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  • Honors the first movie but stands alone

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    28 Weeks Later  (2007)

     

    28 Weeks Later is the sequel to 2003’s 28 Days Later.  28 Weeks Later accomplishes the rare sequel feat of being an interesting movie on its own and still having the essence of the first movie. 

    Tammy and Andy are sent to repopulate Britain and reunite with their father Don, after the people infected by the rage virus die of starvation.  An unfortunate break in security causes a re-infection and the re-inhabitants are left to try to survive.  Many of the character’s past and current situations haunt them during their quest for survival.   Meanwhile, the American military, which has been charged with the well being of the people who are repopulating, is making decisions about their lives without their permission. 

    I was impressed that 28 Weeks Later could stand alone as a movie.   28 Weeks Later’s antagonist is less the zombies and more the interpersonal and policy problems.  Dad, mom, son, daughter, military, and humanity all struggle against each other to find the proper balance and to figure out the most humane solution to the infection problem.   The writers’ (Rowan Joffe,Enrique Lopez Lavigne, Jaun Carolos Fresnadillo and Jesus Olmo) decision to abandon the characters in the previous story line and pick up with new characters makes it easy for a viewer who missed Days still understand Weeks.  For those of us who had seen Days, Weeks did not forsake its predecessor.   Weeks uses many of the storytelling elements of the previous movie.  The music, some of the themes and a lot of the visuals are taken directly from the previous movie.  It has the proper mix of novelty and familiarity.

    Robert Carlyle plays Don, the dad, with an emotional precision unusual to zombie movies.  Don’s character is multi-faceted, with surprising depth.  There is an apology scene when he must essentially beg for forgiveness from someone who probably should not forgive him.  His admissions are heartfelt and his emotions honest.  He leaves you wondering what you would do in the same situation; another feeling you almost never get in a zombie movie.

    The writers also did a great job of figuring out how work in British people who had never been in contact with the infected.  Sent away on a school trip, the children, Tammy (Imogen Poots) and her little brother Andy (Makintosh Muggleton) had no exposure to the infected or the horrors they caused.  It was a fantastic way to introduce characters who would be horrified and have no jading. 

    Imogen Poots is remarkable as Tammy because of her ability to go a little bit crazy and also to stay strong in the face of what they to endure to survive.   There is a scene in the dark near the end of the movie that could have gone a little cheeseball if Poots wasn’t able to restrain her emotions to a controlled frenzy. 

    For sheer pinchability, Jeremy Renner takes the cake.  Renner plays Doyle, a soldier in the protecting American Army.  His character faces a unique moral dilemma in the film, first be a soldier or first be a person.  For a soldier he is incredibly tender and sweet.  I wanted to cuddle him. 

    Like in all zombie movies, there is a great deal of “what the heck” moments.  As my friend Eric says, “The military treats every problem like a nail because they only have a hammer.”  The short sided policies of the military are stunning and they do a great number of downright stupid things.  In one scene they lock the front door but don’t lock the back door.  In the military’s defense, no one else in the room encouraged the closing and locking of the back door either.   People succumb to the infection much faster than in the first movie.   The “twist” of the movie can be figured out if you understand foreshadowing and can count to three.  The flaws weren’t enough to make 28 Weeks Later unenjoyable.

     I had real fears that this movie would try to play too much on the heart strings, using the children for false suspense or drama.  Much to my surprise and glee, 28 Weeks Later did not put its predecessor to shame. 


  • Why did I see this movie?

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    Delta Farce  (2007)

    Delta Farce is the spring cinematic monstrosity spectacular.  It strives to answer, “What happens when you have inconsistent characters, no character development, drinking, the army, no decision on type of humor, fart, food, discomfort and gay jokes made into a movie smoothie?” 

    Three dirt-for-brains, rednecked idiots serving in the National Guard are dispatched to serve in Iraq.  Seriously unfit for duty, a Sergeant takes it upon himself to, over a weekend, get these three soldiers ready for their trip to Iraq.  After their extensive re-training they are put on a plane on the way to Iraq.   During the flight they are accidently dumped from the plane in their sleep.  When they wake up they don’t realize they aren’t in Iraq; they are in fact in Mexico.  In full soldier mode, they begin to treat the citizens as if they are in Iraq.  They go as far as to attempt to stop “insurgents.”  Oh the trouble they get into.

