As a big fan of the original, it was with much trepidation when I read that it was going Hollywood. Too many examples of bad remakes exist to bother naming them. Then again, lightning occasionally hits the target, too. Matt Reeves' remake is a lightning strike! While there are minor changes, there are fewer thematically or otherwise than in, for example, critical successes like Harry Potter or LOTR. So the real question becomes: does it succeed in creating its own reality? Happily the answer is a resounding YES! There's little purpose served in hair-wringing comparing it to the original. Better to enjoy two artfully-crafted versions of the story, each with their own unique merits. Take note filmmakers - this is how to remake a foreign-language movie into an English-language one. Like a great singer who covers another artist's definitive song, it does no disservice to the original when it's newly owned.
Reviews
18 Reviews
Hustle
(2004–2012)
One of the best
23 August 2006
Hu$tle has risen to near the top of my "must see" list since it's debut in the US on AMC (yeah, I didn't get that either). The stings that form the plot of each episode have been consistently clever, with twists and turns you seldom see coming. (OK, there's been couple of instances where our protagonists have been a little too knowing, but that's a minor quibble.)
In general it's the contingency planning that saves the day ... literally and in keeping us viewers on our toes. That ... and the sly humor that permeates every episode, even the more serious one. The cast is uniformly wonderful, too. A highlight for me was the Bollywod parody in season 3. For those tired of the SOS, Hu$tle is a reliable breath of fresh air.
In general it's the contingency planning that saves the day ... literally and in keeping us viewers on our toes. That ... and the sly humor that permeates every episode, even the more serious one. The cast is uniformly wonderful, too. A highlight for me was the Bollywod parody in season 3. For those tired of the SOS, Hu$tle is a reliable breath of fresh air.
Thief
(2006)
Catch It If You Can
23 August 2006
THIEF took its time revealing the full outline of its plot, but proved to have quite a few surprises in store. Andre Braugher confirmed he's still one of the best actors on TV and the rest of the cast -- with an annoying youthful exception -- is excellent.
Many critics put THIEF in the same cliffhanger-of-the-week category as "24", but unlike that potboiler, the climaxes here were genuine and continued to advance the plot.
By the end of its short season THIEF had generated enough tension to light up a major city. Whether or not those threads will ever be resolved is anyone's guess, but if you missed the original run, catch THIEF if you can.
Many critics put THIEF in the same cliffhanger-of-the-week category as "24", but unlike that potboiler, the climaxes here were genuine and continued to advance the plot.
By the end of its short season THIEF had generated enough tension to light up a major city. Whether or not those threads will ever be resolved is anyone's guess, but if you missed the original run, catch THIEF if you can.
Brick
(2005)
Transposing geography
5 April 2006
The geography of film noir is usually a neighborhood, a city, a region ... BRICK transposes this geography onto a high school with surprisingly successful results. Watching it brought to mind not only the black & white films of the 40s and 50s, but glimmers of Gus van Sant, David Lynch and River's Edge. What gives BRICK its filmic authenticity (much different from realism) is its language -- the language of Chandler and Hammett, but re-imagined from the lips of contemporary teens.
The effect is staggering. BRICK essentially re-creates a world we thought we knew. Suddenly there are forces at work that we recognize because we knew they were there. But to see them in this noir glow is to give them an exciting new life ... "to see them again for the first time." There are plot twists and surprises aplenty here, although familiar once you realize the inspirations for the film. But familiarity is more than compensated by a superb cast and (not generally noted in these comments) excellent music. Contemporizing the soundtrack keeps us on our toes and makes a significant contribution to the tension of BRICK.
A terrific debut!
The effect is staggering. BRICK essentially re-creates a world we thought we knew. Suddenly there are forces at work that we recognize because we knew they were there. But to see them in this noir glow is to give them an exciting new life ... "to see them again for the first time." There are plot twists and surprises aplenty here, although familiar once you realize the inspirations for the film. But familiarity is more than compensated by a superb cast and (not generally noted in these comments) excellent music. Contemporizing the soundtrack keeps us on our toes and makes a significant contribution to the tension of BRICK.
A terrific debut!
Inside Man
(2006)
Intelligent thrills
22 March 2006
A pleasure from start to finish. An older Denzel Washington has begun to emerge, and his performance here suggests he has many good years left. Clive Owen is terrific as the mastermind. He, and the plot, keeps you guessing. And while there are plenty of clues, they are so well incorporated that very few viewers will see how this one comes together in the end.
