JCVD (2008)

Jean-Claude Van Damme, the muscles from Brussels, is a washed up actor who's hard up for cash and credibility. Then he gets involved in a bank robbery. There's a strange thing going on in this mostly-French language film. With Jean-Claude playing himself, the fourth wall is but a plot device, and in fashion similar to Being John Malkovich there's the sense that the things going on behind the scenes are as important as the on-screen result. Van Damme seems to be trying to reinvent himself with this film, repositioning himself with a mea culpa for his reputation, and the result is surprising and compelling. Sadly, the same cannot be said for most of the remainder of the film, which is a largely standard trip through the genre. There's nothing particularly bad about the story being told, just that it doesn't really stand out. Yet still, there's a nugget here from Van Damme, a genuine showing that there's more to things than what usually makes the cut. While the film itself may not be much, there is still something honest to be appreciated.

6 out of 10.

The Box (2009)

Someone drops a box off at your door. Inside is a button. You are informed that if you press the button someone you do not know will die, and you will be given one million dollars. You have twenty-four hours to decide whether or not to push the button. And from that, things get weird. What starts out as a great bit of mental torture and suspense quickly gives way to an extended episode of The Twilight Zone with all the trimmings. Unfortunately, it's just about as cheesy too. There's some excellent weirdness going on in this movie, but while the scope of events from one reveal to the next is spot on, the sense of mystery doesn't quite follow suit. Lots of things change for the cooler, but it's hard to really care beyond curiosity. That's a shame too, because with a bit more love and a lot less runtime this could have been a perfect popcorn muncher. The same Richard Kelly that brought us the excellent Donnie Darko does a very good job capturing the vintage 70s television vibe throughout, but alas it just doesn't quite come together in a way that does its far-out ideas justice.

5 out of 10.

Das Boot (1981)

As far as harrowing scenarios go, it's hard to picture worse than being trapped in a metal contraption hundreds of feet below the surface of the ocean with every pipe around you creaking under the pressure, and enemy ships passing by above you determined to see you drown. Try to forget for a moment that his is a film about Germans in World War II; just focus on the human drama on display. The result in unbelievably tense and thoroughly nerve wracking. There is rarely a dull moment in the film, as each passing boat or each life-threatening trial perfectly ups the ante. Being that it is film about the unrelentingly tight quarters of a German U-Boat, the atmosphere of cramped quarters is sold to perfection. If you are claustrophobic, you may want to give this one a pass It may not be perfect, largely thanks to some transparent production whenever the boat surfaces, and an ending that feels either contrived, or bluntly honest, but even with those caveats this film is a masterpiece of total suspense, and a fascinating peek at a nightmare situation for many people.

9 out of 10.

Wall Street (1987)

At the risk of dating this review and making it less relatable to future generations, within the confines of our current economic turmoil this entire thing feels almost like some sort of fable or fairy tale. Showing a man's meteoric rise to wealth under the wing of an entirely ruthless stock buyer, this is the kind of film that reminds a person of the reasons why our portfolios all droop and drag right now. The core of the film is simple rise-and-fall type stuff. It contains almost no surprises, but is still smart about what and how it shows you the machinations at play. Better than that, though, is Michael Douglass as the buyer. Every tiny piece of the character can best be described as “total bastard”, all the way from his suit to his “greed is good” speech. As a relic of a bygone era of infinite prosperity, it is behind the times, but it seems to know it was a snapshot and not a timeless yarn. For what it is, the bits and pieces are impressive, and Douglass is magnificent. Beyond that, it's almost depressing the things this film preceeded.

8 out of 10.

Casino (1995)

Ever the master of the the montage and the mob movie, Martin Scorsese here gives us the raw, bloody red belly of Las Vegas casino management in the late 70s. It's basically like Goodfellas but with more sand. And like Goodfellas, it's based on truth. Here you get all the Scorsese crime film staples: brutal, unglamorous violence, an absolutely pitch-perfect classic rock soundtrack, Robert De Niro being somber and awesome, and Joe Pesci throwing out hundreds of the most finely crafted f-bombs in cinema. The whole thing runs at a blistering pace as well, which is good because even at such a brisk jog it still runs just shy of three never-dull hours. The epic length begets a story that feels even bigger; the first hour alone has enough plot to bury a half-dozen other movies and things only build, beautifully, from there. Martin Scorsese is simply the master of this genre, and once again he shows us why. There isn't a weak part, a slow moment, or a wrong cue anywhere to be found in this film. About the only way in which it fails is in not giving more of the real life stories behind the mayhem.

