SYNOPSIS: While working with the UN Forces in the Democratic Republic of the Congo, Marine Sgt. Brandon Beckett (Chad Michael Collins), son of renowned sniper Thomas Becket, receives orders to rescue a European farmer trapped in the middle of hostile rebel territory. While he and his men arrive at the farm, a mysterious sniper ambushes them, wounding Beckett and killing everyone else. With the help of his father's former protege, sniper instructor Richard miller (Billy Zane), Beckett must learn to think like a sniper to track down the assassin before the sniper returns to finish the job.
MOVIE REVIEW:
Hands up, those who remember the 1993 movie “Sniper” starring Tom Berenger- chances are, only the hardcore action fans will probably have some inkling of that. But yes, after spawning two direct-to-video sequels in 2002 and 2004, the producers have decided to make a quantum leap with the franchise (if you can call it that) by Reloading it with a new lead character- Sgt Brandon Beckett.
If the surname sounds familiar, that’s because he’s actually meant to be the son of Tom’s character in the earlier Sniper movies. Brandon however is a United States Marine working with the United Nations forces in the Democratic Republic of the Congo. He isn’t a sniper yet when we first meet him, which provides reason for writer John Fasano (also writer of Universal Soldier: The Return and the TV movie Jesse Stone: Stone Cold) to bring back instructor Richard Miller (Billy Zane) to skill Brandon in the art of sniping.
But to get there, Fasano weaves an all-too straightforward story involving an extraction mission gone awry. Ambushed by a mysterious sniper, Brandon is left the sole survivor among his team of five men and goes off on a lone mission of vengeance after being stone-walled by the UN’s policy of non-intervention. Richard’s involvement smacks of contrivance, but hey this is not the sort of movie that you take to task over such matters.
Indeed, if there is any reason you’re even watching this movie, it’s most surely for the action. The director here is one Claudio Fäh, and seems a little too taken by first-person shooter games. That would explain his choice of handheld close-up shots, which he has probably chosen to put his audience in the thick of the action. Unfortunately, it’s overdone and the opening action number where Brandon’s team gets gunned down lacks punch.
Ditto for the few action sequences that take place before the climax, which is probably the only decent piece of action that the movie has going for it. Rather, there’s a fair bit of exposition in the middle as Brandon meets a hunter Martin Chandler (Patrick Lyster) who has made it his personal mission to rescue children from being kidnapped by rebel soldiers, as well as a wholly unnecessary sex scene between Brandon and his superior (Annabel Wright).
As with any action movie, the acting is secondary, and newcomer to the series Chad Michael Collins does an unremarkable job with his character. But that doesn’t matter if there were enough hard-hitting action to make up for it. Yet even on that level, “Sniper Reloaded” fails to deliver, testing the patience for the undemanding hardcore action fanatic waiting for the guns and the bullets to materialise.
Yes, Fäh seems to have forgotten the raison d’être for his movie’s existence, and that is not even some last-minute debate about the necessity of collateral damage and the complexity of politics can redeem. “Sniper” was all about the action, and by forgetting to emphasise that, this reboot of sorts is no better than just firing blanks
SPECIAL FEATURES:
NIL.
AUDIO/VISUAL:
The Dolby Digital 5.1 audio at least tries to make use of the back speakers whenever there is any action going on in the movie. Visuals are clear and sharp.
MOVIE RATING:
DVD RATING :
Review by Gabriel Chong
Posted on 17 June 2011
SYNOPSIS: Danny Maccabee (Adam Sandler) meets the girl of his dreams (Brooklyn Decker) but has to enlist his loyal assistant Katherine (Jennifer Aniston) to pretend to be his soon-to-be ex-wife in order to cover up a careless lie. When more lies backfire, Katherine's kids become involved, and everyone heads off to Hawaii for a ridiculous, out-of-control weekend that tests the limits of how far we'll go for love.
MOVIE REVIEW:
Adam Sandler seems like a genuinely nice guy. He is funny, looks a bit goofy and likely the best pal to hang out with during your free time. Jennifer Aniston looks more of a girl-next-door type and best of all, likely to bond with any guys around her. And thus for the 1288 times, we see both of them reprising the same roles all over in “Just Go With It” and yet manage to grin throughout the movie.
