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  • Stallone should be proud!

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    Son of Rambow  (2008)

    rated PG-13 for  violence and reckless behavior.
    1 hr. 35 min.
     
    written & directed by: Garth Jennings
    produced by: Nick Goldsmith
     
     
     
    Watching writer/director Garth Jennings new film, I couldn't help but recall the wonder and excitement I felt the first time I devoured the movies that shaped my childhood. Leaving the movie theater as a wee lad, I remember feeling as if there was no end to the movie I had just seen. It continued on in my mind, living inside me as the characters embodied my actions. I believed wholeheartedly that I could pilot a "piece of junk" through outer space with a wookie as my copilot or that I could crack a whip in search of the lost Ark. If that sounds familiar to you then this lovable film will bring you back to that time with a smile on your face and maybe even a tear in your eye.
     
    The film takes place just outside of England in 1982, right around the time Stallone's socially-challenged Vietnam vet was introduced to cinemas. It is indeed the movie "First Blood" that brings two young boys together in an unlikely friendship. Unlikely because they are worlds apart despite living in the same town. Will Proudfoot (Bill Milner) is an introverted loner who takes refuge in drawing up an entire book of colorful stories. He lives with his mother, younger sister and grandmother who are all part of the Plymouth Brethren, a religious sect that shuns worldliness, secular music, TV and movies. Then there's freckled Lee Carter (Will Poulter), the thieving, charismatic troublemaker at Will's school. His teachers call him "the devil child" and yes he is a hellion but right away we see that he is just as endearing as Will. He lives with his much-older brother, Lawrence (Ed Westwick), unchecked and on their own while his mother lives in Spain with their stepdad. A situation ripe with mischief.
     
     
    Will Poulter and Bill Milner in Paramount Vantage's Son of Rambow
     
     
    Lee runs a video piracy business at home for his brother and has secretly decided to make a home movie himself. His goal: to make it the best ever and enter it into the local young filmmaker's contest. Lee finds an awe-struck ally in the imaginative Will, who is soon recruited by Lee to be his stunt double for an action movie he is making. Once Will sees his first ever movie over at Lee's place, a pirated copy of "First Blood" well, it's all over! He becomes obsessed with all things Rambo! He imagines himself as the "Son of Rambow" (stay till the end of the credits for a funny audio clip about the title) and enthusiastically immerses himself in the character...literally. We see Will jump from heights, fall from a tree and swing into a lake all for the sake of the art. Both boys develop an indelible bond as they become amateur cinematic collaborators.
     
    But this wouldn't be the hilarious, touching and joyous film that it is if all went well for our boys. When a busload of French exchange students are dropped off at their school, pretty boy, Didier (Jules Sitruk) enters the scene. He captivates the uniformed girls and boys with his black leather, red boots and his new wave music but provides a driving wedge between the boys when he practically takes over production. Another challenge is fellow Brethren brother Joshua (Neil Dudgeon) outing his Will's forbidden celluloid adventures while horning his way into his  family, putting Will and his family in danger of expulsion. But the most heart-wrenching of challenges is of the hurt caused by the growing egos and stubborn pride of both boys. You really want them to be the best of friends and it breaks your heart when anything opposing that occurs.
     
     
    Jules Sitruk in Paramount Vantage's Son of Rambow
     
     
    Director Jennings ("The Hitchhiker's Guide to the Galaxy") and his producing partner Nick Goldsmith really hit the jackpot finding these two non-actors as their leads. They really are perfectly cast and just flawless. I would imagine that Jennings has reels of edited film of these boys that didn't make the released cut. The supporting cast is excellent as well, particularly Jessica Hynes as Will's devoted mother who patiently tries to relate to his burgeoning backsliding. Little does she know that as much as her son wants to be a good son, he also wants to be the "Son of Rambow". Not only do the laugh-out-loud scenes make the film but the quieter, character moments add a sweet sincerity.
     
    When I found out that the film is partly based on Jennings' own childhood experiences of filmmaking, it made me love the film all the more. No wonder the film has so much heart. It can be seen in the writing and visual storytelling which seem straight out of a fond reminiscing dream. His use of scribbly graphic animation is used wisely, not overdone but rather caters to Will's vivid imagination. The film is a wonderfully unpretentious reminder of the unlimited possibilities of make believe. The only possible way to not like this film is if you hated being a child and you hate children. It's been a long time since I sat in the theater and felt the same exuberance as the main characters but this film did just that for me. 

