Author: Stan

Today’s quick review: Alien Arrival. As part of a deal with the renegade General Hatch (Mark Redpath), escaped prisoner Kye Cortland (Dan Mor) sneaks aboard a scientific research spacecraft to steal valuable data. But when the ship crashes on a desolate alien moon, Kye is left stranded with only Tarren Hollis (Aleisha Rose), a biologist who survived the crash, and RE3F (Shaun Micallef), the ship’s AI, to help him find a way back home.

Alien Arrival is a budget sci-fi action movie about a man trapped on an inhospitable world. Alien Arrival has a decent premise but none of the skill needed to back it up. An unfocused plot, jumbled presentation, and a limited special effects budget all keep the movie from living up to its potential. The movie’s main value comes from its ideas: a war between an oppressive government and a violent general, and an alien moon with hidden secrets.

Like other budget sci-fi films, Alien Arrival struggles with basic storytelling. The film clearly has specific ideas in mind, but it lacks the craftsmanship to convey them effectively. The acting is unconvincing, the dialogue leaves key points unexplained, the plot is clunky, and the camerawork makes it hard to tell what’s going on. None of the errrors are grievous, but they add up quickly, making Alien Arrival a tough film to invest in.

Making matters worse are Alien Arrival’s three separate plot threads: General Hatch’s fight against the government, Kye’s survival on the alien moon, and his contact with a mysterious lifeform there. Apart from Kye’s involvement, the threads have almost nothing in common, meaning that the time the movie invests in one doesn’t contribute to any of the others. The different plot threads split the movie’s focus and rob it of its momentum.

Alien Arrival offers some value for fans of budget sci-fi, but its few good ideas are outweighed by its poor execution. Most viewers should steer well clear. For a better sci-fi action movie about humans trapped on an alien world, try Pitch Black, Riddick, or Predators. For a more realistic tale of survival in space, try The Martian or Gravity. For a budget sci-fi movie with similar strengths and weaknesses, try 2307: Winter’s Dream or Taking Earth.

4.5 out of 10 on IMDB. I give it a 5.0 for decent ideas let down by poor execution.

Today’s quick review: Incoming. Years in the future, Reiser (Scott Adkins) leads a mission to the Hammer, an orbiting prison where terrorists are held for interrogation, to allow Dr. Stone (Michelle Lehane) to audit the treatment of the prisoners. But when Argun (Vahidin Prelic), a dangerous terrorist, breaks out of his cell and frees his brethren, Reiser and his allies must regain control of the Hammer before the prisoners can crash it into the ground.

Incoming is a budget science fiction action movie that pits four survivors against six escaped terrorists aboard a prison space station. Outnumbered, stranded, and short on resources, Reiser and the others must find a way to even the odds against Argun and his band of killers. Incoming makes an earnest attempt at following through on its premise, but its low budget, poor acting, and flawed writing keep it from holding much appeal.

Incoming has two areas where its efforts bear fruit: its action and its world-building. The action isn’t spectacular, let down by a limited budget and a restrictive setting, but the fights are reasonably well-choreographed and give the film some excitement. As for its world-building, Incoming puts in more effort than it needs to, setting up an elaborate mystery about the Hammer, its political ramifications, and the terrorists it holds.

Neither of these aspects is enough to make up for the movie’s many shortcomings. None of the characters are likable, and one or two of them are active hindrances. The script fails to follow through on its best ideas, and the film’s plot twists, in spite of being fairly clever, are barely felt. Incoming’s budget restricts it to a confined setting with very little personality, while the action has none of the flash needed to carry the film.

Incoming might hold some value for fans of budget science fiction, but anyone else will want to steer clear. The movie has some passable action and a couple of interesting ideas, but it lacks the capacity to do much with them. For a sci-fi action film with a similar premise and better execution, check out Lockout. For more violent, larger-scale assault on a secure facility, check out Dredd or The Raid: Redemption.

3.3 out of 10 on IMDB. I give it a 4.0 for modest action let down by poor execution all the way around.