Directed by Sandler’s long-time collaborator Dennis Dugan, “Just Go With It” has Sandler playing a successful playboy, plastic surgeon Danny. When he finally met the girl of his dreams, Palmer (Brooklyn Decker) and wishes to settle down, he has to first enlist the help of his clinical assistant Katherine (Jennifer Aniston) to pose as his soon to be ex-wife in order to cover up a lie he has earlier told Palmer.
If you have been a faithful fan of Adam Sandler and Dennis Dugan’s productions for the last decade of so, you would have knew of all the expected laughs and gags. Racial stereotypes, horrible prosthetic nose, hit-in-the-groin, crazy fake accents and overly smart kiddos, you name it, “Just Go With It” has it. The chunk of laughters here is mainly ad-lib I suppose and despite Sandler receiving top-billed, the actor who is fast losing lost his credentials as a comedian gladly let his other co-stars took the spotlight right here. Most of the generated guff actually came from Nick Swardson, another frequent actor on many past Happy Madison productions appearing as Danny’s cousin, Eddie. The enthusiastic comedian finally has a part he can shine in and he does deliver in a couple of laugh-out-scenes, one that requires him to save a choking sheep.
Brooklyn Decker who is pretty new to the movies has the thankless role of being the romantic interest will likely be best remembered for her excellent figure and yes for the record, the former Sports Illustrated model is indeed babelicious in a bikini. Everyone’s favourite Jennifer ‘friend’ Aniston is definite capable of bantering opposite Adam Sandler and their chemistry while not necessary light up massive amount of fireworks easily surpassed her past screen performances opposite Gerald Butler and Aaron Eckhart.
The only surprise, can I seriously calls this a surprise? A-lister Hollywood gem Nicole Kidman appears in the later part of the movie as Katherine’s old school mate and rival. Kidman of course if you notice neither receive top billing or a floating head on the DVD cover nevertheless hams it up and ditch her usual serious on-screen personalities to great results.
No one will care if this is a formulaic rom-com at the end of this overly long movie or realized the fact that it’s only slightly better than Sandler/Dugan’s “Grown Ups”. You will more likely lap up the lush, mesmerizing Hawaii setting and the easy on the eyes, cast members. The bikini showdown to be precise.
SPECIAL FEATURES:
Commentary with Adam Sandler, Nick Swardson, and the Filmmakers - This is a rather rowdy track with lots of other unintroduced participants in addition to Sandler and Swardson. More of a random joke reel than a commentary track.
Listening to Commentary with Director Dennis Dugan requires lots of patience as the directoroccasionally offers behind-the-scenes anecdotes, amusing trivia facts and other news not related to this movie in this otherwise dry and weary track.
Check out the Deleted Scenes which are mildly amusing at best.
Laughter Is Contagious is a standard 5 minutes Blooper Reel showcasing the cast flubbing their lines.
The cast members talks fondly on how wonderful it is to work with Sandler and Aniston in The Perfect Couple: Jen and Adam
Dolph-Not The One From Rocky IV focus on Nick Swardson discussing his onscreen character.
Shooting Hawaii is a 6 minutes feature which has the cast complimenting the on-location shoot in the picturesque Hawaii.
Do you like the resort which is feature in the movie? Here you go, check out the Grand Wailea Promo reel for more shots of this place.
AUDIO/VISUAL:
The visual quality scores highly than the sound department for the rom-com, expectantly. The on-location shooting in Hawaii definitely is a plus and images look amazingly bright and vibrant. Dialogue is crisp and clear with a little selection of pop music rightfully serving its purpose.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
Posted on 2 June 2011
SYNOPSIS: His only friend calls him "Mister". Tae-shik is an ex-special agent whose tragic past has made himdistance from the world. He now lives in solitude and runs a small pawnshop. The only people he now sees are the few pawnshop customers and So-mi, the young girl who lives next door. So-mi has also been neglected by the world and as she and Tae-shik begin to spend more time together, the two gradually open themselves to one another and become friends. Then one day, So-mi suddenly disappears. So-mi's mother becomes involved in a major crime and they both get kidnapped.
MOVIE REVIEW:
It’s amazing to see how an actor managed to transform himself over such a short period of time. After two years of absence from the entertainment scene and a stint in the acclaimed Bong Joon-ho’s “Mother”, Korean heartthrob Won Bin (Brotherhood) is back with a vengeance, literally in the crime thriller “The Man From Nowhere”.
