Summer Review #5 -- Death Race

A crash-boom-bang movie if ever there was one, this Paul W.S. Anderson remake is an apocalyptic thrill ride. Think The Running Man and Wedlock amplified -- more guns and more violence, on a full tank of gas. The story takes place in the dystopian United States of 2012, after the economy has collapsed and prisons become overpopulated. Framed convict Jensen Ames (Jason Statham) ends up on Terminus Island, a prison where sadistic warden Hennessy (Joan Allen) is the brain behind a brutal convict race watched by millions of viewers. As a condition to win his freedom and see his infant daughter again, Ames has no choice but to participate in the game that pits him against various criminals populating the place, including Machine Gun Joe (Tyrese Gibson), who has revenge against another driver on his mind... The audience has certain expectations when going into a movie like this one, and these do not include Oscar-worthy acting or an intricate screenplay. One does, however, expect good and possibly innovative stunts, souped-up cars and tough-as-nails characters, and the movie works well on this level. It does boast palpable plot holes, not the least of which are the identity issue and the fact that, with the economy being non-existent and $300 being a fortune, millions of people still manage to shell out good money for entertainment. As far as the cast goes, Jason Statham is convincing as Ames, and does well in the few parts that require gritty emotion. I have always liked Statham, who I find to be that rare action star of today that can actually bring a rough believability to the silver screen. There are good supporting turns by Ian McShane and Joan Allen, both of whom bring clout and unexpected depth to otherwise forgettable roles, particularly McShane as Ames's trainer. It has to be said, though, that Allen's character spews out such a preposterous line toward the end of the movie, that I spent the rest of the movie wondering how the actor succeeded in uttering it with a straight face, but I digress. The prison residents are unsavory enough; the cinematography is appropriately gray and bleak, if a little over the top; and the stunts are worth seeing on the big screen. Death Race is a mayhem-fueled vehicle, often hindered by logic holes, but helped enormously by its star's charisma and supporting cast.

6/10

Weekly Review -- Life's rough edges

Turn the River (2007) -- A hard-knocks life story told in cinéma verité style, this Chris Eigemann film comes at the audience with all guns blazing. Pool hustler Kailey Sullivan (Famke Janssen) lives her nomadic life one day at a time, from one game to the next, from one rough sleep to the other. She is secretly keeping in contact with her son Gulley (Jaymie Dornan), who has been living with his emotionally abusive father (Matt Ross) and his new wife (Marin Hinkle). Desperate to get Gulley back and get him out of his predicament, Kailey decides to make enough money hustling so that she can obtain fake passports and escape to Canada. However, life keeps overwhelming her, and the question is, will it end up backing her into a corner? Janssen is fantastic in a role that is very different from most roles she has played so far. She hits all the right notes when playing up Kailey's desperation, resolve, occasional guilelessness and gloomy uncertainty as she threads the steps of life. A special mention goes to THAT pool shot, which took guts and skill. Matt Ross is impressive as the estranged ex-husband, who nears an anger explosion with every word he says, yet whose coldness remains the greatest threat to his own son. Jaymie Dornan and Rip Torn also provide good supporting turns, as the troubled son and the resourceful owner of a pool hall, respectfully. The raw quality of the cinematography and of the very screenplay -- the disjointedly spontaneous dialogue style resembles various real-life exchanges -- brings the bleakness of the anti-heroine's existence to the surface, without glamorizing even one attempt at possible redemption. The film is an elegant, complex study of survival peppered by life's mistakes, as well as deliverance in the face of what can often be insurmountable obstacles.

