Based on sheer star-power and reputation, Killer Elite had all the makings of an action classic, as each member of the main cast has proven more than comfortable with weapons and gratuitous violence. Ever since he first gained widespread fame thanks to the Transporter franchise, Jason Statham has been a go-to source for cinema violence, a fact that was cemented when he appeared in last summer’s testosterone overload, The Expendables. When it comes to Clive Owen, his name may not necessarily be top-of-mind when one thinks “action star,” but after 2007’s guilty-pleasure Shoot ‘Em Up, he has earned a rightful place in this cast. As for Robert DeNiro, every one knows that this guy represents the gold standard for “not-to-be-messed-with,” so he can pretty much do any movie he damn well pleases. Bringing these three together represented a veritable treasure trove for adrenaline junkies, and early trailers seemed to promise a non-stop display of uncompromising action. Needless to say, it was a no-brainer that I was going to be one of the first in line to see Killer Elite.
Wow, talk about a massive discrepancy between advertisement and finished product, as Killer Elite barely scratches the surface of its action potential, offering only a handful of fast-paced sequences peppered throughout an overly-complicated plot. Echoing far more elements from the spy-thriller or heist genres, Killer Elite was grossly oversold as a high-energy adventure, thereby predictably falling far short of audience expectations. As far as the aforementioned “heroes,” DeNiro and Owen thankfully make the most of their screen-time, but Statham is at his stoic worst, representing a significant step backwards in his career progression. I cannot decide what is worse, the fact that a number of narrative elements are boring or that some of them are so ridiculous it is borderline insulting. Though not overtly terrible, Killer Elite falls far short of expectations and squanders its star power and premise potential…trust me, you don’t need to rush to the theater this time around.
Overall Recommendation: Low
Friday, September 30, 2011
Killer Elite: Full Review
Killer Elite - (September 23rd, 2011): R
Distributor: Open Road Films
Opening Weekend Box-Office: #5 with $9,352,008
Domestic Box-Office Gross to-date: $11,832,177
Gross Revenue: $16,632,177
Production Budget: $70 million
Directors: Gary McKendry
When I first saw the trailer for Killer Elite, I was surprised that such a project had remained off my radar for so long, especially when one considers the interesting premise and high-caliber cast. Between The Transporter, The Italian Job, Crank, and The Expendables, I have been a huge fan of Jason Statham’s for years, so his inclusion alone virtually guaranteed that I would see this newest action film. Add in notorious crowd-pleasers Clive Owen and Robert DeNiro, and the deal was only further sweetened. However, prior to its release, if you asked me what this film was about, I wouldn’t be able to tell you much beyond the core premise of these tough guys fighting each other; but c’mon, how much could really go wrong with these actors working together? Admit it, every time Scorpions’ “Rock You Like a Hurricane” started playing alongside the preview, you got pumped and couldn’t wait to see someone get the snot kicked out of them during Killer Elite.
Based on the 1991 novel The Feather Men, Killer Elite is set in the 80’s and introduces audiences to professional assassin Danny Bryce (Jason Statham) and his weathered mentor, Hunter (Robert DeNiro). After a particularly shaky assignment, Danny decides to retire, but he is soon thrown back into the fray when Hunter is held hostage by a sheik in Oman whom Hunter had worked with previously. The sheik explains that, in exchange for Hunter’s freedom, Danny must avenge the deaths of his three sons, who were allegedly assassinated during a covert operation carried out by members of the British Special Air Services (SAS). Danny must not only kill each of the three SAS agents in such a way that it can only be ruled as an accident, but he must also get each operative to confess their guilt. Assembling a team of former mercenaries that includes one of his oldest friends, Davies (Dominic Purcell), Danny sets out to accomplish his difficult task but soon attracts the attention of ex-SAS officer Spike Logan (Clive Owen). Noble as his intentions may be in trying to save his friend, Danny finds himself face-to-face with Spike, who understandably wants to protect the men who belong to the same military fraternity that he once served.
Easily the best part of Killer Elite is the novelty of seeing Jason Statham, Robert DeNiro, and Clive Owen working together, and in the scenes they do share, the interaction is clever and engaging. As far as individual performances go, Owen and DeNiro thankfully make the most of their screen-time, but Statham is so stoic and dry that it almost feels lazy…I understand that Statham is known for being a quieter tough guy, but after seeing progressively larger glimpses of his personality over the years, this characterization feels like a definite stalling of his evolution as an actor. The biggest surprise is Dominic Purcell, who has a humorous and commanding presence on screen that overshadows his higher-caliber co-stars. When it comes to critical action sequences, when each of these hardened killers lets loose on a bystander or each other, it’s great to watch, but it happens so rarely that you will undeniably leave the theater craving more. Simply put, audiences were promised something far different from what was ultimately delivered, as it is not wholly fair to describe Killer Elite as an “action” film.
The previews for Killer Elite would have you believing that each of these Hollywood badasses don’t waste any time in unleashing hell, but the action sequences are so few and far in-between that it is easy to get frustrated waiting for something to happen. When it comes to the story itself, many of the narrative elements stretch logic, but a key few are just ridiculous. For instance, the film spends a large portion of time singing the praises of the elite SAS forces and their unrelenting skills, discipline, and vigilance, but then Danny is able to saunter in and dispatch his targets with little or no effort…I don’t care how good Jason Statham is, there is no way in hell that his job is THAT easy. It is also notoriously difficult to keep track of the events unfolding, as the setting jumps around erratically and the planned executions become increasingly complicated; when you’re waiting for the next action scene, such filler becomes downright boring. If Killer Elite had been positioned as more of a spy thriller or crime caper than a straight-laced action flick, I would have been far more forgiving, but you cannot toy with audience expectations when such a wide disparity between promotion and project exists.
Utterly disappointing in terms of quality, Killer Elite has underwhelmed at the box office as well, bringing in under $10 million in its opening weekend. Granted, this “action” film faced significant competition at the box office last weekend with Abduction, Moneyball, and Dolphin Tale being released concurrently, but I still expected such high-profile actors with undoubted fan-bases to produce more of a draw. As time passes, it only looks like things will get worse, as more and more entries are dropping in the next few weeks and Killer Elite will probably struggle to recover a substantial portion of its weighty $70 million production budget. The sad thing is that a few tweaks might have been able to save this lukewarm entry from such a respected cast. If you are a big fan of Statham, DeNiro, or Owen, Killer Elite might still be worth seeing, but be warned; it is not at all what you are expecting.
Overall Recommendation: Low
Distributor: Open Road Films
Opening Weekend Box-Office: #5 with $9,352,008
Domestic Box-Office Gross to-date: $11,832,177
Gross Revenue: $16,632,177
Production Budget: $70 million
Directors: Gary McKendry
When I first saw the trailer for Killer Elite, I was surprised that such a project had remained off my radar for so long, especially when one considers the interesting premise and high-caliber cast. Between The Transporter, The Italian Job, Crank, and The Expendables, I have been a huge fan of Jason Statham’s for years, so his inclusion alone virtually guaranteed that I would see this newest action film. Add in notorious crowd-pleasers Clive Owen and Robert DeNiro, and the deal was only further sweetened. However, prior to its release, if you asked me what this film was about, I wouldn’t be able to tell you much beyond the core premise of these tough guys fighting each other; but c’mon, how much could really go wrong with these actors working together? Admit it, every time Scorpions’ “Rock You Like a Hurricane” started playing alongside the preview, you got pumped and couldn’t wait to see someone get the snot kicked out of them during Killer Elite.
Based on the 1991 novel The Feather Men, Killer Elite is set in the 80’s and introduces audiences to professional assassin Danny Bryce (Jason Statham) and his weathered mentor, Hunter (Robert DeNiro). After a particularly shaky assignment, Danny decides to retire, but he is soon thrown back into the fray when Hunter is held hostage by a sheik in Oman whom Hunter had worked with previously. The sheik explains that, in exchange for Hunter’s freedom, Danny must avenge the deaths of his three sons, who were allegedly assassinated during a covert operation carried out by members of the British Special Air Services (SAS). Danny must not only kill each of the three SAS agents in such a way that it can only be ruled as an accident, but he must also get each operative to confess their guilt. Assembling a team of former mercenaries that includes one of his oldest friends, Davies (Dominic Purcell), Danny sets out to accomplish his difficult task but soon attracts the attention of ex-SAS officer Spike Logan (Clive Owen). Noble as his intentions may be in trying to save his friend, Danny finds himself face-to-face with Spike, who understandably wants to protect the men who belong to the same military fraternity that he once served.
Easily the best part of Killer Elite is the novelty of seeing Jason Statham, Robert DeNiro, and Clive Owen working together, and in the scenes they do share, the interaction is clever and engaging. As far as individual performances go, Owen and DeNiro thankfully make the most of their screen-time, but Statham is so stoic and dry that it almost feels lazy…I understand that Statham is known for being a quieter tough guy, but after seeing progressively larger glimpses of his personality over the years, this characterization feels like a definite stalling of his evolution as an actor. The biggest surprise is Dominic Purcell, who has a humorous and commanding presence on screen that overshadows his higher-caliber co-stars. When it comes to critical action sequences, when each of these hardened killers lets loose on a bystander or each other, it’s great to watch, but it happens so rarely that you will undeniably leave the theater craving more. Simply put, audiences were promised something far different from what was ultimately delivered, as it is not wholly fair to describe Killer Elite as an “action” film.
The previews for Killer Elite would have you believing that each of these Hollywood badasses don’t waste any time in unleashing hell, but the action sequences are so few and far in-between that it is easy to get frustrated waiting for something to happen. When it comes to the story itself, many of the narrative elements stretch logic, but a key few are just ridiculous. For instance, the film spends a large portion of time singing the praises of the elite SAS forces and their unrelenting skills, discipline, and vigilance, but then Danny is able to saunter in and dispatch his targets with little or no effort…I don’t care how good Jason Statham is, there is no way in hell that his job is THAT easy. It is also notoriously difficult to keep track of the events unfolding, as the setting jumps around erratically and the planned executions become increasingly complicated; when you’re waiting for the next action scene, such filler becomes downright boring. If Killer Elite had been positioned as more of a spy thriller or crime caper than a straight-laced action flick, I would have been far more forgiving, but you cannot toy with audience expectations when such a wide disparity between promotion and project exists.
Utterly disappointing in terms of quality, Killer Elite has underwhelmed at the box office as well, bringing in under $10 million in its opening weekend. Granted, this “action” film faced significant competition at the box office last weekend with Abduction, Moneyball, and Dolphin Tale being released concurrently, but I still expected such high-profile actors with undoubted fan-bases to produce more of a draw. As time passes, it only looks like things will get worse, as more and more entries are dropping in the next few weeks and Killer Elite will probably struggle to recover a substantial portion of its weighty $70 million production budget. The sad thing is that a few tweaks might have been able to save this lukewarm entry from such a respected cast. If you are a big fan of Statham, DeNiro, or Owen, Killer Elite might still be worth seeing, but be warned; it is not at all what you are expecting.
Overall Recommendation: Low
Drive: Short and Sweet
Though he has had some memorable roles in the past, after his work in this past summer’s Crazy, Stupid, Love. and the upcoming political drama The Ides of March, Ryan Gosling’s popularity and reputation in Hollywood have both absolutely skyrocketed. The young actor has more than proven his capability in the drama genre, but Drive would represent his first true experimentation as an action hero. Critical reception was almost universally positive, but the elephant in the room involved the fact that the premise of the film closely resembled the Transporter series that was made famous by Jason Statham. With a strong cast that included Ron Perlman, Bryan Cranston, Christina Hendricks, and Albert Brooks, it was clear that Drive wouldn’t be a cheap knock-off; in fact, there was a strong chance that this newest action action-drama would overshadow the original Transporter films. Being a fan of Gosling’s, with prevalent advertisements and a definite surprise-indie-hit tone to it, I was looking forward to reviewing Drive.