10 out of 10.

American History X (1998)

Obvious message about racism is obvious. Between the heavy-handed slow-motion, and an overbearing score that's as subtle as a sledgehammer set on fire, this is a film that is so in service to its message that it nearly forgets about filmcraft. It's not that that message isn't worth hearing, or is any less relevant today than it was when the film was made, it's just that being beat over the head with one extreme after another has a way of disengaging the people who need to hear it. Still, taken for the heavy-handed monster that it is there is still some merit here. Seeing an ex neo-Nazi try to keep his little brother from following in his footsteps is a good opening salvo in the discussion, but ultimately the movie itself only ever feels like just that: an opening salvo in the discussion.

6 out of 10.
Might take some heat for this one...

After Last Season (2009)

As a four-minute short film about neuroscience students unraveling a murder plot, it might have made for a workable B-grade student film. Unfortunately, this film goes on. And on. And on. What might work as an in-and-out college-level short is instead stretched out to ninety joyless minutes. Where to begin? How about the constant sound of pipe drainage in the background of every scene, or how each set is just some corkboard over drywall, or the MRI made of construction paper? Yes, the film really is that cheaply made. But worse is the unbelievable amount of dead space in the film. The actors show a largely inoffensive blasé attitude, but with gigantic spans of time between each line and a script filled with acres of completely useless information the whole affair seems like glacial episode of Seinfeld without even an attempt at humor. From top to bottom, this is just bad. It's barely even ripe for ribbing. That said, there are still worse films out there. The worst tend to waste talent. For this, there wasn't any talent to begin with.

1 out of 10.

Burn After Reading (2008)

Seeing the CIA's braintrust crash against the jagged rocks of clueless stupidity should be more fun than this. When the wrong information falls into the hands of a a batch of barely-competent fitness instructors, there should be some play on what 'government intelligence' is, or some laughs that play up a lack of preparation, or something. This is more of a drama about things that are difficult to get invested in than it is a straight up comedy. Deadpan presentation may be the Coen Brothers' M.O. but this one takes itself too seriously to be anything more than passing funny. Then as a set of twisting traps and back-and-forth entanglement it also comes up short. It has a few moments that stand out, and at least one excellent left turn, but largely this is a bit of well presented, interesting-but-not-compelling fluff. It's inconsequential and innocuous, too serious to be silly, too silly to be serious.

5 out of 10.

L.A. Confidential (1997)

Police procedural films live and die by their plot twists. It almost isn't worth bothering if the movie's entire world isn't turned upside-down by the time the credits kick up. This tries to be a salacious movie, a kind of what-if scenario by way of taking a 1950s mystery and giving it a modern coating of grit. It starts off as it should with each of the cop archetypes present and accounted for, right down to the Irish-accented police captain. Then, yes, things get complicated. As a novel the story must have been a gripping yarn, but as a film things get out of hand in just the right way to make the plot hard to follow. That doesn't make it any less interesting, but it's hard to invest in the story when you aren't sure who's double-crossing who exactly. The second half of the film is a whirlwind of shake-ups, and while they are excellent moments, there's little here that lingers after its over. For all the star power, and as excellently staged as moments within the story are, there's little here of substance. It's a fantastic quick fix for the genre, but it's a bit hollow.

7 out of 10.

12 Angry Men (1957)

Courtrooms always seem to get the glory—attractive lawyers passionately defending or prosecuting some complex case, snide remarks to a judge threatening contempt, and a resolution that feels hard-fought and just. Equally as important, yet often overlooked, are the juries who decide these cases. The story here is as simple as the title: a jury, retiring after the completion of a murder trial, deliberate and discuss the case to try to reach a verdict. What makes this story so damn interesting is how well chosen each of the twelve personalities are. Some just want to leave and get back to their lives, some genuinely want to discuss the case, some are convinced with solid thinking, some just go along with the prevailing crowd. It's fascinating to watch them bounce off of each other, arguing their perception of the facts, and slowly let a clearer view of their decision come together. The film doesn't play for some grander message about what is good and great about the justice system, merely that everything is more complicated than the surface tends to show.

8 out of 10.

