The Infiltrator Movie Review

The world surely has no shortage of movies about the international drug trade or about law enforcement using everything in their arsenal to take down the cartels. There’s also plenty of movies about the perils of going undercover to take down a criminal organization. The Infiltrator combines both for a premise that is not especially original, but which is often enthralling. There’s something about the story of a person who goes into another world pretending to be something they’re not. There’s the adrenaline rush of going into the danger zone. There’s the excitement of getting to be someone else for a while leading a sort of double life. It’s like getting a chance to be someone and do something that you’re not. Who wouldn’t like the opportunity to see how that fits? Of course who wants to take with it the possibility of getting killed?

Heat Movie Review

It’s sort of improbable that Michael Mann was able to make Heat the way he wanted to at the length of nearly three hours. How did a studio greenlight that decision? Mann was not a known director like a Scorsese or a Spielberg. Crime drama was not exactly a genre that typically lent itself to epic scope and length. I can only surmise that it was on the strength of having Robert De Niro and Al Pacino as the two leads that made executives believe that people would come to this movie. It didn’t hurt, I’m sure, that the movie is exceptionally well-made.

A Walk Among the Tombstones Movie Review

Played in all earnestness as a tribute to the private investigator sub-genre of crime fiction, Scott Frank’s adaptation (which he also directed) of Lawrence Block’s A Walk Among the Tombstones is about as grim and nihilistic a treatment as you’re likely to see in a mainstream movie. The character Matt Scudder featured in more than a dozen of Block’s books and some of those have been adapted to the screen before. But Frank, who is no stranger to pulp fiction and mystery stories involving a tough PI (Frank wrote the screenplay adaptations of both Get Shorty and Out of Sight), doesn’t bother trying to reinvent the genre or to put a new spin on it. A Walk Among the Tombstones is effective classic mystery storytelling. It’s more hard-edged and just plain evil than any adaptation of Philip Marlowe or Sam Spade ever was, but the hallmarks are there.

From My Collection: Miller's Crossing

The extent to which I thoroughly enjoy and absolutely love Miller’s Crossing can hardly be put into words. It is by far my favorite Coen brothers film even if I don’t think it their greatest achievement. But I get a thrill every time I watch it, and that’s about ten or a dozen times over a period of nearly twenty years. I think Miller’s Crossing arrived on my radar at a particularly impressionable time in my development as a cinephile. It was pre-Fargo and so prior to the Coens being almost household names. I was also just very recently enamored with Quentin Tarantino, although had yet to discover Sam Raimi. I don’t even think I knew about the Coens as filmmakers yet. Raising Arizona had played on TV and I’d seen it, but I had no idea who was responsible. There was no IMDb in my world yet.

From My Collection: A Modern Classic Movie Review of L.A. Confidential

What studio executive looked at the talent and material coming together on the 1997 adaptation of James Ellroy’s pulp detective novel L.A. Confidential and thought it was a good idea? On paper, it just doesn’t look like it should work. But I guess that’s proof then that studios can’t predict everything based on filmmakers’ resumes, popularity of talent and story material. In L.A. Confidential they had on their hands a 1950s period detective story with an unbelievably complex plot, one that rivals Raymond Chandler for its twists and turns and reversals. It’s true that pulp stories were steaming along in popularity in the late 90s and neo-noir was perhaps starting to make another brief resurgence.

The Counselor Movie Review

In general I try to avoid what other critics have to say about a film before I see it. Sometimes I have a general idea of the critical consensus, but in the case of The Counselor I knew nothing. I was shocked to find that the majority of critics had ripped it apart. It would have been surprising enough only for the fact that it was directed by Ridley Scott from an original screenplay by novelist Cormac McCarthy (his first produced). McCarthy is, after all, one of the greatest contemporary fiction writers in America. It also features a phenomenal cast of highly capable actors. Mostly my disbelief registered so high because I thought The Counselor was just wonderful, exemplifying the very best of what McCarthy accomplishes in his novels.

From My Collection: Eastern Promises Movie Review

I sort of remembered Eastern Promises, David Cronenberg’s film about a woman who gets mixed up in the dealings of the Russian mafia in London, as a much more significant movie the first time around. The stakes felt much higher when I saw it on its initial run in cinemas. Maybe this is a movie that really loses something once you know who is who and what their real motivations are. When you don’t know what’s coming, the film really feels dangerous because the Russian mafia might do anything to anyone at any time.

Short Cut Movie Review: Only God Forgives

A Short Cut Movie Review is normally less than 400 words, but in some cases may go slightly over. This is my attempt to keep writing about as many films as I see without getting bogged down with trying to find more to say. They are meant to be brief snapshots of my reaction to a movie without too much depth.

After the stylish and rather brilliant Drive, I had high hopes and anticipation for Nicholas Winding Refn’s follow up Only God Forgives. The same great look is there with the seedy underworld of Bangkok replacing Los Angeles. The film is bathed in neon lights and deep reds, but it lacks any heart.

Drive worked because we cared about the characters. This time Refn doesn’t give us a hero. Sure, Julian (Ryan Gosling), a drug smuggler in Thailand, has some redemption when he prevents the murder of an innocent child, but apart from that one act I couldn’t find anything to get behind.