Not only is Ryan Gosling convincing as a no-nonsense courier, but he also unleashes enough brutality to prevent anyone from ever questioning his appearance in an action film again. Gosling’s acting may be strong, but the character he ultimately portrays is a little too stoic to qualify as the type of anti-hero that a mass-audience would actively support, and the villains of the film are far more engaging. And, for a film titled “Drive,” there is actually not that much driving…don’t get me wrong, there is enough action and the opening sequence is brilliant, but the pacing of the film is decidedly uneven and makes the overall project much slower than one would have expected. Some of the more disappointing elements include the shamefully brief appearance of Christina Hendricks and the ridiculously misplaced soundtrack, but in its entirety, Drive is still more than worth seeing. I just feel that you deserve fair warning, Drive is not a thrill-a-minute action flick; it is a patient and emotional study of a mysterious character reacting to the unfortunate events unfolding.
Overall Recommendation: High
Not only is Ryan Gosling convincing as a no-nonsense courier, but he also unleashes enough brutality to prevent anyone from ever questioning his appearance in an action film again. Gosling’s acting may be strong, but the character he ultimately portrays is a little too stoic to qualify as the type of anti-hero that a mass-audience would actively support, and the villains of the film are far more engaging. And, for a film titled “Drive,” there is actually not that much driving…don’t get me wrong, there is enough action and the opening sequence is brilliant, but the pacing of the film is decidedly uneven and makes the overall project much slower than one would have expected. Some of the more disappointing elements include the shamefully brief appearance of Christina Hendricks and the ridiculously misplaced soundtrack, but in its entirety, Drive is still more than worth seeing. I just feel that you deserve fair warning, Drive is not a thrill-a-minute action flick; it is a patient and emotional study of a mysterious character reacting to the unfortunate events unfolding.
Overall Recommendation: High
Drive: Full Review
Drive - (September 16th, 2011): R
Distributor: FilmDistrict
Opening Weekend Box-Office: #3 with $11,340,461
Domestic Box-Office Gross to-date: $23,122,285
Gross Revenue: $23,122,285
Production Budget: $15 million
Directors: Nicholas Winding Refn
Screened to a standing ovation at the 2011 Cannes Film Festival, Drive was building an immense amount of buzz prior to its release, as many were expecting this festival sweetheart to wow mass audiences. Some would undoubtedly question if Ryan Gosling was merely treading on the type of character associated with Jason Statham, but the strong supporting cast was sure to quiet most skeptics. Devotees of AMC original programming would be thrilled to see Bryan Cranston and sexpot Christina Hendricks from their insanely popular respective series Breaking Bad and Mad Men, while veterans like Sons of Anarchy’s Ron Perlman and long-absent Albert Brooks would provide a draw as the mysterious villains. At the very least, I know that fans of Gosling’s work in the romantic and drama genres would be curious to see if he could appear competent when placed in the yet-unproven action genre as a stunt driver/wheelman who is not afraid to get his hands dirty. A definite fan of the cast, I believed that Drive would be worth seeing, but when early promotions raved about the film’s high quality, I knew that I could not miss this entry that was likely to continue the unusual trend of fantastic September releases.
Set in Los Angeles and adapted from the 2005 James Sallis novel of the same name, Drive follows an unnamed “Driver” (Ryan Gosling), a Hollywood stunt performer who moonlights as a talented wheelman who works anonymously and only gives his clients five minutes to conduct their business. The “Driver” also works at a local garage for Shannon (Bryan Cranston), a man with ties to organized crime who negotiates with two mobsters, Bernie Rose (Albert Brooks) and Nino (Ron Perlman), to buy a NASCAR racer and have the “Driver” use his skills to dominate the circuit. When he is not working, the “Driver” also bonds with his neighbor, Irene (Carey Mulligan), and her young son Benicio (Kaden Leos), but when Benicio’s father, Standard (Oscar Isaac), returns from prison and reveals that he owes money to the mob and must pull a job, things begin to unravel. Seeking to protect Irene and Benicio, the “Driver” agrees to help Standard and his accomplice Blanche (Christina Hendricks) execute the heist, but things take a turn for the worst and the “Driver” finds himself in the middle of a nasty mob conflict that involves both Bernie and Nino. Now pushed into a deteriorating situation that threatens the safety of his surrogate family, the mysterious “Driver” takes matters into his own hands in as brutal and unwavering a way as possible.
From a character standpoint, the “Driver” is a little too stoic and mysterious for the audience to fully relate to, but his cool demeanor and violent tendencies, as brought together skillfully by Ryan Gosling, combine to provide considerable action. The opening sequence in which the “Driver” helps two burglars escape through the streets of L.A. and hide at the Staples Center is fantastic, while his later confrontations are so surprisingly brutal and gory that you cannot believe that Gosling was able to channel such an inner badass. The other standout performance belongs to Albert Brooks, who steps out of his comfort zone as the charismatic villain who would as soon pat you on the shoulder as slit your throat. The story that is ultimately told is also enhanced by very stylish direction and cinematography that highlight the conflict between the “Driver’s” violent lifestyle and his longing for peace, providing for a very unique movie-going experience. For as enjoyable as these positive elements remain, there were still a few inconsistencies that prevent Drive from being perfect.
The first and most evident criticism for Drive is its uneven pacing, which starts off energetic and strong but then slows to a snail’s pace with brief and irregular spurts of energy. As I said before, the opening sequence is amazing, but after that, things progress so slowly that it threatens to alienate audience attention as they wait for another truly engaging scene. When it comes to the other acting performances, I was disappointed by the apparent lack of chemistry between Gosling and Mulligan (who looks perpetually ready to cry), but the biggest crime involves the underuse of Christina Hendricks, whose appearance in the film amounts to little more than an elongated cameo. The final element that I found particularly annoying was the misplaced soundtrack, with touchy-feely pop and soft rock strangely accompanying some of the darker tones that were supposed to come across. Now, I understand that this indie-film was trying to say something deeper than what would ultimately come across in a straight-laced action flick, but I’m not convinced that this strong fusion of action and drama will click with mass audiences.
From a box office perspective, it looks like my instincts were dead-on, as Drive was only able to bring in just over $11 million in its first weekend, just enough for third place. Granted, going up against The Lion King is anything but ideal, but perhaps promotions were not strong enough to convince audiences that this festival favorite would be worth seeing. Thankfully, a modest budget of $15 million is not that difficult to recover when critics love a film, and to-date, Drive has already turned a profit. At the very least, this film proves that Ryan Gosling is more than capable of holding his own in the action genre, and I wouldn’t be surprised to see him in some grittier projects in the near-future. As long as you don’t walk into the theater expecting an unwavering thrill ride and prepare yourself for surprising violence, I guarantee that you will enjoy Drive.
Overall Recommendation: High
Distributor: FilmDistrict
Opening Weekend Box-Office: #3 with $11,340,461
Domestic Box-Office Gross to-date: $23,122,285
Gross Revenue: $23,122,285
Production Budget: $15 million
Directors: Nicholas Winding Refn
Screened to a standing ovation at the 2011 Cannes Film Festival, Drive was building an immense amount of buzz prior to its release, as many were expecting this festival sweetheart to wow mass audiences. Some would undoubtedly question if Ryan Gosling was merely treading on the type of character associated with Jason Statham, but the strong supporting cast was sure to quiet most skeptics. Devotees of AMC original programming would be thrilled to see Bryan Cranston and sexpot Christina Hendricks from their insanely popular respective series Breaking Bad and Mad Men, while veterans like Sons of Anarchy’s Ron Perlman and long-absent Albert Brooks would provide a draw as the mysterious villains. At the very least, I know that fans of Gosling’s work in the romantic and drama genres would be curious to see if he could appear competent when placed in the yet-unproven action genre as a stunt driver/wheelman who is not afraid to get his hands dirty. A definite fan of the cast, I believed that Drive would be worth seeing, but when early promotions raved about the film’s high quality, I knew that I could not miss this entry that was likely to continue the unusual trend of fantastic September releases.
Set in Los Angeles and adapted from the 2005 James Sallis novel of the same name, Drive follows an unnamed “Driver” (Ryan Gosling), a Hollywood stunt performer who moonlights as a talented wheelman who works anonymously and only gives his clients five minutes to conduct their business. The “Driver” also works at a local garage for Shannon (Bryan Cranston), a man with ties to organized crime who negotiates with two mobsters, Bernie Rose (Albert Brooks) and Nino (Ron Perlman), to buy a NASCAR racer and have the “Driver” use his skills to dominate the circuit. When he is not working, the “Driver” also bonds with his neighbor, Irene (Carey Mulligan), and her young son Benicio (Kaden Leos), but when Benicio’s father, Standard (Oscar Isaac), returns from prison and reveals that he owes money to the mob and must pull a job, things begin to unravel. Seeking to protect Irene and Benicio, the “Driver” agrees to help Standard and his accomplice Blanche (Christina Hendricks) execute the heist, but things take a turn for the worst and the “Driver” finds himself in the middle of a nasty mob conflict that involves both Bernie and Nino. Now pushed into a deteriorating situation that threatens the safety of his surrogate family, the mysterious “Driver” takes matters into his own hands in as brutal and unwavering a way as possible.
From a character standpoint, the “Driver” is a little too stoic and mysterious for the audience to fully relate to, but his cool demeanor and violent tendencies, as brought together skillfully by Ryan Gosling, combine to provide considerable action. The opening sequence in which the “Driver” helps two burglars escape through the streets of L.A. and hide at the Staples Center is fantastic, while his later confrontations are so surprisingly brutal and gory that you cannot believe that Gosling was able to channel such an inner badass. The other standout performance belongs to Albert Brooks, who steps out of his comfort zone as the charismatic villain who would as soon pat you on the shoulder as slit your throat. The story that is ultimately told is also enhanced by very stylish direction and cinematography that highlight the conflict between the “Driver’s” violent lifestyle and his longing for peace, providing for a very unique movie-going experience. For as enjoyable as these positive elements remain, there were still a few inconsistencies that prevent Drive from being perfect.
The first and most evident criticism for Drive is its uneven pacing, which starts off energetic and strong but then slows to a snail’s pace with brief and irregular spurts of energy. As I said before, the opening sequence is amazing, but after that, things progress so slowly that it threatens to alienate audience attention as they wait for another truly engaging scene. When it comes to the other acting performances, I was disappointed by the apparent lack of chemistry between Gosling and Mulligan (who looks perpetually ready to cry), but the biggest crime involves the underuse of Christina Hendricks, whose appearance in the film amounts to little more than an elongated cameo. The final element that I found particularly annoying was the misplaced soundtrack, with touchy-feely pop and soft rock strangely accompanying some of the darker tones that were supposed to come across. Now, I understand that this indie-film was trying to say something deeper than what would ultimately come across in a straight-laced action flick, but I’m not convinced that this strong fusion of action and drama will click with mass audiences.
From a box office perspective, it looks like my instincts were dead-on, as Drive was only able to bring in just over $11 million in its first weekend, just enough for third place. Granted, going up against The Lion King is anything but ideal, but perhaps promotions were not strong enough to convince audiences that this festival favorite would be worth seeing. Thankfully, a modest budget of $15 million is not that difficult to recover when critics love a film, and to-date, Drive has already turned a profit. At the very least, this film proves that Ryan Gosling is more than capable of holding his own in the action genre, and I wouldn’t be surprised to see him in some grittier projects in the near-future. As long as you don’t walk into the theater expecting an unwavering thrill ride and prepare yourself for surprising violence, I guarantee that you will enjoy Drive.
