Underworld: Rise of the Lycans

I love Underworld and Underworld: Evolution. Excellent special effects, interesting story, awesome heroine--to read more about my thoughts on Kate Beckinsale's Selene, see my essay on cinemaperspective.com under Perspectives. So, obviously, when I saw previews for Underworld: Rise of the Lycans, I was pretty excited. Yes, it is a different director (Beckinsale's hubby directed the first two) and yes, it is a different female star (and Beckinsale lookalike). Nonetheless, I was willing to give it a chance.

And the verdict? Not too shabby. The special effects are a bit rushed and very dark, likely to cover up a lack of budget--the camera moves around a lot to compensate for the lackluster effects and things like trees are used to cover up 'transformations' that the producers lacked the proper fundage to create. The female lead, played less than superbly by Rhona Mitra, is the daughter of the evil head-vampire Viktor. She defies him by falling in love with a Lycan (werewolf) named Lucian. This conflict ultimately triggers the war that is ongoing through the previous films (as Rise is a prequel).

For those who are new to the series, make sure you start with Underworld and then move on to Evolution and Rise. You'll encounter too many spoilers if you watch Rise first. For those who, like me, are fans of the series or just enjoy the films for their special effects, I recommend you check the film out--it's not the best movie in the series by any means, but it is worth watching to watch the backstory play out. No new information is provided, however, so do not expect to be surprised by the events as they unfold or by the story that is told; do expect to be sufficiently pleased with director Patrick Tatopoulos' contribution to the Underworld series.

Wolverine rocks my world!

Yes! A great comic book movie to kick-off the summer movie season--check out X-men Origins: Wolverine if you have not already. It is non-stop action--somewhat predictable storyline but that is to be expected for the most part, right? New mutants that are great and look cool (Gambit is my absolute new favorite mutant replacing Mystique and Lady Deathstrike--although they both hold a very special place in my comic-book-movie-dork heart). He flips around with a stick and shakes the earth with each strike! Very cool. To sum it up in a few words, Wolverine does what a comic book movie does best and does it well. I was thoroughly entertained and excited by the final scene--which is after the credits so make sure you hang in there--that suggested a pending sequel! I'm so there!

Slumdog Millionaire
I have to be honest: I usually hate the Best Picture Oscar winner. Every year. No joke. I mean, how could No Country for Old Men beat out There Will Be Blood? Or how about Crash robbing Brokeback Mountain? Don't get me started! However, Slumdog was a pleasant surprise (well, maybe pleasant isn't the word because some of the things that happen to the characters). The story is a tad predictable and a bit too unbelievable--a young girl who manages to escape a major mobster to be with her true love? It seemed just a bit too easy. Nonetheless, Slumdog provides an eye-opening view of India's slums and the lives of India's people and children. There is violence, there is corruption...and yet there is hope and love. This message of truth in itself makes this film worth watching. An interesting story (slumdog achieves on Who Wants to be a Millionaire!), good acting and great cinematography combined with bright colors and quick, moving shots make it a must-see.

Grey Gardens

So the other night (lucky me!) I won the chance to see a preview screening of the upcoming HBO film entitled Grey Gardens. For those of you not familiar, there is a documentary of the same name in existence that was filmed in the early 1970s. The documentary films and interviews a mother and daughter who are in fact aunt and cousin to Jackie Kennedy Onassis. Bottom line? These two ladies have gone a bit mad living together with virtually no other human contact (and an excessive amount of feline contact).

The HBO film takes the idea a bit further than the doc and explores the lives of these two women before they went crazy, so to speak, and intertwines it with reenactments of the documentary. Drew Barrymore plays the daughter, "little" Edie (Edith) Beale, and Jessica Lange plays the mother, "big" Edie Beale. Both play their parts very well; Barrymore is surprisingly good, in fact (surprising because although I like her, her strive to accomplish dramatic roles is always a bit amusing to me). In spite of my skepticism, Barrymore plays little Edie with passion, compassion and life.