Written and directed by the relatively unknown Lee Jeong-beom, this vengeance tale is about a mysterious man nicknamed “Mister” (Won Bin) who lived in solitude and ran a pawnshop in a rundown apartment. Mister’s only ‘friend’ is the little girl, So-mi living next door with her drug-addicted bar-hostess mother. Two stolen packs of heroin lead to a series of murder and kidnap and Mister finally finds himself on a dangerous mission to save his only so-called friend, So-mi after much soul-searching.
First and foremost, the story right here is nothing new and perhaps culled notably from Luc Besson’s “The Professional” and “Taken” with a touch of “Man On Fire” infused with a tinge of “Oldboy” Korean cinematic magic. That however doesn’t lower the must-watch quotient of it as Lee carefully crafted a tale of bond and love between two unrelated lost souls. One an ex-military secret agent with a tragic past and the other a child longing for a father-figure and a wholesome family. And the best part of the movie is instead of a mere drug-lauding syndicate that we often sees onscreen, the underworld activities right here dwell into something more sinister and darker as the movie goes. Organs harvesting and children running errands for the drug cartel, ultimately it’s not just a simple case of kidnapping. With Lee cleverly setting up the situation to allow the audience to root for “Mister” to take out the roots of evil and rescuing So-mi, this is definitely vengeance with a cause.
The benefit of having a running time of close to two hours allows the character of “Mister” to be more compelling and not to mention, dozens other characters such as the group of cops who are hot on his heel, one henchman who is dying to duel with him and the two vulgarities-filled villains that are vying for screentime as well. But no one matches the charismatic performance of Won Bin despite the fact his character utters less than a quarter of the total dialogue. With his chiselled good looks, bod and acting chops, Won Bin totally own the film and no one can dispute that.
Shot in a dark, gritty tone with looming alleys and corners, the cinematography is excellent matched with the brutal violence action sequences. Instead of flashy, HK-style acrobatic kicks, Lee opted for more believable choreographed fights with “Mister” coming down hard on every baddie that comes his way. QT will be proud that his ‘Kill Bill” visceral bloodied affairs are beautifully replicated right here.
For those who embrace old-school, revenge kick-ass flicks, “The Man From Nowhere” is an excellent choice. The number one movie of 2010 in Korea confirms it. Technically, it is wonderfully done and the performances top-notch. I just had only one qualm at the end; the main boss deserved a more heinous death.
SPECIAL FEATURES:
NIL
AUDIO/VISUAL:
Dialogue is presented clearly in the Dolby Digital 2.0 soundtrack while this is not exactly an hardcore action movie, a 5.1 surround track would have improved the pounding fight sequences. Images on the other hand are pleasant even though most of the movie is cast in dark shadows.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
Posted on 5 June 2011
SYNOPSIS: RABBIT HOLE is a vivid, hopeful, honest and unexpectedly witty portrait of a family searching for what remains possible in the most impossible of all situations. Becca and Howie Corbett (NICOLE KIDMAN and AARON ECKHART) are returning to their everyday existence in the wake of a shocking, sudden loss. Just eight months ago, they were a happy suburban family with everything they wanted. Now, they are caught in a maze of memory, longing, guilt, recrimination, sarcasm and tightly controlled rage from which they cannot escape. As Becca finds pain in the familiar, Howie finds comfort. The shifts come in abrupt, unforeseen moments. Becca hesitantly opens up to her opinionated, loving mother (DIANNE WIEST) and secretly reaches out to the teenager involved in the accident that changed everything (MILES TELLER); meanwhile Howie lashes out and imagines solace with another woman (SANDRA OH). Yet, as off track as they are, the couple keeps trying to find their way back to a life that still holds the potential for beauty, laughter and happiness. The resulting journey is an intimate glimpse into two people learning to re-engage with each other and a world that has been tilted off its axis.
MOVIE REVIEW:
The experience of losing a loved one, whether friend or relative, is universal and most, if not all, who have gone through such an experience know the concomitant feeling of loss. It is a feeling of emptiness, as if part of you has departed with that person, leaving the rest of your world off-kilter and forcing you to restore some sort of balance no matter how tenuous it may seem.
The fact that John Cameron Mitchell, working off a screenplay by acclaimed playwright David Lindsay-Abaire, recreates this experience so vividly is testament to his craft here in “Rabbit Hole”. Becca and Howie Corbett are the couple at the centre of such a devastating experience, the husband and wife having lost their child just months ago and the effect on their family life together disastrous.
