Takers is one of those rare movies: pretty trite, but takes itself seriously enough so that the audience jumps into the car and goes along for the ride. There are obvious references to a plethora of films. These include True Romance, Heat, The Italian Job, Out of Sight, and Point Break among others. The fact that this film rips these movies off is not necessarily bad-it simply adds to the joyride. It shows us that this is a self-aware movie of the best kind. It just wants us to have fun and get engrossed in the testosterone. And let me tell you, it’s a blast.

Takers has about six main characters and is surprisingly able to give them all enough screen time to allow us to get familiar with each one. Matt Dillon plays the typical good cop with anger issues; his marriage has ended and his relationship with his daughter is not so strong. In one scene, he turns their day of bonding into a car chase with a suspect. Then there is the group of “Takers.” Idris Elba, always a soothing and masculine presence, is solid here, as a thief who also has the baggage of taking care of his drug addict sister. Hayden Christensen turns in an unexpectedly charismatic performance as the caustic and protective explosives expert. His performance here is the second best of his career; only his in Life as a House outshines this.

Others include Michael Ealy, who proves here why we should be on the lookout for him as a leading man in the future. And Paul Walker. Oh Paul Walker. I love the fact that he has made a solid career out of playing the same character in all of his movies. Yet, he is always engaging and enjoyable when implementing his bad ass factor. And Tip ‘T.I.’ Harris, here in his third film, proves a lively force, though his acting becomes parody in the final act.

The plot centers around Harris’ character getting out of jail after taking the fall for all the guys six years ago for a job gone wrong. He was left in a stairwell, shot, while the rest of the men got away. But because the code of crime holds strong for him, he does not give up anyone and serves his full sentence. Now he is back and ready to exact revenge. Without giving any huge plot points away, he sets up a complicated web to use everyone for his own gain. The way that this plays out is interesting and exciting, and we care about the characters the whole way through.

As is typical most times of these types of crime movies, we want the “bad” guys to get away with it and outsmart the cops. In this particular case, the reason we root for them to get away with it is because the story with the cops does not obtain the emotional investment of the audience the way the others’ stories do.

It really doesn’t matter because the core of the film is the way that these men navigate their own lives, and exist in the world of thievery. We get to hear their philosophies on how much time they take between jobs, how they go about conducting said jobs, and their sense of camaraderie. And the action.

The real key in the enjoyment of Takers, though, is the fact that the action sequences are phenomenal. There is a sequence in which Chris Brown’s character is chased by the cops and the stunts and action involved is unparalleled by anything I have seen in a very, very long time. The scene is intense and exhilarating. And, as I mentioned before, the scene where Paul Walker lays his bad-assery down, a la, Fast and Furious proportions is pretty great. The direction of the movie is solid and some of the shots evoke one’s sense to join these men in the ride.

All in all, this is a movie that is worth seeing. And I will also give it sincere props for not following the typical endings usually bestowed upon films like these. We usually think that we have everything figured out. But not so, in this case. This is a film that takes a typical premise where it rips off other films that have gone before and does the crime  genre proud due to great direction, phenomenal action, and charismatic performances. This is a movie that proves once again, why action films thrive and proves why more and more women are running from the schlocky romantic comedy genre and into the arms of “Guys Movies.” Right now, they are much more entertaining and empathetic than junk such as Eat, Pray, Love.

Filed under: Action, Bad Ass Leading Men, silver screen by admin
Tags: « Action - Bad Ass - Chris Brown - Hayden Christensen - Idris Elba - Michael Ealy - Paul Walker - Takers »
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Here is the new Twilight Saga: Eclipse Trailer on Entertainment Weekly

Which leads us to my inevitable disdain for these films (even thought I keep going back for more). As you probably have been able to tell from my previous reviews on these films and my befuddlement over Kristen Stewart’s casting in this series-I am not a fan. I’m going to get on my soapbox for a quick moment and lamely state that because I was enamored with this series before it gained its mass popularity, I was and am a little protective and judgmental of all the annoying”Twilighters” and the even more grating movie adaptations.

