Nov 4: Red Lights

"Psychologist Margaret Matheson and her assistant study paranormal activity, which leads them to investigate a world-renowned psychic who has resurfaced years after his toughest critic mysteriously passed away."

Directed by: Rodrigo Cortes, Rated: R, 113 minutes

For those of you who have been reading this blog from the start, you know how big of a fan I am of Rodrigo Cortes' 2010 masterpiece, Buried. It's a film that proved to be incredible on both technical aspects and on how to craft a story. Well, Cortes' followup, Red Lights, doesn't have the wow factor of buried, nor is it really an experiment in filmmaker. It is, however, a well-crafted thriller that has plenty of things going for it. Unfortunately, in contrast, there are a handful of things to dislike about the film, such as a rather weak second act that leaves the movie stumbling onward towards its conclusion.

I still stand by Ryan Reynolds and feel he was completely overlooked for the Oscars in 2011. 

The film's introduction is incredibly engaging. Sigourney Weaver plays Margaret Matheson, a psychologist who makes a living off of proving the illegitimacy of so-called "psychics" that scam their audiences into believing what they do is real. Her assistant, Tom Buckley (Cillian Murphy) is a genius physicist but refuses to teach in his field, because of his loyalty to Margaret and the fact he finds what they do incredibly interesting. When retired all-star psychic, Simon Silver (Robert DeNiro), decides to get back into the game years after an accident, the world turns its focus upon the man, as do Tom and Margaret. A shroud of mystery surrounds Silver and Tom struggles to find out how he manages to seemingly read minds, bend spoons, and do all sorts of psychic things. As the secrets begin to unravel, Tom realizes that there is much greater things behind all of the happenings. Unfortunately, he's too caught up in everything and the only way "out" is to continue moving forward, facing Silver head on. 

You don't fock around with this guy. 

The first thirty minutes of Red Lights shows the duo taking down a handful of psychics by hijacking radio frequencies and all sorts of clever methods to prove they're fake. It's a job I certainly would love to have myself as I can only see great joy in ruining the lives of these high profile scam artists. It's also one of the better parts of the film and starts the film off with a lot of excitement. Unfortunately, the second act loses the energy of the intro and as more questions are raised, Red Lights grows tiresome. Lucky for us, by its conclusion, the movie regains its composure and delivers a pretty unique and unpredictable finish that honestly leaves you satisfied, even if some of those questions are still left unanswered. It's something that is easy to look past after the credits roll, but after processing your thoughts about everything, you're left with a rather bland taste in your mouth.

Mainstream psychics like this asshole need to "cross-over" into oblivion. 

A large part of the (somewhat) success of Red Lights is its cast. Cortes managed to recruit some incredible actors for his followup and they elevate it to something worth watching. Sigourney Weaver's role is somewhat substantial and reminds us that she's more talented than her sci-fi cameos. Robert DeNiro also seems to be getting a better grasp on his career, and doesn't quite remind us of his past greatness, but takes a step back toward it.  But even with two powerhouses, the star of Red Lights is Cillian Murphy, who shows us time and again that he's one of the greatest actors working today. He's mesmerizing as Tom Buckley and steals every scene he's in. He has this intensity about him that you don't find a lot and as his paranoia combines with his own intelligence (that Murphy always brings to the table), you can't help but understand his skewed frustrations. Personally, I would watch the man talk to a wall for ninety minutes, as I find him that interesting, and Red Lights does a great job of complimenting his abilities. The film also packs a strong supporting cast that includes Elizabeth Olsen, Toby Jones, and Craig Roberts. 

Seriously, world. Give this man every damn award you can think of. Shower him with love. Admire his talents. IDOLIZE HIM.

Red Lights received an incredibly small release in theaters and a quiet release on DVD. It's a film that deserves some love and attention for its acting and at times, its clever script. Rodrigo Cortes proves again that he's a talented filmmaker and while it's not on the same level as Buried, Red Lights still manages to be successful. It's suspenseful with plenty of twists, and has a unique ending that left me wanting a sequel (that would head in a completely opposite direction). Call me a nice guy, but I can forgive the film's faults and definitely recommend it. While it's not worth running out and buying, it's certainly worth renting and I really hope more people give this under-looked film a chance. If anything, the love and attention you'd show the film would at least give Cortes the money he deserves to continue making movies that are far more unconventional than what we're used to seeing.