Today’s quick review: At the Circus. Circus owner Jeff Wilson (Kenny Barker) is about to pay off his debt to John Carter (James Burke) and marry his sweetheart Julie Randall (Florence Rice). But when Carter’s thugs steal the money, they leave Wilson with only days before he loses the circus. To help out their boss, Tony Farelli (Chico Marx) and Punchy (Harpo Marx) hire lawyer J. Cheever Loophole (Groucho Marx) to track down the stolen cash.

At the Circus is a classic comedy from the Marx Brothers. This time around, the Brothers are part of a traveling circus, where one crook is all that stands between their employer and his life’s dream. At the Circus features the Marx Brothers’ usual assortment of song, slapstick, and bedlam. It’s not as quotable as their very best, nor is the plot as tight, but what’s there is more than enough to entertain and to showcase the Brothers’ unique talents.

At the Circus offers a little bit of everything. The circus setting gives the film plenty of opportunities for slapstick, including trapeze stunts, a strongman act, a cannon, and even a gorilla. There’s plenty of song, with numbers for Groucho, Chico, and Harpo, as well as a romantic ballad for Jeff and Julie. The plot isn’t anything special, but it does keep the Brothers on the move as they try to set things right for the young couple.

Watch At the Circus when you’re in the mood for an upbeat, cheerful comedy. Fun comedy routines, an upbeat tone, and plenty of variety make At the Circus a worthy pick, even if it doesn’t have the polish of the Brothers’ very best. Steer clear if you’re looking for a more sedate comedy. For a sharper Marx Brothers comedy with a similar love story, try A Night at the Opera. For one with similiar quality, try A Night in Casablanca.

6.9 out of 10 on IMDB. I give it a 7.0 for a fun mix of mischief, music, and mayhem.

Today’s quick review: Room Service. Gordon Miller (Groucho Marx), a producer on the verge of launching his play, has been running the whole operation out of a hotel room—and on credit. But when Gregory Wagner (Donald MacBride) comes to collect on the troupe’s bill, Miller and his accomplices Binelli (Chico Marx) and Faker (Harpo Marx) must stall him long enough to find a backer who can pay off their debt and solve their money woes for good.

Room Service is a classic comedy from the Marx Brothers. Room Service sees the Brothers try every trick in the book to avoid getting kicked out of their hotel, including fast talk, flagrant lies, phony illnesses, and even kidnapping. The movie gets a lot out of this simple premise, but it never reaches the level of the Marx Brothers’ best. Room Service still provides some delightfully chaotic comedy, but it’s offset by a few noticeable shortcomings.

Room Service’s chief failing is that it doesn’t make the most of the Marx Brothers. Their unique talents only show up in small doses: an argument here, a bit of slapstick there, with no music in sight. The jokes lack their usual sharpness; few of the routines are memorable, and the timing feels sluggish. The inclusion of Leo Davis (Frank Albertson), the playwright, throws off the dynamic further as an unwilling partner in the Brothers’ schemes.

Even with these flaws, Room Service is an entertaining watch. The film weaves a suitably complicated web of chaos and chicanery. Just tracking all the schemes, lies, and deadlines will give most viewers plenty to do. The Brothers’ patter is still execellent, while the slapstick gives the film some needed variety. Room Service’s issues keep it from shining like it could have, but what’s there is enough to earn some honest laughter from the audience.

Watch Room Service when you’re in the mood for something light and mischievous. It makes a few key missteps, but solid fundamentals and three talented leads make it a worthwhile watch. Skip it if you prefer subtler comedy. For the Brothers at their best, try Duck Soup, Animal Crackers, or A Night at the Opera. For Marx Brothers films of similar caliber, try Go West or At the Circus. For a classic comedy focused on banter, try The Thin Man.

6.7 out of 10 on IMDB. I give it a 6.5 to 7.0 for decent comedy that’s missing some polish.

“This is just like television, only you can see much further.” —Chance

Today’s quick review: Being There. Chance (Peter Sellers), a dimwitted gardener, has spent his life within the sheltered confines of his employer’s estate. When the man dies and the lawyers take his home, Chance is left to fend for himself in a complex and uncaring world. Mistaken for a destitute businessman, he’s taken in by Eve (Shirley MacLaine) and Ben Rand (Melvyn Douglas), a wealthy couple who soon come to see him as an indispensable friend.

