Ghostbusters Movie Review

In this era of reboots, sequels, re-imaginings, and reinventions, one thing has consistently escaped the Hollywood executives who greenlight this stuff. They continue to make blockbuster cinema a boys club, catering to and casting men in most major action and comedy films. But leave it to Paul Feig, the director of the hysterically funny female response to the male gross-out comedy – Bridesmaids – to bring us the female Ghostbusters. A second sequel in the franchise was part of Hollywood lore for years with talk of Chris Farley being involved shortly before his death in 1997. But now we finally, at long last, even though almost no one was demanding it, have a new Ghostbusters with the all-lady cast of Melissa McCarthy, Kristen Wiig, Leslie Jones, and Kate McKinnon.

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.

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.

Rise of the Planet of the Apes Movie Review: You Blew It Up! Damn You to Hell!

For the life of me I can’t understand why critics have been heaping praise on Rise of the Planet of the Apes. Are our standards and expectations for big-budget studio productions so low that as long as it’s not a documentary about idiots falling down we think it’s good? Have we come this far and sunk so low? Really, I don’t see what there is to appreciate in this sub-par CGI-enhanced non-spectacle that completely fails to grasp any of the subtlety or even the humor of Planet of the Apes.

City of Angels Movie Review

First published in The Connecticut College Voice on 17 April 1998.

Republished here with minor editorial adjustments that do not affect content.

Try and imagine a remake of Wim Wenders’ Wings of Desire. Except you take away the poetic language, the depiction of Berlin as a city divided, and the discussion of the meaning of giving up immortality as a celestial being in order to experience love and you have City of Angels. It is a watered down remake of the 1987 film. It mainly extracts the love story aspect of the original, but still manages to hold onto a bit of the rest. This version of the story can barely stand on its own, and as a remake doesn’t even come close to measuring up.

One major difference between the two is in the dialogue. It lacks the subtlety and imagination of the original. For example, the angel Seth (Nicolas Cage) tells his friend and fellow angel Cassiel (Andre Braugher), “I would rather have had one breath of her hair, one kiss from her mouth one touch of her hand than eternity without it – one.” In Wings of Desire the angel says, “I learned amazement last night.” The latter is much simpler, allowing the viewer to imagine for himself what the amazement was rather than spelling it out. In all honesty, to compare the two films is almost pointless. Wings of Desire exists as a wholly original and visionary piece of work while City of Angels is pop culture for the masses.

Gus Van Sant's Psycho Movie Review: If It Ain't Broken, Don't Fix It

First published in The Connecticut College Voice on 11 December 1998.

Republished here unaltered.

As things generally go, you may want to avoid those rare films which aren’t screened for critics. They are usually extraordinarily bad and the filmmakers would rather have a chance at opening weekend box office and not kill those chances with bad reviews on opening day. But the case for Gus Van Sant’s Psycho, a shot-for-shot re-creation of the original is not the same. Hitchcock did not screen his 1960 masterpiece for critics and Van Sant does the same as a way to take one more step toward his carbon copy.

I watched the original twice in the week preceding my viewing of the new version so that I could get a feel for the movement of the camera and take a handle on the dialogue. So little is changed in Van Sant’s that what is changed is hardly worth mentioning; even the license plate on Marion’s car is the same.

Cult Classic Movie Review: Evil Dead II

If you go into watching Evil Dead II with anything other than the desire to laugh, you’re likely to be disappointed. Director Sam Raimi and his collaborators, high school friends Scott Spiegel (who co-wrote the screenplay with Raimi) and Bruce Campbell, who stars in the film, set out specifically to make a horror comedy.

In a nutshell, the story goes something like this: Raimi and Campbell make a low-budget horror film called Evil Dead. It’s a standard group-of-friends-in-a-cabin-in-the-woods, supernatural evil, genre film. It’s by no means an inept film, but the seams are visible, the acting is poor and audiences respond with jeers and laughter. It achieves a bit of cult status. They decide to ‘remake’ the film, but as a comic send up of low-budget horror flicks, and call it a sequel.

The Wolfman Movie Review

This review is based on the extended cut version.

Can anyone remember the last time Anthony Hopkins made a film that didn’t look like a complete sellout? In the last decade or so he’s probably made one film that’s worth watching – The World’s Fastest Indian. You should seriously give it a look because The Wolfman is anything but worthy of two of hours of your time.

The Wolfman is director Joe Johnston’s attempt at bringing back that old Hollywood monster movie feeling. He’s trying to invoke nostalgia from the appearance of the Universal logo, which is a retooling of the one used in 1941, when Lon Chaney, Jr. donned the wolf makeup and chased Claude Rains around the backlot. It has an opening scene that suggests we might be in for a wonderfully campy ride, with a bombastic and ridiculous musical score, fast cuts of wolf’s claws, growling and snarling on the soundtrack and just enough dripping blood from the victim to be scary without tipping the balance toward gruesome.

Dinner for Schmucks Movie Review: Never Go Full Retard

Paul Rudd meets Steve Carell with his mouse Last Supper

Dinner for Schmucks is what happens when middlebrow Hollywood talent take a perfectly respectable French comedy of errors and simmer it down to a lumpy reduction. Screenwriters David Guion and Michael Handelman, along with director Jay Roach (the Austin Powers trilogy), have altered Francis Veber’s The Dinner Game, a sophisticated and light farce, to a lowbrow ramshackle disaster comedy.

A Nightmare on Elm Street Movie Review: A Reboot Following in the Grand Tradition of Other Banal Reboots

6 June 2012 - Minor edits for clarity and typos.

The recent remake of the horror classic A Nightmare on Elm Street relies on the rather dubious – no, absurd – premise that fifteen teenagers would all have absolutely no memory of having gone to a nursery school at age four or five. I haven’t got a lot of distinct memories from my nursery school days, but I know where it was and I know I went.

Once as a teenager I met one of my old classmates and we vaguely recognized each other in spite of the physical changes that accompany the transition from age 4 to 16. Five of the characters in the film go to high school together, believing that they met each other in middle school. None of them remembers anything from their early childhoods. This serves one purpose, only useful to the plot’s feeble attempt at mystery and suspense: to create confusion among the kids and allow for drawn out sequences of discovery and investigation.