Category Archives: Movie Reviews – T

The Public Movie Defender – “Terminator Salvation”

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DEFENDER TERMINATOR

The idea behind The Public Movie Defender is to take up the cause of a particular movie that I believe is better than the majority of reviews it has received. These are movies which I feel are worth either a second look or at least a more open examination considering the predominantly negative opinions of them. The films chosen are ones that I like so therefore I’m taking their case and defending them before the court of negative opinion. Let the trial begin…

DEFENDANT #2 – “TERMINATOR SALVATION”

TERM SALVFor some reason I’ve had this weird and unexplainable urge to write a review about a movie that I really like but most others don’t. Is it my pointless sense of duty to defend a film largely maligned by critics and my fellow movie fans? Is it some twisted pleasure I’ll take in the heat received from my fellow movie blogging pals? Whatever the reason I’m going to make my case for “Terminator Salvation”.

This 2009 sci-fi action flick was the fourth installment in the widely popular “Terminator” series. It was also a film of many firsts for the franchise. It’s the first “Terminator” picture that didn’t star Arnold Schwarzenegger. It’s the first film in the franchise that received a PG-13 rating. It’s also the first film that takes place in the post-Judgement Day future. I suppose these things played into the disdain some people felt towards this film but it has also received a variety of other criticisms. It has been called soulless, humorless, joyless, and brainless. In fact the overwhelming consensus is that “Terminator Salvation” glaringly fails to capture any of the magic of the previous three movies. Obviously I disagree.

Now let me be clear, “Terminator Salvation” is not a 5 star movie. In fact it’s the third or fourth best film in the franchise. But I still found it to be a fun, action-fueled experience and a worthy installment to the series. The time travel element is gone making the entire ‘future versus present’ dynamic that was a big part of the other movies nonexistent. I have to admit that I missed that. That was one of the coolest things about this series. But that doesn’t mean that “Terminator Salvation” can’t stand on its own merit. It’s a grittier and more militaristic story and the humor, while definitely there, is much more restrained mainly due to the more serious tone of this film.

So the story goes like this, It’s 2018. Skynet has been activated and Judgement Day has wiped out a massive number of earth’s population. Christian Bale plays the third version of John Connor. This time he’s a key member of the human race’s resistance against the machines. Small pockets of the resistance are scattered everywhere including in the ruins of Los Angeles where Kyle Reese (Anton Yelchin) struggles to survive. Kyle and a young girl named Star (Jadagrace Perry) call themselves the L.A. branch of the resistance but they’re mainly just kids in hiding. They latch onto a mysterious stranger named Marcus (Sam Worthington) who knows nothing about the war with the machines.

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After hearing a radio message from John Connor, the three set out to find the resistance headquarters – Kyle in hopes of joining the fight and Marcus in hopes of finding answers. But things don’t workout that well and Kyle and Star and captured during an attack by the machines. Marcus makes his way to the resistance base with the help of downed pilot Blair (Moon Bloodgood) but his story takes a crazy turn after John Connor and company find out exactly who he is. This whole twist may not be all that surprising but I really liked what it added to the story and to Marcus’ character. There are some interesting moral questions that are tossed around and some tricky decisions that the characters have to make.

But those things are small pieces in a bigger puzzle put together by director McG (I roll my eyes every time I say his name). This is first and foremost a sci-fi action picture and McG frames some pretty spectacular action sequences. The special effects can be pretty stunning such as during an attack by a giant machine on a small group of survivors hiding at a gas station. It and the wild chase that follows was fantastic. McG also tries to throw in several little things to connect the movie to the previous ones. I admit that they can feel a little forced such as when the cool Guns n’ Roses tune “You Could Be Mine” from T2 pops up. But I also have to admit I responded to the nostalgic bits regardless of how cheap they may have felt. And when a certain familiar CGI face pops up later in the film, I still let out a child-like squeal.

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I also like the performances. There’s nothing award worthy from any of the performers but they all feel grounded in the world we see. Bale is as solid as always although he is asked to do a little more shouting than I would have liked. I also liked Yelchin as a young Kyle Reese. He certainly doesn’t look anything like Michael Biehn from the first “Terminator” flick but did Edward Furlong and Nick Stahl resemble at all? But I really liked Sam Worthington here. This is the first film I saw him in and here he’s one tough cookie. I know he hasn’t shown a bit of range since and his acting chops are in question, but I thought he was a perfect fit for this part.

