Sleight of Film

Today’s quick review: Dragonball: Evolution. When the alien conquerer Lord Piccolo (James Marsters) returns after two thousand years of imprisonment, Goku (Justin Chatwin), a teenager given special martial arts training by his grandfather, must collect the seven mystic Dragonballs to stop Piccolo from freeing his minion Oozaru and destroying the Earth. His guide on his quest is Master Roshi (Chow Yun-Fat), an eccentric expert who trains Goku to harness his qi.

Dragonball: Evolution is a fantasy action adventure movie loosely based on the Dragonball manga and cartoon. The popular series makes a rocky transition to the big screen in a movie hampered by poor acting, an awkward script, and mediocre fight scenes. Dragonball: Evolution follows a dedicated kids’ movie formula, but it lacks the quality needed to hit even that target. What little charm is to be found is buried too deeply to make much of a difference.

Dragonball: Evolution’s troubles begin with its writing. The plot is straightforward enough, but not without holes. Lord Piccolo’s escape and return are never properly explained, the exact mechanics of his plan are unclear, and new characters join the story abruptly and without much reason. The dialogue is uninspired, verging on awkward at several key moments. The writing also has a knack for robbing pivotal events of their impact.

The acting is little better. Chow Yun-Fat has a glimmer of potential as the mischievous Master Roshi, but little of value is done with the character. Justin Chatwin makes for a disappointing Goku, a dorky teenager with modest fighting abilities and an unconvincing character arc. Lord Piccolo and his henchman Mai (Eriko) are almost entirely without character, while supporting cast members Bulma (Emmy Rossum) and Yamcha (Joon Park) are quirky but not entertaining.

Dragonball: Evolution shows a little more potential with its fighting. The acrobatic, martial arts combat could have been the basis of innovative action scenes in the right hands, but again the movie fails to deliver. Quick cuts are used to mask the choreography’s weaknesses, the physics are unconvincing in away that goes beyond the usual strangenss of wire fu, and the energy attacks, when they come, are flat and unimpressive.

Watch Dragonball: Evolution only if you are interested in failed adaptations. Though not entirely irredeemable as a kids’ movie, Dragonball: Evolution has enough glaring flaws to keep it from impressing any but the most forgiving fans. For a similarly flawed adaptation of a beloved cartoon, check out The Last Airbender. For a more mature flop with an oddly similar plot, check out Dragon Wars: D-War.

2.6 out of 10 on IMDB. I give it a 4.0 for a poor setup and worse delivery.

Today’s quick review: How to Steal a Million. Charles Bonnet (Hugh Griffith), a master art forger, presses his luck by loaning a fake sculpture valued at $1 million to a museum for public display. But when the museum prepares to test the piece’s authenticity, his daughter Nicole (Audrey Hepburn) and Simon Dermott (Peter O’Toole), an unusual art thief, must come up with a plan to steal the statue before it can be revealed as a fake.

How to Steal a Million is a heist film and romantic comedy set in Paris in the 1960s. How to Steal a Million is a generally well-crafted movie that does well with its writing, acting, and tone. The dialogue has plenty of humor tucked away in it, while the story nicely balances plausibility and serendipity. The romance is slow to develop: the movie lets Nicole and Simon butt heads for a while before giving them any reason to like each other.

Audrey Hepburn pulls off a surprisingly nuanced Nicole Bonnet. Though Nicole is not all that deep a character, the tension between her scruples and her father’s career, Simon’s peculiar behavior, and the heist itself give Hepburn plenty to work with. For his part, Peter O’Toole plays a canny Simon Dermott. The two are only a couple inasmuch as they are forced to be by circumstances, but their exchanges are the movie’s bread and butter.

Watch How to Steal a Million when you are in the mood for a light watch with classic sensibilities. Strong writing and acting, coupled with a tone that has become uncommon, make How to Steal a Million an enjoyable watch. Skip it if you are looking for edge-of-your-seat excitement, you dislike romance, or you prefer your comedy riotous.

7.6 out of 10 on IMDB. I give it a 7.0 to 7.5 for enduring quality.

Today’s quick review: Gentlemen Prefer Blondes. Lorelei Lee (Marilyn Monroe) and Dorothy Shaw (Jane Russell), a pair of nightclub performers, take a trip to Paris to convince Lorelei’s wealthy fiance, Gus Esmond, Jr. (Tommy Noonan), to marry her. But Gus’s father disapproves of the marriage and sends Ernie Malone (Elliott Reid), a private investigator, to spy on Lorelei, whose flirtatious behavior threatens to sabotage her marriage.

Gentlemen Prefer Blondes is a romantic comedy about love and money. With a light tone, smart dialogue, and a pair of charming leads, Gentlemen Prefer Blondes is a breezy watch for fans of classic movies. It is a musical as well, and its songs are upbeat numbers worked in naturally throughout the film. Few of them are memorable, but all of them are pleasant, and “Diamonds Are a Girl’s Best Friend” has achieved fame since the movie’s release.

