Author: Stan

“I am an FBI agent.” —Johnny Utah

Today’s quick review: Point Break. To catch an elusive gang of bank robbers, FBI agent Johnny Utah (Keanu Reeves) goes undercover in the Los Angeles surfing community. His guide to the lifestyle is Tyler (Lori Petty), a surfer girl he finds himself drawn to. But Johnny loyalties begin to waver when Bodhi (Patrick Swayze), one of Tyler’s friends, shows him just how fulfilling the surf life can be.

Point Break is an action movie with a sports twist. Keanu Reeves stars as Johnny Utah, a young, driven FBI agent whose attitude makes him a natural fit for his new undercover assignment. Patrick Swayze plays opposite him as Bodhi, a dedicated surfer who sees potential in Johnny. Their friendship is put to the test as Johnny comes closer to identifying the bank robbers, jeopardizing his newfound sense of peace for the sake of his job.

As far as crime movies go, Point Break has an unusual emphasis on character. None of the individual characters are all that astounding, but clear tensions and a good plot progression make them feel worthwhile. Between bank robberies, chases, and plenty of waves, Point Break also has its fair share of action. Every now and then the film’s action movie conventions will clash with its character-driven plot, but generally the two sides go well together.

Point Break is worth a watch if you are in the mood for a crime drama that invests in its characters. Surf fans will get the most out of the film, but anyone can appreciate the characters, plot, and action. For a movie with a similar premise, but with street racing instead of surfing, check out The Fast and the Furious. For a documentary with all of the waves and none of the action, check out The Endless Summer.

7.2 out of 10 on IMDB. I give it a 7.0 for a good story and decent action.

Today’s quick review: Baby Driver. Baby (Ansel Elgort), a talented driver with an ear for music, works as a getaway driver for Doc (Kevin Spacey), the mind behind a series of daring robberies, to pay off an old debt. With the end of his service approaching, Baby hopes to leave the criminal life behind him. But Doc has no intention of letting his cash cow leave, and he pulls Baby back in for one more job.

Baby Driver is a slick, stylized crime drama and comedy from director Edgar Wright. The movie shows life through the eyes and ears of Baby, whose ubiquitous shades and odd mannerisms mask an incredible gift for driving. As a result of his tinnitus, Baby listens to music almost constantly, and his musical picks form the film’s pitch-perfect soundtrack. To round it all out, Baby Driver features amazing stunt driving, snappy dialogue, and polished presentation.

Tonally, Baby Driver splits the difference between a comedy and a drama. At its brightest, it is a fun romp with an upbeat soundtrack, impressive action, and the punchy humor Edgar Wright is known for. At its darkest, Baby Driver is a tense story about an innocent young man who’s in over his head. But even in its most dramatic moments, Baby Driver never loses its sense of momentum or its moral compass.

From a cinematic standpoint, Baby Driver is a treat. The camera plays with interesting angles, flowing movements, and long, continuous shots in addition to the more standard fare. Many of the film’s sequences are synchronized with the soundtrack, giving the entire movie a sense of rhythm. Baby Driver also rewards careful viewers with a plethora of subtle jokes, references, and callbacks that are easy to miss but there for those who look for them.

As far as acting goes, Baby Driver has just what it needs. Ansel Elgort plays Baby with the right blend of innocence, resilience, and quirky charm to hold the movie together. He is backed up by a talented supporting cast that includes Kevin Spacey as the sharp, dangerous Doc; Jon Hamm, Jon Bernthal, and Jamie Foxx as rotating members of Doc’s colorful criminal crew; and Lily James as Debora, the waitress Baby falls in love with.

The film’s all-around quality and style make it well worth a watch for a wide range of viewers, and only those who dislike stylized presentation or violence should steer clear. For a darker film with a similar premise, check out Drive. For a fantasy action film from the same director, check out Scott Pilgrim vs. the World.

8.4 out of 10 on IMDB. I give it an 8.0 for great cinematography, humor, and style.

Today’s quick review: La Femme Nikita. When Nikita (Anne Parillaud), a troubled young woman, is sentenced to life in prison, the government offers her a chance to repay her debt by becoming an assassin. Under the guidance of Bob (Tcheky Karyo), she is taught how to present herself, how to fight, and how to kill. But when she graduates to field work, she has trouble reconciling her newfound freedom with the risky, anonymous assignments she is given.

La Femme Nikita is a crime drama from director Luc Besson. La Femme Nikita follows the transformation of Nikita from a violent, aimless woman to a refined assassin with a shot at a mostly normal life. Unlike most movies about assassins, La Femme Nikita has only a sprinkling of action. Instead, the focus is on Nikita, her quirks, and the challenges she faces adjusting to her new life.

