Sleight of Film

Today’s quick review: Blade Runner. Rick Deckard (Harrison Ford) is a private detective living in future Los Angeles who is called in by the Tyrell Corporation to hunt down a batch of escaped replicants. The replicants are advanced androids that are indistinguishable from humans except by sophisticated emotional and physiological tests. Deckard’s investigation takes him down a dark road as he discovers that the fugitive replicants have disturbingly human motivations.

Blade Runner is an iconic science fiction noir from director Ridley Scott based on the novel by Philip K. Dick. The work examines questions of humanity, memory, and identity against the backdrop of a quasi-dystopian future where industrialization has made humanity more elusive a concept than ever. The visual effects of the film are impressive, depicting a futuristic Los Angeles filled with massive skyscrapers, neon lights, and smog. The film has a brooding atmosphere that crosses the tone, plot, and characters of a noir with the exaggerated setting and philosophical themes of science fiction.

Despite fine craftsmanship, lofty themes, and a weighty tone, Blade Runner struggles to be conventionally satisfying. The special effects do not scale well to the small screen, and the darkness of the film can make it difficult to follow visually. Rick Deckard is a good protagonist, but he acts more as a lens into the film’s world than a character the viewer can rally behind. The plot has a sense of futility about it that, coupled with its atypical structure, makes the film feel more like a protracted vignette than a story.

Watch Blade Runner if you are in the mood for a heavy science fiction film that eschews the perks of a conventional story in favor of considerable atmosphere, quality of presentation, and interesting philosophical themes. Skip it if you are looking for something with more than a sprinkling of action, a lighter watch, or a story that gives you all the answers.

8.2 out of 10 on IMDB. I give it a 7.5 for high levels of all-around quality held back by an unsatisfying, if philosophically rich, story.

Today’s quick review: Mission: Impossible III. Ethan Hunt (Tom Cruise), one of the IMF’s top agents, has settled into a quiet life of semi-retirement. He has dropped field work in favor of training new agents, he has established a successful cover identity as a traffic consultant, and he is engaged to a woman he deeply loves. But when his protege at the agency is kidnapped during an undercover operation, Ethan is called in to rescue her. His mission draws him into a deadly, personal conflict with Owen Davian (Philip Seymour Hoffman), an arms dealer with the means to take away everything Ethan holds dear.

Mission: Impossible III is a solid action spy thriller and the third movie in the Mission: Impossible franchise. Directed by J.J. Abrams, Mission: Impossible III is one of the most dramatic in the series. Spy gadgets, plot twists, globe-trotting action, and a couple of big stunts provide plenty of excitement, while Davian’s ruthless deeds give the film an edge that the other entries in the series lack. Nevertheless, Mission: Impossible III begins to show signs of the humor more recent entries in the series have been known for, including the debut of technician Benji Dunn (Simon Pegg) and the return of Luther Stickell (Ving Rhames).

Watch Mission: Impossible III if you are a fan of the series or you are simply in the mood for a spy thriller with a nice blend of drama, comedy, and action. Your enjoyment of the film will correlate with your enjoyment of the more serious tone and Philip Seymour Hoffman as a villain. Owen Davian is an utterly despicable character, and while he lacks either the charm or the hamminess of other action villains, he makes an excellent object of hatred. Skip Mission: Impossible III if you dislike action films or are looking for something a little lighter.

6.9 out of 10 on IMDB. I give it a 7.0 to 7.5 for solid quality that is missing some of the fun of later movies in the series.

Today’s quick review: The Rescuers. The Rescue Aid Society is an international organization of mice dedicated to helping children in trouble. Bernard (Bob Newhart), the Society’s devoted janitor, earns his chance to go out in the field when he catches the eye of Bianca (Eva Gabor), a kindly, gorgeous mouse who is one of the Society’s top members. Their mission is to rescue Penny, an orphan girl who has been kidnapped and is being forced to search for buried treasure in a dangerous lagoon, from her cruel captors.

The Rescuers is an animated family film from Disney that follows the efforts of two brave mice to save one little girl. The Rescuers benefits from a charming premise, delightful characters, great voice acting, and an adventurous story. However, its simplistic plot, short run time, and innocent tone may make it of mixed interest to adult viewers. The Rescuers also lacks the musical numbers, intricate writing, and lavish production quality of its better-known Disney brethren.

But for all these restrictions, The Rescuers is a light, pleasant watch. The world inhabited by Bernard and Bianca is colorful and daring, full of anthropomorphic animals carrying on civilization under the humans’ feet. The characters are simple and vivid, capturing courage and kindness, greed and villainy, in just a few brushstrokes. The tone retains its youthful optimism even in the face of dire peril, and the film does an excellent job of capturing the hope and despair of Penny’s dreadful situation.