  • Unbearable!

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    Untraceable  (2008)

    written by: Mark Brinker, Allison Burnett & Robert Fyvolent
    produced by: Andy Cohen, Hawk Koch, Gary Lucchesi, Steven Pearl & Tom Rosenberg
    directed by: Gregory Hoblit
     
    Rated R for grisly violence and torture, and some language.
    100 min.
     
     
    Untraceable? I don't think so. You shouldn't be able to predict every turn while watching a movie with such a title. I can't imagine anyone who couldn't follow such a tepid plot in this day and age of CSI, Bones and Cold Case. That's basically what this is combines with the cinechock of the "Saw" movies. was there anyone watching this who didn't see where the story was going? To be sure, there are worse movies out there but this was crud. Too bad cuz the cast isn't to blame, they're not that bad really. It's what they're given to work with. If anything, they are to blame for reading and saying yes to such a sucky script.
     
    The story is set in dour and rainy Portland, Oregan (too bad, I thought that place was supposed to be nice) where FBI cybercrime profiler, Jennifer Marsh (Diane Lane) spends her nights trapping pathetic internet scumbags with her partner, Griffin (Colin Hanks). A new site is discovered called www.killwithme.com that features a live streaming video where victims are killed based on the number of hits received, the faster the hits the quicker the death. Of course, like a traffic accident on the side of the road, millions of people log on, hastening the victims' violent deaths. It woulda been more interesting if the writers focused on the phenomena of gawkers and how these viewers actually became murderers themselves by visiting this site. A unique perspective would be how to legally hold these viewers accountable but instead we're given shots of Diane Lane in the shower.
     

    Colin Hanks and Diane Lane in Screen Gems' Untraceable 

     
    So, cybercop Marsh, pieces together this so-called mystery at great risk to herself and her family. Isn't that always the case. Why do these protagonists always have to have family? I'd like it if the protagonist was someone that everyone hates, even her family. Ah well. Marsh knows her job and she's a loyal single mom and all but she's just not that interesting. Lane winds up looking tired throughout the film, as her character tries to isolate the location of the killer who racks up a curious roster of victims. With each gruesome execution committed online, the audience grows more impatient for the next thrill, leaving the FBI little time to solve the case.
     
    The film tries to teeter on "torture porn" thrills but thankfully it only shows the kinda tortue you might see on any similar TV show.  I got a kick outta the film's need for boring exposition that spells out terms like "LOL" or "ROTFL" possibly catering to those who aren't familiar with online lingo and "clever" internet shorthand.
     

    Diane Lane in Screen Gems' Untraceable

    The killer turns out to be some pretty-faced kid (Joseph Cross, looking like an X-Men reject) wanting to get even and perhaps teach the world a lesson. What's his deal? He's upset, disturbed and unhinged about live-footage of his father's suicide being saturated online. What's bizarre is this killer is revealed not even half way into the film. Where's the suspense in that? I was never sold that this klid was some brilliant criminal sicko, once he's revealed I just wanted to slap him and sent to bed without dinner. It's yet another interested thread that is left frayed and unexplored.   Director Gregory Hoblit  ("Primal Fear," "Fracture") helps Lane sell the suspense of the script but not by much. He has her spend most of the movie wet (either in the rain or the aforementuiioned shower) and furrowed with a serious look plastered on her face. Too bad Hoblit is so lazy with the camera in that he has to hold on certain characters or locations which blatantly gives away to who and where something will happen. It's obvious that the writes were going reaching for an opportunity to showcase the freedom of internet media and expression that today's technology provides but it's just too obvious making it downright insulting. Every shot was completely leading and predicatble. And the screenplay? Just lame. A better title would be Unwatchable. Now THAT'S a movie I'd watch just to see if the title was true, kinda like those online viewer/killers.

     

     


  • Marvel's Metal Man is Fun!

