Wednesday, March 30, 2011


Superbly crafted mystery about two detectives, one a veteran (Freeman) one a rookie (Pitt), on the hunt for a serial killer inspired by the seven deadly sins. Isn't dated and is an instant classic. Ermey and Paltrow are well-cast as supporting characters. Scary, thrilling, memorable; but predictability is nearby, and even the climatic twist doesn't appear to be as shocking as intended. Some of the characters' back-story (specifically Freeman's) seems to be overly developed and completely unnecessary to the plot at hand. Still a terrific pulls-no-punches crime-thriller that made David Fincher a recognized director, and rightfully so!

Sunday, March 27, 2011

Office Space

Cult classic comedy based on the series of cartoons MILTON by Mike Judge (creator of BEAVIS AND BUTT-HEAD, and writer/director of this film) about a handful of people who are fed up with their jobs. Many colorful characters, each of whom bring their own special contribution to this laugh riot (you won't forget Stephen Root or Gary Cole) and is something anyone who has ever held a job can relate to in some form. Terrific soundtrack with contemporary hip hop and rap music that ironically fits perfectly into this story of white-collar folk. A must see!

Thursday, March 24, 2011

Hot Fuzz

Hilarious action-packed black comedy about overachieving London police officer Pegg forced to transfer into the country by jealous superiors who "Simply makes us look bad." When he arrives in Sandford, he notices petty laws continuously being broken and commonly hears the phrase, "The greater good." This all starts to add up when citizens of Sandford begin dying in tragic accidents. Frost is terrific as Pegg's dim-witted partner, and Bill Nighy is perfect in the bit role of the chief inspector. Plenty of laughs, plenty of blood, but perhaps a little too much action during the conclusion (probably a little overlong too). Still a classic in its own right, Pegg/Frost team continues to satisfy, and the film is still hilarious after several viewings. Considine and Spall are equally funny as the cocky moronic detectives.

Wednesday, March 23, 2011

Love & Other Drugs

Raunchy romantic-comedy about pharmaceuticals salesman and player Gyllenhaal who's breath taken by a free-spirited hard-to-get Hathaway (who has been diagnosed with stage one Parkinson's). The two leads have the needed chemistry, but perhaps lack the needed charisma. Azaria, Gad and Platt are the ones that make this date night outing a hoot. Definitely one of the romantic-comedies the men won't dread--appears to be part of a new trend of kinky carefree sex with passionate elements to make viewers of both genders enjoy the show. That's an okay approach, but the interesting storyline is what also makes this Hollywood love-laugh-riot above par.

Wednesday, March 2, 2011

The Kids Are All Right

*** This review may contain spoilers ***
Those who liked the ending seem to lean towards the argument that it was realistic and unconventional. I'm all about that. However, it should be done creatively--meaning, you should at least follow the basic fundamentals of film and story. Neither character arc nor story arc were fully complete. The ending was a copout, disguised as being "true" and "down to Earth" and whoever bought it is a total tool.

Both mothers were completely at fault and they were the ones that suffered the least. Bening's character had the personality that would make anyone want to seek someone else for affection, while Moore's character's solution to that was completely wrong. The kids' suffering is a no-brainer, and they are truly innocent bystanders. As for Ruffalo's character; he was a guy who opening embraced children he had no obligations to and he was simply the lover of a hurt person. The children and the father suffered the most, but they deserved it the least.

This could have been the "right" way to go about the story, but without a true lesson to the conflict, all of it is simply meaningless. There's nothing wrong with being unconventional and showing what can break a family up; but to not recognize who are the victims and who are the instigators--which this film is without a doubt guilty of--makes all the events melodramatic shallow crap.