Watch The Rescuers if you are in the mood for a short, relatively unknown Disney film with plenty of charm. While the sound and animation quality are somewhat dated, The Rescuers delivers in all the ways that count for a kids’ film: character, tone, humor, and adventure. Those who dislike the genre should skip The Rescuers. Those looking for a little something extra should check out its sequel, The Rescuers Down Under, which boasts higher production values, a more even tone, and absolutely gorgeous animation and orchestration.

6.9 out of 10 on IMDB. I give it a 7.0 for charming characteres and a great premise held back somewhat by dated animation and simple writing.

Today’s quick review: Next. Cris Johnson (Nic Cage) is a Vegas stage magician with a hidden talent: the ability to see several minutes into the future. But his life changes dramatically when two events happen at almost the same time. The first is that the FBI comes after Cris, hoping to use his ability to foil a dangerous terrorist plot. Cris wants nothing to do with them and goes on the run to protect his freedom. The second is that he discovers Liz Cooper (Jessica Biel), a woman whose presence allows him to see farther into the future. In order to explore their strange connection, Cris must first win her trust, all while staying one step ahead of the FBI.

Next is a competent sci-fi thriller based on a story by Philp K. Dick. Next represents science fiction in its purest form: an impossible premise played out logically over the course of a clever plot. Next makes great use of its premise to change up the normal thriller formula. Cris is not the typical action star. He has no special training, no extra resources, no advantage in skill or intelligence, but his ability allows him to game his situation through trial and error. This unusual premise gives Next a unique flavor the blends well with its more conventional thriller aspects.

Beyond its plot and premise, Next is sound but not outstanding. Nic Cage and Jessica Biel do a credible job as Cris and Liz, with believable decisions, understandable motivations, and real compatibility, if not chemistry. The plot has a few generic aspects that detract from the originality of the premise, keeping Next out of the ranks of the best sci-fi thrillers. The film also bogarts its action until later on. While what action there is is satisfying, a higher-budget, more action-oriented film could have done spectacular things with Cris’s power.

Watch Next when you are in the mood for a neat sci-fi flick with a strong plot, decent acting, and a touch of action. While not a standout film, Next delivers on its strong premise and makes no significant mistakes. Fans of the sci-fi genre will not want to miss it, while fans of decent-to-good thrillers should give it a shot as well. Skip it if you dislike Nic Cage, need a bit more action in your sci-fi, or dislike thriller story structures.

6.2 out of 10 on IMDB. I give it a 7.0 to 7.5 for an interesting premise and reasonable execution.

Today’s quick review: The Usual Suspects. When a shipment of gun parts is robbed, the police round up five of the usual suspects to shake down for information: McManus (Stephen Baldwin), a cocky lunatic; Fenster (Benicio del Toro), his uptight partner in crime; Dean Keaton (Gabriel Byrne), a corrupt cop turned legitimate businessman; Hockney (Kevin Pollak), an abrasive demolitions expert; and Verbal Kint (Kevin Spacey), a talkative cripple. The five decide to pull a job together to spite the police, but their work earns them the attention of the enigmatic crime boss Keyser Soze. Through a combination of blackmail and strongarming, he forces the crew into a suicide mission worth $91 million to whichever of them survive.

The Usual Suspects is a crime drama from director Bryan Singer that has a well-constructed plot and undercurrents of mystery. The story is told in bits and pieces by Verbal Kint in a police interrogation room after the main action has taken place. For all his hostility towards the police and his coyness about certain plot points, Kint makes for an oddly compelling narrator. Kevin Spacey does an excellent job of playing to both sides of the character: the sniveling informant looking to give the cops just enough to get off his back, and the able storyteller who spins the tale with all the color it deserves.

Watch The Usual Suspects if you are in the mood for a well-told crime drama with a couple of good surprises. The combination of an excellent plot with Spacey’s flavorful narration makes The Usual Suspects a gripping watch and one of the better entries in its genre. Be prepared to pay attention, though: the most important parts of the film are buried in names and dialogue and are easy to miss when watching casually.

8.6 out of 10 on IMDB. I give it an 8.0 for sterling storytelling.

Today’s quick review: Ocean’s Eleven. Danny Ocean (George Clooney) just got out of jail, and he already has another job planned: knock down three Las Vegas casinos owned by Terry Benedict (Andy Garcia) for a combined take of $160 million. Together with his right hand man Rusty (Brad Pitt), he assembles a crew of eleven thieves, including a British explosives expert (Don Cheadle), a blackjack dealer and inside man (Bernie Mac), and a rookie pickpocket (Matt Damon). But Danny has hidden one crucial detail from his crew: Terry is dating his ex-wife Tess (Julia Roberts), and the theft is as much personal as it is business.