One major quibble: Jodie Foster's character is more archetype than person so it's to her credit that she pulls it off as well as it does. However, don't let that deter you from enjoying one of the best movies of the year. I'm glad to see Spike Lee tackle another genre film. He brings a re-invigorating approach to what, in other hands, would be a tiresome rehash. That liveliness seems to have worked on him, too -- this is his best film in several years.
One major quibble: Jodie Foster's character is more archetype than person so it's to her credit that she pulls it off as well as it does. However, don't let that deter you from enjoying one of the best movies of the year. I'm glad to see Spike Lee tackle another genre film. He brings a re-invigorating approach to what, in other hands, would be a tiresome rehash. That liveliness seems to have worked on him, too -- this is his best film in several years.
Don't Come Knocking
(2005)
More bookend than sequel
21 March 2006
Don't look at DON'T COME KNOCKING as a sequel to Paris TX, but as a bookend that visits some of the same themes. Where Paris was a redemptive tragedy KNOCKING is the story of a fool. As such, the movie is infused with a surprising humor, perhaps the most of any Wenders film.
As with all of Shepherd's work, the story arc is character-driven. Performances by Shepherd and Lange are stellar, as expected. But also excellent are Eva Marie Saint, George Kennedy and Sarah Polley, all of whom get brief moments to shine.
DON'T COME KNOCKING may not be the near-perfect movie Paris TX is, but it has the confidence and perspective of a playwright and a filmmaker at the top of their game. Their reflection now is older and deeper and wiser than the work of their youth.
As with all of Shepherd's work, the story arc is character-driven. Performances by Shepherd and Lange are stellar, as expected. But also excellent are Eva Marie Saint, George Kennedy and Sarah Polley, all of whom get brief moments to shine.
DON'T COME KNOCKING may not be the near-perfect movie Paris TX is, but it has the confidence and perspective of a playwright and a filmmaker at the top of their game. Their reflection now is older and deeper and wiser than the work of their youth.
Stay
(I) (2005)
Terrific movie making
21 October 2005
If you love movies, don't trust the critics--STAY is the best made movie of the year. Stunning visuals, awesome sound work, and a plot that will keep you guessing. That said, STAY is NOT a thriller, despite being described as such by nearly all its detractors. Since I saw the movie before reading the reviews (and feel it is best approached without preconceptions), let me merely say I'd place STAY in the same grouping as 28 GRAMS rather than THE SIXTH SENSE. This movie is not a one-trick pony and should hold up on many repeated viewings. It's near the top of my future DVD acquisitions. If you love the way movies are made as well as the stories they tell, STAY is a must-see!!!
Asylum
(2005)
Much to admire, much to dislike
2 September 2005
There is so much to admire about Asylum that I wish the movie came together better. The smoldering 50s sensuality is dead on, as are the colors used for clothing, building, etc. (although all the vehicles are a little too new). The acting is generally good all around, although a couple of moments may seem a bit forced.
But structurally, the film is a difficult sell. It seems to be a thriller, but isn't. The characters should be sympathetic. None are, and most become less so as the movie goes along. There is a formal symmetry to the proceedings, but I was left wondering if it served the material as well as some other approach might have.
Like his previous movie Young Adam, Mackenzie takes a literal approach to his adaptations - not be the best way, perhaps, to bring these types of difficult materials to the screen.
But structurally, the film is a difficult sell. It seems to be a thriller, but isn't. The characters should be sympathetic. None are, and most become less so as the movie goes along. There is a formal symmetry to the proceedings, but I was left wondering if it served the material as well as some other approach might have.
Like his previous movie Young Adam, Mackenzie takes a literal approach to his adaptations - not be the best way, perhaps, to bring these types of difficult materials to the screen.
Hercules
(2005)
Throwback to 50's matinées
18 May 2005
Not as bad as I anticipated. This frequently felt like the matinée movies of my youth with Steve Reeves et al, although a bit bloodier (but not necessarily more violent, however) and, unfortunately, talkier. OTOH there was a more interesting use of sexual politics, IMO a plus.
Judicious use of the mute button would solve the latter problem and make for a fun popcorn movie. Some might call the SFX cheesy - for me they were a nostalgic reminder. There was some abrupt, seemingly abbreviated, editing from time to time. I wonder if we might see an (as they used to say) European version on DVD? (Hey, that beats calling it the much overused "Unrated".)