Overall Recommendation: High
Thursday, September 29, 2011
Straw Dogs: Short and Sweet
When I first saw the preview for Straw Dogs, I really had no clue what to make of the movie beyond the fact that it was being billed as a thriller and that it seemed to promise some mature themes. This was certainly not the first time that James Marsden and Kate Bosworth had been paired together as a couple (though I cannot blame most for forgetting 2006’s Superman Returns), so I was curious to see what these two could accomplish with this little reunion. As I watched more sneak peeks, the plot became a little clearer, with a timid man being pushed to the breaking point by tormenters and eventually unleashing significant brutality…intriguing to say the least. Promotions were pretty straightforward, but there did not seem to be any standout draw that would be sure to fill theaters. Still, with a familiar cast and a decidedly dark plot, I was more than willing to give Straw Dogs a fighting chance.
Stylish directing and pacing may have done a good job in keeping the atmosphere tense throughout the narrative and delivering a thrilling and intensely climactic ending, but beyond those accomplishments, there is not much that makes Straw Dogs all that special. The story may stretch conventional logic at a few points, but by-and-large the sequence of events that ultimately unfolds is pretty believable and sheds a rather unflattering light on human nature and tendencies towards violence. James Marsden is convincing as the straight-laced husband forced into a chaotic situation with few choices, and Alexander Skarsgård is just menacingly psychotic enough as the primary antagonist, but few other performances are memorable. I certainly enjoyed Straw Dogs, as it reminded me of the kind of tense drama that one would find on a strong made-for-television movie, but in considering today’s audiences and type of thrillers we have all come to expect, this film still felt outdated. In no way is Straw Dogs a bad film, as it does have more than a few entertaining moments, but if you are expecting anything truly special, I guarantee that you will walk away disappointed.
Overall Recommendation: Medium
Stylish directing and pacing may have done a good job in keeping the atmosphere tense throughout the narrative and delivering a thrilling and intensely climactic ending, but beyond those accomplishments, there is not much that makes Straw Dogs all that special. The story may stretch conventional logic at a few points, but by-and-large the sequence of events that ultimately unfolds is pretty believable and sheds a rather unflattering light on human nature and tendencies towards violence. James Marsden is convincing as the straight-laced husband forced into a chaotic situation with few choices, and Alexander Skarsgård is just menacingly psychotic enough as the primary antagonist, but few other performances are memorable. I certainly enjoyed Straw Dogs, as it reminded me of the kind of tense drama that one would find on a strong made-for-television movie, but in considering today’s audiences and type of thrillers we have all come to expect, this film still felt outdated. In no way is Straw Dogs a bad film, as it does have more than a few entertaining moments, but if you are expecting anything truly special, I guarantee that you will walk away disappointed.
Overall Recommendation: Medium
Straw Dogs: Full Review
Straw Dogs - (September 16th, 2011): R
Distributor: Screen Gems
Opening Weekend Box-Office: #5 with $5,123,760
Domestic Box-Office Gross to-date: $9,251,081
Gross Revenue: $9,251,081
Production Budget: $25 million
Directors: Rod Lurie
Believe it or not, Straw Dogs is actually a remake, but since the original starring Dustin Hoffman was released forty years ago, it is not all that surprising that such a realization is missing from common knowledge. Now, because the original was very well received and undoubtedly has some kind of fan-base, you would think that Screen Gems would go out of their way to leverage some kind of connection between the two, but promotions remained fairly lukewarm, simply showing trailers that would cause some to question how they would react in a situation where violence is the only clear solution. The cast had the potential to draw in a respectable audience, as James Marsden has fans in both the male and female demographic as a result of his work in the superhero (the X-men trilogy) and musical (Enchanted, Hairspray) genres, while Kate Bosworth has some undoubted blockbusters (Superman Returns, 21) under her belt. Add in the fact that Alexander Skarsgård stars in the insanely popular HBO series True Blood, and there were more than enough familiar faces to make this remake entertaining. I was skeptical for a while, but after a few sneak peeks during the Screenvision pre-trailer entertainment at theaters, my curiosity was piqued for Straw Dogs.
Based on the Gordon Williams novel The Siege of Trencher’s Farm, Straw Dogs introduces audiences to young married couple David (James Marsden) and Amy Sumner (Kate Bosworth) as they move to Blackwater, Mississippi, Amy’s hometown. David, a Los Angeles scriptwriter, seeks seclusion to finish his newest project, while Amy, a TV actress, relishes moving into the house in which she was raised. David soon meets Amy’s ex-boyfriend Charlie Venner (Alexander Skarsgård) and his friends Norman (Rhys Coiro of Entourage fame), Chris (Billy Lush), and Bic (Drew Powell), whom he graciously hires to repair his damaged farm roof. Concurrently, it is revealed that the town’s former football coach, Tom Heddon (James Woods), is struggling to keep his 15-year-old daughter Janice (Willa Holland) away from a local mentally handicapped man, Jeremy (Dominic Purcell), whom she often flirts with openly. With the wide disparity between David’s personality and local customs immediately apparent, Charlie and his friends soon begin to taunt the young couple, but that taunting rapidly turns into open harassment and eventual sexual assault. As the situation continually escalates, tensions finally explode and David is forced to take matters into his own hands as the violence committed against him and his family reaches a breaking point.
From the moment that David and Amy arrive in Blackwater, director Rod Lurie cleverly builds a palpable amount of tension between the newcomers and the locals, and that building atmosphere keeps the viewer slightly on-edge and uncomfortable throughout until the gory and intense climax. Add this tension to the very convincing portrayal of a timid man out of his comfort zone given by James Marsden, and Straw Dogs earns an undeniable element of reality in its narrative. Granted, I doubt such drastic events would ever unfold in the exact same manner, but everyone has had a neighbor from hell, and this film is more than enough to have anyone think “what if?” As far as antagonists go, Charlie’s friends and Coach Heddon shamefully demonstrate some of the worst elements of human nature, but the real psycho is Charle, whom Alexander Skarsgård brings to life in a chilling and conflicted manner. These standout elements are more than enough to make Straw Dogs enjoyable, but a number of shortcomings prevent Straw Dogs from being memorable.
I completely concede that this Straw Dogs is a remake and that the story is one made famous four decades ago, but even though some narrative elements are updated, the project in its entirety still feels dated. Tension and drama abound, but nothing truly feels like a blockbuster-worthy element, and I have seen countless other films of similar quality never climb above made-for-television status. As far as some of the weaker acting goes, it was no surprise that Kate Bosworth once again delivered a slightly wooden and thoroughly unenergetic performance. And while I understand that the overall theme of the film rests on violence and brutality, this focus leaves no room for humor or joy, making the end result decidedly one-sided. Again, there is nothing overtly terrible about Straw Dogs, and the story told is enjoyable despite some of its stretches in logic, but even the most brutal elements are not enough to leave a lasting impression.
Well, from a critical standpoint, I certainly felt that Straw Dogs was mediocre, and from a commercial standpoint, the results are much of the same. Opening against The Lion King and festival sweetheart Drive, I didn’t expect Straw Dogs to take top spot, but $5.1 million still falls short of expectations…at least one movie has now conformed to traditional September box office patterns. Against a $25 million budget, an avalanche of new offerings, and no international presence, this newest thriller is virtually guaranteed to lose money. And with so many Awards Season favorites currently saturating theaters and the Holiday Movie Season just around the corner, this thriller will largely be forgotten. If you have ever had domestic disputes with neighbors, longed to release some violent tendencies, or wondered what lengths you would go to defend yourself against others, then Straw Dogs definitely has something for you.
Overall Recommendation: Medium
Distributor: Screen Gems
Opening Weekend Box-Office: #5 with $5,123,760
Domestic Box-Office Gross to-date: $9,251,081
Gross Revenue: $9,251,081
Production Budget: $25 million
Directors: Rod Lurie
Believe it or not, Straw Dogs is actually a remake, but since the original starring Dustin Hoffman was released forty years ago, it is not all that surprising that such a realization is missing from common knowledge. Now, because the original was very well received and undoubtedly has some kind of fan-base, you would think that Screen Gems would go out of their way to leverage some kind of connection between the two, but promotions remained fairly lukewarm, simply showing trailers that would cause some to question how they would react in a situation where violence is the only clear solution. The cast had the potential to draw in a respectable audience, as James Marsden has fans in both the male and female demographic as a result of his work in the superhero (the X-men trilogy) and musical (Enchanted, Hairspray) genres, while Kate Bosworth has some undoubted blockbusters (Superman Returns, 21) under her belt. Add in the fact that Alexander Skarsgård stars in the insanely popular HBO series True Blood, and there were more than enough familiar faces to make this remake entertaining. I was skeptical for a while, but after a few sneak peeks during the Screenvision pre-trailer entertainment at theaters, my curiosity was piqued for Straw Dogs.
Based on the Gordon Williams novel The Siege of Trencher’s Farm, Straw Dogs introduces audiences to young married couple David (James Marsden) and Amy Sumner (Kate Bosworth) as they move to Blackwater, Mississippi, Amy’s hometown. David, a Los Angeles scriptwriter, seeks seclusion to finish his newest project, while Amy, a TV actress, relishes moving into the house in which she was raised. David soon meets Amy’s ex-boyfriend Charlie Venner (Alexander Skarsgård) and his friends Norman (Rhys Coiro of Entourage fame), Chris (Billy Lush), and Bic (Drew Powell), whom he graciously hires to repair his damaged farm roof. Concurrently, it is revealed that the town’s former football coach, Tom Heddon (James Woods), is struggling to keep his 15-year-old daughter Janice (Willa Holland) away from a local mentally handicapped man, Jeremy (Dominic Purcell), whom she often flirts with openly. With the wide disparity between David’s personality and local customs immediately apparent, Charlie and his friends soon begin to taunt the young couple, but that taunting rapidly turns into open harassment and eventual sexual assault. As the situation continually escalates, tensions finally explode and David is forced to take matters into his own hands as the violence committed against him and his family reaches a breaking point.
From the moment that David and Amy arrive in Blackwater, director Rod Lurie cleverly builds a palpable amount of tension between the newcomers and the locals, and that building atmosphere keeps the viewer slightly on-edge and uncomfortable throughout until the gory and intense climax. Add this tension to the very convincing portrayal of a timid man out of his comfort zone given by James Marsden, and Straw Dogs earns an undeniable element of reality in its narrative. Granted, I doubt such drastic events would ever unfold in the exact same manner, but everyone has had a neighbor from hell, and this film is more than enough to have anyone think “what if?” As far as antagonists go, Charlie’s friends and Coach Heddon shamefully demonstrate some of the worst elements of human nature, but the real psycho is Charle, whom Alexander Skarsgård brings to life in a chilling and conflicted manner. These standout elements are more than enough to make Straw Dogs enjoyable, but a number of shortcomings prevent Straw Dogs from being memorable.
I completely concede that this Straw Dogs is a remake and that the story is one made famous four decades ago, but even though some narrative elements are updated, the project in its entirety still feels dated. Tension and drama abound, but nothing truly feels like a blockbuster-worthy element, and I have seen countless other films of similar quality never climb above made-for-television status. As far as some of the weaker acting goes, it was no surprise that Kate Bosworth once again delivered a slightly wooden and thoroughly unenergetic performance. And while I understand that the overall theme of the film rests on violence and brutality, this focus leaves no room for humor or joy, making the end result decidedly one-sided. Again, there is nothing overtly terrible about Straw Dogs, and the story told is enjoyable despite some of its stretches in logic, but even the most brutal elements are not enough to leave a lasting impression.