How do they cope? Becca tries to maintain her composure despite the brokenness she feels inside, scoffing at the group therapy sessions Howie thinks is integral to their recovery process, and quietly reaching out to the teenager (Miles Teller) responsible for her very grief. Meanwhile, Howie rewatches videos of their happier times together, finds comfort through therapy, and finds companionship in a fellow therapy attendee (Sandra Oh).
We all have our own methods of dealing with grief, and Abaire, who adapted the screenplay from his own Pulitzer-winning play, keenly illuminates the contrasting ways by which husband and wife deal with their common grief, even if these methods seem to be bringing them further apart from each other. Yes, this is a film which deals with the minutiae of life, and because it decidedly avoids emotional overtures, may test the patience of some viewers expecting more drama.
Nonetheless, Mitchell rewards his audience with a film grounded in the difficult realities of life, and the struggle with which people attempt to cope with these. No doubt this may mean it could be difficult to watch for some- especially those who have recently gone through a similar experience- but there is a quiet message of hope and optimism that resonates long after the movie is over.
Nicole Kidman and Aaron Eckhart play Becca and Howie respectively, and both deliver beautiful heartbreaking performances. Kidman’s nuanced portrayal is always interesting to behold, while Eckhart responds to what is probably one of his most complex roles of late with poignancy that emphasises his character’s struggles and inner sorrow. Dianne Wiest has a supporting role as Becca’s mother and the veteran actress is equally wonderful as the mother desperately trying to reach out to her daughter.
Certainly, the themes which “Rabbit Hole” are not always easy to grapple with, nor do they make it a film easy to watch. But Mitchell and Abaire’s intentions are sincere in delivering a realistic portrayal of coping with loss and grief, and ultimately reaffirming the power of the human spirit to triumph over pain and suffering. It is in this regard that “Rabbit Hole” succeeds as a beautiful drama, and one worthy to be seen by everyone beset with the very same complexities its two protagonists face.
SPECIAL FEATURES:
NIL
AUDIO/VISUAL:
The Dolby Digital 2.0 audio suffices for this mostly talky drama. Visuals are clean, though colours in line with the palette and the mood of the film tend to be muted.
MOVIE RATING:
DVD RATING :
Review by Gabriel Chong
Posted on 26 June 2011
|
First look at ROCK OF AGESPosted on 01 Jun 2011 |
In Korean with English & Chinese Subtitles
Genre: Comedy
Director: Kim Yeong-Tak
Cast: Cha Tae-Hyun, Kang Ye-Won, Lee Moon-Soo, Ko Chang-Seok, Jang Young-Nam, Cheon Bo-Geun
RunTime: 1 hr 51 mins
Released By: Scorpio East Pictures & Cathay-Keris Films
Rating: PG
Official Website: http://www.helloghost.co.kr/
Opening Day: 23 June 2011
Synopsis: This heartwarming comedy is about a depressed and lonely man, Sang-Man (Cha Tae-Hyun), starts seeing ghosts after attempting suicide many times. An orphan and a loner who has been alone all his life, Sang-Man suddenly finds his world turned upside down when he starts seeing four ghosts: a chain smoking cab driver, an alcoholic/pervert grandfather, a constantly crying woman and young kid with an insatiable sweet tooth. Learning from a psychic that he cannot get rid of these spirits until he fulfills their last desires, Sang-Man allows them to possess his body. While carrying out their individual wishes, Sang- Man discovers the pleasure of daily life and forgets about his own loneliness and depression.
Movie Review:
Did you ever feel like breaking down? Did you ever feel like you were all alone in this world? Think again…
Sang-Man, played by Cha Tae-Hyun, is one who felt so alone that he thought lightly of his own life and tried to commit suicide umpteen times. However, he has never succeeded and each time he fails, he finds himself is back to his meaningless and mundane life. He had always been alone, ever since he was an orphan from a young age. However the most recent suicide attempt ends up to be an important turning point in his life.