Judicious use of the mute button would solve the latter problem and make for a fun popcorn movie. Some might call the SFX cheesy - for me they were a nostalgic reminder. There was some abrupt, seemingly abbreviated, editing from time to time. I wonder if we might see an (as they used to say) European version on DVD? (Hey, that beats calling it the much overused "Unrated".)
Crash
(I) (2004)
Nashville for the 00s
5 May 2005
The comparison to Robert Altman is deliberate, and fans of Altman will find a lot to like here. Los Angeles is the canvas and we get to see it in cross-section: by race, class, gender, ethnicity, income. There is a lot of coincidence at work here to weave these diverse strands together, but in surprising ways. As they intertwine, we learn a lot about each individual strand: those we dislike at first are humanized, those we give easy sympathy to are frequently shown in a harsher light.
The acting is uniformly excellent. Surprises include a loud-mouthed Ludicrous (Chris Bridges, Matt Dillon who has never been this good before, and Michael Pena in an understated role as a father trying to reassure his child. The always excellent Don Cheadle gives the movie its center, though he get no more screen time than the other main characters.
There is humor here, too, the hard-edged, sometimes mean-spirited jokes you tell when you're not being PC. But that's honest. With that honesty, CRASH feels like the first genuine conversation about the American landscape in decades. I laughed, I cried, I left the theater feeling the possibility of renewal.
The acting is uniformly excellent. Surprises include a loud-mouthed Ludicrous (Chris Bridges, Matt Dillon who has never been this good before, and Michael Pena in an understated role as a father trying to reassure his child. The always excellent Don Cheadle gives the movie its center, though he get no more screen time than the other main characters.
There is humor here, too, the hard-edged, sometimes mean-spirited jokes you tell when you're not being PC. But that's honest. With that honesty, CRASH feels like the first genuine conversation about the American landscape in decades. I laughed, I cried, I left the theater feeling the possibility of renewal.
Sin City
(2005)
Brutal, ultra-violent, GREAT!
31 March 2005
Rodriguez throws you into the pages of the SIN CITY novels and the movie is much the better for it. Not only does the look mirror the novel, but much of the writing seems to have been retained. While some lines are awkward when spoken, it adds to the abstract, stylized reality that is created on the screen. And once you've adapted to the style of the movie, it's easy to let the stories work their magic. Are these future noir? 21st century horrors? It doesn't matter what it's called. The ride is new and captivating.
Who's had anything good to say about Mickey Rourke's acting in decades? They will now, since he turns in the most stellar job in what is generally an exemplary ensemble. (I say generally, since some of the younger actors seem to miss the feel of the material, like contemporary singers trying to perform 50s torch songs.) Even under a nose and chin of make-up, Rourke gives a disturbing humanity to an unlovable man. Or is he? Bruce Willis seems to turn in his best work in ensembles (PULP FICTION, 12 MONKEYS come to mind immediately) and his work in SIN CITY is no exception. And Clive Owen proves yet again that he can animate whatever material he's given. I don't want to slight the film's women, but it is the men who dominate SIN CITY. And it is the story of the three protagonists and their love for women that is the story of SIN CITY.
Who's had anything good to say about Mickey Rourke's acting in decades? They will now, since he turns in the most stellar job in what is generally an exemplary ensemble. (I say generally, since some of the younger actors seem to miss the feel of the material, like contemporary singers trying to perform 50s torch songs.) Even under a nose and chin of make-up, Rourke gives a disturbing humanity to an unlovable man. Or is he? Bruce Willis seems to turn in his best work in ensembles (PULP FICTION, 12 MONKEYS come to mind immediately) and his work in SIN CITY is no exception. And Clive Owen proves yet again that he can animate whatever material he's given. I don't want to slight the film's women, but it is the men who dominate SIN CITY. And it is the story of the three protagonists and their love for women that is the story of SIN CITY.
Minority Report
(2002)
Gorgeous, lightweight, predicable
16 March 2005
Warning: Spoilers
Minority Report is the platinum blond of sf movies - it looks great but is ditzy at heart (no offense to blonds, I'm just looking for a cheap metaphor here). As with all Spielberg movies, it looks terrific. But, as with many of his movies, the story is formulaic. It dumbs down Dick's ideas to a by-the-numbers thriller. Admit it, after Max Von Sydow first appears (or you read the cast list), didn't you immediately guess the end of the movie?
