Friday, February 29, 2008

A nice step back to think about steps forward.

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300
Warner Brothers
Legendary Pictures

Maybe I went in expecting not to be so impressed, since this film targetted practically everyone from 18-35 who had even the smallest taste for history, violence, toned masculine bodies, blood, war and extremely poky nipples. And boy was I sure right. This was aimed for the Tarantino generation, and precise marketing and on-screen decapitations kept the audience's thirst for more bloodshed quenched.

I wasn't that disappointed with the film, which I will cover later. Let me moan about the other cinemagoers that graced the theater with their presence last night. Its getting worse. Not the cinema, well thats for certain. I'm talking about the common shred of respect from one man to another about keeping your piehole shut during the duration. I don't need to be reminded that the Spartan on-screen just died a good death by hearing you saying: "Oh shit, he just got killed." The world is full of enough Captain Obviouses, I don't need one close to me in a movie theater to repeat what my eyes and ears have already taken note of.

And during the more political scenes back at Sparta, these four cumquats decided to chat it all up behind me, and rob me of the subplot the 300 team felt should be in there to balance with all the action and gore. The 300 team filed miserably while the idiots behind me won in their keen methods of verbal distraction. Wankers, the lot of them.


Now, onto the moofie:
It had some vision, I'll give it that. Granted the only real stylized violence I enjoy thoroughly is from Jackie Chan films - and not Rush Hour, but his older stuff like Rumble in the Bronx and First Strike. It had its moments of graphic novel-inspired shots, which were a great reference to a film primarily shot in front of a bluescreen. Stylized violence is still violence, a spear going into a man's chest, then back out is still violent. Everyone knew the digital blood was digital; added in during post-production. But what's going to happen after seeing this film 8 times, at the real sight of blood, will said desensitized person say: "Oh shit, he just got killed."

There was a time when that kind of violence and war was inevitable among great civilizations. And idiots like us in the modern age ought to realize we don't need to be barbarians and kill each other in the name of freedom or 'restoring freedom to those who never had it.' There's a war waging right now, and this film couldn't have been released at more of a perfect time. That is, if you're pro-war, which I certainly am not. Some of the moments hit a little close to home, reminding me of this country's current state of affairs. Sure our might may be as strong as a Spartan Phalanx, but that doesn't mean we need to use it to gain commodities which do not belong to us.

The inspirational quotes in the film, from soldier to soldier, leader to army, etc, were all regurgitated and re-worded from previous dialogue throughout all media and all time. I could only shake my head and yearn for originality.

I was entertained for two hours, simple as that. Not as entertained as I could have been, but it was still worth watching. Never forget the past or else you are destined to relive it. Thats all I gained from this film. A nice step back to think about steps forward.

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300 is available to own on DVD starting July 31st, 2007.

Style and Grace: The Right Way To Go Out.

The Bucket List
Warner Brothers





One would assume Jack Nicholson's heyday had long since passed. His younger days spawned bedazzling films such as One Flew Over The Cuckoo's Nest and The Shining; both now are the pillars of cinema. But don't count old Jack out yet.

His latest film is The Bucket List, directed by Rob Reiner, who directed such treasures as The Princess Bride and Stand By Me. His films are presented in a balance that leaves many a director envious of his style. A little action here, a little romance there, a little horror here and more genres for all palettes. In this film's case, Edward Cole (Nicholson) and Carter Chambers (Morgan Freeman) are terminally-ill cancer patients who escape the hospital ward and use Cole's wealth for a road trip with a wish list of to-dos before they "kick the bucket." Nicholson comes off as a cold-hearted grump who just wants some peace and quiet in his dying days, while Freeman comes off as being grateful for his life, but not ready to throw in the towel just yet.

I am envisioning elements of Grumpy Old Men, but with a spark of lifetime regrets. We can all admit old people are funny, and I can expect a good deal of comedy between Nicholson and Freeman, but layered with facing the facts that there are a lot of things these old timers didn't have a chance to do in their lives. Jack Lemmon (RIP) and Walter Matthau (RIP) lived as old children in the two Grumpy films they made, but I expect this upcoming movie to be an enlightening tale of these two men coming terms with their lives, whether it be a good life lived or a bad one.