8/10

Weekly Review -- An artsy eyeful

Art School Confidential (2006) -- A contemplation on a world of dreams, a quirky satire on snobbery that frequently rules intellectual realms, as well as a study of purest inspiration, this Terry Zwigoff film is a bizarrely funny and stirring slice of cinema. Young Jerome (Max Minghella) has always known that the art world was where he belonged. Enrolling in the prestigious Strathmore College and under the tutelage of professor Sandiford (John Malkovich), Jerome attempts to reach his true potential in a cutthroat environment. However, the task proves to be even more difficult, what with a beautiful model (Sophia Myles) being a distracting obsession, a mysterious killer prowling the campus and a host of other off-the-wall characters crossing Jerome's path. The comedy turns into a love story which, in turn, transforms itself into a darkly twisted murder mystery. Will our hero achieve his life's goals and get the girl at the same time? With his cynically hilarious oeuvre Ghost World, Zwigoff has shown a unique way of dealing with and mocking human nature and societal conventions; with this film, he expands on these themes by opening a door into a microcosm unfamiliar to many and delving into the dark side of artistic temperament. Minghella is a gem as the lovesick Jerome, his inner conflicts carefully delineated, relatable and, above all, believable. Myles's main purpose is to serve as the otherworldly muse to Minghella's character, and her cherubic appearance fits the role perfectly. Malkovich is not even close to his usual zany highbrow self as the quite disillusioned, yet somehow inspiring art teacher. There are some very nice supporting turns, from Anjelica Huston as another teacher -- a more enthusiastic version of Malkovich's character, to be sure -- to Ethan Suplee as the almost maniacal film student and Steve Buscemi as the local art café owner and collector. With its idiosyncratic characterizations, ironically clever screenplay, gorgeous cinematography courtesy of Jamie Anderson, and a fascinating milieu, the movie is intellectual eye candy at its finest.

8/10

New absences, new walls and new thoughts

I thought I would peek out from behind the boxes around me and say hello, lest one should wonder about the sporadic appearances over the past four weeks.

Chugging, measuring, installing, phoning, fighting cables and stray paint one-on-one... did I mention chugging... oh, yes, it all points to that fun, wonderful activity we call moving house. That is exactly what I have been doing lately. I am still living out of too many boxes, since I am still resting my weary bones from trekking from one point to another and unpacking in the July warmth. Whoever said that the shortest distance between two points is a straight line sure was right.

I just wanted to post this note and let visitors know, since I am always going to do that if I am away for a while. I am here and about to catch up on my writings.

In closing, what about that Dark Knight? I managed to see it on the opening weekend -- perfect day, perfect seats, perfect movie, you get the picture -- and I was beyond impressed, to say the least. The review is forthcoming...

Summer Review #4 -- Wanted

A pleasant twist on the slam-bang-explode cinematic chain of events, this Timur Bekmambetov actioner is part explosions, part anti-heroes and all guns blazing. Office drone Wesley Gibson (James McAvoy) suffers a mundane and berated day-to-day existence, his life lacking anything resembling excitement. On a fateful evening, after an encounter with a mysterious woman (Angelina Jolie), he learns that his father was not who Wesley thought he was; namely, he was a highly trained and esteemed assassin working for the Fraternity, a secret organization striving to achieve balance between good and evil in the world. Under the mentorship of Fox and the Fraternity's main officer Sloan (Morgan Freeman), Wesley starts a brutal training regimen to follow in his father's footsteps, but things soon take a dangerous turn... Director Bekmambetov has shown a distinctive visual style with his epic Nightwatch and Daywatch vampire films, and this film is no different. The delirious visual effects incorporated into the stylized slow motion shots make for a hyper-modernized visual experience, while the action sequences utilizing bullet time -- so popularized by The Matrix -- bring the technique into a new realm, with their neo noir feel and futuristic aesthetics. James McAvoy, fresh out of Atonement period garb, makes for a new kind of reluctant hero, using quirky mannerisms and fidgety movements to exploit Wesley's overall lack of confidence to the maximum. Jolie is alluring in the role of cool-as-ice assassin Fox. She is always excellent as the unconventional femme fatale, partly due to her exotic good looks, and partly due to her no-nonsense line delivery. I would have wanted to see more of Jolie and McAvoy together; they have a genuine and, at times, playful connection. Freeman, although severely underused, is commanding as Sloan; his trademark stillness perfectly compliments McAvoy's frenzied self-esteem issues. There are some low points, namely one regarding an illogical turn of events toward the end and another regarding the overuse of a certain animal; I really did not see the point in it and these scenes made this part of the film out of sync with its story. Nevertheless, the movie is kinetic eye candy, guaranteed to thrill and possibly even start a new trend in the action genre.

7/10