From My Collection: Out of Sight Movie Review

Out of Sight is quite simply one of the slickest and sexiest films of at least the last two decades. One scene in particular, involving a female Federal Marshal and the bank robber she’s chasing taking a “time out” from their respective responsibilities to fan the flames of passion between them is stylishly edited and beautifully realized. I loved this movie when I first saw it. I loved every minute of it as it played out on the big screen. I loved the smoldering Clooney and the incredibly sexy Lopez; loved the threatening Don Cheadle and the comic relief Steve Zahn; loved the fact that the Clooney and Lopez characters turn some common genre stereotypes on their heads; but mostly I loved the film’s sense of cool stemming from its jazz, funk, soul soundtrack, its sharp dialogue, and Tarantino-esque flair.

Short Cut Movie Review: Boyz N the Hood

A Short Cut Movie Review is normally less than 400 words, but in some cases may go slightly over. This is my attempt to keep writing about as many films as I see without getting bogged down with trying to find more to say. They are meant to be brief snapshots of my reaction to a movie without too much depth.

When I watched Colors a few years ago I discovered what felt like an incredibly dated piece of urban crime drama. Reading old reviews I found the original reception hailed it as gritty and realistic. In the case of Boyz N the Hood, I had already seen it several times before watching it again recently, but still found much of it very dated. Perhaps it’s a general problem with all urban crime dramas of that period that they now feel like they’re from another era.

Short Cut Movie Review From My Collection: Ocean's 13

A Short Cut Movie Review is normally less than 400 words, but in some cases may go slightly over. This is my attempt to keep writing about as many films as I see without getting bogged down with trying to find more to say. They are meant to be brief snapshots of my reaction to a movie without too much depth.

Ocean’s 13, the second sequel to Steven Soderbergh’s successful remake of the Rat Pack feature, reaches critical mass with the number of characters piled onto the series. Soderbergh should be thankful that Julia Roberts and Catherine Zeta Jones bowed out of the series. I don’t see where there’s room for them. You’ve got the original eleven; plus Terry Benedict (Andy Garcia), their mark in the first film and a confederate this time; Roman Nagel (Eddie Izzard), a tech wizard who aided them in the last film; Toulour (Vincent Cassel) from the last film; Al Pacino as Willy Bank, their newest mark, a hotel magnate whose shady business antics put Reuben in the hospital; Ellen Barkin as Abigail Sponder, Bank’s right hand woman; and a small role for Julian Sands as the designer of the Bank Casino’s security shield; and David Paymer as the poor schmo of a hotel critic whose room is sabotaged by the crew.

The characterization should be spread too thin, but because the original crew has been so well-established in the first two films, Brian Koppelman and David Levien are able to leave out the usual montage of introductions. It’s just as funny as the second film, again at the expense of Linus (Matt Damon) most of the time. There’s also something about bringing the series back to Las Vegas that gives it a certain retro hipness – there’s a code between guys who’ve shook Sinatra’s hand – that the first sequel lacked. It’s tighter and better conceived than Ocean’s12, and quite thankfully doesn’t rely too heavily on such a dramatic bait and switch. Like the first film, of course there’s a twist in the reveal that you can’t really see coming, but at least it doesn’t bother setting us up for 30 minutes with a fake heist.

Ocean's 12 Movie Review

Where Ocean’s 11 had to rely on a montage to introduce all the members of the heist crew, Ocean’s 12 does something similar to show us where they are now, in several amusing little vignettes. The problem the second time around is that the pretense for it completely undermines the logic behind it. In each introduction we see Terry Benedict (Andy Garcia) confronting them about the $160 million they stole from him. They are each, in turn, surprised to see him, despite the fact that he visits them in cities as disparate as Los Angeles and London. Wouldn’t the first guy have called all the others so they could run and hide before he got there? I suppose this is a minor logical quibble, but it always gave me an uneasy feeling just as this sequel sets itself in motion.

Short Cut Movie Review From My Collection: Ocean's 11

A Short Cut Movie Review is normally less than 400 words, but in some cases may go slightly over. This is my attempt to keep writing about as many films as I see without getting bogged down with trying to find more to say. They are meant to be brief snapshots of my reaction to a movie without too much depth.

I’m a total sucker for heist films. I’ve said it here before. I love the group of thieves each with some specialized skill, the plan, the execution, and the hitch, even though these are all generally tired clichés in the subgenre. Steven Soderbergh’s updating of Ocean’s 11, from a screenplay by Ted Griffin, is a slickly produced genre film that is far better than it has any right to be.

The original featured the epitome of 1960s cool, the Rat Pack, with Frank and Dean at the fore. Forty years later, the update features contemporary Hollywood’s biggest male stars and embodiment of suavity: George Clooney and Brad Pitt. Clooney is Danny Ocean, the brains behind the caper and plan to rob three Las Vegas casinos of $160 million. His closest confidante is Pitt’s Rusty. They’re bankroll is supplied by a fading Vegas hotel magnate played by Elliott Gould and they put together an ensemble of crooks and villains that includes Casey Affleck, Scott Caan, Don Cheadle, Matt Damon, Bernie Mac, and Carl Reiner.