Being There is a classic comedy about a naive man and a case of mistaken identity. Chance has lived his whole life in one place and only knows about the outside world from television. His calm, earnest demeanor, expensive clothing, and enigmatic way of speaking let him inadvertently pass for a member of high society. What follows is a sweet, poignant story with excellent acting, a carefully balanced tone, and a deadpan sense of humor.

Being There avoids overplaying its hand. Chance is an unusually subdued role for Peter Sellers, drawing humor from innocence rather than slapstick or caricature. As a protagonist, Chance manages to be likable but not cloying, a peculiar character with good intentions and an unusual way of looking at the world. His odd behavior is mistaken for wisdom and a clever sense of humor by those around him, a mistake Chance is too dull to dispel.

Being There tempers its comedy with drama. Chance has a tragic side to his character. His mental deficiencies keep him from forming real relationships or understanding the world around him. He floats through life untouched by events that should be meaningful, carried along by a tide of serendipity. This aspect of Chance lets the film slip in some deeper observations about life, death, society, and the ways that humans interact with one another.

Watch Being There when you’re in the mood for a dry comedy with some substance. Being There carves out a peculiar niche for itself and fills it out well. How much you get out of the film will depend on how much you like its clueless main character and its tone. Those who prefer thoughtful comedies will find that it has both a creative premise and the craft to back it up. Those who prefer overt humor or an upbeat tone may want to look elsewhere.

For a classic comedy with a similar blend of low-stakes drama and dry humor, try The Graduate. For a more overt comedy with a similar case of mistaken identity, try The Man Who Knew Too Little. For a comedy adventure about a good-natured man with his head in the clouds, check out The Secret Life of Walter Mitty. For an awkward modern comedy about a sheltered young man forced into the real world, try Brigsby Bear.

8.0 out of 10 on IMDB. I give it a 7.5 for a likable main character and a pleasant blend of comedy and deeper meaning.

Today’s quick review: Mystic River. When his teenage daughter is murdered, Jimmy Markum (Sean Penn), a criminal turned family man, is reunited with two of his childhood friends: Sean Devine (Kevin Bacon), the detective in charge of the case, and Dave Boyle (Tim Robbins), one of the last people to see the girl alive. As Jimmy and Sean race each other to find the killer, the winding investigation dredges up dark secrets from their past.

Mystic River is a crime drama and mystery from director Clint Eastwood. Mystic River tells the story of three estranged friends who are brought back together by a shared tragedy. The core mystery of who killed Jimmy’s daughter feeds into a number of other, interlocking mysteries that give the viewer plenty to chew on. Apart from its excellent plot, Mystic River brings to bear crisp direction, sharp pacing, potent dramatic themes, and a talented cast.

Mystic River’s best feature is its plot. The movie does a skillful job of balancing its clues and its sense of mystery. At any given point in time, the audience has a clear picture of where Mystic River is going but no idea where it will end up. The audience is always one piece shy of completing the puzzle, and that missing piece always leads somewhere new. The result is a gripping, well-paced mystery that packs a couple of shocking twists.

Mystic River is also a study in the different courses a life can take. From their shared background, Jimmy, Sean, and Dave became very different people. Jimmy flirted with the criminal life before settling down, Sean made a name for himself in law enforcement, and Dave tried in vain to move past a childhood trauma. Their experiences and personalities factor into the plot in subtle ways and give the film rich, thematic material to work with.

Watch Mystic River when you’re in the mood for a crime drama with a bit of edge to it. Mystic River is a polished, intriguing movie that makes good on its premise and is well worth a watch for anyone who’s interested. Steer clear if you’re looking for a feel-good movie. For another crime drama based on a book by the same author, check out Gone Baby Gone. For a crime drama with a strong mystery, check out L.A. Confidential or The Usual Suspects.

8.0 out of 10 on IMDB. I give it a 7.5 to 8.0 for a haunting mystery.

Today’s quick review: Letters from Iwo Jima. In 1944, the Japanese military prepares for an American attack on the island of Iwo Jima, one of the last between American forces and the Japanese mainland. General Kuribayashi (Ken Watanabe) arrives on the island to coordinate its defenses according to his own unorthodox tactics. Meanwhile, Saigo (Kazunari Ninomiya) wrestles with his obligations as a soldier and his own desire to return home to his wife.