    Comedies that strive to pop the top of convention by being incredibly outrageous can sometimes make you laugh at things you thought could never be funny.  Comedies that strive to pop the top and instead poke holes in the bottom leave you feeling every filling in your mouth.  Delta Farce is the latter. 

    The characters in Delta Farce have incongruent personality traits.  They all are dumb as a sack of rocks; the only difference being the weight of the sack.  Yet, they all can spit out specific legal language or something remarkably smart.  It isn’t used as a tool of humor; it occasionally just spills out of their mouths as naturally as their gay jokes.  There is one scene where arguably the stupidest of the group can recite the Geneva Convention language.  I was left shaking my head.

    I thought evolution favored the stronger and smarter.  When I watch Delta Farce it makes me wonder if there is a god because there is no way that evolution could pop out the cast and crew stupid enough to make a movie as laced with such should-be evolutionary rejects.   The writers, Bear Aderhold and Tom Sullivan should have their index fingers removed so they can never type out such a horrific cinematic mutation again.  Director, C.B Harding, should have his eyes gouged out for having seen this movie in production, pre-production, post-production and still not fighting tooth and nail to have it shelved.   If I hear him say he is proud of the movie, I may have to encourage more serious punishment.  Bill Engval, who plays Bill, DJ Qualls, who plays Everett, and Larry the Cable Guy, who plays Larry, should be sent to Iraq to serve the terms of duty as set out to their characters.  Might I suggest the human mine sweeping job or the suicide bomb tester?  Either one of these jobs would be a great use of these human resources but also good for the human gene pool. 

    Producers Alan C. Blomquist and J.P. Williams need a lecture from their mothers about acting morally.  The discussion should go something like “Son of mine, I believe I have taught you well enough to consider other people when you make decisions in all aspects of your life.  When you make the choice to produce movies, you should consider the audience’s well being.  I think you should pay for the dental work for everyone who saw this movie because you knew what you were putting out when released it.  I am ashamed that you hired a cast, a crew, and post-production staff for this movie.  You put all of their careers in jeopardy because they worked on this movie.  You also are helping with the stupefaction of the human race by hiring hairy-knuckles Oakies that should have starved to death long ago.  Don’t you know that fart, gay and redneck jokes have all been done before and no one finds them funny anymore.  I don’t know if you should come to Christmas anymore.”  Maybe they will listen to their mothers.

    It is impossible laugh when all you can think about is calling your dentist.  There is not one redeeming quality in this movie.  The bad guys, the good guys, the military, the main characters, the story, the cinematography, etc, makes me wonder why movies like Idiocracy go strait to video but Delta Farce gets wide release.  I need to raise Darwin from his grave; he has a lot of ‘splaining to do!


  • The Ex - Should get the axe

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    The Ex  (2006)

    The Ex, staring Zach Braff and Amanda Peet is this spring’s mediocre romantic comedy.  Jesse Peretz makes quick work of same old same old with a hint of the unnecessary.

    When married couple Tom Reilly (Braff) and Sofia Kowalski (Peet) decide they need a fresh start, they move from New York to the Midwest.  Tom takes a job at Sofia’s father’s advertising company and Sofia decides to leave her law practice to be a stay at home mom.  When Tom gets to work on the first day he learns that one of his co-workers had a brief relationship with his wife and his father-in-law loves him like a son.  Chip Sanders (Jason Bateman) uses his wheelchair-bound status as a weapon to undermine Tom and attempts to ruin him personally and professionally.

    The role of Tom Reilly fits Zach Braff well.  The uncomfortable, unstable, unsteady Tom doesn’t seem like much of a leap for Braff.  I wonder if Braff was actually playing himself.  Still, his portrayal of a dad and husband trying to do the right thing for his wife and daughter, even at the cost of his own sanity is very touching at times and almost funny at others.  There is a scene in a kitchen at the beginning of the movie that is very funny, savor it, they are few and far between.    I do feel like there is too much Braff and not enough Tom in this role.

    I liked Jason Bateman as prick-ola Chip Sanders.  His character is extremely cutting.  Everything he says can be taken three ways but he really only means them the worst way.  Bateman’s control is outstanding.  If Chip’s demeanor cracked even once, it would be devastating to the movie and to the character.   He should have his own spin off movie.

