Author: Stan

Today’s quick review: Vice. Roy (Thomas Jane), a police detective, has always been leery of Vice, a resort where guests can enact their most twisted fantasies on lifelike androids. But when Kelly (Ambyr Childers), one of the robots, recalls her erased memories and escapes from the resort, he gets an opportunity to take down Vice and its untouchable owner Julian Michaels (Bruce Willis) once and for all.

Vice is a science fiction thriller set in a world where artificial intelligence is used for perverse forms of recreation. Vice has the makings of a good science fiction movie, with a speculative setting and the ingredients needed for action. However, its limited scope keeps it from doing very much with its premise. The movie sticks to simple characters, a stock plot, and budget action, making it a forgettable watch.

Vice falls short of its potential in several ways. The dialogue and acting are splotchy, mostly passable but pocked with a few clumsy moments. Kelly, Roy, and Julian fill the roles they need to in the story, but they are thin characters who undergo minimal development. The story touches on interesting questions about artificial intelligence but has no real insight to offer. Even the plot just goes through the motions, with no twists or surprises.

Vice has just enough quality to be a mindless watch for science fiction fans. Those looking for a thoughtful or thriling science fiction experience should look elsewhere. For a darker, more stylized take on a similar premise, check out Gamer. For an action-packed robot thriller with better writing and special effects, check out I, Robot. For a Bruce Willis science fiction movie with similar elements, check out Surrogates.

4.2 out of 10 on IMDB. I give it a 5.5 for a decent premise and lackluster execution.

Today’s quick review: Chicken Little. One year after his claim that the sky was falling made him a laughingstock, Chicken Little (Zach Braff) is trying to repair both his reputation and his relationship with his dad (Garry Marshall). But just as things are looking up, Chicken Little learns something that no one will believe: that his town is being invaded by aliens.

Chicken Little is a CGI-animated family adventure comedy from Disney. Chicken Little adapts the classic children’s story with a science fiction twist, making aliens the cause of Chicken Little’s panic. The movie is rendered with cartoonish CGI that works well enough for its anthropomorphic animals and bouncy action, but the quality falls well short of that found in later Disney films.

As a comedy, Chicken Little is a mixed bag. The movie pulls off a few genuinely cute and funny moments. There are enough gags that many of them hit their mark, although there are no real standouts. But Chicken Little’s jokes are simple to a fault, a far cry from Disney’s usual layered humor. The movie also relies too heavily on pop music and dancing to earn its laughs. As a result, the movie feels insubstantial, even for a kids’ comedy.

Chicken Little is a treasure trove of familiar voice actors. Zach Braff is a surprisingly good fit for Chicken Little, a unpopular, accident-prone boy who just wants to please his father. The supporting cast includes Joan Cusack, Steve Zahn, and Garry Marshall. There are also appearances by Don Knotts, Patrick Stewart, Wallace Shawn, Harry Shearer, Patrick Warburton, and Adam West.

Watch Chicken Little when you are in the mood for a light but shallow comedy. The energetic tone and a couple of good moments make it a decent watch, but the craftsmanship needed to make it a memorable movie just isn’t there. Skip it if you are looking for bigger laughs or the Disney magic.

5.8 out of 10 on IMDB. I give it a 6.0 to 6.5 for modest entertainment value.

Today’s quick review: Coraline. Coraline Jones (Dakota Fanning), an inquisitive young girl, has just moved to an old house with her mother (Teri Hatcher) and father (John Hodgman). While exploring her new home, she discovers a passageway to another world, a magical place where she can live the life she wants. But as she gets drawn deeper into this new world, she learns that not everything is as perfect as it seems.

Coraline is a dark fantasy adventure based on the book by Neil Gaiman. Coraline features impressive stop motion animation, inventive fantasy elements, and a plucky, likable heroine. The story it tells remains interesting from start to finish, and its high-quality voice acting helps bring its world to life. The movie’s few flaws include slightly flat resolutions to some of its conflicts and an art style that works well but strays from the beaten path.

Coraline straddles the line between fantasy and horror. Dolls, stitches, and insects give the movie a horror feel, but there are no true scares. Instead, Coraline channels its darker elements into a fascinating, otherwordly tale that has its own, consistent rules and a mystery to solve. For all of its eeriness, Coraline plays fair. However, the quasi-horror may still be too much for younger children.