Letters from Iwo Jima is a historical war drama directed by Clint Eastwood. Letters from Iwo Jima depicts one of the bloodiest battles of World War II from the Japanese perspective. Robbed of air support and denied reinforcements, the soldiers of Iwo Jima face overwhelming odds in a fight to the death. The movie chronicles the Battle of Iwo Jima from several perspectives, offering an intimate look at the price of war in lives, toil, and humanity.

Letters from Iwo Jima uses two main characters, a general and a private, to capture the full breadth of the situation. General Kuribayashi’s perspective depicts the battle at a high level, a contest of troops, tactics, and logistics. Saigo’s complementary perspective shows what life is like on the front line, a medley of fear, danger, and hollow patriotism. They are backed by a wide supporting cast encompassing a variety of ranks and attitudes.

Letters from Iwo Jima explores the line between heroism and cowardice. The strict ethos of the Japanese military demands that its soldiers lay down their lives for their country, even when there is little to be gained from it. Kuribayashi struggles against this ideal for practical reasons: he needs his troops alive. Saigo’s concerns with it are more personal: surviving an already deadly battle amidst an army that seems determined to die.

Letters from Iwo Jima has the craftsmanship to match its ambition. The performances are strong all around, the themes are resonant, and the tone captures both the noble and the barbaric aspects of war. Letters from Iwo Jima is a mature movie that pays close attention to its characters and how they react to the trying situations they find themselves in. The movie accomplishes what it sets out to do; the only open variable is the viewer’s taste.

Letters from Iwo Jima is a must-see for fans of the war genre and a solid pick for anyone else. Its high quality and unique perspective make it one of the better films in a crowded genre. Steer clear if you’re looking for a less tragic war movie, or one from the American perspective. For a similarly personal, horrifying depiction of World War II, try Dunkirk. For a war movie about a Soviet sniper at the Battle of Stalingrad, try Enemy at the Gates.

7.9 out of 10 on IMDB. I give it a 7.5 to 8.0 for a meaningful story and top-notch quality.

Today’s quick review: Million Dollar Baby. Maggie Fitzgerald (Hilary Swank), an aspiring boxer with nothing to lose, wants nothing more than to box for Frankie Dunn (Clint Eastwood), an experienced trainer and manager. Thanks to her persistence and a little help from Frankie’s friend Eddie (Morgan Freeman), Frankie agrees to take Maggie on. But even with Frankie’s training, Maggie has her work cut out for her if she’s going to make it to the top.

Million Dollar Baby is a sports drama from director Clint Eastwood. Million Dollar Baby follows Maggie, a spirited but untrained boxer from a poor background, as she fights her way towards the world title. Guiding her along the way are Frankie, a cantankerous trainer overdue for a champion, and Eddie, a retired boxer and Frankie’s oldest friend. The movie offers a sober look at the world of boxing, the drive to succeed, and the price of success.

Million Dollar Baby earns the audience’s respect bit by bit. No single line, plot point, or character defines the movie, but each moment builds on the last until the audience cares deeply about the story. Maggie and Frankie are remarkably well developed characters, complete with noble traits and human faults, and their nuanced relationship forms the backbone of the movie. They are backed by a dramatic story with potent themes and a couple of surprises.

The film’s quality comes with a price: Million Dollar Baby is an extremely heavy watch. The story mixes uplifting moments with harsh realism. For every victory that Maggie earns, there’s a broken dream waiting in the shadows. Frankie is haunted by past mistakes and the prospect of repeating them, Eddie still has to live with the injury that ended his career, and Maggie must grapple with not only her boxing career but her future beyond the sport.

The end result is a powerful drama with top-notch craftsmanship. Million Dollar Baby has everything it needs in terms of acting, writing, direction, and overall polish to tell the story it wants to in an effective way. Those looking for an idealistic underdog story should steer clear. Those willing to take the defeat with the triumph should look no further. For a more uplifting story about boxing, check out Rocky or its sequels.

8.1 out of 10 on IMDB. I give it a 7.5 to 8.0 for honest, effective drama.