The first movie, Twilight, was horrendous. Granted, the budget did not help the movie when it came time for it to try and present the many, many supernatural elements through special effects. They didn’t have much to work with, through no fault of their own. When it came time for the second movie to roll out, New Moon, I did think that the new director, Chris Weitz, did a much better job than Catherine Hardwicke (director of the first) in terms of presenting a much more artistically driven film. He also took the time to develop and work with the actors (or so it seemed) as their fluidity onscreen had much improved from the first movie.

Now as Eclipse comes out, much sooner (7 months)  than the time from from the first film to the second (a year), it seems to hold more promise than the first two. But the big hype surrounding the third film adaptation is that industry insiders and the director (David Slade), and the actors alike said that the tone of this film was going to be much darker. And let’s be honest, when it comes to these films, a little helping of Interview with the Vampire’s rich, brooding tone would definitely help elevate these movies from schlock to pleasing. After viewing the trailer, this new darker version does not come through. What we are given are the same types of set-ups, the same blank stares from Stewart, and the same incoherent plot lines that have not transitioned from book to screen successfully.

I will say that the one promising element for Eclipse is the addition of Bryce Dallas Howard as Rachelle LeFevre’s replacement as Victoria. Though her time in the trailer is merely a split second, her presence is stirring. I am excited to see what she does with Victoria in this film, as Eclipse is the book in which the character is at its best and has its largest plot line. I think that she will infuse the character with what LeFevre never could: real terror and verve. I think her presence will be felt throughout this film, as Howard is a fine actress that I feel has not really gotten her fair shot at roles thus far.

You might think that I am being too hard on The Twilight Saga Films. Hey, if I am wrong about Eclipse, I will be the first to admit it and apologize for my snap-judgement due to the trailer. But for those of you have read the books, can you seriously say that these movies do them any justice? Sure, they are a fun read, not too deep, and delve into the melodrama and sap every once in awhile. But what works so well in Stephenie Meyer’s books does not translate well onto the screen. I don’t think that the casting of these films helped at all. The films almost take themselves too seriously, and don’t pay enough attention to the myths and legends that make vampire lore so interesting. The mythos should have been held in higher regard than the teeny-bopper romance angle when it came to these movies. Better art direction could have set a mood that would have flourished in a teen-vampire romance story.

So let’s just hope that I’m wrong and David Slade does something remarkable with this third entry. I am a little skeptical because his previous effort on the silver screen was 30 Days of Night, which I considered a clunker. Said movie was not scary in the least.

Ideal candidate for Bella

I still firmly believe that Leighton Meester should have been cast as Bella, and Taylor Kitsch for Edward. And a little Charlie Hunnam on the side as Carlisle.The only casting they got right in this film is Billy Burke as Charlie Swan;) He is right on the money.

So let’s hear it. What do you think about this third installment???? Am I going to have to eat my words? What do you think of the first two movies????

Filed under: Atrocious Acting, Commentary, Forthcoming Flicks, Romance, Vampire, silver screen by admin
Tags: « Bryce Dallas Howard - Eclipse - Kristen Stewart - Leighton Meester - Rachelle Le Fevre - Robert Pattinson - Stephenie Meyer - Taylor Kitsch - The Twilight Saga - Vampire »
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Golden Moments:

Finally! The Right People Won.

• The reason this year was so enjoyable was because for once, the right people won the major categories, with one exception. I’ll get to that in a bit. In the first award of the night, Christoph Waltz took home the supporting actor trophy and gave a speech that was very heartfelt, if not too entertaining. But it paid tribute to Quentin Tarantino, the man who put him in what will be the performance of his career, and that was enough for me.

