Category Archives: movies

Minimalist Reviews, movies

Captain America: The First Avenger, a film by Joe Johnston

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by James Gilmore

Captain America: The First Avenger is the best of the “Avenger” origin movies to date.  Although well written and directed, special recognition is in order for the film’s excellent casting, studded with marvelous actors and nuanced, layered performances. Hugo Weaving is a delight as always—that is, until he takes off his mask, at which point he loses his broad range of subtleties and becomes a mere caricature (as disappointedly expected in the superhero genre). Chris Evans displays remarkable flexibility in his transformation into Steve Rogers compared with his previous performance as the Human Torch in both Fantastic Four films wherein Evans plays a character who could not be more different.  Impressive performances by Stanley Tucci and Tommy Lee Jones are also unavoidably worth noting.

Movie poster for Captain America the First Avenger, a film by Joe Johntson, on Minimalist Reviews.

Invested into the story is an intelligent journey toward the burgeoning of Captain America as superhero, playing upon not only the usual choices of balancing heroism and humanness but also the very idea of Captain America as an icon of World War II symbolism. Captain America ends up parodying his future self before actually taking the plunge into his role as true hero.  Few superhero stories can boast an equally clever step. To cement his role as hero icon of the War, Captain America also makes the choice to not live to fight another day (in his own time), but makes the ultimate sacrifice—the mark of a true hero—one few comic book “super” heroes make, even though the term “hero” implies such a requisite act in order to receive such a lofty title.

Still, at times the action pushes beyond the realm of believability, which is further exacerbated by a few sub-par special effects and the obligatory comic book-like action sequences in the third act (which are always a bit harder to swallow).  Also, one finds the glaring lack of visual verisimilitude in Steve Rogers’ pre-superhero physique annoying to the point of distraction while the minions of Hydra appear plagiarized from an unrelated videogame called Return to Castle Wolfenstein (2001).

Overall, an enjoyable superhero film with a little something more.

Rating:  4 / 5

Minimalist Reviews, movies

(Jet Li’s) Fearless, a “Quickie” Review of the film by Ronnie Yu

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by James Gilmore

Movie poster for Jet Li's film Fearless (Huo Yuan Jia), a quickie review on Minimalist Reviews.

Jet Li’s Fearless (aka Huo Yuan Jia) is a martial arts action film told in the old Hong Kong studio style.  While the fight scenes are nothing special in of themselves, watching Jet Li attempt to act is always a grueling task for even the most die-hard of his fans.  The impressive layered conclusion is packed with subtext, character and emotion, in spite of the obligatory (and blatant) pro-Chinese, pro-unity message required to pass government censorship.

A must for any fan of Jet Li or kung fu diehard, a popcorn film for everyone else.

Rating:  3 / 5

Minimalist Reviews, movies

The Mothman Prophecies, a film by Mark Pellington

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by James Gilmore

The most remarkable feature of The Mothman Prophecies is its arrestive visual acumen and atmosphere. Not a minute goes by without haunting imagery gracing the screen.

Movie poster for The Mothman Prophecies, a film by Mark Pellington, on Minimalist Reviews.

Unfortunately, the story is weak at best, and its interlocking pieces ragged, tired, or forced. Although the supernatural entity known as “the Mothman” is supposedly the lynchpin of the story, he need not exist at all since the plot involves a number of individuals having prophetic visions, and the fact that the Mothman sometime appears in them is only incidental. Also superfluous to the plot is the main character’s relationship with his wife (the focus of the B Story), which fails to have any conclusive ending nor any reason for inclusion in the film except as a weak initial impetus to move the protagonist to the remote location of Point Pleasant, West Virginia.

Laura Linney’s acting performance is worth mentioning. Despite the minimalist approach to her character, it proves to be one of her best performances and indicative of her serious dramatic acting ability.

This psychological/supernatural thriller is also a borderline horror, and will appeal to those in the mood for an intriguing, even perplexingly illogical, filmic experience.

Rating: 2 / 5

Minimalist Reviews, movies

The Fighter, a film by David O. Russell

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by James Gilmore

Movie poster for The Fighter, a film by David O. Russell, on Minimalist Reviews.