Watch Coraline if you are in the mood for something dark and creative. Coraline is a worthwhile watch for anyone interested in the eerie side of children’s fantasy. Skip it if you are looking for an upbeat or conventional movie. For an animated horror movie with a darker tone and more action, check out 9. For another surreal, visually inventive fantasy adventure from Neil Gaiman, check out Mirrormask.

7.7 out of 10 on IMDB. I give it a 7.0 to 7.5 for a good premise, rich animation, and a strong sense of fantasy.

Today’s quick review: Inside Man. When Dalton Russell (Clive Owen), an unusually intelligent criminal, robs a New York City bank and takes dozens of hostages, Detective Keith Frazier (Denzel Washington), a hostage negotiator, is called in to handle the situation. Meanwhile, Arthur Case (Christopher Plummer), the chairman of the bank, hires Madeleine White (Jodie Foster) to secure the contents of a sensitive safe deposit box within the bank.

Inside Man is a crime drama from director Spike Lee. Inside Man boasts an interesting plot, a well-rounded cast, and solid execution. The movie takes the usual bank robbery framework and renovates it, swapping in clever developments and an intriguing central mystery. Dalton Russell’s careful planning places the mechanics of the robbery front and center, while Keith Frazier’s sharp detective work turns each new twist into a puzzle to figure out.

Inside Man’s cast is impressive without being flashy. Denzel Washington, Clive Owen, and Jodie Foster all do an excellent job in their roles: competent, independent, and even likable, but believably human and balanced well together. The supporting cast inclues Christopher Plummer, Willem Dafoe, and Chiwetel Ejiofor and keeps up the trend of memorable characters who still fit into a cohesive whole.

As for its direction, Inside Man knows what it is doing. Spike Lee fleshes out his scenes with realistic touches that show an eye for detail. These touches help sell the story and never slow the movie down. Inside Man also keeps several irons in the fire at once. Between the heist itself, the larger mystery, and the machinations of its characters, the movie always has a way to keep its momentum up.

Watch Inside Man if you are in the mood for a high-quality crime movie. Its smart writing, polished presentation, and low levels of violence make it a satisfying watch with broad appeal. Those looking for an action movie, a gritty thriller, or a truly mind-bending mystery should look elsewhere. For a more personal bank robbery story, check out Dog Day Afternoon.

7.6 out of 10 on IMDB. I give it a 7.5 for good writing, acting, and presentation.

Today’s quick review: 88 Minutes. Nine years after his testimony put accused serial killer Jon Forster (Neal McDonough) behind bars, forensic psychiatrist Dr. Jack Gramm (Al Pacino) receives a death threat claiming he has 88 minutes to live. With a copycat killer on the loose and his own life in danger, Gramm must figure out who has been collaborating with Forster before it is too late.

88 Minutes is a crime thriller about the grudge between an imprisoned serial killer and the psychiatrist who brought him down. 88 Minutes sports capable writing, a good sense of tension, and a talented lead actor. The pace is fast, and the movie handles its moment-to-moment tension well. However, the overarching plot does not fit together as tightly as it could, muting its payoff and making its twists hard to follow.

88 Minutes does a good job of planting red herrings and keeping them in play. Gramm’s circle of friends and colleagues includes a number of shady characters, and whoever is making the threats must be close to him. However, the movie’s strengths come with a price. The flurry of information can be hard to keep track of. The movie also focuses more on short-term suspense than building up to its finale, a tradeoff that hurts the movie’s cohesion.

Other choices could swing a viewer one way or the other. Al Pacino’s character never seems entirely trustworthy, no matter how much he tries to help those around him. The movie opts for a serious tone with a tinge of targeted violence, although it stops well before it crosses into horror. The central premise is only mediocre, and the movie depends heavily on its forward momentum to keep the viewer engaged.

Watch 88 Minutes if you are in the mood for a serious thriller with competent execution and a few flaws. Although its payoff is mixed and its style of storytelling may not satisfy some viewers, 88 Minutes is worth a shot for anyone looking for some quick suspense. Skip it if you are looking for a lighter thriller or a true mystery. For another Al Pacino crime thriller that instead plays the long game, check out Insomnia.

5.9 out of 10 on IMDB. I give it a 6.5 to 7.0 for reasonably good craftsmanship.

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.