The Edies made for a very intriguing and somewhat appalling news story soon after John F. Kennedy was assassinated. The world learned that these two women, once wealthy and pampered by Mr. Beale, were living in squalor in their formerly beautiful summer home, Grey Gardens. It was quite the scandal because Cousin Jackie was such a prominet American figure. However, the film reveals that it was Jackie who helped them out of their state and to survive from then on.

What is most provocative about this film is its exploration of wealth and being "kept." Big Edie was a woman of the 1920s, very accustomed to her husband's money and status and confident that she was indestructible. What she did not count on, however, was the Great Depression coupled with the fact that someday she may have to fend for herself--which in fact she had no idea how to do. Little Edie, as a result of her mother's overprotection, found herself much in the same boat. Their relationship is a dysfunctional but loving one, somewhat like a married couple who has spent entirely too many years with one another.

I don't want to give the entire story away--any of this you could read in a summary--but the film is very well done and interesting. It's a great story and I highly recommend the documentary as well. (Side note: believe it or not, the story of little and big Edie has also been made into a musical!) Grey Gardens premieres on HBO this Saturday, April 18th, at 8pm.

The Prodigal Reviewer Returns!

At long last, I am back for your reading pleasure! So sorry for the absence--life has just gotten in the way lately. But now, here I am to inform you of new movies on DVD that you should definitely check out (and a couple to avoid) as well as a bit of thoughtful perspective on Fear and Loathing in Las Vegas...

Cadillac Records: I have to say that I am seriously tired of the worn-out musical biography film. I keep hoping that one is going to sweep me off of my feet like Ray did but, unfortunately, Cadillac Records is not the one. Not that it isn't worth a watch--it goes through the history of Chess (aka Cadillac) Records, starting with the discovery of Muddy Waters to Chuck Berry and finally Etta James. Mos Def gives a fun, quirky performance as Berry and Beyonce Knowles is descent as James, although the story of Etta seems lacking. In fact, because the film only touches the surface of each singer's life story, all of the history seems a bit lacking. The audience just begins to get to know each character when the story moves to the next singer. The story of Cadillac Records is an interesting one and the filmmakers tried to do it justice but...unfortunately it ends up being just so-so.

Seven Pounds: I had heard mixed reviews about this Will Smith vehicle but, I gotta say, I love Will Smith--even when he's making a mediocre zombie movie like I, Legend. So I watched it in bed last night and was also a bit mixed in my own response. It is definitely not one of Smith's best films or performances--however, the film presents the viewer with an interesting concept of a good man so plagued by guilt about a mistake that took lives that he feels he must give of himself to gain redemption. Even if the redemption means he must let go of love. It is about sacrifice and penance and it is a film that sticks with you long after the credits have rolled and you've taken the dvd out of the player. Rosario Dawson is good in this film as a woman suffering from congenetal heart failure. The plot is somewhat predictable--it pretends to be a big mystery but for the most part, you know what's going on before the film tells you--but the concept, like I said, sticks with you. Worth a watch.

Let the Right One In: This was supposed to be Twilight but awesome...??? Not so much. Same old tired vampire myths, a boring and slow pace, nothing that cool and unique here. Very disappointing from the director of Nightwatch. Personally, I'm no Twilight fan but at least writer Stephanie Meyer came up with a new idea: vampires glitter in the sun. Cutsie but new rather than boring and cliche. I was so looking forward to this one, too!

Fear and Loathing in Las Vegas: I watched this one yesterday for the first time (I know, it's crazy that I haven't seen this one yet, right?) and all I could think about was the significant number of movies about drugs that came out in the late 90s (Vegas, Trainspotting, Requiem for a Dream, Traffic). This was common practice around then, discussing the perils of doing drugs and trafficking drugs...Why did it stop? These movies were well-done, well-made and, well, effective--so where did they go? It's a subject that perhaps has been worn out, much like the musical biography that is irritating me so much right now...Actually, by the time Traffic came out, I was tired of the drug stories, I have to admit. I didn't care for Traffic at all but I felt films like Vegas, Trainspotting and Requiem told stories that remained with the viewer a long time after seeing them, years even.