    Sofia’s dad, Bob Kowalski, is one of those characters who seems so happy he just might be suicidal.  He hates his job but it is such a part of his identity that he doesn’t want to leave it.  I adored Charles Grodin as this fake-it-till-you-make-it ad executive.  His performance is charming and a little strange (but in a good way.)

    The place where Tom and Bob work is this kind of hippy-dippy ad firm.  The place is full of strange rules and fun atmosphere.  The best thing about it is that it acts like a character in the story.  In every way it defies conventional wisdom.  Every time Tom zigs right the ad the ad firm pushes him left.  There is no way to know how to behave in the presence of the firm because it never acts the way you’ve always been taught a business environment should.

    There is a nearly charming story here.  The characters are all interesting.  The setting is pretty fun.  It has the makings of a really funny comedy.   Like an immature chef, Jesse Peretz throws two or three bad ingredients the stew and makes it unpalatable.     This movie reminds me of a cake made by one of the best bakers in the world; the finest chocolates, freshly ground flour, cake sugar, farm fresh eggs, homemade frosting topped off by disgusting Hershey Kisses.  Comedy is a delicate mix of drama and timing.  When your comedy is trying to make a smart point about gender roles, and being responsible, don’t then ruin it by throwing in awkward slapstick.  It’s insulting to the audience.  It says “You aren’t smart enough to get the joke here so we are going to throw in this trip and fall to tell you that it is time to laugh.”  You might as well have one of those signs they use to signal laughter in the studio during the filming of sitcoms.   It also tells me that either Pertz wasn’t confident enough in the script or the writers, David Guion and Michael Handelman are not confident enough in their own script that they have to punctuate it with these comedic misplacements. 

    When the movie ends, it leaves you wishing you had visited another restaurant.


  • Jindabyne - A movie gem

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    Jindabyne  (2006)

    Jindabyne tries to grey the areas of good and bad.  An Australian setting is a beautiful backdrop for this remarkable story. 

     Four men, Stewart (Gabriel Bryne), Roco (Stelios Yaikmis), Carl (John Howard),  and Billy (Simon Stone) set off on their annual, no girls allowed, fishing trip.  Much to their chagrin, on Friday a murdered dead girl floats up in their section of river.  Not to let a tiny thing like a murdered woman spoil their trip, they tie her to a tree, floating in the river and continue their weekend fun.  On Saturday night, Billy aka “the kid” tells the older men in the group he’s leaving to get help for the girl, even if they don’t come.  So on Sunday all the men finally pack up and head back to their car to call for help.  The media and their wives learn of the terrible choice they make to leave the dead girl while they fish and their relationships with the town, their spouses, each other and themselves is monumentally altered. 

    While the men are away on their annual fishing trip, the women are home to sort some emotional and family things out.  Claire (Laura Linney), Jude (Deborra-lee Furness), Carmel (Leah Purcell) have dinner and talk about the past.  Claire, wife of Stewart, learns she is pregnant, which is very bad news. 

    When you first meet Stewart and his wife Claire Laura Linney, she comes across as a loving yet a little unstable wife and Stewart a distant yet stable husband.   As the movie progresses it is obvious that Stewart is the unstable one and even though she has a history, Claire’s behavior is rational.   

    Jindabyne is a beautifully written story about the monsters that reside in the hearts of seemingly average men and women.  The inaction of these perfectly average men feels like a passive endorsement of the murder of this innocent woman.  It leaves the audience to wonder what they or their fathers, brothers and husbands would do if faced with the same situation.  The story is even more troubling because they weren’t faced with a true moral dilemma.  There was only one right thing to do and they didn’t do it.  Does this one bad decision make these men bad men or is it just plain stupid and heartless this one time? 

    The men aren’t the only ones whose morality is ambiguous.   The women in their lives responses range from outrageous to understandable.  The one woman of the group of spouses who attempts to apologize for her husband and her friends is outcast by the rest of the group.  One woman defends her husband ferociously, even against the other women.   The morally correct response is less clear for the women.  It left me to wonder if I would stay with my husband after they did something so disgusting or if I would be bothered by it at all.  When the women don’t punish their husbands, are they also lending passive endorsement to the murder? 

    The settings in the movie are beautiful and very special.  The town where the men live is very small and full of character.  The river where the woman is found is majestic.  The calming settings make the behaviors of the men even more unsettling.  Amidst the calm and beauty are these minor demons and an innocent victim.

    Jinbadbyne is a true movie gem. 

    LaRae Meadows
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