Well, from a critical standpoint, I certainly felt that Straw Dogs was mediocre, and from a commercial standpoint, the results are much of the same. Opening against The Lion King and festival sweetheart Drive, I didn’t expect Straw Dogs to take top spot, but $5.1 million still falls short of expectations…at least one movie has now conformed to traditional September box office patterns. Against a $25 million budget, an avalanche of new offerings, and no international presence, this newest thriller is virtually guaranteed to lose money. And with so many Awards Season favorites currently saturating theaters and the Holiday Movie Season just around the corner, this thriller will largely be forgotten. If you have ever had domestic disputes with neighbors, longed to release some violent tendencies, or wondered what lengths you would go to defend yourself against others, then Straw Dogs definitely has something for you.
Overall Recommendation: Medium
Wednesday, September 28, 2011
The Lion King (in 3D)
The Lion King (in 3D) - (September 16th, 2011): PG
Distributor: Buena Vista
Opening Weekend Box-Office: #1 with $30,151,614
Domestic Box-Office Gross to-date: $64,697,402
Gross Revenue: $409,239,178 (Lifetime Gross)
Production Budget: N/A
Directors: Roger Allers and Rob Minkoff
Of all the animated classics that comprise the fabled Disney Renaissance, The Lion King has always been my favorite. The highest-grossing hand drawn animation in history, The Lion King has produced a truly admirable legacy…anyone who grew up in the ‘90s undoubtedly knows the Academy Award winning songs by heart and has seen the Broadway adaptation, but the younger generation clearly does not appreciate the phrase “hakuna matata” on the same level. When I heard that this Disney classic would be re-released in a limited two week engagement AND in 3D, I was a little skeptical; sure, I was glad that newer audiences would be introduced to Simba and Mufasa, but the 3D seemed little more than a shameless ploy to pad this film’s already-impressive lifetime gross. I’ve seen the film more times than I can count, and I have the DVD in my living room, so there was little reason for me to shell out money to go to the theater, but I do admit to being curious as to what The Lion King would look like in 3D. Well, several loyal readers of Pantages’ Theater adamantly requested that I review The Lion King, and so that was really all the motivation I needed to watch one of my favorite movies again…darn.
I really don’t need to go into the Hamlet-inspired plot of the film or comment on the overall film quality…it’s The Lion King, of course it’s amazing. The familiar story and classic songs are always welcome and endlessly entertaining, and thankfully, this time around Disney wisely decided to cut the god-awful “Morning Report” song that currently desecrates the DVD. As for the 3D, I hate to admit that the technology felt largely wasted; sure, the picture was crisp and definitely more refined, but not only did the resolution bring attention to the hand-drawn aspect of the film, there was also very little content that actually jumped off of the screen. Of course there weren’t going to be explosions, but how do you not seize the opportunity to turn the Wildebeest Stampede into a true testament to 3D technology? Still, even if the 3D feels wasted, there is still an enjoyable element to watching a familiar film return to the big screen in all of its glory…its still fun to sing the songs and heartbreaking to shed a tear when Mufasa dies (it certainly didn’t help that the kid behind me started bawling and screaming “wake up”). If you loved the film then, you’ll still love it now, so it’s only a question if you are willing to pay to see The Lion King again.
Based on box office receipts, this Lion King re-release has been nothing short of brilliant, both from a revenue perspective and from a strategy standpoint. Being the only true family film in theaters at the time of its release, it is no surprise that Simba reigned in his first weekend, but beating out Moneyball in the second weekend with over $22 million was legendary, especially in September. Seriously, not many September releases can boast as high a domestic revenue as that of $64 million in a little less than two weeks. What is brilliant about this distribution strategy is that it coincides with the 3D Blu-Ray release of The Lion King…Disney diehards were going to buy it anyway, but now the film is top-of-mind, as old fans have been reminded of how much they love Pride Rock, and legions of the young and newly-converted can pester parents at the check-out stand; sales should be impressive. If your only motivator for seeing The Lion King again is that it is in 3D, I’d advise you to skip, but if you are a devoted follow of the worry-free philosophy of Timon and Pumbaa or still giggle when you hear “Asante sana, squash banana,” then go visit your old friends at the theater.
Overall Recommendation: Very High
Distributor: Buena Vista
Opening Weekend Box-Office: #1 with $30,151,614
Domestic Box-Office Gross to-date: $64,697,402
Gross Revenue: $409,239,178 (Lifetime Gross)
Production Budget: N/A
Directors: Roger Allers and Rob Minkoff
Of all the animated classics that comprise the fabled Disney Renaissance, The Lion King has always been my favorite. The highest-grossing hand drawn animation in history, The Lion King has produced a truly admirable legacy…anyone who grew up in the ‘90s undoubtedly knows the Academy Award winning songs by heart and has seen the Broadway adaptation, but the younger generation clearly does not appreciate the phrase “hakuna matata” on the same level. When I heard that this Disney classic would be re-released in a limited two week engagement AND in 3D, I was a little skeptical; sure, I was glad that newer audiences would be introduced to Simba and Mufasa, but the 3D seemed little more than a shameless ploy to pad this film’s already-impressive lifetime gross. I’ve seen the film more times than I can count, and I have the DVD in my living room, so there was little reason for me to shell out money to go to the theater, but I do admit to being curious as to what The Lion King would look like in 3D. Well, several loyal readers of Pantages’ Theater adamantly requested that I review The Lion King, and so that was really all the motivation I needed to watch one of my favorite movies again…darn.
I really don’t need to go into the Hamlet-inspired plot of the film or comment on the overall film quality…it’s The Lion King, of course it’s amazing. The familiar story and classic songs are always welcome and endlessly entertaining, and thankfully, this time around Disney wisely decided to cut the god-awful “Morning Report” song that currently desecrates the DVD. As for the 3D, I hate to admit that the technology felt largely wasted; sure, the picture was crisp and definitely more refined, but not only did the resolution bring attention to the hand-drawn aspect of the film, there was also very little content that actually jumped off of the screen. Of course there weren’t going to be explosions, but how do you not seize the opportunity to turn the Wildebeest Stampede into a true testament to 3D technology? Still, even if the 3D feels wasted, there is still an enjoyable element to watching a familiar film return to the big screen in all of its glory…its still fun to sing the songs and heartbreaking to shed a tear when Mufasa dies (it certainly didn’t help that the kid behind me started bawling and screaming “wake up”). If you loved the film then, you’ll still love it now, so it’s only a question if you are willing to pay to see The Lion King again.
Based on box office receipts, this Lion King re-release has been nothing short of brilliant, both from a revenue perspective and from a strategy standpoint. Being the only true family film in theaters at the time of its release, it is no surprise that Simba reigned in his first weekend, but beating out Moneyball in the second weekend with over $22 million was legendary, especially in September. Seriously, not many September releases can boast as high a domestic revenue as that of $64 million in a little less than two weeks. What is brilliant about this distribution strategy is that it coincides with the 3D Blu-Ray release of The Lion King…Disney diehards were going to buy it anyway, but now the film is top-of-mind, as old fans have been reminded of how much they love Pride Rock, and legions of the young and newly-converted can pester parents at the check-out stand; sales should be impressive. If your only motivator for seeing The Lion King again is that it is in 3D, I’d advise you to skip, but if you are a devoted follow of the worry-free philosophy of Timon and Pumbaa or still giggle when you hear “Asante sana, squash banana,” then go visit your old friends at the theater.
Overall Recommendation: Very High
Sunday, September 18, 2011
Warrior: Short and Sweet
If I had to describe my initial reaction leading up to the release of Warrior, it would be one of sheer curiosity as opposed to genuine anticipation. The story of two brothers coming from a conflicted family dynamic set against a fighting competition certainly remains fresh in general audience memory after Christian Bale and Mark Wahlberg took on the world of boxing in last December’s The Fighter. Now that Lionsgate was taking a similar approach to MMA fighting, many saw Warrior as nothing more than a cheap knock-off, but the choice of actors certainly piqued my interest. I may not have known Joel Edgerton very well, but I mostly wanted to see Tom Hardy in action so that he could prove himself a worthy adversary for Batman when he takes on the villainous role of Bane in next summer’s The Dark Knight Rises. Early critical praise was through the roof, and late August/early September had already gifted The Debt and Contagion, but could lightning strike a third time and make Warrior truly worth seeing?
One word: Wow. Warrior is utterly phenomenal, delivering an inspiring and heartfelt story that will have you truly cheering for the characters on screen as they engage in no-holds-barred action. Tom Hardy is unapologetically savage as the haunted war hero, while Joel Edgerton is the best kind of underdog as the father struggling to provide for his family…I have no doubt that both these men will be very, very famous in no time. The biggest surprise though comes from Nick Nolte as the brothers’ estranged father, a character desperately seeking redemption for the sins of his past. The film does take some time to gather steam, and the ending is a bit unsatisfying and incomplete, but in its entirety, with engaging characters and truly exciting and brutal fight scenes, Warrior still provides pure entertainment. I don’t care how loyal you are to The Fighter, Warrior is a film that is just as good, if not better, so do yourself a favor and get to the theater…now!
For more information, please read the full review.
Overall Recommendation: Very High
One word: Wow. Warrior is utterly phenomenal, delivering an inspiring and heartfelt story that will have you truly cheering for the characters on screen as they engage in no-holds-barred action. Tom Hardy is unapologetically savage as the haunted war hero, while Joel Edgerton is the best kind of underdog as the father struggling to provide for his family…I have no doubt that both these men will be very, very famous in no time. The biggest surprise though comes from Nick Nolte as the brothers’ estranged father, a character desperately seeking redemption for the sins of his past. The film does take some time to gather steam, and the ending is a bit unsatisfying and incomplete, but in its entirety, with engaging characters and truly exciting and brutal fight scenes, Warrior still provides pure entertainment. I don’t care how loyal you are to The Fighter, Warrior is a film that is just as good, if not better, so do yourself a favor and get to the theater…now!
For more information, please read the full review.
Overall Recommendation: Very High
Warrior: Full Review
Warrior - (September 9th, 2011): PG-13
Distributor: Lionsgate
Opening Weekend Box-Office: #3 with $5,242,107
Domestic Box-Office Gross to-date: $9,912,000
Gross Revenue: $9,912,000
Production Budget: $25 million
Director: Gavin O’Connor
From a marketing perspective, Lionsgate certainly had its work cut out for it in trying to sell audiences on Warrior. Not only had The Fighter presented a similar story to moviegoers fairly recently, but it had also done so with a far more famous and recognizable cast. Tom Hardy certainly gained recognition for his memorable performance in 2010’s Inception, but his exposure beyond summer blockbusters was very limited…still, many were curious to see the guy Christopher Nolan had deemed worthy to take the role of Batman villain Bane for the final entry in his powerhouse superhero series, which will hit next summer. As for Joel Edgerton, the only way I really recognized him was from his brief appearance in the Star Wars prequels, as the younger version of Luke Skywalker’s Uncle Owen, and 2006’s Smokin’ Aces, so it was a little strange to see him in a starring role. It certainly didn’t help that marketing activity was lukewarm at best; the trailers may have been prevalent, but the only other dynamic promotion I noticed was the “We Are All Warriors” internet sweepstakes that sought to highlight local heroes. Regardless, I have always appreciated the inherent entertainment value provided by MMA fighting, and early critical reaction seemed to promise that the action would be accompanied by a surprisingly strong film.