Vegas doesn't have much of a plot, it mostly follows two guys around and shows the audience what they saw while hopped up on a variety of drugs over a couple of weeks time in Las Vegas which eventually ended up compiled in a book by Hunter S. Thompson (one of the said guys). However, the film reveals a "drug reality," visually taking the audience on the trip with them which is sometimes amusing and other times a bit scary as Thompson's attorney (Benecio del Toro) acts pretty psychotic. Anyone who has ever been under the influence of a substance, even alcohol, can relate to the disjointed reality of this influence--but hopefully not to the extent of the characters in Vegas! Nonetheless, the film presents multiple reasons for one to avoid drugs, as do Requiem, Traffic and especially Trainspotting (the dead baby scene, anyone?)

So where have they gone? Are we so numb to the drug problem in America that the subject is no longer relevant? Or perhaps these films are enough to assuage us for now--these films were substantial and impactful and they did the job right, so to speak.

I guess now we've moved into the era of the music biography...sigh...personally, I'm ready for a something new and unique!! I get so frustrated and tired of the way Hollywood has success with one film and then tries to replicate it over and over.

We'll see if my next up films can do something different! Slumdog Millionaire, I Love you, Man and Grey Gardens are up. I hope they're up to the challenge. 'Til next time--

Watchmen descends!!!

Whew! So I finally made to the theater to see Watchmen--saved myself for the IMAX, mind you--and it was great! Awesome action sequences, great visual effects and a pretty accurate adaptation of the graphic novel. What I especially enjoyed was the inside jokes/references for those of us who have read the novel, i.e. things like the giant, floating pink elephant for the Gunga Diner, the doomsday prophet and the final moments of the newstand owner and his comic-booking reading companion. These separate storylines were just three of many that unfortunately had to be cut out of an already lengthy affair. The short cameos of each, however, allowed those of us who took the time to read the award-winning book take some pleasure in the fact that we're in on the joke!

Zach Snyder maintained his status as one of my very favorite action film directors (300 was a wonderful, bloody masterpiece of slow and constant action and motion). Several sequences stand out but the opening sequence, which concludes in the death of a primary character, is one of the most memorable with slowed down bloody punches and kicks, bodies flying through the air, broken walls and furniture. And the action just keeps on a coming from there!

One complaint? Bad makeup! However, the excessively applied makeup to Sally Jupiter seemed fitting--as though she was overcompensating for age with makeup (something not necessarily unusual for aging beauties). And Nixon just looked a bit ridiculous--I dislike prosthetics that prevent the actor from being able to move their mouths. Also, Laurie is annoying--unless she is kicking a**, then she's cool. But as soon as she opens her mouth, I'm irritated. On the other hand, I felt the same way about Laurie in the novel so--it seems appropriate that I would feel the same about her adaptation to celluloid.

I have been reading some reviews of Watchmen and was surprised to see that people complained about the bloody action sequences--I mean, what did they expect? Snyder created one of the bloodiest, most graphic films I have ever seen in 300! Watchmen the graphic novel was not devoid of violence and blood--why should the film hold back? Watchmen's world is violent and dangerous; people live in constant fear of nuclear attacks and have outlawed their protectors. It is a chaotic world on the brink of collapse and critics expect, what, flowers and sunshine? Get real!!