La Femme Nikita strips away the glamor from the assassination business. The assassins are unstable criminals forced into service by the government. Every mission has a million ways it can go wrong, many of them caused by the limited information each operative is allowed. And at the center of it all is a woman whose chance at normalcy is jeopardized by the missions she is forced to complete.

Nikita herself is a complex character, growing out of her impulsive youth and into the professionalism of an assassin. Her erratic behavior and hostility make her hard to sympathize with, but her difficult circumstances and vivacity offer her some hope of redemption. The peculiar heroine is ably played by Anne Parillaud. Playing opposite her is Tcheky Karyo as her calm, cool handler Bob.

The result of all these elements is a well-presented, character-driven crime drama with a dash of action. La Femme Nikita is a rare movie that presents the bad with the good, that focuses on people over events, and that has the raw quality to pull it off. As a thriller or an action movie it is outclassed, but its unusual tone and strong presentation make it worth a watch. For a similar film by the same director with a bit more story, check out The Professional.

7.4 out of 10 on IMDB. I give it a 7.5 for good characters, strong presentation, and an unusual take on the hitman genre.

Today’s quick review: Flypaper. When one bank is held up by two sets of bank robbers at the same time, Tripp (Patrick Dempsey), a bank customer with a variety of neuroses, and Kaitlin (Ashley Judd), one of the bank tellers, find themselves in the middle of a convoluted hostage situation. But as the night wears on, the robberies hit snag after snag, and Tripp uncovers a series of clues that suggest the simultaneous robberies may be more than just coincidence.

Flypaper is a crime comedy and mystery centered around a pair of ill-fated robberies. Patrick Dempsey stars as Tripp, whose mental issues and powers of observation make him a terrible hostage but a great detective. Ashley Judd plays opposite him as Kaitlin, a bank teller who helps him piece together the truth behind the robberies. The supporting cast includes Tim Blake Nelson, Octavia Spencer, Matt Ryan, and Jeffrey Tambor.

As a comedy, Flypaper is surprisingly entertaining. Between Tripp’s unhinged resourcefulness, the lovable idiocy of robbers Peanut Butter (Tim Blake Nelson) and Jelly (Pruitt Taylor Vince), and the motley assortment of hostages, the film has plenty of material to work with. The humor is more amusing than hilarious, but Flypaper handles its chaotic tone well, while the plot twists and mismatched clues make Flypaper a fairly effective mystery.

Watch Flypaper when you are in the mood for an underrated comedy with a puzzling plot. Flypaper lacks the polish and finesse of a big-budget movie, but its unusual premise, passable execution, and charm make it a worthwhile watch. Skip it if you are looking for a tighter mystery or a more uproarious comedy. For a whodunit that’s heavier on the comedy, check out Clue.

6.4 out of 10 on IMDB. I give it a 6.5 to 7.0 for charming characters, good comedy, and a decent mystery.

Today’s quick review: Major League II. One year after a miraculous season, the Cleveland Indians have lost their edge. It’s up to their coach Lou Brown (James Gammon), veteran catcher Jake Taylor (Tom Berenger), and the team’s new owner Roger Dorn (Corbin Bernsen) to whip the team back into shape. But the Indians face stiff competition from the Chicago White Sox, particularly with ace pitcher Ricky Vaughn (Charlie Sheen) going through an identity crisis.

Major League II is a sports comedy that pits a team of oddballs against fearsome rivals, fickle fans, and their own success. The sequel sees most of the original cast return, with a few colorful newcomers to round out the team. Major League II has good comedic actors, charming moments, and a light, fun tone. However, the film is held back by a halfhearted script and recycled jokes, keeping it from matching its predecessor.

Major League II follows the same formula as the original Major League. The Cleveland Indians are thrust back into their underdog role by their own lack of focus. The script puts in less effort than the original, coasting on reused gimmicks without innovating much. The sequel does have its moments, but in general it lacks the heart of the original. The odds are not as long, the victories are not as hard-won, and the jokes are not as memorable.

Watch Major League II if you enjoyed the first film and don’t mind a dip in quality. Though not as novel or as cleanly executed as the original, Major League II remains a light and fairly entertaining watch. Those looking for more bang for their buck should check out the original Major League. For a more ridiculous sports comedy, try Dodgeball.

5.5 out of 10 on IMDB. I give it a 6.5 for decent fun and a good cast, but without the heart of the original.