• Mo’Nique took home the supporting actress statue, and like Waltz, this was expected. Her acceptance speech was a little heavy-handed, but I definitely appreciated what she said about Hattie McDaniel and thought it was classy that she referenced such a wonderful classic actress.

And Then Came My Faves…

• Jeff Bridges and Sandra Bullock getting up to accept their well-deserved Lead Acting awards was my favorite part of the night. These two actors have gone under-appreciated in the world of cinema for far too long, and this was their time. It was terrific and I busted a tear or two. When Bridges held his statue up to the sky to salute his deceased parents (Lloyd and Dorothy Bridges) I choked up. Jeff Bridges has an amazing resume and his contribution to film over the years has been understated and always enigmatic. His performance in Crazy Heart will go down in the history of cinema as one of the greats. His tribute to his wife and daughters was especially touching.

Bridges Taking Home Lead Actor Oscar

• Then there was Sandra Bullock. Steve and Alec made a joke in the beginning of the night about how it seems no one dislikes Hollywood’s golden girl, but we may just find out tonight when she accepts the statue and the claws came out. No claws, only a standing ovation (Brigdes got one, too). Many think that Meryl’s performance was better then Sandra’s. Guess what? Sandy deserved this award and her performance in The Blind Side was a career-changing and one that will light a new direction for her future in film. I loved her speech and thought that her tribute to her mother was one of the best in history and when she looked at her husband, you could feel the love. Guess her and Bridges’ strong marriages show you how grounded and inspiring they are!

True Sweetheart Sandy B puts "previous one" Julia Roberts to shame

Other Magic Moments:

• Robert Downey Jr. and Tina Fey were side-splittingly funny. When Downey delivered the line about how writers (they were presenting Best Original Screenplay) are “ugly little mole people” I had tears in my eyes.

• Michelle Pfeiffer’s tribute to Jeff Bridges was touching (If you have never seen Fabulous Baker Boys, rent it NOW. One of their best of both careers, respectively).

• Kathryn Bigelow accepting the Best Director award (first for a woman)

• Ryan Bingham and T Bone Burnett winning Best Original Song for “The Weary Kind.” Haven’t heard it? Shame on you. Exceptional lyrics and a haunting, melodic tune. Bingham used to be a rodeo cowboy, who turned to songwriting. Pretty damn cool if you ask me.

WTF were they thinking???

• When the producers (one being Adam Shankman of So You Think You Can Dance) cut the Original Song performances, I was fine with it. But when they decided that we needed to see dancers (a couple I recognized from the show) to perform to the best original score nominees, I almost passed out. Then I went to take my dog outside to go to the bathroom.

• Kristen Stewart looked great in her gown (either Monique Lhuillier or Marchesa) but when she got up to co-present the horror films montage, she hacked in the middle of it, on Taylor Lautner, no less. It ruined any new sophisticated cred she had built over the past few hours.

• AVATAR should have took home Best Picture rather than The Hurt Locker. This further proves how Hollywood still loves to cast aside Science Fiction.

• AND! The television audience at home missed out on the stills of Patrick Swayze in the In Memoriam portion of the broadcast. Plus, they seriously cut out Bea Arthur? Farrah Fawcett? But put Michal Jackson in?????? What in the world????

• Sean Penn (who recently said he hopes people die of rectal cancer) presenting Sandra Bullock with the Best Actress award made me cringe. When you have the one of the most unlikeable and opportunistic people in Hollywood giving our girl next door the golden statue, it is time to toss out the rule that last year’s winner of the opposite sex presents to this year’s. I kinda hoped that Keanu would’ve gotten up from the audience and pushed him off the stage. Sandy deserved better than Sean. He also ditched her backstage when she didn’t know where to go after she won! The awesome Forest Whitaker came and helped her out. Assholes like Sean do not belong here.
  

  Dear Academy, please exclude losers/assholes like Sean Penn in the future. Oh, and quit giving him awards. Thanks, all the sane people

• I’m thinking it’s going to be pretty damn hard to top this year’s ceremony. Well, if Sean Penn stays away, I’ll be good to go!