Highlighting a tragic family dynamic, Warrior introduces audiences to estranged brothers Brendan (Joel Edgerton) and Tom Conlon (Tom Hardy), who have not seen each other for nearly fourteen years. When they were kids, both boys suffered under their drunken and abusive father, Paddy (Nick Nolte), but while Tom escaped with his ailing mother, Brendan decided to stay home. Now, in present day, Paddy has sobered up and is desperately trying to repair the family he has destroyed, while Tom is a returning Marine war hero and Brendan is a high school physics teacher struggling to support his wife, Tess (Jennifer Morrison), and their two daughters. Because Paddy was once a wrestling trainer, both men are capable and impressive MMA fighters, and both catch wind of new MMA tournament known as “Sparta,” which will award the winner $5 million. In the face of this new opportunity, the brothers enter the tournament, with Brendan viewed as an underdog and Tom emerging as a clear favorite, but as time passes, it becomes clear that these two men will ultimately have to face each other in a fight that will bring all of their motivations and unresolved family tensions to light.
For the low level of star power present, Warrior delivers a dramatically high level of talent, with Hardy, Edgerton, and Nolte all giving powerhouse performance to help drive a simple and engrossing story. Playing the undoubtedly angrier of the two brothers, Tom Hardy shows no sympathy or empathy for his estranged family, displaying a noble determination with an imposing physicality that proves he will be a more than capable villain for Batman…Christian Bale had better watch his back next summer! As for Joel Edgerton, it is shocking that this actor is not more famous, as he is an engaging and emotional crowd-pleaser who draws in audience support almost instantaneously, when he wins his first fight, you’re going to have to fight off the impulse to stand up and cheer for the unlikely underdog. And then there is Nick Nolte, who emanates so much guilt that by the end of the film, you might actually find yourself forgiving him for the atrocities that still haunt his sons; in truth, I never thought he was capable of such a heated performance. The reality of this troubled dynamic is only enhanced by the energetic fight scenes enhanced by the stylish direction of Gavin O’Connor, which reminds everyone of the brutality of MMA and further showcases how much that these men are willing to sacrifice in order to help the ones that they love. Rocky and Rudy are usually the default choices for high-quality and inspiring sports films, but I now believe that Warrior has rightfully earned its place among those classics.
With strong characters and an exciting setting, Warrior was a surprising treat at the theater, but with that being said there are a few weak points. First off, the film starts at an absolute snails pace that is a sharp contrast to the instantaneously engaging The Fighter from last year; granted, the slow start only lasts minutes, but it is definitely noticeable in the face of the high expectations that many moviegoers will hold. And just like the weak beginning, the abrupt ending of this action drama is disappointing; the film spent so much time getting the audience involved with these characters and their story, so it is tragic that at just under two-and-a-half hours, the project still feels incomplete. As for the troubled family dynamic, there are times when Warrior overplays this theme…Tommy and Brendan hate each other so deeply that it is easy to forget some of the nobler intentions that they have for competing in Sparta. Given these shortcomings, Warrior may not be perfect, but in light of the rest of the film, the only thing that is disappointing is the fact that, if these small imperfections had been corrected, Warrior could easily have been declared one of the best sports movies ever made.
This past week, Entertainment Weekly lamented America’s apparent lack of interest in Warrior, and I couldn’t agree more, because the disparity between film quality and box office performance is tragic. Warrior was only able to earn third place in its opening weekend with just over $5 million in ticket sales, and to-date, the film hasn’t even cracked $10 million. Apparently, Lionsgate was unable to sell audiences on unfamiliar actors tackling a familiar storyline during a slow month at the theater, and it is sad to think that such a strong film will probably end up losing money against a modest $25 million production budget. The only solace I can find is that Warrior will probably remain a strong entry heading into awards season and its relatively unknown actors will become household names soon enough. I cannot stress it enough, Warrior is absolutely fantastic and should not be missed…if you enjoyed The Fighter, then I know that you will love the heartfelt and inspiring story told by Warrior.
Overall Recommendation: Very High
Distributor: Lionsgate
Opening Weekend Box-Office: #3 with $5,242,107
Domestic Box-Office Gross to-date: $9,912,000
Gross Revenue: $9,912,000
Production Budget: $25 million
Director: Gavin O’Connor
From a marketing perspective, Lionsgate certainly had its work cut out for it in trying to sell audiences on Warrior. Not only had The Fighter presented a similar story to moviegoers fairly recently, but it had also done so with a far more famous and recognizable cast. Tom Hardy certainly gained recognition for his memorable performance in 2010’s Inception, but his exposure beyond summer blockbusters was very limited…still, many were curious to see the guy Christopher Nolan had deemed worthy to take the role of Batman villain Bane for the final entry in his powerhouse superhero series, which will hit next summer. As for Joel Edgerton, the only way I really recognized him was from his brief appearance in the Star Wars prequels, as the younger version of Luke Skywalker’s Uncle Owen, and 2006’s Smokin’ Aces, so it was a little strange to see him in a starring role. It certainly didn’t help that marketing activity was lukewarm at best; the trailers may have been prevalent, but the only other dynamic promotion I noticed was the “We Are All Warriors” internet sweepstakes that sought to highlight local heroes. Regardless, I have always appreciated the inherent entertainment value provided by MMA fighting, and early critical reaction seemed to promise that the action would be accompanied by a surprisingly strong film.
Highlighting a tragic family dynamic, Warrior introduces audiences to estranged brothers Brendan (Joel Edgerton) and Tom Conlon (Tom Hardy), who have not seen each other for nearly fourteen years. When they were kids, both boys suffered under their drunken and abusive father, Paddy (Nick Nolte), but while Tom escaped with his ailing mother, Brendan decided to stay home. Now, in present day, Paddy has sobered up and is desperately trying to repair the family he has destroyed, while Tom is a returning Marine war hero and Brendan is a high school physics teacher struggling to support his wife, Tess (Jennifer Morrison), and their two daughters. Because Paddy was once a wrestling trainer, both men are capable and impressive MMA fighters, and both catch wind of new MMA tournament known as “Sparta,” which will award the winner $5 million. In the face of this new opportunity, the brothers enter the tournament, with Brendan viewed as an underdog and Tom emerging as a clear favorite, but as time passes, it becomes clear that these two men will ultimately have to face each other in a fight that will bring all of their motivations and unresolved family tensions to light.
For the low level of star power present, Warrior delivers a dramatically high level of talent, with Hardy, Edgerton, and Nolte all giving powerhouse performance to help drive a simple and engrossing story. Playing the undoubtedly angrier of the two brothers, Tom Hardy shows no sympathy or empathy for his estranged family, displaying a noble determination with an imposing physicality that proves he will be a more than capable villain for Batman…Christian Bale had better watch his back next summer! As for Joel Edgerton, it is shocking that this actor is not more famous, as he is an engaging and emotional crowd-pleaser who draws in audience support almost instantaneously, when he wins his first fight, you’re going to have to fight off the impulse to stand up and cheer for the unlikely underdog. And then there is Nick Nolte, who emanates so much guilt that by the end of the film, you might actually find yourself forgiving him for the atrocities that still haunt his sons; in truth, I never thought he was capable of such a heated performance. The reality of this troubled dynamic is only enhanced by the energetic fight scenes enhanced by the stylish direction of Gavin O’Connor, which reminds everyone of the brutality of MMA and further showcases how much that these men are willing to sacrifice in order to help the ones that they love. Rocky and Rudy are usually the default choices for high-quality and inspiring sports films, but I now believe that Warrior has rightfully earned its place among those classics.
With strong characters and an exciting setting, Warrior was a surprising treat at the theater, but with that being said there are a few weak points. First off, the film starts at an absolute snails pace that is a sharp contrast to the instantaneously engaging The Fighter from last year; granted, the slow start only lasts minutes, but it is definitely noticeable in the face of the high expectations that many moviegoers will hold. And just like the weak beginning, the abrupt ending of this action drama is disappointing; the film spent so much time getting the audience involved with these characters and their story, so it is tragic that at just under two-and-a-half hours, the project still feels incomplete. As for the troubled family dynamic, there are times when Warrior overplays this theme…Tommy and Brendan hate each other so deeply that it is easy to forget some of the nobler intentions that they have for competing in Sparta. Given these shortcomings, Warrior may not be perfect, but in light of the rest of the film, the only thing that is disappointing is the fact that, if these small imperfections had been corrected, Warrior could easily have been declared one of the best sports movies ever made.
This past week, Entertainment Weekly lamented America’s apparent lack of interest in Warrior, and I couldn’t agree more, because the disparity between film quality and box office performance is tragic. Warrior was only able to earn third place in its opening weekend with just over $5 million in ticket sales, and to-date, the film hasn’t even cracked $10 million. Apparently, Lionsgate was unable to sell audiences on unfamiliar actors tackling a familiar storyline during a slow month at the theater, and it is sad to think that such a strong film will probably end up losing money against a modest $25 million production budget. The only solace I can find is that Warrior will probably remain a strong entry heading into awards season and its relatively unknown actors will become household names soon enough. I cannot stress it enough, Warrior is absolutely fantastic and should not be missed…if you enjoyed The Fighter, then I know that you will love the heartfelt and inspiring story told by Warrior.
Overall Recommendation: Very High
Wednesday, September 14, 2011
Contagion: Short and Sweet
Though September is usually the last month one would expect to find a star-studded thriller of high quality, Contagion had all the makings of a theatrical juggernaut. Individually, each member of the ensemble cast has been insanely successful both critically and commercially, boasting a significant fan-base, while several have Academy Awards attached to their names (Marion Cotillard, Matt Damon, Kate Winslet, and Gwyneth Paltrow). Another big selling-point for Contagion is its Academy Award – winning director, as Steven Soderbergh has proven adept in handling both serious dramas (Erin Brockovich, Traffic) and light-hearted comedy blockbusters (the Ocean’s Eleven series). If there was one question mark concerning Contagion, it involved the wisdom of releasing a film about a global pandemic tragedy so close to the anniversary of September 11th, especially when theater attendance is notoriously low during this time of year. Still, promotions for this newest disaster film were prevalent and early critical reaction was strong, so I had high hopes walking into the theater.
Intense and genuinely scary, Contagion plays to very prevalent fears in a stylish and energetic way that is sure to fully ensnare audiences. Each member of the cast delivers a passionate and memorable performance, the standouts being Matt Damon as the worried father and Kate Winslet as the idealistic epidemic investigator. With no set protagonist, the film jumps between several independent story lines connected by the same tragedy, and the end result keeps the narrative from getting too stale at any one point. Unfortunately, with so many different stories being put forward at once, a number of questions arise, and the film tragically ends leaving one too many issues unresolved. Such a shortcoming really is a shame, but it is not enough to overshadow the fact that the actors, director, and script all came together to shine an intense spotlight on human nature in a time of tragedy and genuine fear, and for that, Contagion is an absolute must-see.
For more information, please read the full review.
Overall Recommendation: Very High
Intense and genuinely scary, Contagion plays to very prevalent fears in a stylish and energetic way that is sure to fully ensnare audiences. Each member of the cast delivers a passionate and memorable performance, the standouts being Matt Damon as the worried father and Kate Winslet as the idealistic epidemic investigator. With no set protagonist, the film jumps between several independent story lines connected by the same tragedy, and the end result keeps the narrative from getting too stale at any one point. Unfortunately, with so many different stories being put forward at once, a number of questions arise, and the film tragically ends leaving one too many issues unresolved. Such a shortcoming really is a shame, but it is not enough to overshadow the fact that the actors, director, and script all came together to shine an intense spotlight on human nature in a time of tragedy and genuine fear, and for that, Contagion is an absolute must-see.
For more information, please read the full review.
