Sleight of Film

Today’s quick review: The Incredible Hulk. As the result of an experiment with gamma radiation gone wrong, Bruce Banner (Edward Norton) transforms into the Hulk, an incredibly powerful, rampaging monster, whenever he gets angry. Fleeing the U.S. Army and General “Thunderbolt” Ross (William Hurt), he hides out in South America, working to control his rage, until a stroke of bad luck puts him back on the Army’s radar. The Army sends Emil Blonsky (Tim Roth), a talented special forces operative, to flush out Banner. With the help of Betty Ross (Liv Tyler), Bruce’s ex-girlfriend and the daughter of General Ross, he races to escape the Army, keep his transformations under control, and look for a cure for his destructive condition.

The Incredible Hulk is the second movie in Marvel’s successful shared universe of superhero films. Released the same year as Iron Man and The Dark Knight, The Incredible Hulk was overshadowed by the two other films. But for all that superhero films have improved since its release, The Incredible Hulk remains a solid film and an enjoyable watch, making it a hidden gem of the Marvel Cinematic Universe.

The Incredible Hulk delivers what it promises: plenty of action, a dash of personal drama, touches of humor, and a few shoutouts to the character’s long history. The tensions of the story play out well on the big screen. Bruce Banner wants nothing more than to be left alone, free to keep his temper down, work on a cure, and keep others safe. The Army is unwilling to let him roam free, disrupting what peace he manages to find and endangering those around him by forcing him to transform into the Hulk. This one tension drives most of the plot, which is compelling if not especially deep.

Where the film really shines is its action. The terrifying, dangerous side of the Hulk is shown early on when Emil Blonsky confronts Banner in South America, while the Hulk’s raw destructive potential comes out in later fights. The CG animation is more than up to the task of bringing the Hulk to life. Hulk’s quick, powerful movements and creative use of his environment make each fight an enjoyable experience.

Watch The Incredible Hulk if you are a fan of action, science fiction, or comic book movies. While not as superlative as later entries in the Marvel Cinematic Universe, The Incredible Hulk is a good movie that holds up well and deserves more attention than it got. Skip The Incredible Hulk if you are not a fan of the genre, you are expecting the higher standards of the later MCU, or you are looking for a bit more in the way of characters or depth.

6.8 out of 10 on IMDB. I give it a 7.5 for big fights, an interesting plot, and solid execution.

Today’s quick review: Brick. Brendan Frye (Joseph Gordon-Levitt) is a high school loner with a sharp mind and a knack for sticking his nose where it doesn’t belong. When his estranged ex-girlfriend Emily (Emilie de Ravin) contacts him saying she is in trouble, he begins an investigation into her whereabouts and the crowd she has fallen in with. He uncovers a tangled web of high school politics, drug dealing, and murder. But to get at the truth, he will have to put himself in danger and follow his investigation wherever it takes him.

Brick is a fast-moving, stylish noir told against the backdrop of a high school wracked by drugs and violence. Writer and director Rian Johnson depicts a world with almost no adults, where teenagers handle their own affairs, and where consequences are dire. The setting treats itself as seriously as any crime drama, which allows noir conventions to map naturally onto a high school setting. At the same time, the restricted setting provides a cohesive world for the characters to inhabit and juxtaposes the high stakes of the plot with the theoretically sheltered environment in which it takes place.

Brendan Frye is almost the perfect noir hero: level-headed, resourceful, dogged, and scrappy in a fight. His investigative techniques involve making a nuisance of himself to those more powerful than him, and like a true detective, he never flinches or backs down. Joseph Gordon-Levitt plays the role ably, never bowing to the emotional pressure he is under except in the most extreme cases. Despite a shady past and no clear allegiance to any of the school’s factions, Brendan Frye is a persistent force for justice throughout the film, perhaps the best that can be hoped for in a morally grey world.

The craftsmanship of Brick is superb. Detailed dialogue laced with clues and drenched with teen slang quickly gives the viewer a sense of the world, its values, and its key players. The plot is remarkably tight and proceeds smoothly from one stage to the next. The central mystery has enough twists to keep the most ardent noir fans happy but never devolves into nonsense or inconsistency. The camerawork shows real thought, creating a visual language for the film that the conscious mind barely detects. To top it all off, the film has a beautiful, varied, and understated soundtrack that subtly augments each scene without overwhelming it.