Filed under: Bad Ass Leading Men, Oscars, Sandra Bullock, silver screen by admin
Tags: « Academy Awards - AVATAR - Jeff Bridges - Kathryn Bigelow - Kristen Stewart - Mo'Nique - Oscars - Quentin Tarantino - Sandra Bullock »
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Sorry this is coming a little late kids. I was exhausted last night and couldn’t make it to my computer. I had waaaaay too many opinions about the Academy Awards show. Both immaculate and mystifying.

So let’s get this on a roll…

Steve + Alec= Gold

For the first time in years, we had hosts that could actually deliver. Anyone remember Hugh Jackman from last year? Way too many musical numbers and not enough edginess. Steve Martin and Alec Baldwin decided not to perform the musical number and left that “honor” to Neil Patrick Harris. While Harris is extremely talented, and I did enjoy the festive number complete with comedic jabs at everyone including Dolly Parton, it still proved one steadfast truth of the Oscars: No one can do a musical comedy number like Billy Crystal (I’m still waiting for him to return to the stage if I’m being completely honest).

Steve Martin and Alec Baldwin Invigorated the Ceremony

Nevertheless, Steve and Alec riffed off of each like nobody’s business. I thought that their set-up was genius. Steve was the more sophisticated and cultured of the two, and Alec was the slow buffoon who gave his jabs a little later in the opening monologue. Steve led the jokes, while Alec either finished with the punchline or continued the set-up for Steve.

Jabs that stood out were when they explained how the Academy tallied the votes and ended with “And no matter what, they nominate Meryl Streep.” Other fabulous gems were when they called half of the crowd Inglorious Basterds then pointed out where the actual crew of the film sat, as well as when Alec Baldwin pointed out if Mo’Nique won, it would crush the stereotype that comedians never win which is something Steve should know a lot about it. Also hilarious was when they pointed out Meryl Streep is the most nominated actor of all time, or as he likes to look at it, “has the most losses.”

The only jokes that fell flat was one about Precious being a video game, and then everything involving George Clooney. Seriously, can Hollywood please get off of this man’s jock? Hate to break it to you, but he is not that good looking and so pretentious, and his actual best movie? Out of Sight.

Funny Video!!!

But the two funniest moments, for me, were when the hosts’ used two pre-taped segments that featured a parody of Paranormal State and used Snuggies. In the Paranormal Activity parody, Steve Martin punched Alec in the face and then later Alec falls out of bed. It was hysterical beyond words and I can’t even put my finger on why. Maybe it was because it was simple comic genius. The Snuggie segment showed the hosts watching the show from a couch with connecting Snuggies. They worked it into the wonderful Tyler Perry’s introduction and it soared.

Verdict: These two hit it out of the ballpark and I hope they are asked back next year.

Missed it? Look at it here.

BTW….what about when they called Woody Harrelson “so high”??? GREAT

Oh, and…I’ve been becoming a huge fan of Sam Worthington, but why couldn’t he force a smile when they riffed on AVATAR? Do we have a new Russell Crowe on our hands?

Filed under: Oscars, Steve Martin, Uncategorized by admin
Tags: « Academy Awards - Alec Baldwin - Neil Patrick Harris - Oscars - Paranormal Activity - Steve Martin »
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I have to admit that I was a little worried when Shutter Island was delayed. It was supposed to open back in October last year and then the major studio behind it, Paramount, pushed it back a few months due to financial reasons for the promotion. When a film is delayed either in production, or post- production, the first thought that comes to mind is that said picture just might not be that great and the studio wants to release it at a time when it can still profit, but not garner as much attention if it’s terrible. One recent movie that comes to mind the The Wolfman. Reviews for this film were scathing. It was delayed several times, but still opened on a big weekend in February and has already made $50 million.