Overall Recommendation: Very High
Contagion: Full Review
Contagion - (September 9th, 2011): PG-13
Distributor: Warner Bros. Pictures
Opening Weekend Box-Office: #1 with $22,403,596
Domestic Box-Office Gross to-date: $26,251,223
Gross Revenue: $28,351,223
Production Budget: $60 million
Director: Steven Soderbergh
When I first saw the trailer for Contagion, I had to appreciate the guts that it must have taken for Warner Bros. to release a film about a lethal virus in September, when fears about terrorism and biological warfare are usually heightened. Touchy subject matter aside, audiences were sure to be drawn in by the A-list ensemble cast, a number of whom have worked together before (Damon, Paltrow, and Law in 1999’s The Talented Mr. Ripley) and all of whom are no strangers to critical praise. With equally strong talent behind the camera, it was clear that Contagion was aiming to paint a very realistic picture concerning public health, as Steven Soderbergh has never been one to shy away from mature themes. Premiering at the 68th Venice Film Festival, early critical praise for Contagion was impressively high, and Warner Bros. made sure to use scare tactics in its marketing strategy in order to grab and hold widespread attention. By no means am I a hypochondriac or someone who has an irrational fear of germs, but I was nevertheless fully preparing myself to walk out of Contagion with a newfound appreciation for soap and hand-sanitizer.
Following several different interacting plot lines set against a global pandemic, Contagion begins with Beth Emhoff (Gwyneth Paltrow) returning from a business trip to Hong Kong and suddenly collapsing and dying from an unidentified disease. Beth’s husband, Mitch (Matt Damon), is placed in quarantine isolation after his stepson also dies after exhibiting symptoms similar to those his mother experienced shortly before her death. In Atlanta, Dr. Ellis Cheever (Laurence Fishburne) from the Center of Disease Control and Prevention works with Dr. Erin Mears (Kate Winslet) to identify this virus that has been rapidly spreading and many believe to be a bioweapon. When it is concluded that the fast-moving and lethal pandemic could only have originated in Hong Kong, the World Health Organization dispatches Dr. Leonora Orantes (Marion Cotillard) to find the cause of the mutating disease so that a vaccination might be synthesized. Meanwhile, conspiracy-theorist Alan Krumwiede (Jude Law) has been spreading fear over the internet by claiming that he has discovered a true cure and that any government treatment should be considered dangerous and ineffective. With millions dying from the highly-contagious virus, true panic spreads and society begins to unravel, with survival instincts now overriding any sense of order or responsibility.
Director Steven Soderbergh goes out of his way to present a realistic interpretation of how a global pandemic would unfold, and the end result is truly haunting. It may not have been billed as a horror film, but make no mistake about it, Contagion is scary, with the intelligent dialogue and stylish pacing making such a disaster very believable. If you want proof, just consider that when I was in the theater, the guy a few seats over from me started coughing about thirty minutes before the film was over, and you could feel the tension rise among the moviegoers…that’s a sign of impressive storytelling on a number of different levels. As expected, each member of the cast delivered an impactful performance, my personal favorites being Matt Damon as a father struggling to recover from personal tragedy while endearingly protecting what remains of his family, and Kate Winslet as the government doctor rapidly trying to solve a mystery with an admirable level of tenacity and self-sacrifice. Stylish directing and acting aside, Contagion also tells its story unique way which, though slightly imperfect, still heightened the overall experience.
There are parts where the different main characters interact with each other, but by-and-large, each of the story lines remains independent, and by seamlessly switching between the different characters, the narrative is kept fresh and exciting. Such a unique form of storytelling could easily have been confusing, especially with the understandably complicated medical jargon that would follow such a pandemic, but the film is able to pull it off. If I were to lodge one complaint, it would be that the script generated far more questions than it ultimately answered, leaving a number of the story lines incomplete or unresolved. When the end credits began to roll, it was very clear that the audience was disappointed in the abrupt ending and would have liked to seen more from the different characters…you can look at that as an example of an incomplete film or an indication of just how invested the audience became in Contagion. In the end, with such a surprisingly strong entry hitting during the characteristically slow month of September, this thriller was clearly going to be successful in a number of ways.
From a box office perspective, the most prevalent of Contagion’s achievements involves the fact that it was finally able to dethrone The Help from its three week reign as theater champion. I expected Warrior to provide some significant competition, but I doubt that anyone was surprised when Bucky Larson failed miserably. With over $22 million in tickets sales over its opening weekend, Contagion performed in sync with analyst predictions, and with an expanded international release hitting in October and positive word of mouth, Warner Bros. should have little trouble recovering the $60 million production budget. I don’t know if Straw Dogs or The Lion King in 3D will be able to topple Contagion this weekend, but I do expect more moviegoers to venture out after the somber 9/11 commemorations from last week. I cannot promise that you will enjoy Contagion on the same level that I did, but I guarantee that you will be a little more hesitant to shake hands or share a drink the next time you go out…enjoy.
Overall Recommendation: Very High
Distributor: Warner Bros. Pictures
Opening Weekend Box-Office: #1 with $22,403,596
Domestic Box-Office Gross to-date: $26,251,223
Gross Revenue: $28,351,223
Production Budget: $60 million
Director: Steven Soderbergh
When I first saw the trailer for Contagion, I had to appreciate the guts that it must have taken for Warner Bros. to release a film about a lethal virus in September, when fears about terrorism and biological warfare are usually heightened. Touchy subject matter aside, audiences were sure to be drawn in by the A-list ensemble cast, a number of whom have worked together before (Damon, Paltrow, and Law in 1999’s The Talented Mr. Ripley) and all of whom are no strangers to critical praise. With equally strong talent behind the camera, it was clear that Contagion was aiming to paint a very realistic picture concerning public health, as Steven Soderbergh has never been one to shy away from mature themes. Premiering at the 68th Venice Film Festival, early critical praise for Contagion was impressively high, and Warner Bros. made sure to use scare tactics in its marketing strategy in order to grab and hold widespread attention. By no means am I a hypochondriac or someone who has an irrational fear of germs, but I was nevertheless fully preparing myself to walk out of Contagion with a newfound appreciation for soap and hand-sanitizer.
Following several different interacting plot lines set against a global pandemic, Contagion begins with Beth Emhoff (Gwyneth Paltrow) returning from a business trip to Hong Kong and suddenly collapsing and dying from an unidentified disease. Beth’s husband, Mitch (Matt Damon), is placed in quarantine isolation after his stepson also dies after exhibiting symptoms similar to those his mother experienced shortly before her death. In Atlanta, Dr. Ellis Cheever (Laurence Fishburne) from the Center of Disease Control and Prevention works with Dr. Erin Mears (Kate Winslet) to identify this virus that has been rapidly spreading and many believe to be a bioweapon. When it is concluded that the fast-moving and lethal pandemic could only have originated in Hong Kong, the World Health Organization dispatches Dr. Leonora Orantes (Marion Cotillard) to find the cause of the mutating disease so that a vaccination might be synthesized. Meanwhile, conspiracy-theorist Alan Krumwiede (Jude Law) has been spreading fear over the internet by claiming that he has discovered a true cure and that any government treatment should be considered dangerous and ineffective. With millions dying from the highly-contagious virus, true panic spreads and society begins to unravel, with survival instincts now overriding any sense of order or responsibility.
Director Steven Soderbergh goes out of his way to present a realistic interpretation of how a global pandemic would unfold, and the end result is truly haunting. It may not have been billed as a horror film, but make no mistake about it, Contagion is scary, with the intelligent dialogue and stylish pacing making such a disaster very believable. If you want proof, just consider that when I was in the theater, the guy a few seats over from me started coughing about thirty minutes before the film was over, and you could feel the tension rise among the moviegoers…that’s a sign of impressive storytelling on a number of different levels. As expected, each member of the cast delivered an impactful performance, my personal favorites being Matt Damon as a father struggling to recover from personal tragedy while endearingly protecting what remains of his family, and Kate Winslet as the government doctor rapidly trying to solve a mystery with an admirable level of tenacity and self-sacrifice. Stylish directing and acting aside, Contagion also tells its story unique way which, though slightly imperfect, still heightened the overall experience.
There are parts where the different main characters interact with each other, but by-and-large, each of the story lines remains independent, and by seamlessly switching between the different characters, the narrative is kept fresh and exciting. Such a unique form of storytelling could easily have been confusing, especially with the understandably complicated medical jargon that would follow such a pandemic, but the film is able to pull it off. If I were to lodge one complaint, it would be that the script generated far more questions than it ultimately answered, leaving a number of the story lines incomplete or unresolved. When the end credits began to roll, it was very clear that the audience was disappointed in the abrupt ending and would have liked to seen more from the different characters…you can look at that as an example of an incomplete film or an indication of just how invested the audience became in Contagion. In the end, with such a surprisingly strong entry hitting during the characteristically slow month of September, this thriller was clearly going to be successful in a number of ways.
From a box office perspective, the most prevalent of Contagion’s achievements involves the fact that it was finally able to dethrone The Help from its three week reign as theater champion. I expected Warrior to provide some significant competition, but I doubt that anyone was surprised when Bucky Larson failed miserably. With over $22 million in tickets sales over its opening weekend, Contagion performed in sync with analyst predictions, and with an expanded international release hitting in October and positive word of mouth, Warner Bros. should have little trouble recovering the $60 million production budget. I don’t know if Straw Dogs or The Lion King in 3D will be able to topple Contagion this weekend, but I do expect more moviegoers to venture out after the somber 9/11 commemorations from last week. I cannot promise that you will enjoy Contagion on the same level that I did, but I guarantee that you will be a little more hesitant to shake hands or share a drink the next time you go out…enjoy.
Overall Recommendation: Very High
Monday, September 12, 2011
The 2011 Summer Movie Season: A Review
After 28 films, I want to highlight some of the highs and lows of the 2011 Summer Movie Season. I may not have seen everything (there was no way in hell I was going to pay money for The Smurfs), but I’ve seen more than enough to weigh a valid opinion. Thank you for all your support and please keep reading, Pantages’ Theater will continue bringing you as many reviews as possible.
1. Best Use of 3D: Transformers: Dark of the Moon
Runner Up: Harry Potter and the Deathly Hallows, Part 2
: Watching a trio of wizard rocket through Gringotts Bank or wage war at Hogwarts was amazing in 3D, but the use of the technology was a god-send for Transformers: Dark of the Moon. As I said in my review, moviegoers could have validly shown up an hour late and not missed a thing, but once the final battle in Chicago unfolded, the action was jaw-dropping. Without epic action and impressive visuals, Transformers: Dark of the Moon could have been the worst film of the year.
2. Worst Movie: Conan the Barbarian
Runner Up: Green Lantern
: Idiotic dialogue, stupid story, embarrassing acting, lame action…the list goes on and on for Conan the Barbarian, which should have gone straight-to-DVD. Plain and simple, the film was a bad idea executed in the worst manner possible. And let’s not forget the adventure showcasing our emerald DC superhero, which proved to audiences why Marvel will always be the dominant comic book filmmaker by wasting valuable source material and completely missing the mark in terms of casting.
3. Most Overrated Movie: Super 8
: Alright, let me be clear about one thing, Super 8 was not a bad movie, it just wasn’t as good as everyone has been claiming, recycling far too many elements from other Steven Spielberg classics. No other film this summer had as wide a disparity between popular reception, overall hype, and my own reaction…you may disagree with me, but this is my blog and you are reading for MY opinion.
4. Best Action Film: Fast Five
Runner Up: X-men: First Class
: Epic car chases, gunfights, and an all-out brawl between The Rock and Vin Diesel…Fast Five was a testosterone junky’s dream come true. As for the superhero team of outcasts, it doesn’t get much cooler than watching Magneto destroy a yacht with an anchor or drag a nuclear submarine from the water. Some of you may think Transformers earned a spot on this list, but the action was nowhere near consistent enough to outweigh these other contenders.