Brick is a well-executed mystery that succeeds admirably in plot, characters, setting, and presentation. Fans of tense, interesting, and well-crafted movies should go out of their way to watch it. Do not expect a light watch, but do not expect a film that wallows in misery either. Brick is a film that constantly moves forward, and despite its serious treatment of bleak subject matter, Brendan’s agency as a protagonist ensures that the situation never seems hopeless.

7.4 out of 10 on IMDB. I give it 8.0 to 8.5 for outstanding quality.

Today’s quick review: Swordfish. When Stanley Jobson (Hugh Jackman), a retired hacker, is offered $10 million to perform one last crime, he risks going back to jail for the money he needs to win custody of his daughter. His boss is the enigmatic Gabriel (John Travolta), a flashy, unpredictable man with a scheme worth billions. At Gabriel’s right hand is the lovely Ginger (Halle Berry), an intelligent woman who recruits Stanley. Stanley must put his prowess to the test and finish the job before he gets dragged in any deeper, all while staying a step ahead of the FBI agent who caught him in the first place (Don Cheadle).

Swordfish is a heist movie with a fair amount of action and a digital bent. Despite a noteworthy cast and a strong opening, Swordfish does not live up to its potential. Swordfish relies on a suspension of disbelief it never earns. The flashy criminal world it portrays is patently thin, while unrealistic elements, such as exploding cars or fictionalized hacking, that would be fine in an action movie with better execution simply draw attention to the Hollywood nature of the film. The lack of credibility damages what would otherwise be a nice little plot.

The acting has its ups and downs. Hugh Jackman has a good dynamic with most of the other actors, especially the actress who plays his daughter and Don Cheadle, the FBI agent on his trail. Halle Berry performs well as the good cop to John Travolta’s bad, a reasonably trustworthy face in a den of criminals. John Travolta, however, disappoints. His affable, dangerous style is as interesting as ever, but his character simply cannot live up to the reputation he has within the film. The lack of credibility comes back to bite Swordfish again, as what should have been a grandiose, unpredictable mastermind instead collapses into merely something of an oddball.

Watch Swordfish if you’re looking for a half-decent heist, fake hacking, and a couple of explosions. The film is noteworthy for its liberal treatment of encryption, a reasonably competent plot, and an excuse to show off the bodies of Halle Berry and Hugh Jackman. All in all, Swordfish makes for an okay popcorn flick and little more. Skip it if you’re looking for something actively good, but give it a watch if you are looking for a bit of action and do not care about quality.

6.5 out of 10 on IMDB. I give it a 6.5 for modest enjoyability.

Today’s quick review: The Grand Budapest Hotel. While vacationing at a run-down European hotel, a young writer (Jude Law) meets Mr. Moustafa (F. Murray Abraham), the hotel’s aging owner, and listens to him recount the hotel’s glorious history. In Moustafa’s youth, he was the hotel’s lobby boy Zero (Tony Revolori) under its legendary concierge, Monsieur Gustave (Ralph Fiennes), a refined, effete man with a knack for satisfying his guests. But when one of Gustave’s dearest guests, a wealthy old widow, turns up dead, suspicion falls on him. To clear his name, Gustave and Zero set out on a bold adventure that will determine the course of their own lives and the fate of the hotel.

The Grand Budapest Hotel is a peculiar comedy from director Wes Anderson where his distinctive style reaches its zenith. Set in the fictional Eastern European country of Zubrowka at the start of a war suspiciously similar to World War II, The Grand Budapest Hotel pastiches 20th-century European culture and intellectualism. Elaborate dialogue, ornate architecture, and sentimentality for a refined, bygone era are contrasted with bursts of vulgarity, occasional violence, and a pervasive sense of silliness. The result is a unique, amusing, and intellectually stimulating world that plays with historical and cultural themes without delving into real world history.

The Grand Budapest Hotel is a masterfully crafted film from start to finish. As is typical for Wes Anderson, the camerawork features detailed, precise shots, symmetry, and almost no deviation from square, direct camera angles. The obvious use of models for long shots gives the world a light, toylike feel and distances the film from more conventional moviemaking. An absolutely phenomenal soundtrack by Alexandre Desplat gives the movie much of its quirky, energetic tone; electric organ, percussion, and winding guitar lend each scene a slightly silly sort of intensity that goes perfectly with the rest of the film. The writing anticipates the viewer, playing upon the viewer’s expectations for the sake of suspense, anticlimax, and comedy.