Ocean’s Eleven is a star-studded heist film with a light tone, a clever plot, and all the ritz one could hope for from Las Vegas. Danny and Rusty draw on their easygoing friendship and years of experience to recruit a team of top criminal talent, with personalities to suit. The film packs a lot of humor into its 115 minutes, and nearly all of it comes from the natural, amusing interactions between the characters. The heist itself unfolds nicely, teasing just enough to pique the viewer’s interest while saving the best for last.

Watch Ocean’s Eleven if you are in the mood for a well-constructed hesit film with a great cast, plenty of humor, and a couple of nice surprises. While not a revolutionary film of any sort, Ocean’s Eleven captures an excellent tone using an excellent cast, sparkling writing, and a well-considered plot. Skip Ocean’s Eleven if you are looking for a more dramatic heist film, if you dislike the lead actors, or if you have simply seen it too many times already. But if you have yet to see it and are in the mood for something light, give Ocean’s Eleven a try.

7.8 out of 10 on IMDB. I give it a 7.5 for a great plot, a phenomenal cast, and sheer entertainment throughout.

Today’s quick review: The Departed. Colin Sullivan (Matt Damon), a newly-minted detective for the Massachusetts State Police, is actually working for Frank Costello (Jack Nicholson), a notorious Boston criminal. William Costigan, Jr. (Leonardo DiCaprio), a police academy washout turned felon, actually is working undercover for the police, trying to infiltrate Costello’s gang. As the police ramp up their investigation into Costello, the situation grows dangerous for both men, and any mistake could cost them their lives.

The Departed is a tense Boston crime drama from director Martin Scorsese. Backed by a powerful cast, The Departed takes a dynamic premise and lets it play out with all the chaos it deserves. The dual cat-and-mouse game leads to high-stakes tension as both the police and Costello’s gang begin to suspect they have been infiltrated. How Sullivan and Costigan react to this pressure determines their fates, and the attempts of each to discover the other’s identity keep the plot escalating and moving forward.

The two main characters are compelling for opposite reasons. Matt Damon brings a charming, rascallish quality to Colin Sullivan that makes him a delight to watch. But his grace under pressure masks deeper insecurities and an uncertain moral compass. Leonardo DiCaprio is less immediately likable as William Costigan, a temperamental man who seems unable to bear the pressure of his position. But for all his flaws, his motives are ultimately pure. The two characters form a very solid core for the movie to play off of.

The Departed is fast-paced and intricate. The details of who knows what, who suspects whom, and just what is going on are all-important, and anything but a close viewing will not do the movie justice. Martin Sheen, Mark Wahlberg, and Alec Baldwin all appear in supporting roles, rounding out the main cast with more familiar faces. While the tone of the movie is tense and unpredictible, The Departed is peppered with coarse blue collar humor that flavors the movie and keeps the drama from being overwhelming.

Watch The Departed if you are in the mood for a well-plotted crime drama with a top-notch cast. Sensitive viewers should be aware of the film’s pervasive swearing and violence. Those looking for an action movie rather than a chess game should also look elsewhere, as The Departed requires careful attention to follow. The payoff for this attention, however, is a well-crafted and dramatic film that lives up to its considerable potential.

8.5 out of 10 on IMDB. I give it an 8.0 for an interesting, surprising plot, colorful characters, and great execution.

Today’s quick review: Rage. Paul Maguire (Nic Cage), a successful businessman and overprotective father, must revisit his criminal past when his daughter is kidnapped by unknown assailants. Together with two of his closest friends from back in the day, he cuts a swath through the criminal underworld in search of anyone who knows what happened to his daughter. While clues are hard to find, what few there are point to the Russian mob and a past crime long thought secret.

Rage is a budget action movie about loss, revenge, and the futility of violence. The writing shows signs of potential in one or two places, but ultimately the movie fails to deliver. The storytelling is poor, the action is uninspired, and the acting leaves much to be desired. Nic Cage does not bring his best work to the role of Paul Maguire. Maguire is a stern, unlikeable protagonist with counterproductive anger issues. The charm that makes Cage an effective protagonist is utterly absent. His supporting cast does a decent job, particularly Danny Glover as a wizened police detective, but they have little to work with.