I hope Nicholson lives vicariously through Freeman in order to redeem himself; for all the pain he has caused other people and to himself. With every check-mark on the list comes another chance for Nicholson to be a better man. Cole now has the chance to look back on his life in joy, because we all want to feel that way before we meet the man upstairs.

The Bucket List opens December 25th, 2007.

All Roads Lead To Rome in "Brooklyn Rules."

Brooklyn Rules
City Lights Pictures

Starring: Freddie Prinze Jr., Scott Caan, Jerry Ferrara, Alec Baldwin and Mena Suvari.
Director: Michael Corrente













It's 6:45PM outside the Columbus Theater on Broadway in Providence. My beautiful girlfriend is tightly in tow while being greeted by suited men with the flashiest ties and handkerchiefs; the easiest form of dialogue emitting from their lips as we shake hands: "How you doin'?" I glanced down to my own attire of a black suit jacket, graphic tee shirt, jeans and hiking sneakers and instantly mused about the thoughts of winding up in a dark alley with a bullet between my eyes for dressing unaccordingly. But hell, its a movie premiere in the smallest state of the union; I had a feeling I'd make it out alive.

I have to make this abundantly clear: just because people reside in or around Providence, does not mean they have social ties with the mob. I'm a rather odd breed of eight different nationalities; one quarter of my blood is filled with Italian ancestry while my skin and facial hair resembles that of an Irishman. Sticky situation, don't you think? Fitting in by blood but not fitting in by appearance. I knew I was due for a haircut and a long-desired session with a beard trimmer, but time hasn't been my ally lately. I pressed on inside, being greeted by the director and noticing at least two acquaintances from my old high school. Only in Rhode Island, I thought to myself.

Now, a heavy portion of us here in RI are still obsessing over the last Sopranos season, while others have not been so dedicated and shifted to other channels for crime/drama films or shows to feed their need for mob-related madness. Surprisingly enough, Terence Winter, a contributing writer to The Sopranos, has held a gem for a long time before placing it in the hands of the perfect director: Michael Corrente. This gem will become known as Brooklyn Rules. The Pawtucket, Rhode Island native's vision has flourished from previous films such as Federal Hill and American Buffalo. With cinematographer Richard Crudo at his side, the duo takes us back to a time in a Brooklyn neighborhood during the mid-80's at the peak of mobster John Gotti's invasion.

Entrance into the dangerous mob world is easily within the reach of the three main characters. Michael (Prinze Jr.) has aspirations of becoming a lawyer; a dream sometimes thought unattainable due to his background. Carmine (Caan) has always been fascinated with the mob, and when the local gangster (Baldwin) takes an interest in him, he can fall victim to the life of crime, false respect, money and bloodshed. Bobby (Ferrara) is forced to grow up, face reality, and finally take the reins of his two-year relationship with his girlfriend (Keena). It was a simpler time years ago, but as they grow up, they run the risk of growing apart.

This film shows the unbreakable bonds between neighborhood friends, despite what roads they take in life. We've all grown up on a street block so it is almost too easy to connect with characters who have known each other since they were in their mothers' wombs. Time and change is their worst enemy: their interests, goals and obligations change as each develop into their own man.

Its dark in the nightclubs. Its bright on Columbia University's campus. It is real. The design of the film makes it feel as more of a memory in the back of your mind than a visual representation of the celebrated 1980's; where musical ballads showcased a way of life for all to live up to and a disgustingly large amount of hair spray was found on the top of everyone's head. Looking ahead twenty years, we are bombarded with spam emails, endless tele-marketers from a different country and credit card offers with the highest percentage rate stuffed in your mailbox. Things were certainly simpler before technology took the helm.

The pacing is as organic as a story on film can get. Its well-balanced: not too much violence, not too much love, not too many wisecracks and you can easily sink into your seat and relax scene by fruitful scene. It flows more swift than the Blackstone and leaves you wanting more by the end. The music of the times aided heavily in the film's soundtrack, once again resorting to the fitting tracks of artists such as the Rolling Stones. This film's soundtrack reminds me how easily the right music can lift a scene and burn it into your memory. These days, some people remember songs by what film they were used in, and I suffer from that diagnosis honorably.