Jane Russell and Marilyn Monroe make a great duo. Marilyn Monroe plays Lorelei Lee, a ditzy woman with a stated preference for rich men. Jane Russell plays her best friend, Dorothy Shaw, a sharp woman with a good sense of humor. The gentlemen don’t make as much of an impact, but fine performances from Tommy Noonan, Elliott Reid, and Charles Coburn, playing a wealthy older man on the ship, help hold the movie together.

Watch Gentlemen Prefer Blondes when you are in the mood for something light and innocent. The interplay between Lorelei and Dorothy, the film’s unique take on love, and a few good songs make it worth keeping an eye out for if you are a fan of 50s musicals. Those who prefer their comedies with a bit more bite or their romances with a bit more drama may want to pass.

7.2 out of 10 on IMDB. I give it a 7.0 to 7.5 for sweet, entertaining comedy.

“I wonder if the three of us would’ve been friends in real life. Not as brothers, but as people.” —Jack

Today’s quick review: The Darjeeling Limited. After nearly dying in a motorcycle accident, Francis Whitman (Owen Wilson) invites his estranged brothers Peter (Adrien Brody) and Jack (Jason Schwartzman) on a spiritual journey aboard The Darjeeling Limited, a train traveling across India. Along the way, the trio take in the local color, confront challenges both spiritual and logistical, and manage to overcome some of their shared issues.

The Darjeeling Limited is an unconventional comedy from director Wes Anderson. The Darjeeling Limited features a strong artistic vision, a quietly talented cast, and a meticulous directorial style. The film’s understated humor stems from its peculiar characters, their petty conversations, and the utterly dry presentation of absurd situations. As a result, the comedy is more cerebral than emotional, relying more on tone than individual jokes.

The Darjeeling Limited’s style is characteristic of Wes Anderson. The cinematography relies almost exclusively on square shots and simple zooms, with an emphasis on symmetry and framing. The environments are colorful and richly detailed, and the film’s yellow-gold color palette that fits the tone well. The acting is unemotional, with most of the characterization tucked away in minute facial expressions, minor pieces of dialogue, and other subtle clues.

However, The Darjeeling Limited lacks the punch of Wes Anderson’s other work. The story eventually resolves itself into a touching tale about three brothers with a lot of baggage, but it relies on style to keep the viewer engaged for the first two-thirds. The movie accomplishes plenty with the tools at its disposal, but those looking for a punchy comedy like The Grand Budapest Hotel or a masterpiece of stylization like Moonrise Kingdom will be disappointed.

The Darjeeling Limited is worth a watch for anyone who enjoys thoughtful cinematography, quirky writing, and unconventional humor. Though it lacks the overt humor and sharp plot needed to match Wes Anderson’s best work, its craftsmanship is enough to make it a unique and interesting experience. Those looking for cheap laughs should look elsewhere. Those who are new to Wes Anderson may want to check out The Grand Budapest Hotel instead.

As a side note, The Darjeeling Limited was released with a 13-minute short film named Hotel Chevalier. The short film is a well-directed but uneventful scene that sheds light on Jack’s activities before the events of the movie. Its main value is in setting up a few subtle jokes in the main film, but it can be skipped without much loss.

7.2 out of 10 on IMDB. I give it a 7.0 to 7.5 for fine craftsmanship and charming moments, but missing that extra punch.

Today’s quick review: The Code. To pull off his latest heist, Keith Ripley (Morgan Freeman), an elusive art thief, takes on Gabriel Martin (Antonio Banderas) as his new partner. The two set their sights on an impossible target: a pair of Faberge eggs locked in the impregnable vault of a Russian jeweler with FSB connections. But as the plan progresses, Gabriel can’t help but get involved with Alex (Radha Mitchell), the daughter of Ripley’s deceased partner.

The Code is a heist movie with two strong leads and a fairly standard plot. Very little about the film is outstanding, but the talented duo of Morgan Freeman and Antonio Banderas are enough to see it through. Morgan Freeman plays Keith Ripley, an art thief whose checkered past casts doubt on his trustworthiness. Antonio Banderas plays opposite him as Gabriel Martin, a fellow thief who must decide whether the $40 million payout is worth the risk.

The plot has the usual elements of a heist film: an impossible theft, a resourceful detective, and a dash of danger from the criminal underworld. The heist itself has a decent assortment of technological traps and human elements, while the plot has just enough in the way of twists and uncertainty to remain engaging. The film’s romantic subplot between Gabriel and Alex is fairly satisfying, with Antonio Banderas and Radha Mitchell playing off each other well.

Watch The Code when you are in the mood for a crime movie, plain and simple. The Code is right on par for the genre, making it a fine choice to while away a couple of hours with. Those with discerning tastes should probably shop around a bit more. Try Ocean’s Eleven for a more elaborate heist with a heavy dose of comedy, The Italian Job for a light heist with a touch more pizzazz, or The Town for a dramatic take on the genre.

6.0 out of 10 on IMDB. I give it a 6.5 for good leads, decent execution, and a mediocre plot.

“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.