The Good:

terrific acting that carries the film above averageness and turns the movie into a very interesting ride

The Bad:

a second act that's lacking the energy of the introduction and leaves you slightly bored

The Ugly:

knowing that there is a large majority of people that believe in psychics and rely on them for many of their day to day decisions

7.4/10

Trailer:

July 25: 28 Days Later...

"Four weeks after a mysterious, incurable virus spreads throughout the UK, a handful of survivors try to find sanctuary."

Directed by: Danny Boyle, Rated: R, 113 minutes

28 Days Later is a terrifying look at what would happen if the world submerged into chaos and we lost control of absolutely everything. While the pandemic featured in the film seems far from reality, seeing the aftermath- the abandoned cities, empty streets, destroyed property- feels all too real. The movie is an incredibly effective horror movie that never stops with the scares and the gore and leaves you on edge, even if you've seen it plenty of times before. Directed by Danny Boyle (Slumdog Millionaire, Trainspotting), 28 Days Later lacks his usual colorful flair and instead substitutes it for a gritty, low-budget feel that really settles you into the action and terror that is unfolding before you. It's a film with very little hope and constant fear, leaving you wondering if anyone on screen will, or can, make it to the end of the film. Yet, even at the end of the world, Boyle manages to capture the beauty in its fleeting moments, be it horses running free in the countryside, or a sunset that brings the dreaded darkness. 

You'll never be as excited to see horses. 

28 Days Later follows Jim (Cillian Murphy), a man who wakes up from a coma to a world that's been destroyed. A virus, called Rage, has infected the populous of London and has spread throughout the United Kingdom, bringing ruin everywhere it goes. While Jim struggles to find out what has happened to his city, he meets Selena (Naomie Harris), another survivor who's only looking out for herself. But, the two only have each other and they must find a way out of their grave situation. As they search for rescue, the two encounter Frank (Brendan Gleeson) and his daughter Hannah (Megan Burns). They all decide to band together, and realize that their best attempt at being saved is to head to a military base that promises food, water, and shelter. Of course, it's a good distance away and the group must travel through an infested (and infected) city. Danny Boyle uses plenty of camera tricks to make the city look as empty, and even as dead, as one would think a ruined London would seem. During production, Boyle used an incredibly tight schedule to film scenes in one or two minute increments, at some of London's most famous locations and in doing so, gives 28 Days Later an entirely new sense of realism that makes the film even scarier. 

Look, kids. Big Ben. Parliament. 

The name of the virus comes from the fact that it literally makes anyone infected a rage-filled savage, boosting adrenaline and creating an insatiable desire to hurt and kill everyone around. Most people think the "enemies" in 28 Days Later are zombies, but they are in fact still very much alive, just really, really pissed off. The virus is transferred through bodily fluids, be it saliva, sweat, or blood. All it takes is a single drop of infected blood to turn a person in just seconds. This is a very original idea that takes the idea of a zombie and turns it up-side and inside out. It takes something we're all familiar with as movie-goers and gives it that boost of energy, where any escape or rescue seems all the more impossible. It's definitely one of the best parts of the movie and makes it all the more unpredictable. It's also worth noting that the performances of the four main characters are genuine. Each character feels like someone you'd run into on the street and the dynamic between the four is perfect. For as little background the film gives the characters, their development and interaction with each other give you a solid idea of what kind of people they are. Plus, you can never go wrong with Murphy or Gleeson. 

Who couldn't love this chubby leprechaun?

I would highly recommend 28 Days Later, but only if you can handle a ton of scares and a lot of gore. It's bloody, it's messy, and it packs one hell of an emotional punch that leaves you unsettled. It's a film that lingers, leaving you to wonder if something similar ever were to happen in the world today, and how not only you would react, but those around you. It taps into all sorts of fear (being completely alone, being trapped, losing loved ones) and does it in a way that never feels forced. It's genuinely terrifying and does not rely on the pop-out gimmicky scares. 28 Days Later's atmosphere is what scares the most and destroys any chance of optimism you try to hold onto when facing the possible end of the world. 