“Terminator Salvation” is a very different movie in the Terminator catalog. It’s not about the future invading our present. It’s about the war the other three movies were trying to prevent. That jolt alone was too much for some people to take. I also understand the absence of Schwarzenegger is a big deal. I mean these were his movies. But for me, those things don’t make this a bad film. The humor is toned down because the times are bad but the action and special effects are mighty good. It has its share of conveniences and head-scratching moments but doesn’t every movie in this franchise? I liked “Terminator Salvation” and while it’s not everyone’s cup of tea, I think it has a place in the series.

VERDICT : “TERMINATOR SALVATION” – 4 STARS

REVIEW: “This Means War”

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WAR POSTER

“This Means War” is a shining example of how you can put together a good, talented cast and still end up with totally crappy movie. Hollywood is filled with wonderful actresses and actors who blow us away with their acting chops. But I’m a firm believer that you’re only as good as your material. Of course we’ve seen good actors that actually rise above the material but great films are never made on performances alone. Well, I don’t care how good the cast is, there is no actor or actress, living or dead, who could save this monstrosity of a movie.

I love Tom Hardy. He’s one of my favorite actors and he has really made a name for himself over the past few years. I’m also a fan of Reese Witherspoon, an actress who is better than some of her role choices. Why these two, especially Hardy, would sign on for this project is beyond me. McG directs this action/romantic comedy that may not be as awful as his “Charlie’s Angels” films but it’s not far off. It’s said that the script had been shopped around for over ten years and had been turned down by a number of actors during that time. That should have been a bad sign but 20th Century Fox went ahead and okayed this $65 million mess. So we have wasted talent and wasted money. Wonderful.

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The story itself is pretty corny. FDR (Chris Pine) and Tuck (Hardy) are two CIA field agents who are also best of friends. By sheer circumstance the two find out they’re dating the same woman, a beautiful product tester named Lauren (Witherspoon). They make a gentleman’s agreement to let the best man win while never telling Lauren that they know each other. Predictably their feelings for her grow and their friendly competition evolves into a full blown war. They use everything at their disposal including their CIA technology to win the girl’s heart while sabotaging the other’s dates. So the question becomes who will come out on top and will their friendship remained intact. Yawn!

I think somewhere in here lies a decent idea for a movie. Unfortunately things get so preposterous to the point of being hard to watch. Sitting through Hardy, Witherspoon, and Pine struggling to make vapid, dopey, and unfunny material enjoyable is as entertaining as getting a root canal. There isn’t a single funny scene nor is there a single funny line. And in its struggle to get a laugh it’s forced to resort to cheap antics such as crotch shots and animal slapstick. And it doesn’t help that the movie strays so far from reality that it’s impossible to buy into any of the characters or romances.

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There are also several other things that for me resulted in one facepalm after another. First, this may be the most idiotic depiction of the Central Intelligence Agency I have ever seen. Tuck and FDR abuse the system for their benefit with seemingly no obstacles or safeguards to stop them. Angela Bassett (in a complete throwaway role) plays their boss but she certainly doesn’t do enough to even notice their open insubordination. We also get a totally uninteresting action plot about an underdeveloped and frankly pointless crime boss (Til Schweiger) who wants revenge on our bosom buddies for killing his thuggish brother. It’s unnecessary and does more to show how poorly conceived the story is.

I could go on. I could mention Lauren’s annoying best fiend Trish (Chelsea Handler) – a stupid and contrived character devoid of any moral value. I could go into more detail about the film’s utter lack of identity. But frankly, I’m just tired of talking about it. “This Means War” pretty much ends up being a disaster. The cast should be given credit for trying to make this work but they should also be questioned as to why they even jumped onboard with this thing. The movie never comes close to hitting the action, romance, and comedy targets it aims for so the audience is left twiddling our thumbs, checking our watches, and waiting for the end. That’s not exactly my idea of enjoying a movie!

