Posts Tagged ‘action’

Under The Skin – Pretty Pictures Signifying Nothing

Posted 05 Nov 2014 — by Ezra Stead
Category Film Reviews, Movies I Didn't Get

By Ezra Stead

Under the Skin, UK / USA / Switzerland

Directed by Jonathan Glazer

Under the Skin is all about atmosphere and striking imagery, at the expense of any real narrative or character development. Species is a 1995 sci-fi/horror/action thriller about a terrifying extraterrestrial monster that assumes the physical form of an attractive and notoriously easy earth girl, then uses this form to dupe horny earth men into going somewhere private with her/it. She then reveals her true form and eats them. Or uses them to incubate her eggs. Or something. Point is, the guys meet a messy demise; glorious ‘90s nudity and gore abound. How do you take that basic, very cool idea and make an intolerably tedious art film out of it? Ask Jonathan Glazer.  Read More

10 Sequels That Are (Arguably) Better Than The Original

Posted 27 Nov 2013 — by Ezra Stead
Category Essay, Film Reviews, Movies I Got

By Ezra Stead

The Bride of Frankenstein is not only better than the original Frankenstein, but also the best of all Universal monster movies.We’re used to movie franchises being victim to diminishing returns, with the sequels to classic films generally lackluster at best (Ghostbusters II, Halloween II), and at worst, utter travesties that threaten to tarnish the legacy of the original (the Matrix sequels, The Godfather: Part III). On rare occasions, though, the second film in a trilogy or franchise (which I consider to be any series with more than three movies) actually surpasses the original in some way. Here are ten sequels that are, in some circles at least, considered better than the films that spawned them, and my thoughts on each.

10 Sequels That Are (Arguably) Better Than The Original1. THE BRIDE OF FRANKENSTEIN (1935) – this is the one that got me thinking about the topic in the first place, and it’s also the oldest of the films discussed herein. James Whale’s follow-up to his 1931 hit, Frankenstein, ties up the loose end of Victor Frankenstein (Colin Clive) promising his monster (Boris Karloff) a bride to quell his loneliness. It also features most of the iconic images and dialogue associated with Universal Studios’ most famous monster, including Frank learning to smoke in the hut of the blind man he befriends (which was cemented in the public consciousness by Mel Brooks’ spoof of it in 1974’s Young Frankenstein). Bride’s expert blend of humor and pathos, as well as truly chilling moments such as Frank’s hollow, soulless intonation of the classic line, “I love dead,” make it not only better than the original Frankenstein, but also the best of all Universal monster movies. Read More

Mission: Impossible – Ghost Protocol

Posted 02 Jul 2012 — by contributor
Category Film Reviews, Movies I Got

By Scott Martin

Mission: Impossible – Ghost Protocol, USA / United Arab Emirates, 2011

Directed by Brad Bird

Mission: Impossible - Ghost Protocol stands well enough on its own, and as part of the series. It’s worth noting that Tom Cruise performed all of his stunts in this film, as well as the other three Mission: Impossible films. Sure, there are bits of CGI, though seamless, and I’m sure a large team of medics and nets and other things were around to make sure he was alive at the end of the day, but that’s really the Burj Khalifa in Dubai, it really is the tallest building in the world, and that really is Tom Cruise dangling off its side, thousands of feet in the air. And that’s not even the most impressive set piece in the film.

You don’t necessarily have to see the first three M:I films to get this one and enjoy it, but it can’t hurt. Here’s a brief recap just in case you missed them:

Mission: Impossible – they make the hero from the TV show the bad guy in the film.

Mission: Impossible 2 – they do some stuff with motorcycles and Thandie Newton.

Mission: Impossible 3 – There’s an actual story involving Ethan Hunt (Cruise) and his now late wife, involving her death, and a couple other intricate missions. Probably the only important story of the three, even if it’s not the best film at that point. Up until now, the first adventure remained the most startlingly well-made of the series, but, with the inclusion of Ghost Protocol into the canon, those three seem a mite irrelevant in the world of filmmaking.  Read More

Transformers – Michael Bay And The Cinema Of Subtlety

Posted 29 Apr 2012 — by Ezra Stead
Category Film Reviews, Movies I Didn't Get

By Ezra Stead

Transformers, USA, 2007

Transformers: Revenge of the Fallen, USA, 2009

Directed by Michael Bay

Transformers is a pretty bad movie, but its first sequel is unbelievably awful. With the latest Michael Bay monstrosity, Transformers: Dark of the Moon, taking more than a billion dollars at the box office and potentially remaining the top-grossing movie of this year (please, please, prove me wrong, awards season), now would be a good time to revisit the first two, which might help explain why I have sworn off the third one, or any future editions. I hope no one thinks I’m a snob just for occasionally displaying some standard of good taste. Remember, I love The Toxic Avenger (1984) and The Lost Boys (1987), not to mention much lower quality films like The Room (2003) and Birdemic: Shock and Terror, so I’m not always too pretentious for a good time with a bad movie.  Read More