After seeing the movie several times, the impact of the visuals gradually diminish - they're no Blade Runner - while the storyline falls limper than ever. For someone who is a genre director at heart, Spielberg really drops the ball here. Maybe if he'd limit himself to a first timer's budget (say $5 mil or so), his creative juices would start flowing again.
After seeing the movie several times, the impact of the visuals gradually diminish - they're no Blade Runner - while the storyline falls limper than ever. For someone who is a genre director at heart, Spielberg really drops the ball here. Maybe if he'd limit himself to a first timer's budget (say $5 mil or so), his creative juices would start flowing again.
Waste of time
14 March 2005
Warning: Spoilers
Even if there were no Terminator or T2, T3 would be a horridly mediocre movie. The original Terminator was an exercise in imagination conquering budget limitations, while T2 showed what could be accomplished if imagination were wedded to an unlimited budget. T3 shows what a tremendous budget with little imagination gets you - a terminator whose unique ability is to make her fingers into sharp points. Whoopee! There are narrative lapses too numerous to mention, such as our non-tech hero operating an atom smasher. Or a heroine who doesn't know exactly what her father does for a living traipsing into the super secret underground & armored military installation where he works. T3 operates best as a self-administered IQ test: if you thought this movie was good, you should seriously consider remedial education.
Constantine
(2005)
Better than expected
17 February 2005
From the trailer I knew it wouldn't be the comic-book Constantine, but Keanu Reeves' prosaic and typically deadpan performance grounds a movie that would otherwise be pure sfx schlock. It was also a treat to find a few more subtleties and nuances in the script than might be anticipated. Lots of nice supporting performances, too. I was especially fond of Peter Stomare.
It was also nice to see that new (?) director Francis Lawrence jumped the learning curve and avoided the typical shortcomings of directors recruited from the music video arena. The movie's flow is quite good, the build-up to the movie's climax satisfactory and there are a few nice surprises saved for the end. Thankfully there's not the big revelation that many movies have recently become fond of.
If you haven't read the comic, and are a fan of metaphysical good vs. evil conflicts (with big budget sfx that look great BTW), you'll find a lot to like in this movie.
It was also nice to see that new (?) director Francis Lawrence jumped the learning curve and avoided the typical shortcomings of directors recruited from the music video arena. The movie's flow is quite good, the build-up to the movie's climax satisfactory and there are a few nice surprises saved for the end. Thankfully there's not the big revelation that many movies have recently become fond of.
If you haven't read the comic, and are a fan of metaphysical good vs. evil conflicts (with big budget sfx that look great BTW), you'll find a lot to like in this movie.
Twisted
(I) (2004)
Soap-y and predictable
25 February 2004
A waste of talent. You'll figure out the killer early on in this clunky thriller that substitutes ham sandwich emoting for character development. I almost don't need to say that Ashley Judd is the main culprit, but even the wonderful Samuel Jackson seems to be running on automatic here, as if he had a golf match to get to. Make that ham with Swiss as the holes in the plot proliferate. If you watch with a large audience you'll know exactly when this one "jumps the shark" - the audience will crack up! At least that's what happened in the preview audience I saw this with. There is some minor amusement in watching the inconsistent length and style of Judd's hair. But a BIG, BIG disappointment overall.
Starhunter
(2000–2004)
Great fun
25 August 2003
Similar in plot and feel to "Firefly" although not as funny. Great escapist fun if you're into space opera. Excepting Michael Pare (who is wonderfully world-weary in the lead) the rest of the cast is only familiar to fans of syndicated Canadian and European series. Will perhaps appeal only to genre fans but is worth a look.
Demon Lover Diary
(1980)
Terrifying...and terrific black comedy
3 September 2002
In a perfect world, this movie would have launched the reality entertainment craze...but was too far ahead of its time to do so. I saw it at the Walker Art Center around 1980 with the filmmakers present. The film is both hilarious and terrifying. Excellent. Somebody beg the filmmakers to do a video release.
Happy, Texas
(1999)
Fine acting, fun but lightweight script
21 September 1999
A sweet little movie pretending to be more hard-edged than it really is, but a lot of fun if you buy into the characters. Bill Macy again proves himself to be one of today's best character actors, effectively serving up pathos and humor (and a dance step or two Travolta would admire). Ally Walker and her hair deserve equal billing.
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