DISTRICT 9

Director: Neill Blomkamp
Stars: Sharlto Copley, Vanessa Haywood, David James, Jason Cope, William Allen Young
Year: 2009
Rating: R

District 9 is an original, well-told, well-made, and at times touching film about what happens when aliens from another planet land on earth ... and, for a change, we humans take over and force them to live our way (note: this is NOT a good thing). Set in Johannesburg, South Africa, the film opens with a gigantic mother ship that's been hovering over Johannesburg now for over two decades; in mockumentary/reality-TV style, we learn right off that the large ship has made no attempts at action, communication, or in fact anything since its arrival. Like a dead beast hanging in mid-air, the ship had been a huge question mark to the human race ... until a crew was sent up to investigate.

Inside, said crew found a large population of aliens that appeared to be malnourished, sickly, and fearful of any human contact. In order for them to survive, these aliens were brought down to earth - relocated, if you will - to District 9, a sort of "relocation camp" within the city where not only could they be housed ... but also watched. Not all of the aliens liked this arrangement, over time, and soon the entire section of District 9 became a low-income housing ghetto - complete with rampant crime, gangs (human and alien), and most of the district's residents (often raiding garbage cans for food) living in shacks instead of real homes. Things are, in other words, getting quite tense in this section of Johannesburg - with some human casualties involved, which only goes further to feed the alien prejudice growing within the city at large.

All of this thanks to MNU - Multi-National United - a huge conglomerate pretty much in charge of everything both scientific and military with regards to the aliens (who, by the way, have been nicknamed "prawns" because of their similar appearance to the animal - though it's also a dig at the fact that prawns tend to be scavengers). In fact, as the film opens MNU has decided to relocate the prawns into a concentration camp-type set-up outside of town, as things have become so strained between humans and aliens ... and the company has appointed newly-promoted worker bee Wikus Van De Merwe (Sharlto Copley) to head the relocation scheme.

It's never explained how humans are able to understand the prawns' language, but Wikus soon sets out, complete with a clipboard and a bevy of armed soldiers, into the ghettos of District 9, going door to door to inform each residnet that he/she is being evicted and has to leave immediately. It's a funny/odd process, watching this - the nerdy but singularly-opinionated Wikue even has each resident alien sign a form, acknowledging their understanding of the eviction - and soon Wikus and crew discover one particularly interesting shanty house, in town, where a prawn named Christopher (and his son) has an entire computer network set-up that is obviously a sign of something strange going on (in this world, you see, prawns are not allowed to have computers - or weapons, or really anything humans are allowed).

From some earlier foreshadowing, we indeed know that Christopher is plotting something (to leave earth with his small son), and while the alien "man" and child are taken outside, Wikus investigates their home further ... and ends up accidentally getting spritzed in the face by a metal cylinder he finds in his search. Initially getting a bit ill, Wikus ends up seemingly okay ... until, as his day goes on, he discovers that - incredibly - he's slowly turning into a prawn himself.

Worse still, MNU finds out - and learns they can use him to their advantage not only to learn more about the prawns, but also in developing some pretty intense weaponry. They do, in fact, plan to dissect Wikus - unless Wikus can not only escape from their experiments, but also make his way back to District 9 and the very prawns he loathes, in order to get help from the one being on earth who can maybe help him ... Christopher.

District 9's anti-apartheid message can't be missed here, but thankfully it's also not beating the viewer in the head with any obvious political agenda. The characters - both human and prawn - are amazingly real, the CGI effects seamlessly weaving into the human world so that never will you disbelieve what's going on on-screen. It's a beautifully-made film, and the story of the friendship/alliance eventually formed by Wikus and Christopher is, at the core, what gives District 9 its resonance; its heartbeat. Each character remains true to his nature, both good and bad, while learning to work with the other.

And this is my only complaint with the film, really - that the relationship between these two characters gets a little lost, in the end, in favor of explosions and violence and special effects. South African-born Sharlto Copley turns in a terrific performance as the nerdy, not entirely likable Wikus - who, in the end, must step up for a fight that, inside, he doesn't even entirely believe in. Copley's coming up in the new A-Team remake, and moviegoers on this side of the world will definitely be seeing more of him.

As said before, the look and feel of the movie are very original and spot-on - beautifully made - and the ending even has a touch of quiet hope and solemnity about it that may well tug at the heartstrings. Most importantly, with so much unoriginal science fiction hitting both theaters and television screens these days, District 9 offers a fresh, emotional take on an old story. And that alone, along with the quality of the production (much of which, I'm sure, is thanks producer Peter Jackson), makes it well worth seeing. ***1/2 - Reel Cool-Reel Awesome

Trailer: SALT

Trailer: DATE NIGHT

Trailer: FADING OF THE CRIES

Trailer: WHEN IN ROME

Trailer: CRAZY HEART

Trailer: A SINGLE MAN

Trailer: ROBIN HOOD

Trailer: MAMMOTH

Trailer: BROOKLYN'S FINEST

Trailer: KICK-ASS

KID GALAHAD

Director: Michael Curtiz
Stars: Edward G. Robinson, Bette Davis, Humphrey Bogart, Wayne Morris, Jane Bryan
Year: 1937
Rating: N/R

Long before Elvis Presley did the remake in 1962, three of the biggest names in Hollywood history - Edward G. Robinson, Bette Davis, and Humphrey Bogart - teamed up for this 1937 release featuring Robinson as fight promoter Nick Donati, who has just lost his best fighter thanks to a crooked deal the guy cut with Donati's biggest competition, Turkey Morgan (Bogart) to throw the big fight.

Now Morgan holds the heavyweight title winner under his thumb - but things soon change when, during a wild party at Donati's Miami hotel, a tall, good-looking farmboy named Ward Guisesnberry (Wayne Morris) - working as a bellhop to save money so he can buy his own farm - punches out the heavyweight champ with one blow, while defending the honor of Nicky's girlfriend, Louise "Fluff" Phillips (Bette Davis).

Nicky's suitably impressed (as much as Turkey Morgan is suitably ticked off), and when he puts the bellhop into a real boxing ring, to see if he really has the goods to fight, Guisenberry - soon dubbed "Kid Galahad" by Fluff - quickly works his way up, bout after bout, until he stands a shot at winning the heavyweight champ title himself. Complications arise, however, when Fluff not only falls in love with Galahad ... but also when the Kid meets Nicky's sweet, unspoiled baby sister Marie (Jane Bryan). See, Nicky's spent his life taking care to make sure Marie attends a convent school, remains simple and pure, and never - EVER - gets involved with fighters, or in any way with the unscrupulous types or business he himself has gotten into. And as Kid and Marie fall in love, trying to keep things from Nicky, Turkey Morgan is also developing a plan to put Kid Galahad out of commission for good.