The Good:

a very fictional, but very real look at what would happen if the world went to shit, and everyone got very, very angry

The Bad:

the film leaves you so f**king scared and uncomfortable, you can't help but sleep with the light on

The Ugly:

even with the "Hollywood" spread of the disease, you wonder how similar something like the pandemic in the film is to anything that exists in the world today or the world of tomorrow

Overall: 9.4/10

Trailer:

Even the trailer puts me on edge. 

July 18: Batman Begins- 200th Review

"Bruce Wayne loses his philanthropic parents to a senseless crime, and years later becomes the Batman to save the crime-ridden Gotham City on the verge of destruction by an ancient order."

Directed by: Christopher Nolan, Rated: PG-13, 140 minutes

How fitting it is that my 200th review is the first film in an epic franchise that concludes this Friday with The Dark Knight Rises. Where do I start when discussing Batman Begins? It's the film that re-introduces one of the world's greatest superheroes and turns him into a legend of epic proportions. The film made Christopher Nolan and Christian Bale both house-hold names and set the precedent for not only superhero movies, but film as a whole. It combines both excellent story-telling and great spectacle, and shows that a blockbuster movie doesn't need to be all about the visuals. Batman Begins is a film that never loses itself in its scale, and knows that it's human emotion at the heart of the story. Batman is more than just a man in a suit and Nolan paints a tragic, yet beautiful portrait of the soul in the cowl- Bruce Wayne (Bale). 

He's also our rippest Batman, yet. 

With most superhero movies lately, the biggest flaw is the re-telling of the origin story, or how so-and-so became the hero. With Batman Begins, the origin story is turned on it's side, as it delves into the actual process Bruce goes through to become The Dark Knight. He's a man-made hero and we witness him training and learning how to not only fight with his fists, but with his mind and ideas. Unlike most origin stories, however; scenes of his training are intertwined with those of his homecoming to Gotham and even flashbacks to his childhood. It's all broken up very well and not one story gets too tedious. It's a unique way to build Bruce's character and we see how flawed a character the man really is. He's not perfect, but he's determined, and it's in that determination that a hero emerges. He's not from a distant planet, he's not bitten by a radioactive spider, and he's not in some accident involving toxic waste or a failed experiment. We literally see his creation every step of the way, from his suit and utility belt, to his own version of the Batmobile. His power is his muscle and his mind, all of which he pushes to the limits. It's in this humanity and realism of Batman Begins that the movie flourishes. Gotham is a city destroyed by crime, not by supernatural forces or super-powered villains, but simply by bad men with bad intentions. 

Ras al Ghul is the leader (also Bruce's mentor) of the League of Shadows, a secret organization that claims to be involved in the rise and fall of countless civilizations. In the eyes of Ras al Ghul, Gotham is a city on the verge of destroying itself and must be destroyed to not only save itself, but prevent the spread of it's evil. When Bruce gets wind of this news, he escapes his training grounds in Asia and returns home. He sees that the city is indeed not what he remembers it to be, and knows that something must be done. Bruce designs a symbol, inspired by his own fears, to take to the streets of Gotham. He knows that if he can create a persona, or even an idea, that's strong enough to evoke fear into the hearts of Gotham's criminals, things will get better. Thus, Batman, his symbol, is born. As Batman fights the criminal and the corrupt, he discovers that the man behind it all is Carmine Falcone (Tom Wilkinson), who owns half the city through payoffs and fear. If Batman can take down Falcone, he knows he can take down the mob. However, even the mob has it's tricks and Falcone has Dr. Jonathan Crane (Cillian Murphy), a psychologist who has a rather unusual way of "treating" his patients. Using a neurological toxin, Crane has the power to expose the hidden fears in everyone, and as the League of Shadows takes claim to Gotham, Crane relishes in the chaos and panic. Batman must face a great challenge before he can even make a dent in Gotham's crime. Of course, a hero is only as strong as his allies, and Batman has not only the loyal and wise Alfred (Michael Caine), but the courageous and honest Lt. James Gordon (Gary Oldman), the beautiful Rachel Dawes (Katie Holmes), and the inventive Lucius Fox (Morgan Freeman). 