To top it all off, The Grand Budapest Hotel boasts an enormous cast of top-notch actors who lend their talents to Wes Anderson’s unusual little world. Ralph Fiennes holds the movie together as Monsieur Gustave, a poetry-quoting, perfume-slathered aesthete who mentors the young Zero. Tony Revolori plays off of him as the impressionable, fastidious Zero, Gustave’s protege, audience, and lackey. The supporting roles are peppered with familiar faces, including Willem Dafoe, Jeff Goldblum, Edward Norton, Bill Murray, Owen Wilson, and Adrien Brody.

The Grand Budapest Hotel is a must-see for those enjoy well-crafted, stylish movies with plenty of replay value. Anyone who is looking for a light, delicate comedy with an unusual tone would also do well to give it a watch. Those who prefer conventional filmmaking, real history, or more overt humor should look elsewhere. Sensitive viewers should also be warned that, despite its light tone, the movie has pervasive swearing, some vulgarity, and one or two moments of unexpected violence. The Grand Budapest Hotel is a rare treat of a film that is well worth a watch.

8.1 out of 10 on IMDB. I give it an 8.5 for excellent craftsmanship, a unique tone, and plenty of entertainment.

Today’s quick review: No Country For Old Men. When a hunter in Texas (Josh Brolin) stumbles upon the scene of a drug deal gone bad, he walks away with a suitcase containing $2 million. But there were witnesses to his getaway, and he finds himself pursued by the Mexican gangsters who were on one side of the deal, the American businessman who was on the other, and an emotionless serial killer who is in it for himself (Javier Bardem). The only person not out to kill him is the local sheriff (Tommy Lee Jones), who follows the chase by the bodies left behind. The hunter must use every trick at his disposal if he is going to escape with the money and his life.

No Country For Old Men is a gritty crime drama from the Coen Brothers. Based on the book by Cormac McCarthy, No Country For Old Men features a strong dramatic cast, an unpredictable plot, and a bleak, violent tone. The characters are memorable not as movie characters but as part of a grim, self-consistent world that has all the capriciousness of real life. Their names and faces are less important than their roles in a compelling series of events. Similarly, the story follows no set arc but twists and turns in ways that are hard to predict. The effect of these choices is to remove the filter that storytelling normally uses, presenting a grittier version of our world without the emotional crutches we normally rely on.

No Country For Old Men is a well-executed, gripping film that fans of craft in cinema will enjoy. The Coen Brothers eschew their usual flair in favor of clean, principled direction. Fans of their work should note that No Country For Old Men is as far on the dramatic end of their spectrum as O Brother, Where Art Thou? is on the comedic. Those who are sensitive to violence, who prefer storybook stories, or who are just looking for something lighter should look elsewhere. No Country For Old Men is a unique film with craftsmanship to spare, but it is bleak, violent, and not entirely satisfying. Plan accordingly.

8.1 out of 10 on IMDB. I give it 7.5 to 8.0 for quality.

Today’s quick review: Paycheck. Michael Jennings (Ben Affleck) is one of the world’s best engineers. His work for major companies nets him seven-figure paychecks and a lifestyle to match. The only catch is that his work is top secret, so much so that his employers wipe his memory at the end of each job. Jennings wakes up from a 3-year job expecting $90 million and an early retirement. Instead he finds that the money is gone, the FBI wants him for questioning, and his boss (Aaron Eckhart) has betrayed him. His only clue is an envelope of knick-knacks he mailed to himself weeks ago. With the help of his best friend (Paul Giamatti) and a woman from his missing years (Uma Thurman), Jennings must stay alive long enough to solve the mystery he left for himself.

Paycheck is a sci-fi action thriller based on a story by Philip K. Dick and directed by John Woo. Despite a strong premise, the movie does not live up to its potential. Paycheck had all the makings of a tense psychological thriller: amnesia, mystery, a fugitive protagonist, and an intriguing low sci-fi hook. Instead the movie veers in the action direction, with all the flashy cuts, shallow characters, and gratuitous chase scenes of a budget action flick. Its impressive cast is given little to do, and the tone of wealth and power early in the movie gives way to cookie cutter action movie tone later on.