For such an amazing powerhouse cast (Davis and Bogart are my all-time favorite actors, and I've always had a soft place in my heart for Edward G. Robinson, since seeing Little Caesar so many years ago), somehow I found the film still lacking. Oh, the cast is terrific - even if Jane Bryan can't really keep up with the trio of all-stars she's playing with - and that includes Wayne Morris, who almost seems to BE the naive farmboy, rather than playing him.

But the fight sequences aren't particularly satisfying (one, in fact, is so obviously sped up, the film going at fast-forward through the whole thing, it ends up being distracting), and in general there's a corniness to the story that's more trite than endearing. Davis pretty much steals the film from her co-stars, playing Fluff with real heart and kindness, while Bogart does his so menacing in this early supporting role, you can easily see, here, why he would soon become a film mega-star in his own right.

Maybe it's me - I'm not that into fight films - but while I enjoyed the movie, there was just something lacking. Definitely worth seeing, thanks to the performances of the top-notch cast, but somehow lacking overall. **1/2 - Reel Mediocre-Reel Cool

Trailer: HALF KENNETH

HALF KENNETH

Director: Ken Ochiai
Stars: Avery Dennis, Hunter Dennis, Chris Tashima, Sab Shimono
Year: 2009
Rating: N/R

It would usually not even occur to me to review short films for this blog - if for no other reason than sometimes they can be difficult for the general public to get to and see - but that mindset has been changed for me via the extraordinary Half Kenneth, a short film by director Ken Ochiai that's getting so much praise and critical acclaim around the world ... all of it deserved.

Originally produced by Ochiai as an AFI thesis film, Half Kenneth tells the simple but very effective story of Kenneth Handa, a young Japanese-American teen who - along with his father and younger brother Jo - has been placed into southern California's Manzanar War Relocation Camp since the beginning of World War II. As the film opens, it is three years since their imprisonment, and Kenneth and Jo's father has just died. Immediately, the boys are informed that they will be moved to live with the other orphans in the camp - but Kenneth has other ideas.

He's not an orphan, he insists - in fact, his Caucasian mother lives only hours away ... and Kenneth becomes determined to escape the camp and get back to her. Sneaking aboard a camp infirmary truck making runs outside of the camp for the day, Kenneth is ready to face whatever he must to find his mother - but things get complicated when his little brother Jo sneaks aboard the truck at the last minute, and there's no time to get him off again. With Kenneth now responsible for Jo, the two set off together to find their mother ... not realizing that sometimes, in search of the truth, we don't always find what we seek.

This is a terrific, emotionally-charged film that turns an eye onto a dark period of American history few know, or even think of, today. Avery Dennis gives the exact-right blend of heart, humor and determination to young Kenneth, and Oscar winner Chris Tashima (Best Live-Action Short Film, for 1997's Visas and Virtue) - as the driver of the truck the boys sneak out on - delivers an equally effective performance as the poor guy who finds himself in an impossible position when he discovers the two stowaways.

Most importantly, there is a life and vitality to the film, via the cinematography as well as the authentic performances that Ochiai gets from all his actors (Sab Shimono, how WONDERFUL to see you again; you've been missed!). Never do you get a sense that anyone is "acting" in Half Kenneth; indeed, the feel of the time period, and the emotions of both the characters and storyline the film evokes, almost make the film documentary-like in appearance - an indication of not only director Ochiai's talent, but also of the security of his future as a filmmaker.

If you ever get the chance to see Half Kenneth, via a festival (it's played many of them around the globe) or even online or on DVD - take it. I've seen full-length features that didn't move or involve me half as much as this short film did.

And if you don't believe me, check out the list of awards the film has already garnered: Jury Prize from Directors Guild of America, Governor of Tokyo Award, Best Short Film in Japan Category at the Short Shorts Film Festival (Academy Certified, the largest film festival for short film in Asia), The Sylvia (Best American Short Film - Rome International Film Festival), The Seahorse Award for Best Short Film (Moondance International Film Festival), Best Cinematography Award in the U.S. and Canada from Kodak Film Competition, Third Place in Short Film Category at the Fort Lauderdale International Film Festival (Academy Certified), and Semi-Finalist at the Angelus Student Film Festival. ****1/2 - Reel Awesome-Reel Must-See

Trailer: PRINCE OF PERSIA

CRUSH

Director: Michael J. Saul
Stars: Stephen Tyrone Williams, Sean Edwards, Nick Endres, Rob Westin, Jorge Diaz, Marc Siciliani, Dennis Yeap, Kyle Fain
Year: 2009
Rating: N/R

I was fortunate enough to find the trailer for this sweet 2009 independent film (due for release on DVD in April 2010) online, quite by accident, and emailed director Michael J. Saul for a screener for the express purpose of reviewing the film for this blog. That was how much the trailer got to me, and I'm glad to say the film lives up to the promise of the preview; Crush is an effective take on various stages and stories of gay romantic love ... with just enough sensuality to keep things down to earth, as well.

Michael J. Saul tells four stories here, each about twenty minutes or so in length, and the first - "Don't Ask" - deals with the struggle of a young interracial couple, Cameron (Stephen Tyrone Williams) and James (Sean Edwards), who have been together for four years ... even if much of that time has been spent with Cameron overseas fighting in the war. The short film opens with Cameron on a short leave, where he both re-establishes his love and home with James, as well as fends off a war protester in a local bar, who insists on knowing why he continues to fight for an unnecessary war. "Don't Ask" concentrates more on the relationship of the two men, who strive to get in as much time as they can together before Cameron's deployment, and though the film seemed a little on the short side for me, for the mood it was trying to create, what I loved about it was the simple idea it conveyed to viewers: that gay men love just as deeply, and hurt just as much, as anyone else when they send their loved ones back to war, living in fear of whether that person will ever again return. It's a touching tale with no real resolution - much like in the real lives of those in similar situations today.