5. Best Comedy: Bridesmaids
Runner Up: Horrible Bosses
: Kristen Wiig and Maya Rudolph led a hysterical cast to show that female comedy can be crude, clever, and hysterical. Bridesmaids had me crying I was laughing so hard and no other comedy this entire Summer Movie Season was able to match that surprisingly high level of laughs. A close second was Horrible Bosses, which boasted a popular cast going off-the-wall crazy in order to showcase a workplace dynamic that we have all experienced at one point or the other.
6. Best Movie: Crazy, Stupid, Love.
Runner Up: The Debt
Honorable Mention: The Help
: You may think I’m crazy to give this title to a romantic comedy, but Crazy, Stupid, Love was near-perfect, with a funny, heartwarming story that was engaging and relatable throughout and brought to life by an insanely popular cast. The Debt was an exciting thriller with phenomenal acting and true pathos, but the story was a little hard to follow; The Help will be a prevalent name during Oscar Season in both the nomination and winning categories, but the film as a whole was boring at times. All three were great and definitely should not be missed by even the most casual of movie goers.
7. Best Breakthrough Performance: Michael Fassbender in X-men: First Class
Runner Up: Jessica Chastain in The Debt
Honorable Mention: Charlie Day in Horrible Bosses
: Michael Fassbender was easily the best part of X-men: First Class, taking a character made famous by screen legend Ian McKellen and redefining him beyond a one-dimensional villain to transform him into a sympathetic ally who regular switches between tortured soul and undeniable badass. Jessica Chastain gave a strong performance in The Help, but she took acting to the next level in The Debt as the conflicted Mossad agent facing unspeakable evil. Finally, there’s Charlie Day, who I already knew was funny from It’s Always Sunny in Philadelphia, but he proved that he can handle the big screen with his fantastic freak-outs in Horrible Bosses.
8. Best Animated Film: Kung Fu Panda 2
Runner Up: Cars 2
: This is one of the few years in recent memory that Disney-Pixar wasn’t able to wow audiences with its newest entry, so with surprisingly adult subject matter and fantastic graphics and action, Kung Fu Panda 2 was the clear choice. To be fair to Cars 2, the animated adventure was enjoyable, but it was just not able to live up to the reputation established by its predecessors.
9. Biggest Surprise of the Summer: Rise of the Planet of the Apes
Runner Up: Fright Night
: Anyone who spoke to me leading up to their release knew that I was expecting both Rise of the Planet of the Apes and Fright Night to fail miserably both critically and commercially, but I ended up loving both of them. Strong directing and the powerhouse performance of Andy Serkis made Rise of the Planet of the Apes fantastic, while my inner vampire geek loved seeing Colin Farrell bring a classic movie monster back to its terrifying roots. Both were enjoyable, but a wider appeal and stronger box office performance helped the primate revolution edge out the neighbor from hell.
10. Best Superhero Movie: X-men: First Class
Runner Up: Captain America: The First Avenger
: In a summer filled with four superhero movies, I had more than enough material to validly create this category, and while X-men: First Class was the clear winner; I did have some trouble choosing between Captain America and Thor. Both were surprisingly well executed in spite of difficult subject material, but with a historical backdrop and patriotic undertones, the WWII super soldier was able to beat out the Norse god of Thunder. As for Green Lantern, loyal readers know my opinion of that train wreck, and if I start talking about it again, this paragraph may end up laced with profanity.
11. Biggest Overall Disappointment: The Hangover: Part II
Runner Up: Cowboys & Aliens
: Everyone was excited for the follow-up to the top-grossing R-rated comedy of all time, but no one was expecting an exact carbon copy that repackaged the same jokes from the original. When it comes to Cowboys & Aliens, Harrison Ford and Daniel Craig should have been fantastic together, but they were given a shoddy project that completely discredited all of the hopeful buzz that had been building for months. If I wanted to mention the one film that probably ended up losing the most money and disappointing executives, I’d probably go back to Green Lantern…again.
12. Top Distributor: Paramount
Runner Up: Warner Bros.
: Paramount - Thor; Kung Fu Panda 2; Super 8; Transformers: Dark of the Moon; Captain America: The First Avenger; Cowboys & Aliens
Warner Bros. - The Hangover: Part 2; Green Lantern; Horrible Bosses; Harry Potter and the Deathly Hallows, Part 2; Crazy, Stupid, Love; Final Destination 5
Summer Box Office Champions (Source: Box Office Mojo; Numbers as of 9/11/11)
: Combined domestic and international gross…I predicted the champion, yet again!
1. Harry Potter and the Deathly Hallows, Part 2: $ 1,321,088,000
2. Transformers: Dark of the Moon: $ 1,115,806,000
3. Pirates of the Caribbean: On Stranger Tides: $1,039,326,715
4. Kung Fu Panda 2: $656,004,000
5. Fast Five: $609,837,675
1. Best Use of 3D: Transformers: Dark of the Moon
Runner Up: Harry Potter and the Deathly Hallows, Part 2
: Watching a trio of wizard rocket through Gringotts Bank or wage war at Hogwarts was amazing in 3D, but the use of the technology was a god-send for Transformers: Dark of the Moon. As I said in my review, moviegoers could have validly shown up an hour late and not missed a thing, but once the final battle in Chicago unfolded, the action was jaw-dropping. Without epic action and impressive visuals, Transformers: Dark of the Moon could have been the worst film of the year.
2. Worst Movie: Conan the Barbarian
Runner Up: Green Lantern
: Idiotic dialogue, stupid story, embarrassing acting, lame action…the list goes on and on for Conan the Barbarian, which should have gone straight-to-DVD. Plain and simple, the film was a bad idea executed in the worst manner possible. And let’s not forget the adventure showcasing our emerald DC superhero, which proved to audiences why Marvel will always be the dominant comic book filmmaker by wasting valuable source material and completely missing the mark in terms of casting.
3. Most Overrated Movie: Super 8
: Alright, let me be clear about one thing, Super 8 was not a bad movie, it just wasn’t as good as everyone has been claiming, recycling far too many elements from other Steven Spielberg classics. No other film this summer had as wide a disparity between popular reception, overall hype, and my own reaction…you may disagree with me, but this is my blog and you are reading for MY opinion.
4. Best Action Film: Fast Five
Runner Up: X-men: First Class
: Epic car chases, gunfights, and an all-out brawl between The Rock and Vin Diesel…Fast Five was a testosterone junky’s dream come true. As for the superhero team of outcasts, it doesn’t get much cooler than watching Magneto destroy a yacht with an anchor or drag a nuclear submarine from the water. Some of you may think Transformers earned a spot on this list, but the action was nowhere near consistent enough to outweigh these other contenders.
5. Best Comedy: Bridesmaids
Runner Up: Horrible Bosses
: Kristen Wiig and Maya Rudolph led a hysterical cast to show that female comedy can be crude, clever, and hysterical. Bridesmaids had me crying I was laughing so hard and no other comedy this entire Summer Movie Season was able to match that surprisingly high level of laughs. A close second was Horrible Bosses, which boasted a popular cast going off-the-wall crazy in order to showcase a workplace dynamic that we have all experienced at one point or the other.
6. Best Movie: Crazy, Stupid, Love.
Runner Up: The Debt
Honorable Mention: The Help
: You may think I’m crazy to give this title to a romantic comedy, but Crazy, Stupid, Love was near-perfect, with a funny, heartwarming story that was engaging and relatable throughout and brought to life by an insanely popular cast. The Debt was an exciting thriller with phenomenal acting and true pathos, but the story was a little hard to follow; The Help will be a prevalent name during Oscar Season in both the nomination and winning categories, but the film as a whole was boring at times. All three were great and definitely should not be missed by even the most casual of movie goers.
7. Best Breakthrough Performance: Michael Fassbender in X-men: First Class
Runner Up: Jessica Chastain in The Debt
Honorable Mention: Charlie Day in Horrible Bosses
: Michael Fassbender was easily the best part of X-men: First Class, taking a character made famous by screen legend Ian McKellen and redefining him beyond a one-dimensional villain to transform him into a sympathetic ally who regular switches between tortured soul and undeniable badass. Jessica Chastain gave a strong performance in The Help, but she took acting to the next level in The Debt as the conflicted Mossad agent facing unspeakable evil. Finally, there’s Charlie Day, who I already knew was funny from It’s Always Sunny in Philadelphia, but he proved that he can handle the big screen with his fantastic freak-outs in Horrible Bosses.
8. Best Animated Film: Kung Fu Panda 2
Runner Up: Cars 2
: This is one of the few years in recent memory that Disney-Pixar wasn’t able to wow audiences with its newest entry, so with surprisingly adult subject matter and fantastic graphics and action, Kung Fu Panda 2 was the clear choice. To be fair to Cars 2, the animated adventure was enjoyable, but it was just not able to live up to the reputation established by its predecessors.
9. Biggest Surprise of the Summer: Rise of the Planet of the Apes
Runner Up: Fright Night
: Anyone who spoke to me leading up to their release knew that I was expecting both Rise of the Planet of the Apes and Fright Night to fail miserably both critically and commercially, but I ended up loving both of them. Strong directing and the powerhouse performance of Andy Serkis made Rise of the Planet of the Apes fantastic, while my inner vampire geek loved seeing Colin Farrell bring a classic movie monster back to its terrifying roots. Both were enjoyable, but a wider appeal and stronger box office performance helped the primate revolution edge out the neighbor from hell.
10. Best Superhero Movie: X-men: First Class
Runner Up: Captain America: The First Avenger
: In a summer filled with four superhero movies, I had more than enough material to validly create this category, and while X-men: First Class was the clear winner; I did have some trouble choosing between Captain America and Thor. Both were surprisingly well executed in spite of difficult subject material, but with a historical backdrop and patriotic undertones, the WWII super soldier was able to beat out the Norse god of Thunder. As for Green Lantern, loyal readers know my opinion of that train wreck, and if I start talking about it again, this paragraph may end up laced with profanity.
11. Biggest Overall Disappointment: The Hangover: Part II
Runner Up: Cowboys & Aliens
: Everyone was excited for the follow-up to the top-grossing R-rated comedy of all time, but no one was expecting an exact carbon copy that repackaged the same jokes from the original. When it comes to Cowboys & Aliens, Harrison Ford and Daniel Craig should have been fantastic together, but they were given a shoddy project that completely discredited all of the hopeful buzz that had been building for months. If I wanted to mention the one film that probably ended up losing the most money and disappointing executives, I’d probably go back to Green Lantern…again.
12. Top Distributor: Paramount
Runner Up: Warner Bros.
: Paramount - Thor; Kung Fu Panda 2; Super 8; Transformers: Dark of the Moon; Captain America: The First Avenger; Cowboys & Aliens
Warner Bros. - The Hangover: Part 2; Green Lantern; Horrible Bosses; Harry Potter and the Deathly Hallows, Part 2; Crazy, Stupid, Love; Final Destination 5
Summer Box Office Champions (Source: Box Office Mojo; Numbers as of 9/11/11)
: Combined domestic and international gross…I predicted the champion, yet again!
1. Harry Potter and the Deathly Hallows, Part 2: $ 1,321,088,000
2. Transformers: Dark of the Moon: $ 1,115,806,000
3. Pirates of the Caribbean: On Stranger Tides: $1,039,326,715
4. Kung Fu Panda 2: $656,004,000
5. Fast Five: $609,837,675
Sunday, September 11, 2011
The Debt: Short and Sweet
Being released on August 31st, The Debt came in just under the wire as the last film of the 2011 Summer Movie Season, and by all appearances, it looked like this thriller was going to be surprisingly strong final entry. A number of elements present in this film caught my attention, the first and foremost being the strong cast, which included silver screen veteran Helen Mirren and rising stars Sam Worthington and Jessica Chastain. Worthington has been gaining popularity since his memorable turn as Jake Sully in Avatar, and Chastain already charmed audiences as a naïve housewife in this summer’s surprise critical and commercial success, The Help. Add in the fact that the plot involved the always-volatile Holocaust subject matter and that the film first premiered at the 2010 Toronto International Film Festival and it was virtually guaranteed that The Debt would be of undoubtedly high quality. Promising genuine thrills and engaging mystery in a unique manner that has been missing from theaters for quite some time, I found myself truly excited for The Debt.