Apart from its missed potential, Paycheck is still a fun, interesting movie. Much of its appeal lies in Jennings’ McGyver-esque escapes, using ordinary objects in extraordinary ways. None of the action is groundbreaking, but it helps keep the later stages of the film moving. And for all its action trappings, Paycheck is built around a good mystery that is satisfying at all stages of the film.

Watch Paycheck if you enjoy action films with sci-fi elements, are intrigued by the premise, and don’t mind a little shlock. Skip it if you are looking for a thoughtful take on the premise or a film with depth.

6.3 out of 10 on IMDB. I give it a 6.5 to 7.0 for a great premise held back by generic action movie execution.

Today’s quick review: The Music Man. Professor Harold Hill (Matthew Broderick) is a traveling con man who sells band instruments on the false promise of forming a boys’ marching band for the town he is visiting. On a whim, he sets his sights on River City, Iowa, a stubborn town where he hopes to stir up a moral panic that only a marching band can cure. But for his scheme to succeed, he’ll have to persuade Marion (Kristin Chenoweth), the town’s willful librarian, and keep the charade going long enough to grab the money and run.

The Music Man is a remake of the classic musical. Packed to the gills with iconic songs, The Music Man in one of its incarnations is a must-see for any fan of the genre. This edition of the film casts Matthew Broderick as the lead. Broderick certainly has the singing and dancing skills for the part, but his mannerisms give Harold Hill a different flavor than Robert Preston’s. Broderick handles the warmer parts of the role very well, coming across as personable where Preston was stiff, but his patter is lacking. Hill is supposed to be a fast-talking con man, but his sharp lines feel unnatural coming from the more personable Broderick.

The rest of the film compares to the original in similar ways: slight changes that are not strictly worse but change the flavor of the film in noticeable ways. The musical numbers have a little more of a sing-song quality to them than before. A few changes in emphasis clarify the relationship between Harold and Marion earlier in the movie. A few important lines are downplayed. Smaller changes help the film move along better. Any preference between the two versions will ultimately come down to taste: a refined Hill versus an amiable one, nuanced musical numbers versus more theatrical numbers, deliberate pacing versus something with a little more energy.

The Music Man is a delightful musical with an excellent collection of songs, a sweet plot, and good execution. While the original is probably a cleaner execution of the same material, Matthew Broderick brings a charm to the role of Harold Hill that makes this version a worthy substitute. Watch The Music Man if you are in the mood for a light musical with plenty of music. Skip it if you dislike the genre or if you are an ardent fan of the original.

6.3 out of 10 on IMDB. I give it a 7.0 to 7.5 for a good take on great source material.

Today’s quick review: The Producers. Max Bialystock (Nathan Lane) is an unscrupulous Broadway producer whose latest flop has reduced him to schmoozing old ladies for their money. But his fortunes turn around when his accountant, Leo Bloom (Matthew Broderick), comes up with a way to make more money off a failed play than a successful one. After a bit of persuasion, Leo agrees to come aboard as a producer, and the duo set about producing the most spectacular flop in Broadway history. With a screenplay by an impassioned Nazi (Will Ferrell) and a flamboyant director who doesn’t understand drama (Gary Beach), their play seems destined for failure. But if it succeeds, its producers will owe more money to their investors than they can possibly pay.

The Producers is a musical remake of the classic comedy by Mel Brooks. Nathan Lane and Matthew Broderick take on the roles pioneered by Zero Mostel and Gene Wilder, and they rise to the challenge with color and energy. Nathan Lane plays the selfish and manipulative Max Bialystock, a producer looking for a quick buch to make up for his tarnished reputation. Matthew Broderick plays the nervous and by-the-book Leo Bloom, an accountant who is dragged from his meager life by Max’s visions of riches and glory. The leads are cast well, with all the exaggerated mannerisms the parts deserve.

Compared to its predecessor, the musical version of The Producer hangs together much better. Although none of the songs are particularly memorable, the addition of musical numbers gives the film a bit of pizazz that the original was lacking. The plot also has several small changes that make it much more cohesive and satisfying. For example, Ulla (Uma Thurman), the boys’ secretary, is an actress who shows up early for her audition, rather than being an offscreen hire by Max.