"Bloodline" opens with a young, cute guy named Gerald (Rob Westin) - a goth boy with pale skin and dark eyeliner - who finally confronts the handsome Asian guy in his class, Christian (Nick Endres), whom he feels has been eyeing him for too long. Goading him into making a move at last, Gerald learns very quickly that Christian is, indeed, interested in him - and that the tall, sensual, good-looking guy also happens to be a vampire. The two become an item, but naturally have to hide not only their relationship but Christian's even-bigger secret from the world ... even as Gerald contemplates where their future together lies, in a short that I only wish had gone on a bit longer; while Westin and Endres are both very convincing and affecting as new lovers (Endres, in particular, doing a terrific job playing the tragic yet sensual kind of vampire Brad Pitt did so well in Interview with the Vampire), I found myself wishing that the film had had more time to devote to the building of their relationship - though, in the end, you can most definitely see where things are going.

The third tale - "Strokes" - is a well-written tale of hero worship that works beautifully, thanks to a great script and a particularly effective performance by actor Jorge Diaz. Diaz - handsome as hell and more than vaguely resembling Mario Lopez, only Diaz's acting chops are sharper - plays art student Michael Lopez, a college kid who has just had the immense good fortune of landing an internship with a painter whose work he's admired all his life, the reclusive and eccentric Robert Brooks (Marc Siciliani). Lopez is soon in for a rude awakening, however, when he learns that Brooks is also somewhat of a prick; a true genius on canvas who treats those around him either like minions or dirt (or both), and soon shatters Michael's hero worship feelings ... even as his aggressive behavior and sheer talent turns Michael on sexually like he's never been turned on before. Siciliani, the irascible painter Robert Brooks, does an excellent job in this piece, fully making you believe in his character - but the film really gives Jorge Diaz a chance to shine, as he creates a complex and wholly believable character viewers will both sympathize with and root for.

And lastly, there is "Breathe" - the fourth and most touching of the stories, beautifully written and narrated by director Michael J. Saul. Identifiable with anyone who ever fell in love for the first time as a teenager, "Breathe" stars Dennis Yeap as a quiet, keeps-to-himself young gay teen who happens to be in love with the most beautiful, popular boy in the school, played by Kyle Fain. Told without dialogue (but, instead, with lyrical voice-over narration throughout by Saul, as Yeap's character), the film chronicles the absolute ache of the main character, as he falls in love with the perfect boy - then has to deal with the extra pain of having the boy's parents become friends with his, so that the two teenagers are thrown together on a camping trip ... Yeap's character so in love, it hurts to even be in the presence of his object of desire. Saul himself, in an interview found on the DVD extras, admits that "Breathe" is very much autobiographical - based, in fact, on his own experience of falling in love as a boy - and the emotional punch is there throughout the entire film, in the visceral writing Saul infuses the images with, as well as the heart-on-his-sleeve intensity (again, with no dialogue) that young Yeap gives to his angst-ridden character ... as Fain's golden boy remains (seemingly) blissfully unaware of his new-found friend's feelings for him (Fain will be many the object of crushes from those who watch this film; he truly is a beauty). "Breathe" is nothing short of a masterpiece, containing some of the most heartfelt, genuine writing I have ever seen in a film dealing with the innocence and heartbreak of first love, and if the other three stories in this anthology had all sucked beans (and they don't), "Breathe" alone makes the DVD a must-purchase - particularly for any gay, lesbian, bisexual or transgendered person with an ounce of romance in his or her soul.

Crush works on many levels. And even if a bit uneven, each of the short films included shines a different kind of light on gay love today. More importantly, for those not gay and viewing the film, it should also shed some light on the fact that love IS love, no matter the gender of those doing the loving. The fact that Saul has put together a young, very talented interracial cast of young actors for each short film also speaks of the fact that race matters as little as gender ... when, as the Beatles so aptly said, "love is all you need." A beautiful film. **** - Reel Awesome

Trailer: CRUSH

"Crush" Preview Trailer from michael saul on Vimeo.

Trailer: MARY AND MAX

MOUTH TO MOUTH

Director: Manuel Gomez Pereira
Stars: Javier Bardem, Aitana Sanchez-Gijon, Josep Maria Flotats, Maria Barranco
Year: 1995
Rating: R

One of Javier Bardem's earlier films - and a terrific (and pretty sexy) caper comedy with some real twists in the tale you don't begin to see coming, Mouth to Mouth (Boca a Boca in Spanish) tells the story of actor wannabe Victor Ventura (Bardem), a down-on-his-luck actor who has moved to Madrid for fame and fortune as an actor, delivering pizzas on the side as he scrambles for parts.

Victor has a lady agent who believes in him almost as much as he does, and in fact pushes for Victor to stay in Madrid, early on in the film, when his delivery bicycle is stolen and he can no longer do his job. It seems a major American film is coming to shoot, in part, in Madrid, and they are seeking authentic Spanish actors - in particular, for the suave and charismatic male lead that would be the perfect role for Victor.

So unemployed and broke, in order to stay in Madrid (at least until the big audition), Victor is forced to take a job with a local phone sex service. Though fiercely heterosexual, Victor's new job has him making love - over the phone - to dozens and dozens of horny, lonely men ... one, in particular, named Bill who becomes Victor's best customer, calling all the time. As Victor's pay is determined by the amount of time he keeps each caller online, Bill alone is a goldmine for Victor, and he puts up with the calls and admiration to support himself.

But when, on one evening shift, Victor gets a call from a sultry-voiced woman named Amanda (Aitana Sanchez-Gijon), the young actor finds himself so turned on, he talks her into meeting him in person - a move that could cost him his job, not to mention seriously complicate his life.

Sure enough, Amanda does just that; after one night of pretty amazing sex, Victor finds himself pretty much in love with her. Amanda doesn't seem to return the affection, at first - but soon not only comes to admit her feelings for Victor, but also has a big confession to make: she is the wife of Bill, Victor's biggest phone sex client, and has gone behind Bill's (whose real name is Ricardo) back to call Victor herself. Further, now that she's met and is falling for Victor, she needs his help.

See, Amanda wants to divorce Ricardo and get custody of the children - but Ricardo is both wealthy and powerful, and will make the custody battle especially very difficult for her. So what Amanda proposes, instead, is that Victor talk Ricardo into a face-to-face meeting as he did her ... then take Ricardo to bed and seduce him, while a hidden camera will take photos of the two of them and secure some great blackmail in Amanda's quest to get both alimony and the children.