To Sang-Man’s horror (pun intended), he sees four ghosts after escaping death. They are clingy, following him wherever he goes. Each ghost has a distinct personality, and take turns to possess Sang-Man to achieve their desires, be it binge drinking or smoking or eating lots of sweets and tidbits. This high standard of characterization sets a good foundation for Cha subsequently. Cha has done an incredible job in bringing out distinct and specific traits of the ghosts, convincingly ‘possessed’. Cha has been known for his flair in acting, especially in comedies, since My Sassy Girl (2001), and the more recent Speedy Scandal (aka Scandal Makers; 2008). Likewise, his performance in Hello Ghost is just as humorous and impressive. His presence has definitely increased the entertainment value of the film exponentially. The social awkwardness experienced by Sang-Man and the ridiculous scenarios that he is stuck in are so comedic that it makes one laugh out loud uncontrollably. On the other hand, the actor has showed his maturity in acting as well as competence when the character requires him to display the non-comedic side.
The plot of the movie is rather simple, uncluttered and easy to follow. However, one may find that the movie gets a little lengthy mid-way, having unnecessary details that make no sense, such as the psychic that he goes to for ‘divine help’. Expectedly, the themes of family and love are especially prominent in this movie. Indeed family and love are a foolproof formula for films aimed to tug people’s heartstrings. The film has achieved its affective motives, and combined with the comedic elements, the movie is overall pretty well balanced and a feel-good for the audiences.
The movie is surprisingly meaningful. At its core, Sang-Man is just like you and me, a person born into this world, constantly seeking for identify and affection. However in this blind pursuit, one tends to forget what and who is truly important and always shields us from the mean mean world. Finally when the realization happens, it will bring one to his critical point, and then emerge an even stronger person!
P.S.: Even American filmmaker Chris Columbus has set his eyes on this movie and purchased the remake rights. But first, catch the original!
Movie Rating:
(Pure enjoyment, pure entertainment. Chase away the blues with this simple and heart-warming movie!)
Reviewed by Tho Shu Ling
Genre: Drama
Director: Benedek Fliegauf
Cast: Eva Green, Matt Smith, Lesley Manville, Peter Wight Ralph, Hannah Murray, Ruby O. Fee, Tristan Christopher, Jesse Hoffmann, Natalia Tena, Ella Smith, Wunmi Mosaku
RunTime: 1 hr 47 mins
Released By: Lighthouse Pictures
Rating: R21 (Mature Theme)
Official Website: http://www.womb-film.de/
Opening Day: 11 August 2011
Synopsis: Sitting alone on the deck of an isolated beach house, Rebecca recalls how life led to what she considers the "gift" in her enlarged belly...As a little girl visiting her grandfather, shy Rebecca befriends ginger-haired Tommy. They quickly develop a profound friendship during their summer adventures in the remote coastal area. But their fairy-tale romance comes to an end when Rebecca must follow her mother to faraway Tokyo. Twelve years later, young woman Rebecca returns to settle in her late grandfather's house. She seeks out childhood friend Tommy, now a university student living on his own. Their reunion is marked by a strong mutual attraction. As they get to know one another better, Rebecca discovers that Tommy has harbored deep feelings for her too since their time together as children. But their passionate relationship is shortlived when Tommy is killed in a freak car accident. Devastated, Rebecca feels that life cannot go on without Tommy. She turns to the controversial "Department of Genetic Replication" for an option. Although wary of the potential repercussions, Tommy's parents reluctantly agree to supply Rebecca with the necessary DNA sample for her to bear a new Tommy in her womb. Life with little Tommy is full of joy and wonder. Rebecca completely devotes herself to "just us two", living isolated in the middle-of-nowhere shore community. But Rebecca cannot fully escape the complexities of her decision as the years pass. How long will she be able to hide the truth from new Tommy and nosy townsfolk? Can she protect him from prejudice against "copies"? When he grows to manhood in the exact image of her beloved, how will Rebecca explain away the confusing urges that new Tommy doesn't understand? Chilling answers unravel as Rebecca prepares for the bittersweet fruition of a lifelong dream.
Movie Review:
A deeply fascinating film on the trials of loss and idealisation, writer-director's Benedek Fliegauf's "Womb" is unlike anything seen this year within its marriage of aesthetics, tone and narrative. As a controversy is generated within its immaculately photographed and insistently static Eastern European art-house countenance, Fliegauf's glacial conundrum consistently confronts and confounds in its inquiry into the human heart and its cold distance from the mind.