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    Iron Man  (2008)

     

    PG-13 for some intense sequences of sci-fi action and violence, and brief suggestive content.
    2 hrs. 6 min.
     
    written by: Mark Fergus, Matt Holloway & Hawk Ostby
    produced by: Avi Arad & Kevin Feigue
    directed by: Jon Favreau 
     
     
    Terrence Howard , Jon Favreau and Robert Downey Jr. in Paramount Pictures' Iron Man 
     
     
     
    When it was first announced that Robert Downey Jr. was cast as billionaire/inventor/playboy Tony Stark for the big screen adaptation of Marvel Comics Iron Man all I could think of was....genius. I was already excited to see what actor/director Jon Favreau would do with the comic book icon. After all, he has over forty years of material at his disposal. Then once the rest of the cast had been locked, my confidence in this film was reassured. With Favreau being a fan and four award-winning actors locked in, the possibility of this movie getting it right on all levels was strong. And that's exactly what happened! Believe the hype cuz there is now a comic book movie that delivers and exceeds all expectations. Before I get into why the movie is worthy of repeated viewings, let's get familiar with the world of Tony Stark....
     
    Stark Industries is a global manufacturing corporation that sees most of it's revenue come from their creation of various weapons. Tony's father, Howard Stark, built the empire with partner and friend Obadiah Stane (Jeff Bridges) and once Howard died, Tony took over at age 21 with Stane as his mentor. Graduating at the top of his MIT class at age 15, Tony doesn't claim his inheritance ignorantly although his cavalier lifestyle might show otherwise. He'd rather zip around in one of his sports cars or hit the casino with some hotties than bother with accepting an award from his best friend and military liaison Jim "Rhodey" Rhodes (Terence Howard). But then again being a friend of Tony's means you expect such behavior. It would take something life-changing for Tony to see not only who he is but what he's responsible for.
     
    That something takes place in Afghanistan where Tony makes a business appearance demonstrating his new cluster bomb, the Jericho. The trip turns out to be quite literally a bust when Tony's military Humvee entourage is attacked by an insurgent terrorist group known as The Ten Rings. They throw their injured captive in a cave with another captive, Dr. Yinsen (Shaun Toub) a scientist who winds up saving Tony's life by installing an electromagnetic device in his chest, keeping deadly shrapnel away from his heart. It is here in the cave that we see who Tony Stark is. Stripped away from all the conveniences that he's used to having at his disposal, he is faced with something he often does not think of....mortality.
     
     
    Robert Downey Jr. and Shaun Toub in Paramount Pictures' Iron Man 
     
     
    The terrorist leader, Raza (Faran Tahir) demands that Tony build a Jericho bomb for them "or else" but the tables are turned. Out of the scrap they give him for materials (much of which are from Stark Industries) Tony and Yinsen builds a small arc reactor, basically a longer-lasting replacement to the device on his chest as well as crude but formidable full body armor. Soon an armored Tony escapes, barreling his way through the terrorist camp, flinging soldiers, destroying their weapons and spraying flame every which way before he is able to launch himself in the air and out of harm's way. When he's picked up by Rhodes and military crew, we know that things have changed for Tony Stark, although he still wants an American cheeseburger upon arriving on U.S. soil.
     
    A press conference is held where Tony surprises everyone by announcing that effective immediately the weapons division of Stark Industries will close down. Not only does this shows a different side of Tony to the public but also infuriates Stane who was just fine when Tony took no actual role of his company's business dealings. He's not the only one effected by Tony's new social awareness though. His taken-for-granted Girl Friday Pepper Potts (Gwyneth Paltrow) is shocked by his new seclusion from Tony's usual party self.  Potts is the one who has endured the most from Tony, handling pretty much everything (like memorizing his social security number) and everyone (like escorting that blonde cutie the Morning After) for him. She has to deal with the mysterious Agent Coulson (Clark Gregg) who follows her around with several questions regarding the events that took place upon Tony's escape. During his seclusion, we see Tony tinkering away in his workshop/lab with his A.I. servant, Jarvis (voiced by the uncredited Paul Bettany) on a new, souped up and sleeker suit of armor. Well, you just know these scenes are coming and they are some of the best scenes.
     
    While Tony builds a more powerful and reliable arc that can power both his heart and his suit he also learns that what misdeeds his company has made. Turns out Stane was supplying arms not just with the U.S. but also with terrorists, specifically the ones who kidnapped Stark. Hmmmm. After several test runs, an incensed Tony suits up and blows through the atmosphere in a super-sonic red and gold blur! As much as I thoroughly enjoyed all the character-building moments of the film (something rare in a comic book adaptation) these are truly the "geek out" moments that every fanboy and girl have been anticipating! It's an exhilarating payoff!
     