At first Victor - needless to say - balks at the idea, but when Amanda stresses that he won't actually have to do anything with Ricardo, except perhaps kiss (the fact that Ricardo is half-naked with another man, in bed, will be enough), that and the reality that he and Amanda can be together afterward convinces Victor to give her crazy plan a try. Victor indeed meets up with the very nervous, overly-cautious Bill/Ricardo (Josep Maria Flotats), in a funny attempt at seducing the married, closeted man ...

But things go a bit awry from there, when a sinister-looking man enters the apartment with a gun, determined to kill both men ... and suddenly Victor and Ricardo both are flung (along with the plot) in a hilariously all-new direction, as nothing ends up what it seemed to be, and struggling actor Victor Venture finds himself on the run with a hired killer after him - without a single clue as to why, and as his audition for what could be the biggest break of his career draws near.

Mouth to Mouth is funny, charming, suspenseful, sexy, and full of quirky characters that drive a very well-thought-out plot. Bardem is pitch-perfect as the hapless yet sexy Victor - a potential leading man if he doesn't blow it with a sex scandal, or by getting himself killed - and the supporting cast that follows him is equally good, and equally funny. The film never bogs down in slapstick, keeps a great pace that will have you guessing throughout, and never goes too far to either stereotype or parody in dealing with the "gay thing" of either Ricardo's character or Victor's job. It's also a wonderful testament to Bardem's flair for comedy - as well as a nice peek into the early work of a truly gifted actor. ****1/2 - Reel Awesome-Reel Must-See

SUPERMAN RETURNS

Director: Bryan Singer
Stars: Brandon Routh, Kate Bosworth, Kevin Spacey, James Marsden, Parker Posey, Frank Langella, Sam Huntington, Kal Penn
Year: 2006
Rating: PG-13

Having been both a fan of Christopher Reeve and the original Superman films (well, at least the first two films), I was kind of both resistant - even as much as I like Brandon Routh - and curious to see Superman Returns. Especially having heard both good and bad things about not only the film, but Brandon Routh's performance.

The performance I had no problem with; Routh very nicely fills the shoes left behind by Reeve, both physically and in acting chops. As written, Clark Kent and Superman are both all-American(ized) boy scouts out to help/save the world, and neither character has really been developed in the same way of those of darker background/origin like Batman or Spider-Man. Superman is a bit of a goody-two-shoes, the supreme boy scout, and he's no less here ...

Once he gets back to Metropolis, that is. See, Superman has been away for a number of years, revisiting what remains of his home planet of Krypton; sort of trying to "find himself" and his purpose in it all. His departure was evidently without so much as a goodbye to the city - or to his one true love, Lois Lane (Kate Bosworth, totally miscast in - and too young for - the role), who gets so hocked off at being ditched by the Man of Steel, she writes an article for The Daily Planet entitled "Why the World Doesn't Need Superman" that wins her the Pulitzer Prize. Indeed, by the time Superman returns to earth/Metropolis - just in time to save Lois' butt again, no less - not only has Miss Lane moved on, she's also the mother of a young son, and has a hunky long-term boyfriend name Richard (James Marsden), the nephew of the newspaper's editor-in-chief, Perry White (Frank Langella).

Superman watches the happy little family from afar, still pining for Lois and trying to figure out how to get her to at least forgive him for leaving her ... even as the evil Lex Luthor (Kevin Spacey), having bilked a dying widow out of her fortune, is now using his millions to invest in a scheme to not only find Superman's crystallised home base on earth - but to also use the superhero's own strengths against him, by using the crystals to form new land masses on earth, rising from the depths of the sea. Land that will push out and destroy the current continents and countries, killing billions of people and leaving Luthor (literally) in charge of a whole new world forged on planet Earth. It's an ambitious plan, and when Lois accidentally stumbles across it and gets captured by Luthor and his gang, Superman's investment in saving not only the world but the woman he loves bumps up the suspense.

Or, at least, it should. While not as "action-packed" as its previous incarnations with Reeve, that's okay; the story and plotlines here are more cerebral anyway, and that's not the film's flaw. But with that mentioned, it has to be said (for me, at least) that this film just dragged on and on for me, revealing too slowly what Luthor's big plot was. I also found myself a little irritated when no major explanation was made for why Superman suddenly left - or how no one thought it was a big deal when Clark Kent was suddenly able to get his job back at The Daily Planet, with no explanation, when he popped back up in town at the same time. Parker Posey, as Luthor's sidekick chick Kitty, is given extraordinarily little to do - and has one nonsensical scene with Superman himself that comes off more silly than funny; other than that, she's relegated to a lot of dramatic looks and whining in the film, and is overall such a passive character you could almost dismiss her entirely.

Luthor's vision is as ugly and brutal as he is, and though Spacey definitely gives the character a lot more dimension and depth than even Hackman did in the Reeve films, it all feels a bit wasted in what results in a ridiculous scheme that, when things finally do start to happen, may well have viewers asking themselves, "He went to all this trouble for this?!"

The film also gets ugly and dark in the last third, both figuratively and literally, and there's a plot point/twist in the film that I won't reveal here - but to me, made me more than unsettled that director Bryan Singer and the scriptwriters took quite that much liberty with such an iconic character (at least, on film).

It was also unsettling to feel as if you've come in on a sequel, when you'd never seen the first film. The opening credits of Superman Returns will have you more than a little nostalgic for the Reeve films ... but as the movie goes on, the pervasive feeling is that you're watching characters (and actors) that have that sort of familiarity to you, because you've seen the same situations before - yet feel totally alien, because you've never dealt with these actors playing these characters before. It's as if Singer was trying to pick up where the original franchise left off, to a degree, without a glitch - yet you can't help but feel the glitch when no one on-screen feels familiar in that character's skin. Sorry, it's hard to explain, but for me that element - the feeling that the film was trying to "pass off" these actors as the same characters played by Reeve, Margot Kidder, etc. - was just jarring enough to make the film seem off-kilter.

Ultimately, after two hours and thirty-four minutes, the film was just an over-long, one-note disappointment that left me tired and feeling more than a little unsatisfied. I know, in the age of the Dark Knight and Spider-man vs. Venom, that superheros on film have turned to their darker roots of origin for a more intriguing and three-dimensional story.