While the languid pacing of distracts from the higher aspirations of its concept, the film does regard its subject matter seriously within its undefined universe. Sometime in the future, human civilisation has reached a point of engineering clones through blood and tissue samples of the deceased -- a central premise shared with films like "Gattaca" and the recent "Never Let Me Go" -- that are inseminated through test tube procedures and delivered live through births. And in this world, these clones co-exist, albeit not always peacefully with the naturally conceived and naturally brings out the issues of ostracism and prejudice. The clones share similar attributes to the deceased, not only physically but in their outlooks and interests while the variations appear in the manner of their upbringings -- bringing to mind the ever combustible debate over nature versus nurture.
This discursive science fiction drama acquaints us with these ideas through the clone Thomas (Matt Smith -- television's latest Doctor Who) raised by the woman who gave birth to him, Rebecca (Eva Green). There's an important distinction here that needs to be clarified as it might serve to be the cornerstone of many arguments and counterpoints that will surely ensue from the 'ick' factor emanating from Rebecca and Thomas's shared history as sweethearts since childhood in his previous physical iteration. After his sudden death, a taciturn Rebecca acquires samples and creates a new version of him in relative secret and brings him up under the guise of being his natural mother. The film draws its power from a fundamental question buried deep in its Freudian minefield of psychosexual tension -- what infernal consequences does one bear from birthing and raising one's dead lover into adulthood? It strongly recalls the same sort of Greek tragedy that Orpheus eventually endures attempting to wade through the underworld to retrieve his dead lover, Eurydice.
It is worth noting that while Thomas 2.0 was a caesarian delivery through Rebecca, his genetic makeup entirely belongs to his grieving biological parents. He shares none of her within him and the film garners its incestuous undertones from the way she looks at him with uncertain intentions as he grows up. We get the sense that she does not truly know what she wants to do as he begins to resemble the adult man that she lost all those years ago. He senses an Oedipal pull towards her in their quieter moments that is not discouraged by Rebecca. If you sense a hesitation here on my part to ascertain and declare descriptions of their behaviour, then take a look at the negative spaces employed between the character and their actions in the film, which does create an interesting tonal atmosphere that employs both the intellectual and primal faculties.
But besides the wealth of ethical and moral quandaries that it brings to the table, "Womb" is nonetheless still a movie that needs to be judged as such. An unsentimental dissertation masquerading as a strained filmic exercise that on its technical merits, bears quite a knockout blow in its effortlessly gorgeous cinematography by Peter Szatmari, filmed in the quite stupendous tourist spots of Sankt Peter-Ording and Sylt in Germany. It sets the mood immediately -- desolate, distant and glacial -- much like how the film leaves you reeling with questions and compromises at the end. "Womb" ultimately succeeds in following through with its ideas as everything about the production services its particular themes, right down to the minutiae of its production design, even if it's a tough pill to swallow in its artistic considerations of its slow-burn pacing and alienating tonal shifts.
Movie Rating:
(Impressively mounted and simply sumptuous production with a unique endeavour into the realm of morality)
Review by Justin Deimen
|
Jackie Chan's 100th movie: 1911Posted on 02 Jun 2011 |
SYNOPSIS: Freakonomics is the highly anticipated film version of the phenomenally best-selling book about incentives-based thinking by Steven Levitt and Stephen Dubner. Like the book, the film examines human behavior with provocative and sometimes hilarious case studies, bringing together a dream team of filmmakers responsible for some of the most acclaimed and entertaining documentaries in recent years.
MOVIE REVIEW:
One of the most important things this reviewer learnt after watching this documentary is that he should be contented with his name. Apparently, “John” is considered a “white name” which will put him ahead in life, especially compared to “black names” like, err, “Tyrone” and “Dominique”.
Yes, as absurd as it sounds, this is just one of the four areas of interest explored in this film based on the non fiction book “Freakonomics: A Rogue Economist Explores the Hidden Side of Everything” (what a title, phew!) by University of Chicago economist Steven Levitt and New York Times journalist Stephen J Dubner.
After a short introduction by the two authors, four filmmakers investigate four topics which may (or may not) interest you. The first segment, “A Roshanda By Any Other Name” by Morgan Spurlock (Super Size Me, Where in the World is Osama Bin Laden?), looks at the possible implications of names in personal development and social advancement. “Pure Corruption” by Alex Gibney (Enron: The Smartest Guys in the Room) brings audiences into the underbellies of Japan where match fixing in Sumo wrestling seems to be a worrying trend.