Corrente has rejuvenated many of the actors' careers in this film. Sadly enough, what does everyone remember Freddie Prinze Jr. (Michael) from: Wing Commander? Scooby-Doo? I shiver at the thought of him being remembered for those celluloid disasters. This film let him flaunt his acting chops for once in his life, and it certainly paid off. He sports a range that will make most women quiver: that of a guy from dirty Brooklyn who once thought he could only dream of something better. But now, he's got the means to do so and Prinze Jr. glistens on the screen rather than being set aside in the hunt for the latest ghost inhabiting an old run-down hotel.

Scott Caan (Carmine) displays the perfect 'wannabe-wiseguy,' reminding me constantly of local denizens I see in passing on the streets or in the local bar. Rhode Island takes its movies home with them; sadly I just don't hear anyone imitating Yoda on the streets as of late. Caan has certainly put himself next to his father (James Caan) in terms of selecting his roles and diving into the character headfirst. Leave the cannoli, keep Caan. His talent leaves hope for other actors his age.

Jerry Ferrara (Bobby) is the real heart of the film. His character, Bobby, easily breaks him away from his Entourage mold. His endless dedication to his best friends make us yearn to go back in time when all we'd have to do is toss a pebble at a friend's window to get them outside and hang out, compared to playing phone tag on cell phones during rush hour. He's the sweet and devoted bedrock we wish we'd always had growing up. He never ventures too far away; he knows his place and he is happy with that.

Alec Baldwin bestows a solid foundation and teasing entry into the underworld of organized crime. He hasn't been this appealing since The Hunt For Red October and you find yourself wanting to be taken under his protective wing. Though he is the personification of corruption on the streets, his long-distant charm has finally made its way back to his portrayals.

Mena Suvari provides the outside point-of-view that the film demanded. She plays a Connecticut girl attending the prestigious Columbia University while learning firsthand of the grungy side of life: fist-fights, respect and remembering where you always come from. Since there is lack of a police presence in this 'crime' movie, Suvari's character acts as the closest translator for the audience. She is the conscience, reminding what is right and wrong even in a life filled with crime, crisis and turmoil.

Rules has something for everyone. It is laced extensively with priceless comedic moments, hidden yet-torturous gangster scenes shot in tribute of The Public Enemy, and the most subtle and gentle scenes that make a guy feel lucky to have a girl by his side. This isn't a mob movie, although many will strongly disagree. In a typical mob film, our main character watches as his friends are murdered around him before he meets his own untimely demise. Whereas in "Rules," we discover that friends are the one thing you've always got that your enemies can never take away.

This buddy film beautifully lays the pavement for another "Buddy" picture; one I am sure all of Providence and its surrounding counties has been craving to see. Michael Corrente has always returned to his roots and it certainly shows in his films. Hollywood won't be getting him anytime soon; he's rather comfortable right here in our neck of the woods providing the kind of well-rounded pictures we thought were long extinct.

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Brooklyn Rules opens in Providence on May 11th and in Boston, New York City and Los Angeles on May 18th.

Brooklyn Rules comes to DVD on September 18th, 2007.

A Two Thumbs Up Pie, with Whipped Cream and a Cherry on Top!!

Waitress
Fox Searchlight

Life is all about the pursuit of happiness, or so it is stated in the Constitution of the United States of America. And in the latest independent film, Waitress, directed by the late, but-oh-so-talented Adrienne Shelly, the constant search for something uplifting and inspirational floods the screen in a blend of humor, forbidden romance and saliva-forming pie delicacies.

Opening at Sundance to rave reviews from critics all around, the film has since been traveling nationwide for free screenings in an easy attempt at 'word-of-mouth' marketing. If people don't already have a mouthful of pie to stop them from talking, you'll be hearing wondrous comments about this story.

Jenna (played by Russell) is a small-time waitress at a pie shop in a small-time town in that little slice of America we all believed to be dormant. But when her abusive husband (Jeremy Sisto) gets her drunks one night and impregnates her, her world is ready to turn upside down. Jenna had always dreamt of an escape from her present life; a fresh start. Cue Dr. Pomatter (Nathan Fillion) who jump-starts Jenna's lust for life and true love as her replacement gynecologist. With a bun in the oven, Jenna's baking endeavors skyrocket with the hopes of winning $25,000 in a pie contest and one last shot at escaping her terrible husband. Whether it be on her own or in the arms of her doctor is an intense decision she must decide.

