie has some action, but it is back-loaded and secondary to the plot. The moral themes are well-developed but visit some bleak places. But even taking these differences in taste into account, In Bruges is a movie that has a unique vision and executes it well.

Give In Bruges a shot if you enjoy thoughtful, unconventional comedies with a dark side to them. Skip it if you are looking for straight action or simple laughs. Those looking for a more dynamic movie with a similar tone should check out Seven Psychopaths by the same writer and director. Those looking for a punchier crime movie that goes heavier on the comedy should check out Lock, Stock, and Two Smoking Barrels.

7.9 out of 10 on IMDB. I give it a 7.5 for strong characters, good dialogue, and excellent handling of emotion.

Today’s quick review: The Lone Ranger. While on the hunt for the notorious criminal Butch Cavendish (William Fitchner), John Reid (Armie Hammer) and his brother are ambushed, shot, and left for dead. Thanks to the timely intervention of Tonto (Johnny Depp), an eccentric Comanche hunter, John survives the ordeal. At Tonto’s insistence, Reid dons a mask to conceal his identity and sets out to bring his brother’s killer to justice.

The Lone Ranger is a Western action comedy with a touch of ambiguous mysticism. The Lone Ranger reimagines the classic TV series as a daring, quirky adventure. At its best, The Lone Ranger is an imaginative, visually spectacular, and amusing experience. At its worst, the movie is a bastardization of a classic that is missing the special flourish needed to bring its strange vision together.

The Lone Ranger does a few things very well. The movie delivers a surprising variety of action for a Western, supplementing the usual shootouts and horse chases with a creative train chases and plenty of chaos. Johnny Depp makes for a fascinating Tonto: a superstitious, resourceful, and troubled man with only a passing interest in John Reid. The humor laced throughout the movie is enough to give it an offbeat charm.

However, The Lone Ranger is marred by gambles that don’t pay off. The movie’s framing device, an aged Tonto recounting his adventures to a young boy, adds little to the film. The tone is inconsistent, bouncing between high-stakes peril and kid-friendly adventure. The movie is ambivalent to its source material and alternates between celebrating and mocking the conventions of the original show.

The Lone Ranger invites comparison to Pirates of the Caribbean, with which it shares its director, writers, and lead actor. The Lone Ranger follows the same pattern of swashbuckling action, wry humor, and quirky characters as the Pirates films, but it is missing their coherence of vision. In spite of the film’s technical competence, the pieces of the puzzle don’t fit together as well as they could have.

Still, The Lone Ranger makes for an entertaining watch for the right type of viewer. The ideal viewer should enjoy freewheeling action and unconventional takes on established genres, as well as be willing to forgive a few missteps along the way. Those who are looking for a clean hit, a traditional Western, or a straight adaptation of the source material should skip it.

6.5 out of 10 on IMDB. I give it a 7.0 to 7.5 for impressive action, fairly good humor, and personal appeal; your score will vary depending on how its style catches you.