Well, my worries turned out to be those of a fool. This movie, the fourth collaboration between Leonardo DiCaprio and Martin Scorsese (Gangs of New York, The Aviator, and The Departed all preceded) turns out to be their creative pinnacle. I don’t know if I can go as far as to say it is their best film. That honor, in my opinion, goes to The Departed for its realistic and intricate take on the crime underground. The way they unearthed that world and brought those people to life was simply outstanding.

Outstanding Settings

Shutter Island, however, IS DiCaprio and Scorsese’s artistic peak thus far. The production design by Dante Ferreri is breathtaking. From the opening scene depicting Federal Marshalls Teddy Daniels (DiCaprio) and his partner Chuck Aule (Mark Ruffallo) sailing to the island to investigate the disappearance of a mentally psychotic patient, this movie absolutely sucks you in. The ominous score illuminates the insanity building in the characters surroundings, and we are left to wonder: “Just who is crazy here on this island?” Could it be the head of this psychiatric ward, Ben Kingsley? With his scaled back and calculated performance, Kingsley is able to convey a sensibility that almost becomes irritating-in a fantastically captivating way.

The camera angles that Scorsese uses to set the tone of the picture are really something. The ever simple-but rarely used nowadays-low angle shot is put to great effect here. It contributes to the sense of dread and bewilderment constantly building inside the viewer. As we follow DiCaprio and Ruffalo along in their ride to the actual asylum (one of three) on Shutter Island, the buildings take on a life of their own. I can’t recall a film in recent memory that makes such use of the settings in the way that these lifeless buildings and props become characters that contribute to the film-but I’ll try to get back to you on that one.

This aspect of the film is its greatest strength, and it unfortunately becomes its greatest weakness. As the film progresses further into the plot, the story development as a whole falls by the wayside, and we are treated to many extreme close-ups of DiCaprio as he is becoming more and more engrossed in his investigation and suspicious about everyone on this island. And though DiCaprio is the film’s second-greatest strength, the longer we are trapped inside the dungeons of these buildings, the more the story slows down with arduous plot exposition until we get to the great reveal. And of course, like many films, this great reveal is one we have seen many times before. But I didn’t mind that the film fell into the familiar territory towards the last act. When the great reveal is fleshed out in its entirety, it becomes sadly disturbing, so the faint of heart probably shouldn’t see the film. Michelle Williams should have a mention here. She has been shuffling around indi-film land lately and though she is a good actress, she did not elicit any emotional investment from the viewer. Better luck next time. I have read that she is great in Blue Valentine with Ryan Gosling and am sure this is true. This role, though small, did not suit her one bit.

The Current Bad-Ass of Cinema Leading Men (Action Excluded)

I felt that DiCaprio’s performance was yet another of genius, and thought about how remarkable it is that no matter how many revered veteran’s he is put up against on the silver screen (Nicholson, Streep, Keaton, Day-Lewis, Hanks and in this picture, Kingsley) he always holds his own, if not outshines them. Name one other contemporary actor that can do this! Shutter Island is worth the ride for DiCaprio and the phenomenal stylistic direction of Scorsese and his use of the set design. It’s not many times that you see every collaboration work for a team, and right now, these two are hitting their stride and have lots more to come.

***I recently read a commentary by Owen Gleiberman of Entertainment Weekly about how the date change of Shutter Island helped the movie succeed in that it changed its status from Oscar bait to pre-summer fun. I disagree (like I ALWAYS do with EW’s critics). Let me know what you think…and I’ll hit you back with my reasoning for future summation…

Filed under: Action, Awesome Art, Bad Ass Leading Men, Thriller/Mystery, silver screen by admin
Tags: « Art Direction - Ben Kingsley - Dante Ferreri - Leonardo DiCaprio - Mark Ruffalo - Martin Scorsese - Michelle Williams »
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When the hype started to build up around Dear John several months back, many industry insiders predicted it would outdo that other very famous Nicholas Sparks adaptation, The Notebook (it doesn’t even come close). Plus, the casting made headlines when it was announced current every-girl heartthrob Channing Tatum (Stop-Loss) as the lead, along with up and comer Amanda Seyfried (Mamma Mia! and Mean Girls) as his love interest. I’ve been a Channing Tatum fan since he made me laugh in She’s the Man as well as the cheese-tastic dancing flick Step-Up (I have a soft spot for dance flicks, so sue me). But thus far, Tatum has failed to really connect with a script that requires depth of emotion, until (partially) now.