Eugene Jarecki (Why We Fight) directs “It’s Not Always A Wonderful Life” which suggests that the decline in urban crime rate in the US during the mid to late 1990s is a result of a federal law which permitted people to have legal abortions (you have to watch this segment to see how this is linked to less crime being committed). Paying students to achieve higher grades seems to be the way to go in Rachel Grady’s (Jesus Camp) “Can You Bribe A 9th Grader To Succeed!”.
The underlying theme of Freakonomics is that economics is, at root, the study of incentives. The interesting aspect is how Levitt and Dubner puts everyday issues into the spotlight, especially those which are not considered “serious” topics by traditional economists. That said, the filmmakers have done a commendable job by translating the words in the bestselling book into visuals, using eye catching graphics, engaging reenactments and fast paced music accompaniment to capture your attention. The decision to involve some of the most acclaimed documentary filmmakers to come together for this 89 minute film is also a smart move. Digestible and entertaining, the four clips are easy to sit through.
The only qualm we have is, as much as we want to buy the notion that the documentary is putting forward, we don’t really care about Sumo wrestling and its dark side, do we? Neither are we too interested in crime rates in the US. The differing styles of filmmaking also mean that the original message put forth by Levitt and Dubner may be diluted as the film progresses.
Fortunately, Grady’s last segment ends off the viewing experience with an amusing experiment which may leave you chuckling, but not necessary better informed about the role economics play in the larger scheme of things.
SPECIAL FEATURES:
NIL
AUDIO/VISUAL:
There is nothing to complain about the movie’s visual transfer. It is presented in English Dolby Digital 5.1 or 2.0.
MOVIE RATING:
DVD RATING :
Review by John Li
SYNOPSIS: Liev Schreiber (Salt) heads an all-star cast in this warm and wise comic drama as Ned, a loving husband and devoted father dealing with life's curveballs. He's got a stressed-out wife (Helen Hunt, As Good as it Gets) an independent teenage son (Ezra Miller, City Island), and an embittered father-in-law (Brian Dennehy, Silverado) who's turning his home upside down. Ned's job writing a scandalous TV series for a demanding boss (Eddie Izzard, Valkyrie) is unfulfilling, and late night rewrites with a sexy co-worker (Carla Gugino, Entourage) might just push him over the deep end.
MOVIE REVIEW:
We have to admit that we weren’t terribly excited when we read the title of this comedy drama. With a blah title like “Every Day” staring at you on the
It is a shame then, that many people are going to give this a miss, as there is truly something appealing about this overlooked movie about life plays out in a family we can identify with.
Schreiber (Salt, X-Men Origins: Wolverine) plays a television writer who leads a life like yours and mine, until the day his gay son decides to go to a gay prom, his elderly father in law is moving in, and his unreasonable boss wants him to meet ridiculous deadlines. While his wife attempts to take care of her dying father, he has to figure out how to reconnect with his gay son and figure out a relationship with his sexy co worker.
We like the fact that the Richard Levine (TV’s Nip/ Tuck) written screenplay seems so unspectacularly normal – how many of us lead lives which mirror Hollywood superstars? We find it extremely easy to empathise with the different personalities in the 93 minute movie – from Schreiber’s everyday man of the house and Hunt’s (What Women Want, As Good As It Gets) wife who chooses to suffer in silence whenever she can, to Gugino’s (Mr. Popper’s Penguins, Sucker Punch) vocal co worker who is ever ready to try out different things in life and Brian Dennehy’s (Ratatouille, Assault on Precinct 13) old man who is counting down to his days’ end.
Levine has a capable cast to work with, and he manages to direct them to deliver engaging performances which are convincingly affecting. There are several scenes in the movie which (almost) dissonantly reflect what happens around us every other day. The lines are crisply penned, and there are several chuckle worthy scenarios which resonate real life so much that you will nod your head in agreement.
While this is definitely no blockbuster material, the production is recommended for its all round commendable performances, despite occasional moments when you may feel like you are watching an overlong TV movie. The next time a nondescript movie like this comes along, you may want to give it a chance before dismissing it to the “don’t waste my time because I’d rather sleep” category of movies.
SPECIAL FEATURES:
NIL
AUDIO/VISUAL:
The movie's visual transfer is acceptable, and is presented in its original English audio track.
MOVIE RATING:
DVD RATING :
Review by John Li
| « Prev | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | Next » |
Most Viewed
No content.