VERDICT – 1.5 STARS

REVIEW: “To the Wonder”

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TO WONDER POSTER

Terrence Malick is a filmmaker that marches to the beat of his own drum. To be honest, that’s one of the things I like the most about him. We say this often but here it unquestionably applies – you know a Terrence Malick movie when you see one. Malick has a distinct style of lyrical and visual storytelling and you either respond to it or you don’t. Personally I love it. Now sometimes his style is more impressive than his finished products, but for the most part Malick is one of my favorite filmmakers. In fact, his last film “The Tree of Life” was my clear favorite film of 2011.

Malick is a director who takes his time and only makes a film when he’s ready. This is evident by the fact that he has only six movies on his directing resume. His latest, surprisingly only two years after “The Tree of Life”, is another exercise in lyrical and contemplative style. It’s one of my most anticipated films of 2013. It’s called “To the Wonder” and for me it’s another soul-stirring gem that throws the textbook on conventional moviemaking out the window. Instead Malick is making another deeply personal film, possibly his most personal movie to date. It’s also his most romantic, most spiritual, and most tragic film all at the same time.

The movie follows a young couple as they navigate the unquenchable joys and the devastating heartbreaks associated with love. We first meet Neil (Ben Affleck) and Marina (Olga Kurylenko) in Paris, France. The two are madly in love and Malick expresses it through a rhythmic series of romantic and absorbing scenes in such beautiful Parisian settings such as the Luxembourg Gardens and the banks of the Seine River. There’s also a majestic sequence with the two outside of town at the gorgeous Mont Saint-Michel. Neil and Marina can’t seem to be able to control their affection for the other. There’s a strong focus on touch in these scenes whether it’s holding hands or running a hand across the shoulder blades. The romance between Neil and Marina is sublime and beautiful and I never doubted its authenticity.

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Marina, a Paris native and single mother, decides to move with her daughter to the States in order to be close to Neil. They land in midwestern Oklahoma where Neil works as an environmental safety inspector. The contrast between the energetic and vibrant Paris and their sparse and sometimes empty Oklahoma community almost serves as a metaphor for their relationship. The two who were as passionate as the French city they consumed now battle creeping bouts of emptiness and an emotional wedge that we watch grow and grow. It becomes painfully obvious that their relationship is hurting but neither seems to know what to do.

Then there’s the story of Quintana (Javier Bardem), the local priest in Neil and Marina’s area. Quintana is a troubled man. He has a deep love for the Lord but he feels disconnected. He’s dying to have the intimacy with God that he once had. He visits the sick, the poor, and the needy. He shepherds his flock. Yet there’s still a void in his soul that he desperately wants to fill. But he’s also a lonely man bound by the shackles of the priesthood an its strict rules. Watching Bardem’s solemn face and lonely, tired eyes really drew me to this character. It did surprise me how little he had to do with what seemed like the main focus of the film but Malick shows some moving similarities between his struggles and those of Neil and Marina.

Their stories do begin to connect and we watch as everything plays out. But don’t expect a tight narrative with a fully disclosed ending. Malick is more interested in having us observe and experience than being baby fed an entire story. He wants us to feel, to sympathize, to grow angry, and to meditate. Our time is spent observing and Malick lays his canvas before us. On it he explores inner conflicts, poor and costly decisions, and revived hope. It’s presented through an artistic machine that utilizes everything including the stunning score, the beauty of nature, a graceful camera, and the natural ambiance of the world surrounding his characters.

Affleck and Kurylenko are transcendent. The film features little to no dialogue with the exception of voice-over narrations therefore the two lead actors basically perform off of each other or in scenes alone. Neither ever seem aware of the camera and both get lost in their performances. Affleck was a great surprise. He’s quiet, sincere, and a stout and strong contrast to Kurylenko’s subtle elegance and grace. And speaking of Kurylenko, I think she gives an awards worthy performance. But while the performances are key, a Terrence Malick film is usually made in the editing room. Don’t believe me? Just ask Rachel Weisz and Jessica Chastain. Both shot scenes for the film but all of them ended up on the cutting room floor. Regardless the editing is sensational and the film moves like a page of good music with the exceptions of a few patches of repetition in the second half of the film.