The result of these changes is a film that delivers on the promise of the original with a cast nearly as distinguished. As a kicker, Mel Brooks writes most of the songs and has a hand in the screenplay, so the changes are a genuine revision of the original rather than an imposition by a third party. Watch The Producers if you are into Broadway-style musicals or comedies. Fans of the original may not appreciate the exaggerated nature of the remake, but those who were looking for a little more in the original should try the remake on for size. While not a smash hit, The Producers is a light, pleasant watch that fans of the genre are sure to enjoy.

6.4 out of 10 on IMDB. I give it a 7.0 to 7.5 for decent songs, good comedy, and great performances.

Today’s quick review: The Mechanic. Arthur Bishop (Jason Statham) is a successful assassin who specializes in making his murders look like accidents. One day, he is assigned to kill Harry McKenna (Donald Sutherland), his best friend and mentor, for betraying their agency. After Harry’s death, Steve (Ben Foster), Harry’s disappointment of a son, persuades Arthur to take him on as an apprentice. But as Steve settles into the life of an assassin, he comes closer to discovering who really killed his father.

The Mechanic is an action film about a hitman, his protege, and the shady company for which they work. Jason Statham drives the movie as the detached, methodical Arthur, who earns his kills through careful preparation. But the mindset that makes him an effective killer also makes his life empty, filling the void only with his records, his car, and a girlfriend who doesn’t even know his name. Ben Foster plays against him as the hotheaded, discontent Steve. Steve takes to his training well, but his temper often gets the best of him, and Arthur spends his time imparting what wisdom he can while keeping Steve from getting the two of them killed.

The action is credible but not outstanding, with enough shootouts to qualify as an action movie but no distinctive style. Where The Mechanic sets itself apart is in the quality of its missions and the dynamic between Arthur and Steve. Arthur’s infiltration techniques are creative and interesting, while the fact that Steve does not know who killed his father adds some nice tension to the plot.

Watch The Mechanic if you enjoy action movies, simple crime dramas, or Jason Statham. While the movie is not groundbreaking, it is a solid entry into the genre that emphasizes the meticulous side of assassination and uses a mentor-student relationship for some good drama. Skip it if you are looking for a more comedic action film, a deeper crime drama, or a great movie rather than a good one.

6.6 out of 10 on IMDB. I give it 7.0 for decent execution with a couple of nice touches.

Today’s quick review: Major League. When the Cleveland Indians’ new owner (Margaret Whitton) gets an offer to move the team to Miami, she sets about ensuring that the team has a bad enough season that she can justify the move. She hires a grizzled coach (James Gammon) to guide the team to what she hopes will be a spectacular string of losses. The new roster includes a washed-up catcher with bad knees (Tom Berenger), a hotheaded convict with a killer fastball (Charlie Sheen), a heavy hitter with an unorthodox set of beliefs (Dennis Haysbert), a lively sprinter who talks his way onto the team (Wesley Snipes), and a vain free agent with a bad attitude (Corbin Bernsen). But when the team begins to get its act together, the owner ramps up her sabotage to ensure that the Indians remain a team of losers.

Major League is an underdog sports comedy with an ensemble cast. The team that the coach puts together is full of untapped talent. Charlie Sheen plays Ricky Vaughn, a delinquent picther with a powerful arm but little control. Wesley Snipes plays Willie Mays Hayes, a sprinter who is top-notch at stealing bases but who can only hit fly balls. Tom Berenger plays Jake Taylor, a veteran catcher whose wants one last season of success to win back his old girlfriend. Corbin Bernsen plays Roger Dorn, a skilled player whose ego gets in the way of his teamwork. The colorful characters are a joy to watch through failures and successes.

Major League has a persistent, character-based humor that makes it a light and interesting watch. Each character has a brief arc to go through, and their travails individually and as a team are the source of much of the movie’s humor. No one joke is outrageous, but the culmination of individual quirks and an underdog plot is enough to bring a big smile to the viewer’s face. Watch it when you’re in the mood for a fun, well-executed comedy. Skip it if you’re looking for something a little meatier.

7.2 out of 10 on IMDB. I give it 7.0 to 7.5 for enjoyable humor.