Keri Russell, according to my insight and sources, seemed to fall off the face of Celluloid Earth once her Felicity series ended. Aside from a run of small roles in big/mediocre films, none have really heard any from her. She reminds us how beautiful those homegrown country girls can be: how defenseless, how passionate and how much they can offer intellectually, spiritually and on a culinary level. Keri Russell is back, and ready to bite!!

Nathan Fillion is known to too many as a wisecracking captain of a starship in outer space, so seeing him as a nerdy, anxiety-encompassed gynecologist was almost a stretch. But his subtle and not over-the-top acting brought the beautiful degree of chemistry between Russell's character and his. It was his moment to shine in a situation he wasn't used to, and his light burned bright. His comedic timing was spot-on, and sharing the screen with Russell left us craving more intimate moments not shown as often on the silver screen anymore.

Jeremy Sisto is the controlling husband we all love to hate. He wears his insecurities on his sleeve, continually forcing his wife to remind him that she loves him and will never do anything behind his back. The brute of the film, he talks himself out of his emotions and talks himself into thinking he is right all the time. The headstrong type are usually never right; though the casting choice left the audience wondering how much one can really despise Sisto's character. A stellar performance indeed.

The ensemble supporting cast was mixed better than any dessert I could ever construct. The onscreen personas provided by Cheryl Hines, Andy Griffith, Adrienne Shelly, and even Eddie Jemison left each scene standing alone on its own. Every character in this gem is working hard to find happiness although some search in the wrong places; sometimes through lust, sometimes through spontaneous poetry and stalking while sometimes laying a hard hand on the one they walked down the aisle with years ago.

In this film, there is a sexual revolution for one woman and her doctor. In this film, there is a life to be given to one baby. In this film, there is nothing but good-ole pie to eat. Waitress is a humble return to the romantic comedy genre; one not relying on humor to carry the film or its romance. Like the pies created inside its running time, it takes just the proper blend of all the ingredients to make everything taste absolutely perfect. Order up!!

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Waitress is now available to own on DVD.

I got lost the second I hit Singapore.

Pirates of the Caribbean: At World's End
Walt Disney Pictures













--WARNING: This review will contain some spoilers.--

Pirates of The Caribbean 3: At Sanity's Last Thread.

To begin with, how did this film escape an R-rating? There were whores getting shot in the head near the beginning, Keira Knightley's bare leg (not that I didn't enjoy it) at the end and upwards of 25 pirates being hung from gallows before the opening credits finished. Were children supposed to be slugging popcorn and slurping slushies during these segments, because I was literally sick to my stomach. Its only a matter of time before a young child can watch a person get sucked under a train right in front of them and all they do is giggle and continue sucking on their thumbs.

The method behind Captain Jack's madness served absolutely no purpose to this story only other than proving how seamless digital copies of Johnny Depps running around each other can look awesome. His angel and demon shoulder buddies made me want to return my Twizzlers to the candy stand, half-digested. I never expected a kid's film, let alone a Disney film, to examine every possible tangent the story could have gone. But POTC 3 surpassed their multiple-story, countless-undertone and mind-boggling finisher to a trilogy we thought was ending. But expect another trilogy to already be in the works, kids. The swaying of the ships didn't make me dizzy, the goddamned writers did.

The interlacing of stories and motives behind each person's actions failed miserably in my eyes. By the end of the film, you don't like any of the main characters, because throughout the story each of them has done something bad in order to get something good.

Bruckheimer has been known for his epic battle sequences and all-around big-boom finishers essential to any action/adventure piece. And while there are two huge sailing fleets awaiting orders, the main fight exists between ONLY two ships stuck in a maelstrom. Perhaps Brucks is turning over a new poetic leaf, but you head into almost every film these days with expectations, and mine were certainly NOT set high. Sadly enough, this film did not live upto it.

If I get up once to pee during a film, it is not holding my attention. By the end of this flick, I was gripping my pants, holding back a second trip to the boys' room in a vain attempt at wishing this movie would turn around in some exciting and understandable way. At least I didn't wet my pants.

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Pirates of the Caribbean 3 is available to own on DVD starting December 4th, 2007.