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As with his other movies, Malick uses his visuals to draw us in and also tell the bulk of his story. His sensational command of his camera and his artist’s eye for capturing beautiful shots are essential to his success. His camera is constantly moving and it always seems perfectly positioned. I was absorbed in what I was seeing and his fluid and poetic transitions from shot to shot kept me that way. Even for those who don’t respond to the film as a whole, they’ll be hard pressed to not be fascinated with Malick’s visual artistry.

There will be plenty of people who can’t latch onto “To the Wonder”. It will be perceived as slow, confounding, and lifeless. I couldn’t disagree more. I loved the film and while it’s certainly not as challenging as “The Tree of Life”, it’s still a captivating piece of cinema. It doesn’t answer every question. It doesn’t adhere to a conventional storytelling formula. It asks the audience to think and to feel. If you’re not open to that you’re probably not going to respond well to this film.

In his final review before his unfortunate passing, the late Roger Ebert said this about “To the Wonder” : “(Many will) be dissatisfied by a film that would rather evoke than supply.” I think he’s right and some early reviews have shown that to be true. But I believe Malick has given us another standout picture that takes a real (sometimes uncomfortably so) look at relationships, faith, and the quest for love in both. Yet it’s all told through an artist’s lens with entrancing metaphoric imagery and a steady grace that could only come from a Terrence Malick film. I know many are going to struggle with this movie but for me it’s the first great film of 2013.

VERDICT – 4.5 STARS

REVIEW: “Titanic” (1953)

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Classic Movie Spotlight

TITANICWhen mentioning “Titanic” and the movies most people today instantly think of James Cameron’s 1997 blockbuster epic. But there have actually been several movies centered around that ill-fated voyage in 1912. One of the best of these films came out in 1953 and like Cameron’s movie, this film was simply titled “Titanic”. It featured a fine cast and special effects that were considered pretty cutting edge for that time. Of course being a 1953 picture it didn’t depend on its special effects as heavily as Cameron’s. Instead the true strength of this version lies in the characters and their stories which unfold before us on the ship prior to the collision which would eventually sink the vessel.

In the film Julia Sturges (Barbara Stanwyck) boards the Titanic with her 18-year old daughter Annette (Audrey Dalton) and 10-year old son Norman (Harper Carter). She’s secretly leaving her husband Richard (Clifton Webb) and taking her children to America, leaving behind the lavish high society living that Richard is consumed with. But he gets wind of her plan and is able to buy his way onboard before the ship sets sail. Webb is perfectly cast as the snobbish and conceited aristocrat. He surprises Julia and their children in the dinner hall later that evening and let’s just say the exchange between husband and wife is pretty heated.

For much of the remainder of the film the two battle it out with their children caught in the middle. One of their biggest disagreements centers around their conflicting views of class. Julia is tired of the pampered upper class living and misses the more humble life of her American roots. Richard’s arrogance is such that he believes their worth is tied to their prosperity and social status. This personal conflict between them mirrors the class differences on the ship. The movie doesn’t spend a lot of time on it but we do get several looks at the swanky elegance of the first class passengers contrasted with the poorer people in the noisy and crowded decks below. Of coarse Richard and Julia also argue about the future of their children which leads to some brutal verbal exchanges and the unveiling of secrets that have been hidden for years. The scenes shared by Stanwyck and Webb are brilliantly written and performed and I found myself completely absorbed in every word.

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There are several other interesting characters on the ship as well. I loved the wonderful Thelma Ritter as a straight-shooting wealthy woman who’s still grounded in her working class roots. I also enjoyed 22-year old Robert Wagner as a peppy Purdue University tennis player who tries to win over Annette. Richard Basehart has some fine scenes as an ex-Catholic priest struggling with alcoholism. Unfortunately his character is terribly underdeveloped. But I also have to mention Brian Aherne as the ship’s Captain. He gives a subtle but focused performance that paints the perfect picture of what I would imagine the Captain to be like. There are several other characters that work for me as well and while I do wish some had been given more screen time, they each have their moments where they capture my interest.

But regardless of how well these personal stories play out, this is still a story of the disastrous maiden voyage of the Titanic. The film only spends about 30 minutes on the collision with the iceberg and the subsequent sinking of the ship and that works out just fine especially considering the film’s compact overall running time of 98 minutes. As I mentioned earlier the special effects are quite good. Considering today’s heavy CGI approach to visuals, it’s interesting to see how these older movies approached their special effects. I think what makes these so effective is that director Jean Negulesco never keeps his camera focused on them. He shows us some incredible long shots of the ship in various stages of descent but in each scene he cuts his camera or puts something else in the shot to keep us from seeing his visual trickery. The results help create a perfect sense of peril that I really responded to.