But there was always something a bit joyous about Superman. Perhaps the Americana he represented, or his innocence at coming from another world and only wanting to save this one. But none of that joy is in this film, which is overall too dark and too bleak ... and, in the end, not all that cerebral. ** - Reel Mediocre

THE BAT

Director: Crane Wilbur
Stars: Vincent Price, Agnes Moorehead, Gavin Gordon, Lenita Lane, John Sutton, Harvey Stephens
Year: 1959
Rating: N/A

Famous mystery writer Cornelia van Gorder (Agnes Moorehead) has rented a rented out a lovely country home called The Oaks in which to write her latest novel. Staying there only with her assistant and the bare bones of staff she was able to hire locally, it means nothing to Cornelia to learn that the house was - in the past - the scene of some brutal murders committed by a criminal only known as The Bat; to her, this is even more fodder for her writing, even if the home's legend has handicapped her a bit in finding more local people willing to work for her there.

Meanwhile, the current owner of the home, bank president John Fleming (Harvey Stephens), is on a hunting trip with his friend, Dr. Malcolm Wells (Vincent Price), when he confesses to Wells that he's embezzled over a million dollars from his bank in negotiable securities, and wants Wells' help in faking his death (in exchange for half the money) so he can get away with his crime. When Fleming confesses, however, that he's hidden the money somewhere in The Oaks, Wells kills Fleming instead, determined to find that money and keep it all for himself.

And soon The Bat is back, face covered with a dark cloth and clutching a large, claw-shaped weapon in his hand as he stalks those living at The Oaks in search of (presumably) the million dollars. Soon another murder occurs in the home, revealing to Cornelia's sleuthing mind that the money is hidden somewhere in the house, and though at first viewers of the film will just assume The Bat is Dr. Wells, the film goes through a few twists and turns, until you're unsure of just WHO the villain is ... or who his next victim may be.

Call it corny or sometimes even melodramatic - this film is a lot of fun. Agnes Moorehead, terrific in everything she touches, is no less terrific here with the B-movie script, and Vincent Price adds the perfect blend of menace and humor to the film as Dr. Wells. Even through the story's holes and the occasional character doing something that seems a little illogical, the film holds up with some truly suspenseful moments, and a satisfying ending that will keep you guessing the identity of The Bat until the very end.

This was the kind of Saturday afternoon movie you'd eat up on TV as a kid, fun and suspenseful, and you should enjoy it no less now. B-movie making at its best. *** - Reel Cool

THE EYE 2

Directors: Pang Brothers
Stars: Qi Shu, Jesdaporn Pholdee, Eugenia Yuan, Ren Yuan Yuan
Year: 2004
Rating: R
(in Thai, Mandarin and Cantonese w/English subtitles)

The Eye is one of my favorite suspense/horror films ever; it was intriguing, complex, visually jarring, emotionally involving, and made me forever a fan of Oxide Pang Chun and Danny Pang - also known as the Pang brothers - who directed the film. The sequel, though not bad, is really a sequel in name only; none of the original actors are back for this feature, nor should they be - this story has nothing whatsoever to do with that of the first film, and in fact except for the whole "I see dead people" theme there is nothing to tie the two movies together.

That said, The Eye 2 certainly entertains on its own level, with a decent story, a few twists, and a couple of really cool visual tricks that may have you asking "How'd they do that?" But it's definitely not its predecessor.

Qi Shu stars as Joey, a young Thai woman who opens the film going on an expensive shopping spree, in Hong Kong, for shoes, clothing, handbags ... even a tie for the married boyfriend she's just dumped, whom she even calls from one store, trying against his protests to make sure she has bought him the right color. Under the heavy burden of all her shopping bags, Joey makes it back to her hotel, where she arranges a wake-up call for that night ... before going to her room, where she swallows a huge amount of pills in an obvious suicide attempt, before lying down on the bed to die. Just before passing out, she witnesses a group of people completely surrounding her bed - people she can see right through, as if they were ghosts - before her lack of response to the wake up call has hotel staff coming to her room to rescue her.

In the hospital, it's learned this is not Joey's first attempt at killing herself. Joey learns this time, however, that she's also pregnant by her married ex-lover. It also soon becomes apparent to Joey that she now can see apparitions, or ghosts; in her home, at work, on the streets, nowhere is she safe from the shadowy figures that suddenly loom up before her, and the disturbing images some of the convey ... particularly one female spirit that seems to be stalking both Joey and her baby, terrifying the young woman.

Eventually Joey has to get back with her ex-boyfriend Sam (Jesdaporn Pholdee), in order to figure out what's going on and protect her unborn child - but is in for even more of a shock when she learns that Sam, unknowingly, is the key to the whole thing ... and that what the female spirit wants is something Joey isn't prepared to give.

The film certainly has its moments, but to be enjoyed at all you really can't hold it up to the first film and expect it to shine. Even with that said, for me The Eye 2 was good, but nowhere near great; the plot is muddied and unconvincing on some levels, and the entire film sort of left me (until the ending, which was upbeat overall) with a sad, depressed feeling. Joey comes off a victim for the beginning of the story, and while Qi Shu's performance is affecting and convincing, it's the character of Joey herself that's just a downer; by the time she tries to take some control and find out what's going on, it's almost too little too late.

A bit of a disappointment, considering my love for the first film, but worth a look if you like the Pang Brothers, or Asian horror flicks. Other than that, nothing too special here. **1/2 - Reel Mediocre-Reel Cool

CASANOVA

Director: Lasse Hallstrom
Stars: Heath Ledger, Sienna Miller, Jeremy Irons, Oliver Platt, Lena Olin, Charlie Cox, Omid Djalili
Year: 2005
Rating: R

Unfairly berated by many critics during its theatrical run, there's really a lot to love about Casanova. Heath Ledger's restrained comic performance, for one; he gives the legendary lover of women the perfect audacious, mischievous and scandalous air, playing young Casanova as a man always in control of his circumstances, even when at their most outrageous. It's another pointed reminder of just what was lost when Ledger died, although here you could tell he was still honing his incredible talent.

A terrific supporting cast that includes Jeremy Irons and an absolutely hilarious Oliver Platt are another reason to enjoy this tale. Set in Italy during the Inquisition, the film opens with an elderly Giacomo Casanova (whom we cannot fully see - just his withered hand writing across parchment) as he chronicles a time in the legendary lover's that few others know about: the time Casanova fell in love.