The Curious Case of Benjamin Button (2008)

That this film is about a man who ages backwards is almost entirely beside the point. As a central hook the idea is all but wasted beyond the introductory set-up, and is more an excuse for Brad Pitt to get progressively more attractive as the film goes on. What this really is, is a treatise on death and loss, on endless time and people that come and go. In that way, the story is a tragedy almost from the moment it starts. Yes it tries to play your heartstrings like a harp, but there is so much beauty to be found along the way. The production is lavish, with director David Fincher's signature eye for incredibly small detail pouring over every frame. The acting hits home as well, with both Pitt and Cate Blanchett turning in work that ages gracefully even when their characters don't. Coupled with the script and story, based on a short work by F. Scott Fitzgerald, the result seems a darker take on themes similar to Forrest Gump. This is a remarkable film for reasons that are difficult to entirely nail down. It is effective but obvious, beautiful, familiar yet new, and is the kind of experience that can sneak up on someone when they're not expecting it. If you could do with a bit of wistful melancholy, you'll find exactly what you need.

8 out of 10.

The Road (2009)

Quietly trudging through the wasteland after the end of the world, a father and son simply try to survive. Just as Cormac McCarthy wrote his silent story of desperation, so it is with this film. It is a surprisingly faithful adaptation, especially considering how devastating and cruel the remainder of the world is portrayed. There is no safety, no beauty, no kindness, nothing left in this setting. Still, for as accurately as the original vision has been fit to the screen there is a surprising, if slight, disconnect throughout. This may be a perfect example of something being lost in translation. Without the stream-of-conscious narrative of the book, the crushing weight of the main characters situation doesn't settle as heavily. Similarly, the few dangers the characters encounter feel less ominous, and far more direct. Yet still, despite the subtlety lessened impact brought about, there is more than enough gravity to circumstances, more than enough desperation to go around.

8 out of 10.

Once Upon a Time in America (1984)

Grand and lavish, Sergio Leone's final film has almost everything you could hope for. It is beautifully produced, perfectly paced, wonderfully acted, and expertly scored. It's a damn shame the final cut, and the uneven writing, cut the legs out from under it all. Robert De Nero and James Woods turn in career performances, pouring in all they have at their considerable disposal, and yet even at almost four hours the number of loose ends and awkward jumps in time undermine the incredible good will brought on by virtually everything else. Watching the brutal rise of a group of street punks grow into their own brand of organized crime is incredibly fascinating, but even when the film is at its height there is always a sense that so much more is being missed. Ultimately, too many threads are begun and built up over several hours, only to be abandoned with no closure. The characters at least get their own sense of resolution, but too much is left unsaid. The dour finale unfortunately comes off as awkward. And yet there is still more than enough here to grip, to celebrate. It takes a story far to big to be a movie in the first place to finally topple Leone, but while it falters it still does so with undeniable style and care. This is a masterpiece, but a fatally flawed one.

6 out of 10.

Once Upon a Time in the West (1968)

Also known as C'era una volta il West.
Nobody does the western like Sergio Leone. Returning to the murky waters of moral uncertainty, this epic of revenge and perseverance shows off the very best of what the venerable director is can do. On the one hand you have a fairly straight-forward tale of a man out for revenge for an unspeakable wrong done to him, and on the other we follow a woman fresh off the train grimly determined to make it on her own as a homesteader. The dusty back and forth that ensues is every bit the director's exceptional trademark. There has never been another director who can characters doing so little seem so intensely interesting. While ultimately it is perhaps a less complicated film than some of Leone's other work, the more narrow focus lets the suspense grow beautifully, and allows the final payoff to have a lasting sense of satisfaction. Even when he sets out to make a more common western, Leone still delivers the best in the genre.

9 out of 10.

Inception (2010)

So few directors can orchestrate a mystery better than Christopher Nolan. Hot off of The Dark Knight, Nolen gives us an opus of a passion project, a film so cleverly intricate and expertly executed that there is little left to do in the end but marvel. At its core it is simply a grand heist movie, but when the goods are stored in a person's subconscious things start to get tricky. And surreal. Very surreal. What plays out is an incredibly labyrinthine story accented with mind-bending, well, mind-bending. It's unbelievably fascinating and expertly crafted. The sheer scale and breadth of thought that goes into some key sequences is enough to fill the imagination. Yet there Nolan is, confidently pushing along, and making the most complex of concepts sing and dance and comfortably layer on top of themselves. It's a total trip on a scale not seen since The Matrix. The only downside is that you'll spend so much of your brain coming to grips with its crazy ideas that the emotional side of the story has trouble staying potent. But for a film to fill the head with so very much, and successfully nudge the audience along down such a winding road, the few tiny flaws can easily be forgiven.