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Charles Brackett, Richard Breen, and Walter Reisch won Oscars for their work on “Titanic’s” screenplay and while there is a level of sentimentality and melodrama, I don’t think that’s a bad thing. And I wouldn’t say that their story is striving to be the most accurate account of the disaster. As with the most recent movie, there are several things that Titanic history buffs could pick away at. But in terms of dramatic storytelling the trio collaborate to create a highly entertaining character-driven drama. The dialogue is smart and efficient and its easy to be enthralled when it’s handled by such a wonderful and capable cast.

1953’s “Titanic” will never match James Cameron’s film in visuals, size, or scope but for me it doesn’t have to. This is a movie that certainly stands on its own. Its character based storytelling approach draws you into the story, and by the time the ship begins to sink you’re thoroughly invested. In many ways its structure resembles that of Cameron’s epic minus the newer film’s bloated first half. This is a much tighter story and there’s never a wasted or throwaway scene. I do wish we could have spent more time getting to know some of the smaller underdeveloped characters but I wouldn’t trade that for a single scene that Stanwyck and Webb share together. So if the only “Titanic” picture you’ve seen was the 1997 box office smash, take time to give this one a watch. It certainly deserves a new audience today.

VERDICT – 4 STARS

THE END

REVIEW: “There Will Be Blood”

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Writer and director Paul Thomas Anderson has certainly established himself within the art of filmmaking. He has shown a unique talent when it comes to cinematic storytelling that can’t be questioned. Critics and moviegoers alike have flocked to his work singing their praises. That being said, I have to admit that I am a little lukewarm when it comes to Paul Thomas Anderson’s films. But I also have to admit that his 2007 masterpiece “There Will Be Blood” is sheer motion picture brilliance both in terms of writing and presentation. Loosely based on a 1927 Upton Sinclair novel, “There Will Be Blood” is a mesmerizing period drama and character study that I’ve never been able to let go of.

Now let me go ahead and get something out of the way. The biggest reason this movie is so profound is because of Daniel Day-Lewis’ towering performance. Now there’s no denying Anderson’s wonderful script and his brilliant use of the camera, but it’s Day-Lewis who dominates every scene with a performance that I believe is one of the best of all time. He plays Daniel Plainview, a shamelessly amoral oilman Seeking wealth during the California oil boom. He’s tipped off about a possible motherload of oil resting beneath the small and poor community of Little Boston, California. He heads there along with his adopted son H.W. (Dillon Freasier) to get drilling rights through any ruthless tactic necessary.

While in the Little Boston, Plainview runs into Eli (Paul Dano), an equally manipulative man who is the leader of the small charismatic congregation. I am no fan of Paul Dano, but he does a serviceable job playing this sniveling, disgusting huckster. There are several see where his performance really stands out. But he also has the unenviable job of sharing scenes with Day-Lewis and he’s often times not up to the task. The two characters but heads on numerous occasions as each seek their own ambitions regardless of who they must mislead to do it. It’s truly fascinating to watch and Anderson weaves several of his familiar themes throughout the unfolding of these characters.

But it’s the Plainview character that I keep coming back to. He’s certainly a vile and contemptible man. But there are other moments where he is so convincing that even the audience almost buys into what he saying. There are also scenes such as where he threatens an abusive father that adds to the overall complexity of this character. Day-Lewis channels all of this through a rugged and worn exterior mixed with a convincing John Huston-like voice that fits the character perfectly. Watching this great actor open up and dissect this character Is like watching a master hone his craft. He loses himself in the character and and we the audience are treated to a delightful experience.

I do want to take a little time to talk about the visuals. Anderson does a great job portraying a dirty and almost desolate environment. The Texas landscape works perfectly with the film’s tone and the camera captures it well. There are scenes that feature an almost poetic fluidity with the camera as well as some beautiful tracking shots. I also love the peculiar yet menacing soundtrack from Radiohead’s Jonny Greenwood. The music lingers behind the scenes in an almost subtle way. But there are also specific moments where the music almost overtakes the scene yet it feels strikingly perfect. All of this works in unison to create a lively vibe yet disturbing undercurrent.