     
    Paramount Pictures' Iron Man 
     
     
    That's right, seeing Iron Man soar to Afghanistan to save Dr. Yinsen's village from The Ten Rings is the awesome cinematic action that this comic book geek desired! He gets shot outta the air by a tank and then deals with it accordingly. The coolest thing is that Tony is still getting used to the armor but he's willing to risk his life in order to protect those who cannot protect themselves. Here's a guy who just wants to atone for his mistakes and he has the power to do so. He's not thinking of any U.N. rules nor is he thinking how Rhodey will have to cover for him somehow when his body appears as an unidentified blip on the USAF screens. It's just another thing that Tony doesn't have time for but such behavior requires he include Potts and Rhodes, the only two people he trusts.
     
    Since Tony hasn't functioned without Pepper Potts and has come to heavily rely on her, he has to involve her. She knows about the suit, about the flying and really doesn't know quite what to think of all of it. She does know though that he's putting himself in harm's way and makes it clear she wants no part of it. Tony sees this and knows she deserves an explanation. His witty wise-cracks she continuously suffers won't suffice. She's capable and knows she can help him, it just might take persuading her to believe in herself. Tony also knows there's no way he can't include Rhodes seeing as how he's monitoring the skies with the military. Once this two are with him, Tony is free to suit up once again and tackle the man he at one time called mentor.
     
    Yes, it becomes clear throughout the film that Stane is up to no good and he is the requisite villain which requires a climactic standoff. At times it might become a bit too obvious that Stane is the villain and really that's my only qualm of the film. I'm guessing it's just the way the character is written rather than Bridges handle of Stane. It took me a second to believe that Stane would don his own armor but then again I suppose all weapons dealers have a propensity to play with their toys. What I liked most about the final battle that starts at Stark Industries and then spills into public streets is that it was kinda clumsy which is kinda expected. After all, we have two guys who are still new at wearing these armored suits. At one point, Iron Man gets run over by a family in an SUV after he saves them. It's funny but at the same time you think "yeah, that would happen".
     
     
    Gwyneth Paltrow in Paramount Pictures' Iron Man 
     
     
    Throughout the film, we know what's going to happen, it's a pretty straightforward origin story with very obvious bad guys. Admittedly, I've kinda grown tired of origin stories (except "Batman Begins") but here I see the need for it. This isn't mindless exposition, there is an actual reinvention of character here with Tony Stark. It's a definitive role for Downey Jr., who not only fits perfectly nails the casual apathy of a billionaire playboy weapons dealer but also nails the naive way the guy doesn't fully understand that it's not just the good guys that play with his toys. He brings a needed depth to an unlikable character that you can't help but be won over by. So, while there may not be a surprising twists and turns for a change there is actual character development in a comic book movie.
     
    I was surprised by what I enjoyed and appreciated most about this film. The whiz-bang action was fun of course (that's a given) yet it's the characters that really stand out here. It was actually refreshing to see actors play their age and provide characters that have some life in them. In her mid-thirties, Paltrow is the youngest and while she may be an actor I usually don't care for, she shines here giving a lively performance that keeps in step with Downey's snappy charisma to form a Dave & Maddy chemistry. Not much more can be said about Downey, this is his film. I now have no choice but to hear his voice the next time I read an Iron Man comic. It will be said that the always enjoyable Terrence Howard isn't given much here and while I liked what I saw from him here, I know there's much more for him in the sequels. That's right, the core cast has signed on for at least three more films!
     
    Favreau has made a funny film without being dumbed-down or heavy-handed with dazzling action sequences that actually enhance the story rather than distract us from the lack thereof. He gives the fans what they want while delivering an intelligent and fun summer blockbuster to everyone else. There are plenty of in-jokes and hints for the fanboys, especially after the credits. So, sit in your seat! Setting the tone for the rest of the summer, this is the film to beat right now...at least till Memorial Day weekend when a certain man with a hat and whip will be back!
     

  • Knocking on the door has never been so frightening!

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    The Orphanage  (2007)


     
    written by: Sergio G. Sánchez
    produced by: Mar Targarona, Joaquín Padro, Álvaro Agustín & Guillermo del Toro
    directed by: Juan Antonio Bayona
     
    rated R (for some disturbing content)
    105 min.
     
     
     
    I'm a big fan of "less is more" which can be applied to almost anything really and it also correlates well with the phrase "show don't tell". I prefer when art stands on it's own without any additional interpretation. I don't want anything accompanying the art that states the obvious, tells me what to feel or think, or bats me over the head with a message. I especially feel this way toward film. There really is so much more that can be told to the audience when the filmmakers just show through images and let the film hold the audiences attention. That is certainly how I felt as I watched this amazingly beautiful film that had me reeling through an emotional gamut.
     