My verdict? See this movie--but read the book first. Not that it is necessary to have read the book to follow the film. Quite the contrary but knowing the story beforehand will simply enhance your enjoyment and understanding of the film's message. A thought-provoking line comes from the Comedian near the middle of the film that has stuck with me--and it is found in the novel as well but I believe it is relayed better in the film due to the elimination of most of the dialogue found in the same sequence of the novel--"The American dream...it came true. You're lookin' at it!" Essentially, Watchmen explores the idea of what if America had won the Vietnam War? What kind of country would we live in right now (or at least in 1985) had we come out of the war-- that, honestly, tore the country apart --victorious? Watchmen hints, or rather screams, that our defeat in Vietnam humbled America in a necessary way. Whether this is true or not, it is an interesting concept to contemplate.

Now, on to one other review before this edition of the Cineblog comes to a conclusion--Australia. It's an "epic" film...in other words, expect a long story that spends a lot of time detailing the lives of a select few. I enjoyed the film--visually, I expected more from a Baz Luhrman film but the film reveals a part of World War II (and Australian cultural) history that I was unaware of (i.e. the island for multiracial boys). And the romance between Nicole Kidman and Hugh Jackman is extremely believable and passionate--there is some definite and palpable chemistry between the two of them. Overall--I give it a B. A bit long but interesting.

Til next time, folks!

Bedtime Reviews Numero Dos

Wow--I am so behind with my bedtime reviews! As promised on Cinemaperspective.com's Facebook page, I am going to review Changeling, Body of Lies and more. It's been quite a film-filled week! First up?

Changeling:
Let me start out by saying that visually, I think Changeling is one of Clint Eastwood's best films. The cinematography in this is extremely well-done, bringing the viewer into this story of the past while at the same time maintaining that it does in fact take place in the 1930s. The initial shot of the film is of a black and white street, essentially an old photograph, that is slowly permeated with color and coming to life as the audience travels through time. It is a wonderfully subtle way to establish the setting. Now, in comparison to some of his other films, Mystic River for example, this is as emotional a story, however Changeling is oddly not as powerful--perhaps because it goes from initially being a tragic slice-of-life to essentially a re-telling of history.

The story of Christine Collins' search for her son Walter and her fight against the corrupt LA police department is a fascinating one which is what keeps the film interesting despite its turn to reenactment mode after the first hour or so. Angelina Jolie delivers a stellar performance as the fiercely independent single-mother Christine who is unfortunately bound and condemned by the societal expectations of 1930s America and the corruption of the 1930s Los Angeles police department.

Body of Lies:
Disappointing. What can I tell you? Basically, I saw Leonardo DiCaprio, Russell Crowe and Ridley Scott and thought, well, this should be pretty good. I am sad to say that I was incorrect. Through a convoluted plot full of deception and trickery between DiCaprio's Roger Ferris and Crowe's Ed Hoffman (both US agents working against terrorism), the film eventually comes to a conclusion that is just as convoluted and meaningless as the entire film. There is no real point to Body of Lies and it does not inform the viewer so much as make them terribly afraid for their privacy (due to the amazingly clear and accurate satellite cameras that can apparently track a person's every move). Hoffman is uncaring for both terrorists, innocent civilians and his own agents; therefore, Body of Lies paints a rather negative picture of American agents working in the Middle East to find terrorists and prevent their crimes. Ferris tries to remain a good guy, attempting to work the system within each country but Hoffman nonetheless constantly ruins his plans and, as a result, typically puts Ferris in danger. And to what end? None that I can see.

Quarantine:
Like last year's Cloverfield, Quarantine tells a story through a handheld camera, the action highlighted through a small, bouncing lens and its trusty (and extremely long-lasting) camera light. Unfortunately, unlike Cloverfield in which the technique works and keeps the audience on the edge of its seat, Quarantine fails to become much more than a remake of 28 Days and the Resident Evil films. People get sick (hence the title) and in turn attempt to eat everyone else. Starring in this attempted rehashing of the old zombie flick is a (constantly hyperventilating) newswoman (Jennifer Carpenter) and her trusty cameraman (Steve Harris) who manages to hold on to his camera despite the gore and multiple attempts on his life--he even kills someone with the camera at one point. Overall, skip this one and if you haven't seen Cloverfield, pick that one up instead.