Today’s quick review: Blame!. In the distant future, the remnants of humanity live in an enormous, self-replicating city ruled by a hostile machine intelligence. While out scavenging for food, Zuru, a girl from a small village of survivors, encounters Killy, a strange man on a mission to free the city from machine control. Pressured by dwindling resources, the hunters from Zuru’s village embark on a risky mission to help Killy acquire the device he needs.

Blame! is a Japanese animated science fiction film set in a distant future where humanity has all but died out. Information about the past is scarce, and the few survivors have barely enough resources to get by. The only hope of taking back the city lies in the Net Terminal Gene, which humanity once possessed, and Killy, the stranger who seeks it. Blame! is a tense, atmospheric movie that tells one tale from humanity’s long decline.

Blame! is noteworthy for its excellent setting, intriguing science fiction concepts, and strong character designs. The city is a boundless expanse of abandoned buildings, technological superstructures, and defunct machinery that mankind lacks the knowledge to operate. It is patrolled by fearsome mechanical beasts, while enormous Builders gradually reshape and extend the city for some unknown purpose. The sense of scale and mystery is impressive.

However, Blame! has shortcomings that keep it from making the most of its good ideas. The characters are not fleshed out all that well, with flat personalities and little depth. The visual style of CGI done up to look like traditional anime works well for the machines and environments, but it comes across as stiff and bland for the characters themselves. The plot also fails to follow up on the setting’s most potent mysteries, with only a mediocre payoff.

Watch Blame! if you are interested in dystopian science fiction with a great sense of mystery. The concepts alone make Blame! worth a watch for fans of the genre, but those looking for a full package will be let down by the writing and characters. For a more violent movie with a similar element of mystery, check out Gantz: O.

6.8 out of 10 on IMDB. I give it a 7.0 for great ideas and decent execution.

“Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?” —Rob Gordon

Today’s quick review: High Fidelity. While going through a messy breakup with his longtime girlfriend Laura (Iben Hjejle), Rob Gordon (John Cusack), a Chicago record store owner, recounts his troubled romantic history in search of answers. Helping him through his rough patch are Dick (Todd Louiso) and Barry (Jack Black), a pair of dysfunctional clerks at his record store.

High Fidelity is a romantic comedy with a great script and an expansive soundtrack. High Fidelity follows Rob Gordon as he takes stock of his love life during a particularly nasty breakup. The humor comes from Rob’s witty observations on love, the odd personalities of his friends, and his persistent inability to get over Laura. The story is punctuated by a wide selection of pop hits that underscore Rob’s one constant love in life: the world of music.

Rob spends much of his time either talking to himself or to the camera: reviewing his love life, venting his frustrations, and compiling Top 5 lists. For all that he blames others, it is clear that his troubles are at least partially self-inflicted. He is petty, self-centered, and hypocritical, but sympathetic enough to be likable even at his worst. John Cusack’s strong performance is what holds the film together and gives it its distinctive tone.

Watch High Fidelity when you are in the mood for a romantic comedy with an tinge of bitterness and plenty of awkward moments. The characters charm, the romance satisfies without being too sappy, and the script remains interesting throughout. For a similar comedy with more conventional presentation, check out Grosse Pointe Blank. For an action fantasy take on a similar premise, check out Scott Pilgrim vs. the World.

7.5 out of 10 on IMDB. I give it a 7.0 to 7.5 for strong characters and narration.

“Welcome to Earth!” —Captain Steve Hiller

Today’s quick review: Independence Day. When aliens attack Earth’s major cities, President Thomas Whitmore (Bill Pullman) must coordinate the United States’ response to the unprecedented threat. His unlikely allies are David Levinson (Jeff Goldblum), a talented signals expert from a New York TV station, and Captain Steve Hiller (Will Smith), a Marine Corps pilot who is one of the first people to interact with the aliens up close.

Independence Day is a science fiction action movie with a good script and strong execution. The story follows the three main characters, their families, and several other survivors as the Earth scrambles to fend off a devastating alien invasion. Between a charismatic lead trio and a sympathetic supporting cast, Independence Day does an excellent job of giving the viewer something to root for. It’s a straightforward premise: defeat the aliens or be destroyed.

Independence Day is an action movie with an unusual amount of meat on its bones. The story is well-paced, and each new development is given proper emphasis. At the same time, the story has enough content that it never feels padded, in spite of its length. The special effects hold up quite well two decades after the film’s release. The action comes from the movie’s large-scale destruction and frantic dogfights, but even the minor scenes feel purposeful.

Independence Day is also a remarkably honest movie. The film delivers exactly what it promises: an alien invasion of massive proportions, big special effects, and a bright ray of hope through the middle of it all. The devastation is awe-inspiring, the sad moments hit the mark, and the victories are triumphant. There’s nothing deep about it, just likable characters, a well-structured plot, and a steady stream of great moments.