Then, going back, we see Casanova as a young boy, left by his mother to be cared for by another because she wanted him to have a better life growing up. Vowing to meet her son again in Venice, this promise is the focal point of young Casanova's moving to the city - where, as a young man, the film opens to find his reputation as a vagabond and ladies man is already in full swing. Indeed, an opening chase scene finds Casanova up to his usual tricks, barely outrunning the law as he rushes from yet another young maiden's bed.

But the Catholic Church is out to get Casanova and jail him for his many crimes/indiscretions - so under such pressure, the ardent lover proposes marriage to a beautiful young blond who happens to be the virginal daughter of a very wealthy (and very conservative) local man. The father, not knowing that he is dealing with Casanova (though his daughter does), eventually agrees, but only under the condition that no contact shall be had until the wedding night. At last, Casanova is on his way to respectability, and shedding the watchful eye of the church ...

That is, until he meets the beautiful, headstrong and completely independent Francesca (Sienna Miller). Not only does Francesca not know he is Casanova, but she actually despises the world-famous lover for turning women into nothing more than objects of desire and lust. Naturally, Casanova falls for the one women he cannot have, even surprising himself as those feelings really do into love ... but alas, Francesca's hand in marriage is already promised to wealthy landowner/businessman Paprizzio (Oliver Platt), whom she's never met but must marry, in order to save herself, her mother (Lena Olin) and her brother (Charlie Cox) from financial ruin. Paprizzio, due in Venice any day to claim his bride, presents a problem to Casanova's plan to woo Francesca - though not one he can't overcome, even if it means sidetracking Paprizzio as he hatches a rather complicated plan to get Francesca. Meanwhile, Francesca's brother Giovanni - who's long-ago fallen in love with the same woman Casanova is now engaged to, fights to get her attention away from marrying the great lover and love him instead.

Sounds complicated? It is, and gets more so - in a lighthearted, wonderfully comedic way that plays out like the farce the film is meant to be. Heath Ledger, seemingly too young to play the great Casanova, actually imbues him here with a lightness and energy that emphasizes that you are catching the man in his early, most roguish days. The look of the film, of Venice, is quite outstanding and beautiful, with period costumes that evoke the age nicely. Director Lasse Hallstrom, thankfully, never takes the material too seriously, allowing the actors to have fun with it; Jeremy Irons, in particular, hams it up a bit with the perfect mix of comedy and menace. My only complaint to the film, oddly enough, is Sienna Miller. To me, she never seemed to be comfortable in Francesca's skin, and for the first half of the film I actually found her character a bit annoying.

The ending has a very nice twist you don't see coming, and overall if you're prepared to NOT take this film as some serious biography of the greatest lover of all time, you should be pleased with the results. Casanova is a wonderful farce, containing a fine comedic performance by the late Heath Ledger that only further proves the range he had as an actor (and p.s. - Omid Djalili's performance as Casanova's best friend/manservant Lupo is nothing short of brilliant, as well). ***1/2 - Reel Cool-Reel Awesome

THE MASK OF FU MANCHU

Director: Charles Brabin

Stars: Boris Karloff, Lewis Stone, Karen Morley, Charles Starrett, Myrna Loy, Jean Hersholt

Year: 1932

Rating: N/R

Politically correct? No. But damned entertaining - mostly due to a sincerely sinister performance by Boris Karloff, here playing the evil Chinese crime genius set upon stealing the crown and sword of Genghis Khan so that - along with his daughter Fah Lo See (Myrna Loy) - he can rule the world and rid it of white White race.

Pure escapist fare, and the special makeup to get Karloff and Loy to look "oriental" for the film may turn off the politically correct ... but the film plays out like an exciting action comic book, or pulp novel, and in that sense it both works and is a whole lot of fun to watch.

Lewis Stone (patriarch of the famous Andy Hardy series of film, still years down the road when this one was made) stars as an archaeologist financing an expedition to find the lost treasures of Genghis Khan. Along with him for the trip to Asia is young beauty Susan (Karen Morley), whose father (who knows where the tomb lies) has been kidnapped by the infamous Fu Manchu, and Susan's boyfriend Terry (Charles Starrett), a handsome leading man type who is soon kidnapped by Fu Manchu, as well.

Only with Terry, it's the evil doctor's daughter who wants Terry for her own. When he refuses to cooperate, the beautiful seductress and her father instead drug Terry, turning him into a slave who will do their bidding so that he may go back to camp and steal the Khan artifacts for their own. When Terry brings back fake relics, however, Fu Manchu's rage is such that he sets out to destroy all who are part of the expedition - determined to achieve his goal of supreme ruler at all costs.

The action and drama remain tense throughout, as do the performances of the cast - especially Karloff and Loy, who do the "mysterious evil Oriental" schtick well enough, considering the film's time frame. Overall the film is just fun and exciting, intriguing as an old Saturday morning serial shown in its entirety - perfect if watched with a big bowl of popcorn and a child's imagination. I loved it. ***1/2 - Reel Cool-Reel Awesome

FAITHLESS

Director: Harry Beaumont

Stars: Tallulah Bankhead, Robert Montgomery, Hugh Herbert, Maurice Murphy

Year: 1932

Rating: N/R

A melodramatic soap opera with a good cast and fairly outrageous storyline (and too-convenient ending), Faithless follows the life of wealthy New York socialite Carol Morgan (Tallulah Bankhead) - who, as the film opens, couldn't give a hang that the Great Depression has put many people in the country out of work and into breadlines; she has her money, a great life, a beautiful home ... and the love of a hardworking man named Bill Wade (Robert Montgomery), whom she loves in return. She and Bill have just become engaged, and things get stormy right off when Bill tells Carol that they'll have to live off of his meager salary working for an advertising agency; Carol's millions are nothing to him, and he wants to be the bread-winner of the household, period.

This causes a couple of major-league fights between the couple, and Bill walks out. Soon after, Carol learns (after finally meeting with her bankers) that she, too, has been wiped out financially by the Depression, and is flat broke.

She makes her way back to Bill with the distressing news, and that's when Bill informs her he has lost his job and income, as well. Bill is actually thrilled with the news, and wants to leave town for a job opportunity, but Carol still refuses to live poor, and instead stays behind to try and find her social footing again.

From here, Carol's life takes a swift downward spiral; at first she stays with rich friends, and remains in the social columns as always "visiting" for the weekend of while on vacation. Soon, however, Carol alienates all her rich friends by borrowing money from them and not paying it back; at one point, she even becomes the mistress of a married man who finally keeps her in the lifestyle to which she's become accustomed (even if she is miserable).