The Children of Huang Shi:
Starring Jonathan Rhys Meyers as the real-life George Hogg, this is yet another re-telling of history. Hogg was a young reporter who came to China when it was consumed by civil war and infiltrated by the Japanese. Enemies were all around and Hogg wanted to get to the front of the war in order to write a story about it. Unfortunately, he witnesses something so tragic that he gets much more than he bargained for. I don't want to ruin the story, but Hogg eventually finds himself caring for forgotten and wild boys at an orphanage and having a long-lasting effect on their lives that they carry with them throughout their adulthood.

It is a good film, if not a bit predictable, and the story of George Hogg is one that should be told. His selflessness is truly a lesson that all of us should take to heart. I do wish, however, that Meyers would cease to be cast in so many films! He never actually becomes a character; he is always pretending--in Match Point this worked because the character that he was playing was a pretender and a fake. However, this method has carried on in every one of his performances that I have seen. He overacts and comes across as false, exaggerating each sentence to the point that one almost cringes. Maybe this seems harsh but sitting through two hours of this began to grate on my nerves!

Miracle at St. Anna:
I am honestly not sure why this film does not work. Just like Spike Lee's previous attempt at a more mainstream film, Inside Man, St. Anna tries to tell a powerful and provocative story but ends up falling short. Part of the reason for this could be the stereotypical roles of the black characters, each fulfilling a traditional expectation: one is big and dumb, one is oversexed and the other is a good man and soldier, faithfully believing that the war could be a sign of progress toward equality. The fourth main character is a half-Puerto Rican, half-African American man named Hector Negron (seriously--Negron) who does his best to remain neutral in the constant struggle between the other three stereotypes. Unfortunately, there is no real resolution of these stereotypes as the film concludes and the mystery is not as exciting as one has been led to believe. Overall, it is flawed yet worth watching. I believe that Spike Lee is trying to do something different here; he presents a story that one believes is going to tell the story of African American World War II heroes when, in fact, he simply tells one about real people. His misstep is to make these real people stereotypes. With this , he fails and the film falls a bit short.

Whew!! Bedtime Reviews Numero Dos is concluded--next up? Australia. Soon to be followed by Watchmen.

and the Oscar went to...

Let's just admit it--I didn't do half-bad with my Oscar predictions. Not to toot my own horn, but I got all but three right and those three were only because of my lack of confidence in the Academy to choose correctly (I've been burned so badly in the past--can we say Crash?!) But I was quite pleased with Kate Winslet's win over Meryl Streep and Slumdog's win for best picture.

Overall, the 2009 Academy Awards proved to be a decent awards ceremony with Hugh Jackman doing a good job of entertaining us (and Ben Stiller's imitation of a listless and disinterested Joaquin Pheonix putting me in stiches!) I did not like the former award winners discussing the nominee performances--what happened to clips? Also, during the tribute to those lost in the last year, why was the camera so far back from the screen? Couldn't even read who the people were!

So--what's next on the list of excitement for this cinephile and resident comic-book movie dork? Well, of course, Watchmen! I have the day set aside to go and see this movie in the IMAX and cannot wait. Read the book--and you should, too--and loved it. The effects look to be great and in line with the trend that I have begun to recognize in the latest comic book films: the alienated and imperfect hero. See The Dark Knight, Iron Man (whose Johnny Stark, although not made completely apparent in the first film but surely it will become so in the second, is an alcoholic) and the upcoming Watchmen whose heroes are not necessarily super but rather bitter and, well, imperfect. I hope that we have not seen the end of the heroic and loveable comic-book superhero film...However, I enjoy the more realistic trend that these films are taking on and in turn the elevation of this genre to much more respected (although not at this year's Oscars, unfortunately) heights.

Next up, however? Changeling and Body of Lies. Reviews of these two future Bedtime films coming soon!