The Fighter is not so much a story about one boxer trying to make his way in the world as a story in which every character is a scrappy fighter in their own respect, each trying to achieve his or her dream in a gritty, realistic world bristling with testosterone and raw emotion, unstained by the airbrushing of Hollywood gloss.

This modern day Cinderella story appears to be about boxing on the surface, an inspiring underdog story about a man who literally never quits. But in truth the film is much, much more. The pseudo-documentary style and directing create an unglamorous world which examines poverty, family, loyalty, love and, of course, boxing, all with a humanistic eye. At the core of the film’s strength is its impressively detailed peek into the complexities of family and family politics.

Acting performances in the film deliver an array of raw emotion in a steady one-two of jabs and thrusts without the forceful injection of artificial drama, while its bold, aggressive characters allow Amy Adams and Christian Bale to thrive in their best acting roles to date—an impressive achievement considering both actors’ extensive experience.

The Fighter, obviously more a labor of love than a labor of money, proves itself to not only be one of the best boxing films ever made, but one of the greatest family dramas of all time.

Rating: 5 / 5

Minimalist Reviews, movies

Ironclad, a film by Jonathan English

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by James Gilmore

In my first random pick for review, I selected a film I’d never heard of based on its cast of superb actors.

Ironclad is an exciting action film with a rich, gritty palette and bravely executed combat scenes filled with gore and glory. Well-designed, efficiently made for its modest budget, but I wouldn’t say well-directed. ‘Adequate’ is more appropriate. The film lacks requisite directorial intimacy in pivotal scenes while exposition is handled more like a dialogue-heavy Shakespeare stage play than a filmic story with keen visual moments. However, the director excels in presenting intense battle scenes—the highlight of the film—much to the viewer’s benefit.

Movie poster for Ironclad a film by Jonathan English on Minimalist Reviews.

This Westernized remake of Kurasawa’s Seven Samurai has a rocky 30 minute start, after which it drastically—thankfully—improves with steady progression for the remainder of the film. Ironclad pales in comparison to the stability, complexity or thematic material inherent in Kurasawa’s version.

While it is refreshing to see Paul Giamatti play the villain and, in juxtaposition, Brian Cox as a good guy (their roles are usually reversed), the protagonist (played by James Purefoy) remains inexorably weak. Without any sense of the proactive goal-seeking or depth required to drive the story, the first act feels directionless and unhinged. Unfortunately, the protagonist’s deficiencies never correct themselves. Every character ends up having more depth than and goal-orientation than the protagonist, who presents himself as the classic reactive type, acted upon instead of pro-acting to advance the plot. His only element of character turns out to be an artificial construct which neither enhances nor develops the story. Purefoy portrays his character just as weakly, like a beaten dog who tries to shrink into invisibility in order to avoid further beatings. He is a non-character, and the weakest link at the core of story.

Despite its shortcomings, Ironclad is worth a look if you are in the mood for a superficial action film and aren’t afraid of a little graphic violence.

Rating: 2 / 5

Minimalist Reviews, movies

TRON: Legacy, a film by Joseph Kosinski

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by James Gilmore

TRON: Legacy is a delightfully updated remake/sequel of the original Tron (1982), although it’s more of the PG Disney version of The Matrix for tweens, than anything else.  With a strong, robust 15-minute opening sequence, this visually stunning film dazzles the eyes with dark, sleek spectacle without becoming intrusive or overbearing (no surprise, coming from Disney).  The landscapes and color palettes, although reminiscent of the original TRON, seem to be inspired far more by The Matrix and The Dark Knight.  Excellent directing and cinematography are worth noting (Kosinski managed to handle this big blockbuster budget directing debut without drowning).  The film’s visual elegance is complemented by a minimalist, electronica-revival soundtrack.