Seven Psychopaths Movie Review

What is it with filmmakers who start out with some quirky little movie that gets a lot of recognition for its panache, or great writing, or great storytelling and then they’re given a big budget and bunch of movie stars and things just seem to run away from them? Martin McDonagh started out with In Bruges, which signaled the start of a promising career in the gangster/hitman genre, the kind of talky pictures about wretched individuals who nevertheless epitomize cool made famous by Quentin Tarantino. Seven Psychopaths is his second feature film, an absurd farce of a story about an Irish screenwriter named Marty (autobiographical much?) trying to write a movie called Seven Psychopaths (self-referential much?).

Killer Joe Movie Review

I can’t remember seeing a film so depraved, immoral, and pointless as William Friedkin’s Killer Joe, based on the play by Tracy Letts. Of course, I’ve never seen The Human Centipede, so there may be hope yet. I’ve seen it described as a dark comedy and yet I found no humor in it. It is full of characters so stupid, who make such bad decisions – life-changing decisions – without much thought, that it’s almost impossible to side with anyone. There is perhaps one exception in the form of a pure innocent young woman, but she is such an odd portrait of a human being that her entire character has no credibility.

Short Cut Review: Lawless

A Short Cut Movie Review is normally less than 400 words, but in some cases may go slightly over. This is my attempt to keep writing about as many films as I see without getting bogged down with trying to find more to say. They are meant to be brief snapshots of my reaction to a movie without too much depth.

Tom Hardy is menacing and vicious as one of three brothers who run a moonshining operation in the hills of Virginia in 1930. Shia LaBeouf is not nearly as annoying as usual and plays just about the only character in the film who undergoes any kind of change. Guy Pearce gives an odd performance as a Chicago lawman trying to shut down the brothers' operation. Jessica Chastain again reveals her fantastic acting talent and old-Hollywood dame-like charm. She looks and acts like she stepped straight out of a 1940s noir. The film carries a constant sense of dread. I felt uneasy through the whole thing, expecting shocking violence to strike at any moment. Hillcoat demonstrates again he's a more than apt director for depicting the violence that men inflict on one another.

Savages Movie Review

Oliver Stone returns to fine form with his latest example of pushing violence to excess in cinema with Savages, the film that Natural Born Killers might have been with a little restraint. Stone exhibits more control of a story that could very easily have run away from itself and of the violence depicted in it.

The Untouchables Movie Review: 25 Years Ago This Month

In honor of this film's 25th Anniversary, here's a fresh look at a film I've seen several times before, but not in many years.

Kevin Costner was not yet a box office superstar when he landed his first big role in Brian De Palm’s The Untouchables, playing the Treasury Department golden boy Eliot Ness, the law man who got Al Capone. He was so much not yet a star that the first shot of him in the film he has his back to camera for the majority of the scene. It is his wife Catherine, played by Patricia Clarkson in her film debut, who gets all the face time in the scene. This is actually the second scene in the film following the bombing of a Chicago business establishment by one of Capone’s henchmen, the blast taking a 10-year-old girl as collateral damage.

From My Collection: The Departed Movie Review

When Frank Costello asks a man how his mother is and he replies that she’s on her way out, Frank’s rejoinder, “We all are. Act accordingly,” sets a tone for the film. As the title suggests, death hangs like a pall over Martin Scorsese’s The Departed. It is a film in which most of the characters live with the fear of death around them at all times. They are cops and they are criminal mafia.

The story is of two young men, played by Matt Damon and Leonardo DiCaprio, who become embroiled in an elaborate plot to take down Costello’s crime organization from one end and infiltrate the Massachusetts State Police Force from the other. Damon plays Colin Sullivan, the mole inside the State Police investigative unit for organized crime. He is recruited by Costello as a boy in an extended prologue that introduces most of the major players. Then there’s DiCaprio’s Billy Costigan, a new police recruit fingered for a special deep undercover assignment to help bring Costello down.

Une vie de chat (A Cat in Paris) Movie Review

Animation as a medium can be a wonderful and often beautiful way to tell a story. It’s a shame that more filmmakers don’t use it. Here in the United States animation tends to be thought of as a children’s medium and it is generally used solely for such. Feature film animation was the exclusive purview of Disney until the late 1990s when Pixar (acquired by Disney) and DreamWorks started producing their own imaginative, though still childish, films.

However, in recent years we’ve been seeing brilliant work from foreign filmmakers who specialize in animation being recognized here and almost every year since the inception of the Animated Feature Oscar, a foreign film with adult oriented themes has been nominated. There’s been the dark earth-toned work of Sylvain Chomet in The Triplets of Belleville and The Illusionist, the Iranian film Persepolis, Waltz with Bashir from Israel. Two years ago a little known (in the USA) Irish film called The Secret of Kells made the Academy’s cut and received a nomination. This year they’ve gone outside the box again – the exclusion of Pixar’s Cars 2 – and nominated two films, one of which has not yet been released in the United States.