There's so many good things about Batman Begins, it's hard to pinpoint any specific moment that elevates it to greatness. The realism is its biggest strength, and understanding that a man has the power and determination to become a hero makes it so much better. It also helps that the movie has a pitch-perfect cast, with each actor filling their respective role brilliantly. Bale not only becomes the suave, playboy Bruce, but the heroic, badass Batman. Michael Caine lends his natural sophistication and knowledge to Alfred. Gary Oldman, usually a chameleon in his roles, stands his ground as Gordon and makes you want to give every honest cop you know a hug. Morgan Freeman owns the role of Lucius Fox, a character that was all too unfamiliar before the film. Liam Neeson is the perfect mentor and teacher and, even if his cause seems immoral, you can't help but wonder if he's right. Cillian Murphy borders the thin line between genius and psychotic brilliantly. It's the sum of its parts that makes Batman Begins a masterpiece, and without any of these men in their roles, it would not be the same. Even the smallest characters add a lot to the film and I have got to give recognition to Linus Roache who gives a small, but incredibly effective performance as Bruce's dad, Thomas. 

He has less than five minutes of screen time but is so damn good in his role. He has an intangible characteristic that makes him shine, and every time I watch the movie I can't help but wish he was in it even more. 

Batman Begins is a quiet little masterpiece. In retrospect, it's a little difficult watching the film without realizing its importance as a precursor to The Dark Knight. However, even then, it's a strong film on its own and a beautifully dark introduction to the world's favorite hero. Christopher Nolan is a great director, and while Batman Begins is nowhere near the scale as its sequels, its self-contained, emotionally driven story turns it into something much bigger. I can't recommend this movie enough and I cannot wait for the trilogy's epic conclusion this weekend. 

The Good:

Christian Bale is Batman, I don't care what anyone says

The Better:

a realistic approach at one of the world's most recognized and loved superheros, giving Batman the dark, gritty tone he deserves 

The Best:

along with Bale, a phenomenal cast that rises to each and every occasion, owning his/her respective roles without any doubt

Overall: 9.4/10

Trailer:

March 2: In Time

"In a future where people stop aging at 25, but are engineered to live only one more year, having the means to buy your way out of the situation is a shot at immortal youth. Here, Will Salas finds himself accused of murder and on the run with a hostage - a connection that becomes an important part of the way against the system."

  In Time, or as I would have called it, Beautiful People Running A Lot, is a very hit and miss movie. The premise is insanely original and very cool, but it's execution is really bad. The dialogue in In Time is so cheesy, so poorly written, and so daft you just sit there in frustration thinking how could such an original idea be utterly wasted with such a terrible script. The acting is sub-par and you can't really tell if its at the fault of the actors or the script. Justin Timberlake headlines his first major movie with a good chunk of charisma and likability, but is still very rough around the edges. He does, however, have a couple of moments that are downright awesome, and shows signs we may one day have a bonafide badass in him. 

Never mind. 

  In Time is directed by Andrew Niccol, who made one of my favorite movies, Gattaca. The themes between it and In Time are, in a way, similar, and I may have over-hyped myself. Visually, In Time is beautiful, and is shot very well. Some of the action sequences could have used a little work but, as a whole, the camera work, sets, and environment capture the dystopian future quite well. The rich parts of the city are colorful and vibrant and contrast well with the grey, boring colors of the poorer areas. Of course, the film has a good looking cast of thirty somethings playing eternal 25 year old's, and does get rather distracting. It's hard to believe that Cillian Murphy is a 75 year old 25 year old cop. He really stands out in crowded scenes and clearly is older than everyone else. 

He's like the kid in high school you thought was a teacher.  

   Overall, In Time could have been something exceptional, but really missed the mark. With an engaging, original concept, and successful visual execution, In Time was only a few steps away from being great. The film suffers from a terrible script, an annoyingly massive amount of extras, and sub-par acting. There are plenty of action scenes, but for the most part, the film is us being the audience to a marathon of good looking people getting chased from point A to point B in hopes of gaining more time on their little green clocks ticking away on their arms. 

The Good:

an incredible idea that is not only original, but very unique and smart

The Bad:

that same idea is held in no respect, as it's brutally murdered with awful dialogue and weak pacing

The Ugly:

realizing what could have been if every gear and wheel were spinning in beautiful unison

Overall: 6.6/10

Best Quote:

Henry Hamilton: "For a few to be immortal, many must die."

What to Look For:

an arm wrestling scene showcasing Timberlake's fleeting ability to be a badass