Seyfried and Tatum smooching in the rain

In Dear John, Amanda Seyfried plays Savannah, a wealthy college student on her Spring Break in South Carolina. She meets John (Tatum) at the beach one afternoon when her bag gets knocked into the ocean from a pier, and John “heroically” leaps into the water below like an Adonis and saves her bag from a murky death. She offers him a beer at her house (though she is a good girl and “doesn’t drink, smoke, or sleep around” as we learn) and they, of course, fall into a deep romance where the good girl redeems the former bad boy. There’s a catch, of course, and John is in the Army and is on leave. He still has a year on tour and they promise each other they will write letters and love one another until he comes back and they can spend the rest of their lives together.

The first part of the film moves along nicely. The relationship between John and his father (played by Richard Jenkins) develops into a much bigger subplot than I originally expected. His father’s inability to communicate is explored, explaining the history of the father and son. This part of the picture is given thought and nuance. The background of their relationship is explored richly and succinctly. John and Savannah’s relationship also shows some real heart in the beginning and the two leads have chemistry and their familiarity and comfort is genuine.

Tatum, as I said before, has really failed to connect to his more dramatic roles (Stop-Loss and Fighting). Many times looks like he’s frustrated that he can’t express the pain his character is feeling. But here he finally does show some growth as an actor, and still projects the charisma and likability that has made him an up and coming star. Put him in more films with talented actors like Jenkins, and his growth will continue. Seyfried has been solid, if not great, in her prior work and I’m afraid it’s more of that here. She is muted and though I think she is trying to portray the innocence that comes with the first time you really fall in love, she succeeds in only making Savannah a sweet simp with pretty hair. We are not invested enough in her character to actually sympathize with her decisions throughout the film.

The thing that I notice more and more about the material that Nicholas Sparks writes is that he incorporates disabilities and other complications into his stories that are beyond human control. Sometimes it works, as in The Notebook and the reality of Alzheimer’s. It doesn’t work in Dear John. Believing the plot that Seyfried’s character has so much knowledge about Autism because she grew up next to an Autistic kid is a little far-fetched. Then, when a minor character falls ill, it comes off as a manipulative plot device to solve some issues. No good. The other adaptations of Sparks works often fall prey as well. Message in a Bottle and Nights in Rodanthe? Do NOT get me started on those. And the fact that Miley Cyrus was cast as the young lead in the upcoming The Last Song doesn’t give one much hope either.

All this being said, for those who do appreciate romance, Dear John is worth seeing despite bad reviews. This is a nice movie that honors the military and when you see the men re-enlist after the 9/11 attacks, it reinforces the respect one must have for our armed forces. The movie does succeed in showing that you cannot control every aspect of life and you truly can’t always keep the promises you make. This is a bitter pill to swallow sometimes, but you do get through it. The relationship between the two leading up to the 9/11 attacks and the decision that John grapples with following these events are some of the best scenes in the film. This is where it is realistic.

McAdams and Gosling had some serious chemistry in a superior film

But as always, if you want true blue love and romance, dust off that copy of The Notebook (you know you have one) and pop that into the player instead (for the 107^th time).

Filed under: Bad Ass Leading Men, Relationships, Romance, silver screen by admin
Tags: « Amanda Seyfried - Channing Tatum - Military - Nicholas Sparks - Romance - The Notebook - Weepy Romance »
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