It's with this man that Bill finds her again. He's appalled with how low she's sunk to maintain her material possessions and money, and in return Carol - at last - shows Bill how much she loves him by leaving her sugar daddy and going with Bill at last. The two marry ... and that's when the real trouble begins.

These two characters go through more hell during the Depression than any two people deserve to endure - but the film's message is that it's their love and commitment to each other that sees them through (though that love is put to the test by a single action that Carol is forced into that might end things forever). The mood of the film is somber, yet always with a potential ray of light shining through, as Carol and Bill prove to be there for each other through sickness, hunger, and abject poverty. Tallulah's performance as Carol is one-note in places, and definitely full of melodrama. But she carries the film well, right up to an ending that seems too perfect in resolving things to be real. Robert Montgomery, who I've always felt so-so about as an actor, does a good enough job here, I am now a fan.

The film made me think a lot about the current economy, and how many people are struggling so much to survive now (even if not nearly as badly as Carol and Bill Wade) - so even though seventy-seven years old, I could relate to some of the angst and emotions of the film. Seeing Carol go from high society snob, to become the very kind of person she would step over in the street, became an intriguing story of faith and redemption ... even if over-the-top with melodrama. Definitely worth seeing. *** - Reel Cool

THE HOUND OF THE BASKERVILLES (1959)

Director: Terence Fisher

Stars: Peter Cushing, Christopher Lee, Andre Morell, David Oxley, Marla Landi, Ewen Solon, Francis de Wolff

Year: 1959

Rating: N/R

Years before Hammer would make them both iconic horror film figures in a series of films featuring Bram Stoker's legendary character Dracula, Hammer films cast Peter Cushing and Christopher Lee in a suspenseful, action-filled film version of Sir Arthur Conan Doyle's novel The Hound of the Baskervilles. Meant as just the first in a new series of films featuring Cushing as Sherlock Holmes, Hammer never made it beyond this initial entry; a shame, as this version of the classic tale has a lot going for it, even if you can see the ending coming.

The film opens hundreds of years in the past, in England, where Sir Hugo Baskerville uses his money and power to torment those weaker and poorer than he. Everything's in good fun when the film begins, Hugo drinking with his friends and beating up a local farmer, but things get dark when it's learned that Hugo intends on more than just keeping the man's daughter locked up for awhile. When the girl escapes and Baskerville goes after her, he ends up killing the beautiful young woman on the moors, stabbing her to death in a fit of rage - and thus the Baskerville curse is born, in which it is said that every lord of the house will meet a grisly death.

Flash forward to the present (well, late 19th-century London), when a Dr. Mortimer (Francis de Wolff) pays a visit to the rooms of Sherlock Holmes (Cushing) and Dr. Watson (Andre Morell), seeking their help. It seems that the latest lord of the manor, Charles Baskerville, has just been found dead on the moors, his face horrifically twisted in agony. Mortimer's friend and patient, Sir Henry Baskerville (Christopher Lee) is the last of the Baskerville line, and Dr. Mortimer is determined that the man will not meet the same fate as his predecessors. He relates the legend of the sinister Hound of the Baskervilles, which Holmes of course dismisses as silliness, believing a rational explanation exists, and only needs to be uncovered. Needed in town temporarily, Holmes meets with Sir Henry (and saves his life, when a deadly tarantula left in Sir Henry's shoe nearly bites him), then agrees to take the case but sends Watson on ahead, as a sort of bodyguard for Sir Henry, with a promise to join them later.

Well, things are indeed strange at Baskerville hall, with lit candles being discovered in rooms that have been empty for years, and the baleful howl of a rabid dog moaning from the direction of the moors. Sir Henry barely escapes another death, and Holmes arrives just in time for another murder to occur, but soon Holmes finds himself on the trail of the mystery of the Hound, and discovers an evil rooted just as much in reality as in legend.

This is a pretty cool film for its time, with Cushing making for quite a sharp Sherlock Holmes. The action and suspense never lag, and though Watson finds himself in his own trouble at one point, here he comes off overall as much more intelligent and competent than Nigel Bruce played him in the original (and best) series of Holmes films starring Basil Rathbone. Lee is suitably stiff and regal as Sir Henry, loosening up at last when he finds himself falling for a local farmer's daughter, and the film is shot in a way that highlights the somber moodiness required to tell the tale. Very entertaining, and a shame more films featuring Cushing as Holmes were never made. *** - Reel Cool

RATATOUILLE

Director: Brad Bird & Jan Pinkava

Stars: Patton Oswalt, Lou Romano, Ian Holm, Janeane Garofalo, Brad Garrett, Peter O'Toole

Year: 2007

Rating: G

A Pixar film is always a treat - a real feast for the eyes - and Ratatouille, in that sense, might be the company's best film yet. The animation is nothing short of breathtaking, Paris coming to life majestically on the screen as the story starts off in the French countryside ... with a field rat named Remy (voiced by actor and stand-up comic Patton Oswalt) who has the passion - not to mention talent - of his idol and mentor from Paris, the great chef Gusteau (Brad Garrett).

No eating out of garbage cans for Remy; no, this rat has fine dining tastes and an impeccable palette, even as he tries to convince his dad, brother, and the other rats of his colony that food should be eaten fresh, blended together for the best combinations of flavor and smell, and savored instead of swallowed without even enjoying the taste. When Remy and his colony are driven off the country land where they've been living for some time, Remy gets detached from the group and eventually finds himself in Paris, the City of Lights, known for its culinary excellence ... and the home of Gusteau and his four-star restaurant.

But Remy is shocked to find, on his arrival, that the great chef has passed away - and, worse yet, the wickedly derisive critic Anton Ego (Peter O'Toole) has since blasted the restaurant to three-star status with a scathing review. Sneaking his way into Gusteau's, Remy is just in time to help - without the guy's knowledge - a fledgling young mop boy/chef wannabe named Linguini (Lou Romano) to create a soup that immediately bowls over the entire eatery clientele that evening. Even as Linguini discovers Remy, acting fast to hide him (a rat, after all, discovered in a three-star restaurant isn't exactly going to be met with enthusiasm by customers or health inspectors alike), the other kitchen workers and chef believe a new culinary star is born ... even as the head chef, the diminutive but rather crotchety Skinner (Ian Holm, wonderful here), suspects something is not quite right with the situation.