    It's no surprise to me that this suspenseful ghost story is a foreign film. I just don't see American filmmakers making any original and intelligent suspense films. If they aren't boring torture porn sequels then they're American remakes of successful Japanese horror films. There's an audience for all those films but to me there's just nothing special there. Unlike, Juan Antonio Bayona's debut film "El Orfanato" or "The Orphanage" which happens to be something very special. At the start of this film , there's a feeling of the traditional haunted house/ghost story but by the end of the film you are left with such a heavy and full heart that you're simply frozen.
     
    It begins with a scene outside a large seaside orphanage with a group of young kids playing a game similar to "Red Light, Green Light". A young girl named Laura is called from the game by one of the teachers there and is soon taken away by her new adoptive parents. Decades later, Laura, now a woman is back at the orphanage. She and her physician husband Carlos (Fernando Cayo) have bought the orphanage with plans to turn it into a home for disabled children, and they've moved in with their 7-year-old son Simón (Roger Príncep). The boy immediately starts acting odd, talking about an imaginary friend named Tómas. At a party for the opening of the home, Simón mysteriously disappears amid prospective children, and Laura (Belén Rueda) immediately suspects a strange old woman who has been lurking around the house. Months later, with her boy still gone, Laura is still convinced he is still alive or that his spirit is haunting the creepy old house. I'll stop right here....
     
    To say much more about the general plot might give far too much away. It really is a beautiful film where the less you know the better off you are and since I am fond of the aforementioned motto, I will leave the plot details alone. Is it enough to persuade you to see it? I hope so, even if you aren't a huge fan of the horror or suspense genre, this really will hit you in many surprising ways. There's a lot of depth at play and many layers throughout to the story as well as the characters, which slowly unfold as we learn more about what happened with the orphanage after Laura was taken away as a child.
     
    There is great care to meticulously construct a story that reveals itself in such an inventive, seductive fashion, it seems disrespectful to talk about it too much. You really need to see this at home with someone and experience it the same way I did, knowing very little. There are some real chills to be found in this film although not too many gross out moments and at first you may feel you know where it's going. You may think there are some genre cliches thrown in and even if there are, they aren't used in a typical manner. The shocks that come are really a result of your imagination that has been built up while watching the film. The creators know that if they can spark yours, you'll completely buy into the world they are showing (not telling), and the more engrossed you become, the more you enjoy it.
     
    As Laura, Belén Rueda gives a absolutely, stunning performance in a role that requires more than just acting scared or screaming and it has to. The grief involved over her missing boy, the fear that she'll never get him back, combined with the strength she calls upon to search for him could be considerably overwhelming for most actors but Rueda ("The Sea Inside") is simply amazing. This is the first movie I've seen her in and I plan on going back and finding others while I keep tabs on any of her upcoming projects. It's refreshing to 43 year-old woman get a great role and run with it. With this being his first feature-film, director Bayona is also one to watch, as he clearly has a sharp eye for visuals, creating a mood, and intricately telling a story. I'm interested to see if he stays in the horror genre or explores other genres for his next film, cuz from this film, I feel he can succeed in any direction.
     
    A good ghost story can inspire our imaginations, which is sadly the first thing that so many of us lose when we grow up. So, it makes a certain kind of sense that a story like this would reference the spirit of Peter Pan in its twisty narrative. Of course, there are also more dangerous lessons to be gleaned from Pan, particularly the danger of being stuck in one place, be it the eternal boy who can't move on or the avenging Hook who won't quit until he gets his revenge. Such themes are also applicable toward this Spanish (yeah, there's subtitles....deal with it!) tale of a haunted home for children.

    Writer Sergio G. Sanchez conveys a similar feel to other fright fests that have come from Spain and Latin America in recent years, most notably Alejandro Amenabar's "The Others" and Guillermo del Toro's "The Devil's Backbone". del Toro serves as producer (chiefly one of the reasons this film received an audience), and it's obvious that Bayona and Sanchez share the same love of storytelling that has made del Toro's best films such a joy to watch. While there doesn't seem to be any end in sight of Hollywood's endless recycling and remakes, here is a film carefully peeling a genuine story. There is an art to spinning a scary tale and there are times when that art makes it to the screen, this is one of those films.




 

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