Watch Independence Day when you are in the mood for a straightforward but well-executed action movie with an impressive sense of scale. To enjoy Independence Day, you have to be able to take it at face value and get engrossed in the universe. Those who prefer more nuanced films may want to check out Arrival instead as a cerebral take on first contact. Those who enjoy Independence Day’s defiant tone and clear emotions should also give Armageddon a watch as well.

6.9 out of 10 on IMDB. I give it a 7.5 for likable characters, good visuals, and a well-paced plot.

Today’s quick review: Beowulf. When the demon Grendel (Crispin Glover) attacks the domain of King Hrothgar (Anthony Hopkins), the legendary hero Beowulf (Ray Winstone) travels from afar to slay the monster. His heroics earn him the praise of the king, the adoration of his wife (Robin Wright-Penn), and the grudging respect of his advisor (John Malkovich). But in defeating Grendel, Beowulf sets loose an even greater demon on the land: the beast’s mother (Angelina Jolie).

Beowulf is a fantasy action adventure movie loosely based on the classic epic poem. With a talented cast, violent action, and a touch of attitude, Beowulf aims to bring epic fantasy to a modern audience. In this it is only partially successful: the film’s experimental visual style does not quite pay off for it, the script is competent but not iconic, and the tone is an unusual mixture of defiant heroism, action horror, and faded glory.

Beowulf sports visuals done almost entirely in realistic CGI. As a result, the film is free to indulge in elaborate action sequences, sweeping camera shots, and impossible camera angles. However, the character models have an unnatural look to them that is difficult to get used to. Movements are just a bit too exaggerated, while everything from the film’s physics to its sense of perspective feels distorted. The visual style is a bold experiment with mixed results.

Perhaps the movie’s best feature is its action. Here the imagination runs wild, with Beowulf’s almost superhuman prowess pitted against the grotesque monsters stalking Denmark. Though the choreography is not outstanding, the action does feel suitably grand in scope. However, there is an edge of horror to it that some viewers may find unappealing. Between the unsightly monsters, the occasional scare, and a few brutal kills, Beowulf is not a tame movie.

Watch Beowulf only if you are drawn to the visceral side of fantasy action. Beowulf is an unusually ambitious action movie whose gambles do not all pay off. Most viewers would be better off watching something like Clash of the Titans instead, which has the same type of monster-slaying action, but with cleaner presentation and a purer heroic tone.

6.2 out of 10 on IMDB. I give it a 6.0 to 6.5 for decent action, an odd aesthetic, and a not entirely satsifying tone.

Today’s quick review: Traffic. In Washington, D.C., Judge Bob Wakefield (Michael Douglas) accepts an appointment as drug czar, but his own daughter’s drug abuse makes him question his mission. In Tijuana, Javier Rodriguez (Benicio Del Toro), an honest cop, works with a general to take down a drug cartel. In San Diego, DEA agent Montel Gordon’s (Don Cheadle) investigation of her husband throws the life of Helena Ayala (Catherine Zeta-Jones) into chaos.

Traffic is a crime drama with a gritty tone and deliberate storytelling. Traffic follows several interwoven stories linked to the drug trade. Each story is presented with care, with the same considered writing, high-caliber cast, and tense, moody direction. The result is a well-crafted but emotionally heavy drama that achieves what it sets out to do: offer a sobering, multifaceted look at the War on Drugs.

Traffic’s skillful execution comes with a price. Thanks to the film’s weighty themes and criminal elements, the tone wallows in the bleaker range of the emotional spectrum, offering little in the way of catharsis or resolution. The uncertain development of the movie’s substories do give it a productive sense of tension, but none of the main characters are sympathetic enough to invest strongly in, in spite of their good acting and interesting predicaments.

The presentation is also hit or miss. Traffic makes heavy use of colored filters, close shots, and spacy music to establish its ambience. These elements work almost too well, saturating the film with its intended tone. Similarly, the writing has a documentary tinge to it, with stories calculated to provide a cross-section of the drug trade, lines dedicated to statistics and observations, and abridged versions of key events.

Whether these choices come across as fine filmmaking or unpalatable quirks will depend on your taste in movies. Those who like their crime dramas meaty and realistic will appreciate Traffic for its direction, acting, and choice of themes. Those who prefer cohesive, fictionalized crime dramas will not get as much out of it.

7.6 out of 10 on IMDB. I give it a 7.0 for good craftsmanship, somewhat unlikable characters, and a grim tone; your score will be higher if you enjoy its themes, its realism, and its particular brand of presentation.