I held off my concluding summary of the past few months in order to make sure that I didn’t miss any surprises that The Debt might offer, and it’s a good thing I did, because this last-minute thriller is an easy contender for best film of the 2011 Summer Movie Season. Intense, riveting, and fully-engrossing, The Debt grabs your attention and does not let go as it guides you through an undeniably emotional history that is as shocking as it is entertaining. The surprisingly riveting story is anchoring by the powerhouse performances delivered by Helen Mirren and Jessica Chastain as they portray the same character at different points in history. With the frequent jumps in narrative time and the slow start, The Debt can be a little hard to follow at certain points, but the strong characters always do their best to keep the viewer on track. Plain and simple, whether you are a fan of historical drama or not, I guarantee that you will love this newest thriller.
For more information, please read the full review.
Overall Recommendation: Very High
I held off my concluding summary of the past few months in order to make sure that I didn’t miss any surprises that The Debt might offer, and it’s a good thing I did, because this last-minute thriller is an easy contender for best film of the 2011 Summer Movie Season. Intense, riveting, and fully-engrossing, The Debt grabs your attention and does not let go as it guides you through an undeniably emotional history that is as shocking as it is entertaining. The surprisingly riveting story is anchoring by the powerhouse performances delivered by Helen Mirren and Jessica Chastain as they portray the same character at different points in history. With the frequent jumps in narrative time and the slow start, The Debt can be a little hard to follow at certain points, but the strong characters always do their best to keep the viewer on track. Plain and simple, whether you are a fan of historical drama or not, I guarantee that you will love this newest thriller.
For more information, please read the full review.
Overall Recommendation: Very High
The Debt: Full Review
The Debt - (August 31st, 2011): R
Distributor: Focus Features/Miramax
Opening Weekend Box-Office: #2 with $9,909,499
Domestic Box-Office Gross to-date: $21,993,000
Gross Revenue: $23,902,106
Production Budget: $20 million
Director: John Madden
From a distribution standpoint, The Debt had some trouble reaching mass audiences after its premiere at the Toronto Film Festival, with business complications preventing Miramax from releasing the film in December 2010 as was originally intended. Still, once it was decided that this newest thriller would hit as the last August release, the emotionally-charged subject material and the talented cast would be more than enough to fill the theaters. Based on the 2007 Israeli movie of the same name, The Debt boasted two different generations of Hollywood star-power, with Helen Mirren and Tom Wilkinson leading the charge, and the younger cast, which included Marton Csokas (xXx, The Bourne Supremacy), Sam Worthington (Avatar, Terminator Salvation), and Jessica Chastain (The Help), following suit. An added plus for me included the fact that the film was co-written by Matthew Vaughn, who has directed and produced some of my favorite movies (Kick-Ass, X-Men: First Class, and Snatch). With all of these factors coming together alongside the fact that true thrillers have been few and far in-between over these past summer months, The Debt was sure to be an enjoyable movie going experience.
Opening in 1997, The Debt introduces Israeli journalist Sarah (Romi Aboulafia) as she celebrates the release of her new book, which details the events of a Mossad operation in 1966 which led to the capture of notorious Nazi war criminal Dieter Vogel (Jesper Christensen), “The Surgeon of Birkenau.” Sarah recognizes the efforts of her mother, Rachel Singer (Helen Mirren), and father, Stefan Gold (Tom Wilkinson), two of the three agents who carried out the mission; concurrently, the third agent, David Peretz (Ciarán Hinds), suddenly and inexplicably commits suicide. The film then jumps to 1965, where young Rachel (Jessica Chastain), on her first field mission, arrives in East Berlin to meet with Stefan (Marton Csokas) and David (Sam Worthington) as they prepare to capture Vogel so that he may stand trial in Israel. After infiltrating the doctor’s office where Vogel is practicing as an OB/GYN, Rachel manages to subdue Vogel and he is transported to the team’s safe house; unfortunately, a number of misfortunes prevent the agents from completing their mission as planned, and they are ultimately forced to hide a dark secret. Coming back to present day, Rachel and Stefan must rush to solve the mystery of their friend’s death and prevent the truth that they have been hiding for over 30 years from finally being revealed.
As a drama-thriller with a unique narrative framing, The Debt grabs your attention and does not let go, telling a riveting story accompanied by stellar acting. Set against the always emotionally-charged Holocaust aftermath, I expected the film to provide depth, but the direction makes it so that the audience feels every motivation and conflict that these young agents experience in trying to bring a war criminal to justice. The story itself is surprising with plenty of twists that are sure to keep you on the edge of your seat, but the standout element of the entire film has to be the character of Rachel Singer, who is brought to life through tremendous acting talent. As the younger Rachel, Jessica Chastain shows a wide range of emotion as a woman battling against an unforgiving situation, while Helen Mirren is haunting as the older version of the same character, someone who is clearly weighed down by her past and seeking redemption. With so many accolades present, it is difficult to find ways to criticize The Debt, but I can admit that there were a few times where the complicated story was a little difficult to follow.
For perhaps the first twenty minutes of the film, The Debt threatens to lose its audience with a complicated set-up, and I believe that if this form of story-telling had been eased into a little more gently, a number of moviegoers would have been grateful. The film also jumps from past to present-day a little too often; it isn’t necessarily difficult to keep track of the characters at different points in time, but a number of the transitions do interrupt some of the natural momentum present. In terms of acting, while it is clear who I think gave the strongest performance, I was a little disappointed that Sam Worthington and Tom Wilkinson didn’t receive more screen-time. Still, these criticisms are trivial at best, because the end product remains surprising and thoroughly enjoyable. It is no secret that I am a big fan of war films and historical drama, and while The Debt doesn’t necessarily conform to either of these genres, I still have no problem declaring this last-minute thriller as one of the best films of the year.
With as good as The Debt is, I was a little surprised that it wasn’t able to dethrone The Help in its first weekend, but a second place opening for a festival sweetheart is still impressive. Being a remake of an Israeli film, I was also surprised that this newest thriller wasn’t able to draw more of an international audience, but filmmakers have already recovered the modest production budget, so there isn’t much to worry about in terms of covering costs. I have no doubt that positive word of mouth will increase box office receipts in coming weeks, and many critics agree that a number of Oscar contenders are present. Jessica Chastain may just be starting to make a mark on the big screen, but The Debt will undoubtedly help her generate some big projects down the road. As the last film of the 2011 Summer Movie Season, The Debt was a surprisingly strong entry to finish the race, and I cannot emphasize enough how quickly you should get down to the theater…do not miss it!
Overall Recommendation: Very High
Distributor: Focus Features/Miramax
Opening Weekend Box-Office: #2 with $9,909,499
Domestic Box-Office Gross to-date: $21,993,000
Gross Revenue: $23,902,106
Production Budget: $20 million
Director: John Madden
From a distribution standpoint, The Debt had some trouble reaching mass audiences after its premiere at the Toronto Film Festival, with business complications preventing Miramax from releasing the film in December 2010 as was originally intended. Still, once it was decided that this newest thriller would hit as the last August release, the emotionally-charged subject material and the talented cast would be more than enough to fill the theaters. Based on the 2007 Israeli movie of the same name, The Debt boasted two different generations of Hollywood star-power, with Helen Mirren and Tom Wilkinson leading the charge, and the younger cast, which included Marton Csokas (xXx, The Bourne Supremacy), Sam Worthington (Avatar, Terminator Salvation), and Jessica Chastain (The Help), following suit. An added plus for me included the fact that the film was co-written by Matthew Vaughn, who has directed and produced some of my favorite movies (Kick-Ass, X-Men: First Class, and Snatch). With all of these factors coming together alongside the fact that true thrillers have been few and far in-between over these past summer months, The Debt was sure to be an enjoyable movie going experience.
Opening in 1997, The Debt introduces Israeli journalist Sarah (Romi Aboulafia) as she celebrates the release of her new book, which details the events of a Mossad operation in 1966 which led to the capture of notorious Nazi war criminal Dieter Vogel (Jesper Christensen), “The Surgeon of Birkenau.” Sarah recognizes the efforts of her mother, Rachel Singer (Helen Mirren), and father, Stefan Gold (Tom Wilkinson), two of the three agents who carried out the mission; concurrently, the third agent, David Peretz (Ciarán Hinds), suddenly and inexplicably commits suicide. The film then jumps to 1965, where young Rachel (Jessica Chastain), on her first field mission, arrives in East Berlin to meet with Stefan (Marton Csokas) and David (Sam Worthington) as they prepare to capture Vogel so that he may stand trial in Israel. After infiltrating the doctor’s office where Vogel is practicing as an OB/GYN, Rachel manages to subdue Vogel and he is transported to the team’s safe house; unfortunately, a number of misfortunes prevent the agents from completing their mission as planned, and they are ultimately forced to hide a dark secret. Coming back to present day, Rachel and Stefan must rush to solve the mystery of their friend’s death and prevent the truth that they have been hiding for over 30 years from finally being revealed.
As a drama-thriller with a unique narrative framing, The Debt grabs your attention and does not let go, telling a riveting story accompanied by stellar acting. Set against the always emotionally-charged Holocaust aftermath, I expected the film to provide depth, but the direction makes it so that the audience feels every motivation and conflict that these young agents experience in trying to bring a war criminal to justice. The story itself is surprising with plenty of twists that are sure to keep you on the edge of your seat, but the standout element of the entire film has to be the character of Rachel Singer, who is brought to life through tremendous acting talent. As the younger Rachel, Jessica Chastain shows a wide range of emotion as a woman battling against an unforgiving situation, while Helen Mirren is haunting as the older version of the same character, someone who is clearly weighed down by her past and seeking redemption. With so many accolades present, it is difficult to find ways to criticize The Debt, but I can admit that there were a few times where the complicated story was a little difficult to follow.
For perhaps the first twenty minutes of the film, The Debt threatens to lose its audience with a complicated set-up, and I believe that if this form of story-telling had been eased into a little more gently, a number of moviegoers would have been grateful. The film also jumps from past to present-day a little too often; it isn’t necessarily difficult to keep track of the characters at different points in time, but a number of the transitions do interrupt some of the natural momentum present. In terms of acting, while it is clear who I think gave the strongest performance, I was a little disappointed that Sam Worthington and Tom Wilkinson didn’t receive more screen-time. Still, these criticisms are trivial at best, because the end product remains surprising and thoroughly enjoyable. It is no secret that I am a big fan of war films and historical drama, and while The Debt doesn’t necessarily conform to either of these genres, I still have no problem declaring this last-minute thriller as one of the best films of the year.
With as good as The Debt is, I was a little surprised that it wasn’t able to dethrone The Help in its first weekend, but a second place opening for a festival sweetheart is still impressive. Being a remake of an Israeli film, I was also surprised that this newest thriller wasn’t able to draw more of an international audience, but filmmakers have already recovered the modest production budget, so there isn’t much to worry about in terms of covering costs. I have no doubt that positive word of mouth will increase box office receipts in coming weeks, and many critics agree that a number of Oscar contenders are present. Jessica Chastain may just be starting to make a mark on the big screen, but The Debt will undoubtedly help her generate some big projects down the road. As the last film of the 2011 Summer Movie Season, The Debt was a surprisingly strong entry to finish the race, and I cannot emphasize enough how quickly you should get down to the theater…do not miss it!
Overall Recommendation: Very High
Subscribe to:
Comments (Atom)