Movie poster for Tron 2.0 Legacy, a film by Joseph Kosinski, on Minimalist Reviews.As is typical of an action/adventure film, the plot is thin, even though the concept is good enough for a potentially breathtaking story.  The magic of TRON: Legacy begins to fade toward the middle of the film as the weaknesses of its mediocre storyline are revealed, dispelling some, but not all, of the immersive filmic experience.  And although there are a few instances of borderlines senseless technobabble, a few stretches of logic (such as programs acting exactly like humans), and clichéd generic dialogue, this tightly-woven, efficient film is a visual feast and thoroughly enjoyable.

Garrett Hedlund stars as Sam Flynn with surprising presence.  Often he appears to be imitating a younger, more restrained version of Christian Bale in voice and countenance.  Jeff Bridges as Kevin Flynn* brings both dimension and depth to his character, adding that touch of subtlety akin truly great acting—and the same would be more than welcome in Sam Flynn and Quorra (played by Olivia Wilde) as well.  On the other hand, Zuse (played by Michael Sheen) appears curiously out of place and/or over-the-top within the tone of the piece, frequently sticking out like a decorative sore thumb after the parade.

Rating: 3 / 5

 

*It seems apt that I am writing this review on the day of Steve Jobs’ death because, in a sense, TRON: Legacy is about Sam Flynn, a fictional, magical Steve Jobsian visionary and technology emperor.  If you’re wondering about the date, these reviews are usually posted several days after they are initially written.

Minimalist Reviews, movies

13 Assassins, a film by Takashi Miike

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by James Gilmore

Movie poster for 13 Assassins, a film by Takashi Miike, on Minimalist Reviews.

13 Assassins is nothing less than an old-fashioned samurai movie in color. You might even call it Seven Samurai II (or x2 is almost as appropriate). The slow, character-oriented first half of the film is just like that of class Kurasawa, making the second half all the more dazzling when it slams the viewer into 21st century filmmaking. Takashi Miike uses opposing perspectives of the same samurai ideology to juxtapose violence as a necessity against violence as a luxury. Without a doubt, Miike has created some of the greatest samurai battles ever committed to film. Unfortunately, 13 Assassins appears lacking in deep, profound thematic material.

Rating: 4 / 5

Minimalist Reviews, movies

Oldboy, a film by Chan-wook Park

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by James Gilmore

Movie poster for Oldboy, a film by Chan-wook Park, on Minimalist Reviews.

Unique, brilliant, the fantastic child of a truly artistic endeavor. A seemless marriage of script, camera and directing. Oldboy combines an intimate examination of human nature’s darkest facets with an entrancing story of revenge, love, and selfishness.

Stay tuned for the 2013 American of Oldboy, directed by Spike Lee and (according to rumors) starring Christian Bale and Rooney Mara.

Rating: 5 / 5

Minimalist Reviews, movies

Cloverfield, a film by Matt Reeves

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by James Gilmore

Cloverfield (2008) is like reliving a Godzilla movie from the ground and might be more aptly named “Godzilla Takes Manhattan.” Still, it is truly a B-movie concept with A-level execution.  Filmed in the style of minimalist cinéma vérité with the main action taking place over a 24-hour period, this tense adventure is delightfully immersive and filled with excitement at every twist and turn, although a satisfactory epilogue feels unfortunately absent.

Movie poster for Cloverfield, a film by Matt Reeves, on Minimalist Reviews.At times the first-person camera work will make the viewer ill, it eventually settles to the point where one no longer notices. There are annoying eruptions of chaos and some repetitive dialogue, but these are fairly superficial in comparison to the overall emotional and visual strength of the film. The character of Beth (played by Odette Annable) stands out as glaringly weak in comparison to the remainder of the robust cast, with the exception of “Hud” (played by T. J. Miller), whose character may rank among one of the most annoying in history—nearly on par with Jar Jar Binks.

The most blatant issue Cloverfield is that it feels comprised of two separate films intercut together. The opening of film accurately captures 21st century youth in its indigenous environment, complemented by enough relationships and life problems to carry the rest of the film without any monster at all.  While the monster portion of the film certainly connects the two parts of the story, they could have been separated into two equally-satisfying stories.

Cloverfield is also reminiscent of Quarantine (also 2008), only without the quarantine, or Godzilla meets The Blair Witch Project (1999). 

Rating:  4 / 5