Real Steel – It’s The Real Deal

Posted 04 Nov 2011 — by contributor
Category Film Reviews, Movies I Got

By Scott Martin

Real Steel, USA / India, 2011

Directed by Shawn Levy

Real Steel is a genuinely lovable movie. Boxing movies all have one thing in common, especially boxing movies these days, in our generation: there’s that moment of pure bad-assery that lets you know things just got real. The hero, our hard-boiled yet soft-hearted fighter, is getting beaten down, physically and emotionally, and you have every reason to believe it’s over – there’s no getting up off the mat, no getting out of the corner or off the ropes, and no closing those wounds – but the motion will slow, the music will stop, and the boxer will look at his opponent and do something that should make that opponent very afraid: smile. Things just got real.

That’s probably in my top five movie cliches that don’t actually put me off to the whole project. Real Steel, fortunately, has a moment like that. If you’ve seen one boxing movie, you’ve seen Real Steel. While this isn’t exactly Rocky (1976) or Cinderella Man (2005) with robots, it has the same idea; you have your rundown fighter on his last legs, trying to make it all work, while overcoming all sorts of adversity. In Real Steel, that adversity comes in the form of gambling addiction, debts, and a kid. Of course, the kid proves to be the one thing that holds our hero together. That’s not a spoiler, that’s a formula. Don’t yell at me. Read More

Drive – Full Of Adrenaline

Posted 02 Nov 2011 — by contributor
Category Film Reviews, Movies I Got

By Scott Martin

Drive, USA, 2011

Directed by Nicolas Winding Refn

Drive is one of the biggest sleepers of the year. If you watch Drive on a superficial level, you get a bad-ass action film – a slow burning, tightly paced one, at that – but if you watch it from a critical standpoint, you’ll notice more than one polite tip of the hat to Taxi Driver (1976), slight turns from Martin Scorsese’s directorial play-book by director Nicolas Winding Refn. Really, Drive could be viewed as a pastiche of action movies and westerns from the glory days of Hollywood in the 70’s and 80’s era.

Ryan Gosling has a skill for determining the darker aspects of characters that appear to be a little blank on paper. In 2001, he played a self-hating neo-Nazi Jew in Henry Bean’s The Believer; in 2010, he was a failing husband in Derek Cianfrance’s Blue Valentine (I really hope you all saw that); and here, he’s the wheel-man with no name. He goes by “the kid,” and that’s barely a term of endearment from the man who took him in. He has a hell of a job: he’s a stunt driver for the movies by day, and a getaway driver at night. Of course, he’s freelance all the way. When a producer needs a flawless car crash, he’s the guy, and when a mob king needs a flawless getaway, there’s nobody better. He works with a man named Shannon (Bryan Cranston) who gave him a job years before the movie (and the kid’s criminal activity) started. Read More

Drive – Nasty, Pulpy, Wonderful

Posted 26 Sep 2011 — by Ezra Stead
Category Film Reviews, Movies I Got

By Ezra Stead

Drive, USA, 2011

Directed by Nicolas Winding Refn

Drive is a wonderfully pulpy film noir from acclaimed director Nicolas Winding Refn. Why can’t Hollywood put out more movies like this? Nicolas Winding Refn’s Drive is a superbly well-crafted modern film noir that expertly builds and breaks tension, alternating between heart-pounding suspense, lyrical moments of quiet human connection and graphically violent action setpieces that should manage to shock even the most jaded viewers. It also contains some of the most exciting car chase scenes since Quentin Tarantino’s Grindhouse feature Death Proof (2007), beginning with the opening sequence.

And what a sequence it is. The beginning of this film is a master class in how to build cinematic tension. After a brief, beautifully shot introduction in which Driver (Ryan Gosling) outlines the rules of his business as a getaway driver, we see him on a heist with two unknown criminals. As promised, he gives them five minutes to carry off a robbery, then drives them to safety before disappearing into the night, as anonymous to the two criminals as he is to the cops he helps them evade. Using a police radio in order to track their progress in attempting to catch him, Driver uses his wits and consummate skill in the profession that bears his name (a small joke on my part; his actual name is never said in the film) to outsmart numerous patrol cars and even a police helicopter without ever breaking a sweat. It is a bravura opening perfectly set to a brilliant score by Cliff Martinez, perhaps best known as Steven Soderbergh’s favorite composer, that subtly evokes a ticking stopwatch in this scene in order to underscore the tension. Read More