It's Skinner, in fact, who ends up out to get Linguini - even as Linguini and Remy (though Remy can't talk, only communicating with Linguini via gestures) become friends, and work out a system where Linguini can cook Remy's recipes at Gusteau's with no one around them being any the wiser (Remy hiding under Linguini's oversized chef's hat). As Linguini's fame and popularity grows, Linguini himself begins to fall for the lone female chef in the kitchen, who's been assigned to train him - the lovely, outspoken Colette (Janeane Garofalo). Meanwhile, Skinner plots to take over Gusteau's restaurant and legacy, by marketing the great chef's image out for a series of frozen-style dinners, as (per Gusteau's will) he prepares to legally control the entire Gusteau empire in just three days' time. That is, until Skinner learns that Linguini is, in fact, the illegitimate son of Gusteau - making the young boy not only the sole legal heir to the famed chef's restaurant and fortune ... but also a threat to all of Skinner's plans.

Again, the look of this film is truly amazing. Streets and characters and even Gusteau's restaurant all come to life with such energy and color and vitality, you won't be able to take it all in. Remy is a lovable character, as is Linguini, and the two form a friendship that - despite the fact that Remy is a rat - seems genuine, complete with imperfections (it's even kind of cool that, though we the viewers can understand Remy, no humans in the film can; none of the cutesy, talking animals of Disney here). Skinner and even Anton Ego, as the "bad guys" in the film, hold up their end wonderfully - especially Skinner, who, in a style reminiscent of Inspector Dreyfus (Herbert Lom) in the Pink Panther films (another reference to France), gets himself into more trouble than ever trying to spy on Linguini and learn his secrets.

But the end of the film, to me, is where things go awry. Without giving anything away, a series of circumstances leads Remy to call on his family and buddies of the rat colony to cook a very important meal in the kitchen of Gusteau's - and it might be me, but something about seeing a restaurant kitchen overrun with rats preparing a meal for human consumption (even though the script/storyline accounts for the rats who are handling the food to wash up beforehand) really turned me off to that entire scene in the film. Further, the ending of Ratatouille was a bit too "pat" for me, with things winding up all too conveniently (also a bit unrealistically, even given the subject matter and characters of the film) ... even as one of the bad guys goes from bad to good in an instant, also an unconvincing plot point for me.

So as much as I enjoyed the film, and marveled in watching one of the most technically-perfect animated films of all time, in the end it's the story of Ratatouille that is a bit of a letdown. Like a no-hitter baseball game that's suddenly decided in the 13th inning by walking a man home, Ratatouille has a wonderful build up, and is a great ride for most of the way - only to end with a fizzle instead of a bang. Not a bad film, by any means ... but just not quite as good, in the end, as the first three-quarters of the film would lead you to believe. ***1/2 - Reel Cool-Reel Awesome

MR. SARDONICUS

Director: William Castle

Stars: Oscar Homolka, Ronald Lewis, Audrey Dalton, Guy Rolfe, Erika Peters

Year: 1961

Rating: N/R

Corny yet effective and creepy at the same time, William Castle's Mr. Sardonicus stars Ronald Lewis as famed British physician Sir Robert Cargrave, recently knighted for his groundbreaking work in medicine and with the relaxation and reanimation of stiff or frozen muscles. Sir Robert, famous worldwide, has indeed become well-known all over; not long into the film, he receives a letter from the one and only woman he was ever in love with years ago, Maude, who invites him to her home in a remote castle, telling him she's in urgent need of his help.

Cargrave cancels all appointments and puts his life on hold to make the trip, immediately learning on his arrival in the village that Maude's husband - the Baron Sardonicus - is a much-feared man; no one even wants to take Sir Richard to the castle until Krull, the baron's disfigured manservant, shows up to do so. Wary but determined to help Maude, Sir Robert heads up to the castle ... and immediately finds out things are a bit freaky there, when soon after arriving he finds Krull using leeches to "help" a young female servant in the castle with her supposed illness.

It soon becomes apparent, behind the scenes, that Baron Sardonicus is a vicious psycho who gets off on torturing people - but meanwhile, an unaware Richard has reunited with Maude, and tries to get out of her why his help his needed. Maude hems and haws, but eventually everything is explained by Sardonicus himself (Guy Rolfe), when the baron shows up wearing a mask that completely covers up his face, and at last tells Richard of his plan.

Years ago, Sardonicus was a poor farmer, living with his first wife and father on a run-down farm. Sardonicus' father always love to play the lottery, but never won. One day, the father dies unexpectedly, and is properly buried ... only for Sardonicus and his wife to learn, shortly later, that the guy's most recent lottery ticket was the big winner, and a small fortune is ready for the taking. Unfortunately, the ticket resides in the pocket of a vest the old man was buried in, so at the wife's urging Sardonicus is forced to desecrate the remains of his beloved father to retrieve the ticket - and when he opens the casket, the sight of the grinning, half-eaten away face of his father causes Sardonicus' own face to freeze into a hideous, jackal-like grin that is terrifying to look at ... and quite, quite permanent (and yeah, even though they show his face more than once, and the makeup effects are definitely of the period - it's fairly gruesome, even by today's standards, to look at). It evens drives his first wife away, as Sardonicus claims the prize and pretty much buys his status as baron, now a rich landowner.

What Sardonicus seeks now, however, is Sir Richard's help, via the doctor's groundbreaking research in working with damaged or destroyed musculature. Richard reluctantly agrees, but after his first failed attempt he's sure there nothing even he can do. And that's when Sardonicus tells him he'd better not only try again - but succeed, or else he will torture or even kill Maude before letting Sir Richard ever leave his castle.

The movie is quite campy but still quite entertaining - made even more so by the director himself, William Castle, coming on-screen right before the ending, and giving the audience a chance to decide Sardonicus' fate, good or bad. It was supposedly a great marketing tool (something Castle was known for) when the film was in theaters, and of course now the same ending is shown regardless of how a viewer might "vote" - but it's a fun, almost comical blip in the film that's kind of cool to watch. Will Sir Richard succeed? Will Maude be spared? Will Sardonicus' face ever be restored - and/or will he ever be paid back for all the terror and pain he's caused? All questions are answered, and the ending is even a bit cornball, but it's a fun ride getting there, especially if you like these kind of suspense thrillers. Not a great movie, Mr. Sardonicus, but a fun afternoon's diversion for sure, and Homolka especially is wonderful at chewing up the scenery as the icky, loyal-to-his-master Krull. *** - Reel Cool