9 out of 10.

Tombstone (1993)

Westerns tend to fall into two camps. Either they present a difficult message about the morality of a time gone by, wistful recollections of lives and loves lost and a country that still had some mystery to it. Or they are simply about the a bunch of the manliest men doing the manliest thing a man could do in the manly Wild West: killing folk with six-shooters. Unfortunately, this falls into the later category. That doesn't mean it's a bad film, per se, but if you're going to show off famed lawman Wyatt Earp's handiwork at the O.K. Corral, it seems a waste that the lasting impression the movie tries to shove around is “look how awesome this was!” Still, the frontier town vibe, the optimistic, if simplistic, motives of everyone involved, and the presence of some of the most impressive facial hair in cinema history make this worthwhile if you're after a solid no frills western. Watching Val Kilmer chew on scenery as Doc Holiday for two hours is worth the price of admission alone. While it seems hard not to knock the film for what it ain't, what it is is generally pretty good.

7 out of 10.

RocknRolla (2008)

For director Guy Ritchie, returning to the genre that helped him make his mark must be a bittersweet homecoming. The over-stylish British ganster genre really hasn't existed without him, and having him back ought to be enough to recharge the batteries in a single shot. But alas, no. The inventive grittiness present in both Lock, Stock and Two Smoking Barrels, and Snatch, is gone, replaced with the relative gloss of real estate extortion gone wrong. The style of filmmaking itself is still present, thankfully, with the ever-fun smash cuts and whip pan cutaways. It's never dull to look at. Though little of that matters when the script tries and fails to be funny as often as this one does. Winding and wacky as much of the film manages to seem, a lot of it still feels like a hollow shell, or a vain attempt to reproduce something that the director has simply grown out of.

4 out of 10.

Unforgiven (1992)

You can't argue that Clint Eastwood didn't have a good teacher when it comes to putting together a good western. For the most part, those lessons seems have been taken to heart, as this tale of beat up brothel girls and the men hired to exact revenge manages to hit all the right notes. You've got your wide and untamed expanses, a tough-as-nails sheriff trying to keep order, hookers with hearts of gold, and Eastwood himself bringing the permanent squint. The devil, of course, is in the details, and this in many ways feels like Leone's (and Eastwood's) Man with No Name character a few decades hence, reformed and deeply remorseful. Everything has an air of melancholic sadness, every shootout feels like a hollow victory. There's an emotional depth here uncommon in the genre, in contrast to the usual fond nostalgia for a bygone era. This is a film that takes its time not to build suspense, but to build a point. The result is a feeling of heartbreaking loss at what time and sorrow can do to a man.

9 out of 10.

City of God (2002)

Also known as Cidade de Deus.
Liked Goodfellas and don't mind subtitles? Then you absolutely need to see this. Detailing the life of a boy living in the slums of Rio de Janeiro as those around him grow up into a life of crime, each step forward in this twisted narrative shows off more fascinating wrinkles while the scope just keeps expanding. It's a film that enjoys taking frequent detours from the main plot, cleverly charting their way back to the core, and treats the unbelievable violence going on throughout almost with a kind of nostalgia. For these people, the chaos and danger is just a way of life. The result is epic yet intimate, and incredibly focused on its characters and culture. By the end it feels significant and essential, it's harsh realities shockingly relatable, and effectively unforgettable.

9 out of 10.

Body of Lies (2008)

Although his visual sense has only grown with age, the same cannot be said of director Ridley Scott's consistency. This twisting tale of a pair of CIA agents butting heads over anti-terrorist operations in the middle-east is big on visual punch, but is too self-important to settle comfortably. Difficult names with complicated alliances are thrown around casually, and in ten minutes all the thinking committed to sorting out where they fit in the story is rendered irrelevant as they either die, or some difficult revelation switches up the playing field. Its eye candy is opulent throughout, but it lacks a pace slow enough to be understood or, sadly, cared about. By the time it's over and done there's no great message, no single “wow” moment, no lasting flavor. It's not a waste of time, but neither is it a particular good use of time either. But it sure looks good.

5 out of 10.