Today’s quick review: Gran Torino. Following the death of his wife, Walt Kowalski (Clint Eastwood), a Korean War veteran with a short temper, lives by himself in a neighborhood increasingly populated by Hmong immigrants. He earns the gratitude of his Asian neighbors when he drives off a local gang, sparking an unlikely friendship with Sue (Ahney Her). At Sue’s urging, Walt also takes Thao (Bee Vang), her unassertive teenage brother, under his wing.

Gran Torino is a drama starring and directed by Clint Eastwood. Gran Torino tells the story of a racially prejudiced old man and his evolving relationship with his immigrant neighbors. The film combines realistic characters, themes of friendship and responsibility, and a mundane but moving story to make for an oddly satisfying watch. A pure drama, Gran Torino accomplishes what it sets out to do without the crutches of comedy or action.

As much as anything, Gran Torino is a character study of Walt Kowalski. Proud, stubborn, and quick to judge, Walt is a hard man to get along with. Yet his rough exterior hides a complex character with deep-set values and a loyal heart. Walt develops respect for anyone who’s unwilling to take his barbs and slurs lying down, leading him to form a reluctant friendship with Sue, a Hmong woman who lives next door and has just as much backbone as he does.

The other major part of the movie is the relationship between Walt and Thao. Thao has the brains to go far, but his shy personality makes him an outcast in his community. Walt eventually agrees to mentor the boy, first by assigning him chores and then by imparting his hard-earned wisdom about life, responsibility, and masculinity. Their relationship forms the heart of the movie and gives Gran Torino much of its impact.

Watch Gran Torino when you’re in the mood for a serious, well-crafted reflection on life. Excellent character development and a couple of top-notch dramatic moments make Gran Torino well worth a watch, even for those who don’t normally go for drama. Steer clear if you’re looking for something light or action-packed. For a more upbeat story about a grumpy older man, check out Up. For an even more moving drama, try The Shawshank Redemption.

8.1 out of 10 on IMDB. I give it a 7.5 for complex characters and a moving story.

Today’s quick review: Changeling. In Los Angeles in 1928, Christine Collins (Angelina Joline) comes home from work one day to find that her son Walter has vanisheed without a trace. After months of searching, Captain J.J. Jones (Jeffrey Donovan) of the LAPD returns another boy to her, insisting he’s Walter, and declares the case closed. To get her real son back, Christine must take on a corrupt police force determined to avoid a scandal at all costs.

Changeling is a crime drama and mystery from director Clint Eastwood. Based on the true story of Christine Collins and her search for her missing son, Changeling addresses the fear, uncertainty, and hope of a missing child case, as well as the Kafkaesque danger of institutional corruption. The story won’t appeal to everybody, focused as it is on uncomfortable, real-world drama. But in terms of overall quality, Changeling has everything it needs.

Changeling focuses on two intertwining conflicts: Christine’s search for her missing son, and her fight with the LAPD after they return an impostor to her instead. Christine’s situation puts her at an extreme disadvantage. The Department is willing to stonewall her, threaten her, and trash her reputation to make the incident go away. Her chief ally in her fight is Reverend Briegleb (John Malkovich), a vocal critic of the LAPD.

Changeling backs its dramatic story with strong craftsmanship all around. Angelina Jolie delivers the performance that ties the film together, walking a thin line between despair and determination. The plot moves forward thanks to a balanced combination of lucky breaks, outside help, and Christine’s own persistence. The tone consists of a similar blend of helplessness and thin hope. Solid writing and direction complete the package.

Still, what Changeling has to offer won’t suit everyone. The viewer has to invest in Christine’s struggles for the drama to be effective, and in spite of the film’s best efforts, Christine and her missing boy simply won’t hold everyone’s attention. The plot also skews more passive than other crime dramas. There’s no single problem for Christine to solve, just a messy, hostile situation whose outcome is largely out of her hands.

Watch Changeling when you’re in the mood for a well-crafted drama with the ring of authenticity. Changeling does a skillful job of conveying its themes and capturing the drama of a police cover-up. Steer clear if you dislike true stories or prefer mysteries with a more active protagonist. For another missing child case, try Gone Baby Gone. For an Alfred Hitchcock movie with a similar sense of helplessness, try The Lady Vanishes.

7.8 out of 10 on IMDB. I give it a 7.0 to 7.5 for an open-ended mystery and an effective sense of helplessness; your score will vary.