I truly love “There Will The Blood”. And while I won’t be mistaken for Paul Thomas Anderson’s biggest fan, this movie unequivocally proves to me that he is a genius filmmaker. It works on almost every level and I even found it’s scrutinized ending to be great fun. But more than anything it is another example of the brilliance of Daniel Day-Lewis. He won the Academy award for his performance and rightfully so. He drives this movie and you can’t take your eyes off of him. Combine that with Anderson’s creative prowess and you have a movie that will stay with me forever – a true classic.

VERDICT – 5 STARS

5 STARSs

5STAR K&M

REVIEW: “28 Weeks Later”

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As the title obviously suggests, “28 Weeks Later” is the sequel to Danny Boyle’s widely successful zombie flick “28 Days Later”. Juan Carlos Fresnadillo takes over the directing reins and goes to great lengths to capture the same frantic style and pacing that helped make the first movie so unique. Mission accomplished! “28 Weeks Later” does something few sequels are able to do. It gives us a better film than its predecessor. Make no mistake, I really liked “28 Days Later”. But for me it lost its way in the third act which ultimately hurt the film a bit. The sequel steers clear of that and the result is a terrifying action horror movie that is relentlessly brutal but thoroughly entertaining.

I’m sure you remember the premise of the first film. A radical animal rights group storms a laboratory in England and inadvertently unleash a highly contagious Rage virus. 28 days later London and the surrounding areas are abandoned with the exception of Rage-infected people running the streets. That brings us to the sequel where many things have happened in the 28 days since the outbreak. The infected are believed to have died of starvation. A U.S. led NATO force has come in, quarantined an area, and created a safe zone for resettlement. It’s here that Don (Robert Carlyle) is reunited with his daughter Tammy (Imogen Poots) and young son Andy (Mackintosh Muggleton).

“28 Weeks Later” is smart with its storytelling. The movie opens up with a brief but brilliantly horrific scene that shows Don narrowly escaping a raging group of infected. But in order to escape Don makes a highly questionable decision and I found myself quick to judge him for it. But in a very subtle way the movie asks the audience what they would do in that situation. And of course the question grows more complicated when we learn there are children involved. The film forces several of its characters to make important yet difficult choices. Jeremy Renner plays Sgt. Doyle, an Army Sniper forced to choose between his superior’s orders and his moral convictions. Idris Elba plays General Stone that has to make a choice that will either save or end hundreds of innocent lives. Harold Perrineau plays a helicopter pilot called on to make some critical decisions by his best friend Doyle. It’s a movie of tough choices.

But c’mon, this is a zombie horror movie so you know things go bad at some point. I don’t want to give anything away but the Rage virus gets loose in the safe zone in a very surprising way. Just as in the first film, the infected are brutally vicious and ravenous. They’re genuinely frightening as they relentlessly pursue their potential meals. They run at breakneck speeds, burst through windows and doors, and spew gallons of infectious blood. They are pretty grisly sights and Fresnadillo doesn’t shy away from the gore. The infected transformation scenes are gruesome and the various zombie head shots, decapitations, and torchings aren’t for the faint of heart. Yet the graphic effects feel right at home here.

“28 Weeks Later” doesn’t stop to smell the roses. The story moves at a frantic pace with tension and intensity playing bigger roles than genuine horror movie scares. But the entire concept is laid out so well that there are moments that are utterly frightening. This is helped by some deeply committed performances. Renner is really good and convincing as is Elba. I was also impressed by the performances of Muggleton and Poots as the two kids who play a major role in the story. I also have to mention Rose Byrne’s solid work as a military doctor who makes saving the kids her top priority.

I expected “28 Weeks Later” to basically be exactly like the first film and that’s not a bad thing. But I certainly didn’t expect it to be a better movie that grabbed me early and kept me on the edge of my seat all the way to it’s fantastic final shot. Fresnadillo perfectly matches the style and tone of Danny Boyle’s first film while also making this movie his own. It’s much more straightforward but equally intelligent. “28 Weeks Later” is a wild ride and as far as horror movies go this one was right up my alley.

VERDICT – 4 STARS