Rage’s main failing is its plot. The plot develops slowly, with no action for nearly half the movie and a peculiar, drama-heavy trajectory. The film plays its mysteries too close to the chest, so that the audience has neither the capacity nor inclination to speculate about who kidnapped Maguire’s daughter. Rage does have one interesting twist, but it is not enough to justify the distortions it imposes on the rest of the plot. The themes Rage plays with could be quite powerful in more skilled hands, but poor execution undermines what potential they had.

Watch Rage only if you are in the mood for a subpar action movie with lots of drama and a downer tone. Rage is not bad in any spectacular way, just structurally flawed, poorly handled, and mediocre in many ways it could have been good. Skip it unless you have nothing better to watch.

5.0 out of 10 on IMDB. I give it a 5.5 for poor execution and missed potential.

Today’s quick review: The Sting. When con man Johnny Hooker (Robert Redford) and his partner Luther (Robert Earl Jones) unknowingly swindle a money runner for mob boss Doyle Lonnegan (Robert Shaw), they think they have hit the big time. But Lonnegan decides to make an example out of them by having Luther murdered and running Hooker out of town. Hooker seeks out Henry Gondorff (Paul Newman), an old master of the art, to help him take his revenge on Lonnegan. Together they set up an elaborate con to take Lonnegan for all he’s worth. But Lonnegan is not to be understimated, and a crooked police officer (Charles Durning) on Hooker’s trail threatens to ruin the whole operation.

The Sting is a classic crime film set in Depression-era Chicago. The Sting is a movie that promises and delivers exactly one thing: a long, elaborate con job. Nearly all of the film is devoted to the main plot, and it is a credit to the writer that none of it feels superfluous or ill-considered. The con is a good one, unfolding steadily over the course of the film, offering the view enough clues to work with, and saving a few twists for later on. The cast is a very strong one, and while the roles are not unduly dramatic, the performances are interesting, subtle, and human.

Watch The Sting if you are in the mood for a well-crafted con movie with an excellent plot. The tone is light drama, which can be a boon or a missed opportunity depending on your personal tastes. Despite the crime and danger, The Sting never lets itself get too grim, resulting in a pleasant watch that sacrifices pathos for accessibility. Skip The Sting if you are looking for more than just a tight, well-written plot or if you dislike the tone and pacing of older movies.

8.3 out of 10 on IMDB. I give it 7.5 for excellent writing and strong performances; your enjoyment will correspond to how fond you are of the tone, cast, and filmmaking style.

Today’s quick review: The Secret World of Arrietty. Arrietty is part of a miniscule family that lives in the walls of a human house in rural Japan. Her family “borrows” what they need from the humans, taking pins, thimbles, scraps, and knick-knacks to furnish their home and equip themselves for a dangerous world. Arrietty longs to follow her father on his borrowing expeditions, but he forbids her out of concern for her safety. When Arrietty ventures out on her own, she is discovered by the sickly, kind-hearted boy who recently moved into the house. As their friendship grows, the question arises of whether Arrietty’s family can remain now that their presence has been discovered.

The Secret World of Arrietty is a loose adaptation of the children’s book The Borrowers from Studio Ghibli. The story deals with themes of growing up, teenage rebellion, and exploration. As with all of Studio Ghibli’s works, the animation quality is superb. The realism of the animation is jaw-dropping and extends right down to the twitches and shimmies of the cat. Arrietty’s diminutive size allows the film to show the world from a fresh perspective: pins become swords, sugar cubes become feasts, and cats become lethal predators. The Secret World of Arrietty is an absolute delight to watch for its animation and setting alone.

The story and its characters are good, but they lack the polish of Studio Ghibli’s other works. Arrietty is a fine protagonist in the tradition of Nausicaa from Nausicaa of the Valley of the Wind or Chihiro from Spirited Away, but the boy she befriends is somewhat less interesting. The plot rambles and lacks a strong overarching conflict, although there is plenty of immediate danger. The lack of supernatural elements apart from the size of Arrietty’s family separates the film from Studio Ghibli’s other work, trading colorful Japanese folklore for the magic found in day-to-day life.

The Secret World of Arrietty is worth watching if you enjoy gorgeous animation and do not mind a low-conflict, child-friendly story. Unlike Studio Ghibli’s best work, which succeeds at all levels, The Secret World of Arrietty merely has splendid animation, a pleasant tone, and a serviceable story. Fans of Studio Ghibli will enjoy the film for its artistry but need not worry that their old favorites will be dethroned. Those who are trying Studio Ghibli for the first time would do better to start with Spirited Away, Howl’s Moving Castle, or Princess Mononoke, but The Secret World of Arrietty is an enjoyable movie that makes a worthy introduction in a pinch.

7.7 out of 10 on IMDB. I give it a 7.5 to 8.0 for high-quality animation and a delightful world.