film

“Pride and Glory” Review

Pride and Glory

Review By: Rebecca Ford
TheCinemaSource.com

For the life of me, I could now remember the name of this movie. “Pride and Glory.” I think it’s because it’s so general. I mean, it says nothing about what the film is about. Is it a war movie? A period piece? A samurai film?

Turns out it’s a cop drama. And it’s the same-old-same-old, we’ve seen it before good-cop-bad-cop story line. Dirty cops in New York City?! Shocking!

Directed by Gavin O’Connor, who also directed “Miracle” (look at that title!), the Olympic hockey movie, “Pride and Glory” feels far too familiar because it is just another cop movie where violence trumps story, and sensationalism trumps substance….

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Scarface?
Scarface?
film

RocknRolla Film Review


Review By: Rebecca Ford

I’ve always believed that deep down inside, everyone wants to be a badass. A rebel. A baller.

Or as it’s called in Guy Ritchie’s newest film—a Rocknrolla.

So what exactly is a Rocknrolla? He is the best of the worst. Drugs, sex and rock n’roll are not just a part of his life—they are his life. With Ritchie’s action-comedy set on the streets of London, we all get to visit this world, but thankfully, don’t have to stay in it forever. Because really, no one wants to deal with guns, bongs and torture on a regular basis (I think).

Ritchie, whose past hits Lock, Stock and Two Smoking Barrels and Snatch also explored the rougher edges of London, finds a rare balance between hard-hitting action and quirky dark humor. The cast of merry madmen, the interweaving of interesting storylines and a unique visual style all add up to a fun time in the underworld of London crime…..

See the rest at Thecinemasource

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Reversion- A Film Review

Reversion

 

The unknown future and the forgotten past are inherent parts of the human life. What would happen, however, if the past, present and future could be lived at the same time?

 

Mia Trachinger’s latest project attempts to mess with the concepts of memory, morality and destiny to create a real thinker of a film. But jam-packed with such complicated concepts, “Reversion,” falls short in execution as the story is stifled under the pressure of such heavy theory.

 

“Reversion,” which premiered this year at Sundance, tells the tale of lean, listless Eva (Leslie Silva), one of the many mutants with the ability to see the past, present and future simultaneously. Basically, she’s part psychic, but also can’t differentiate between what has already happened and what is yet to come. She spends her time car-jacking and searching for a way to stop herself from fulfilling her destiny to kill her semi-boyfriend, Marcus (Jason Olive). Marcus is along for the ride, and is at first apathetic about his imminent death, but becomes increasingly agitated as time progresses.

 

Los Angeles is not a pretty city in the near-future. Car-jacking, robberies and even murder are so common that the citizens don’t even blink as it happens right before their eyes. Even more disturbing is the fact that Eva and her housemates are completely comfortable participating in criminal activity. Their mutual understanding seems to be that because they already know their future, there’s no use trying to fight it.

 

Silva is magnetic enough to carry the plotline. She instills into Eva a satisfying mix of tormented, hopeful and indifferent. She is also a step above most of the other actors in the film, who are only memorable for the strange, vacant looks on their faces.

 

The main story, however, is interrupted by two distracting sub-plots. The first involves two babbling stoners who provide an explanation of the mutants’ problem (they are lacking a “time gene”), and the other, ominous commentary on child-rearing, is an awkward attempt to make this twisted tale even more surreal.

 

Regardless of the distractions, the main plotline has problems of its own. The mutation is never really explained, so there’s no way to really tell what it means to the characters. They are endlessly removed from their own lives, making it pretty hard for anyone to be sympathetic to their plight. There’s a mysterious beach, which has a colony of people who are somehow different from Eva, but who they are is never clarified. Are they also mutants? Or do they view time in a linear fashion?

 

Making it worse, the relationship between Eva and Marcus feels more like a tryst than a serious love connection. They don’t seem to really care much for each other, so Eva’s determination to resist killing Marcus is also a little hard to care about or even believe.

 

So without love between Eva and Marcus, fate steps in. If they can already see their future, and see it as inevitable, then Eva’s journey is null and void. And because of that fact alone, the fate of this film can also be determined—forgettable as the past.

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Film Review- Bigger, Stronger, Faster*

Nearly a year ago, Canadian pro wrestler Chris Benoit killed his wife and seven-year-old son before taking his own life. When it was implied that steroids may have caused Benoit’s outburst, most people probably accepted that reasoning without any questioning. Of course.

But a new documentary, “Bigger, Stronger, Faster*,” raises all sorts of questions about performance enhancing drugs. Actually, the film succeeds in creating questions that the average non-juicer, non-pro-athlete probably never even thought about. The well-researched, thorough documentary which premiered at the 2008 Sundance Film Festival never answers most of its own questions, but it is a powerful catalyst into a discussion of what steroids mean to America.

Chris Bell, who is the narrator, director and co-writer of the documentary, presents his own family as a microcosm of the steroid addiction. Both his older and younger brother use steroids, with dreams of becoming famous bodybuilders and pro wrestlers.

Bell grew up with muscles and manliness at the center of his universe. He cites Arnold Schwarzenegger, Hulk Hogan, and Sylvester Stallone as his heroes of youth. He and his brothers would train and wrestle in the basement in hopes of someday becoming wrestlers as we see through the use of home-video footage.

But, years later, the brothers have fallen short of their championship belt dreams and their childhood realities have been crushed: their idols were doping up, wrestling may be fake, and the American dream to be the best may mean cheating.

Bell’s storytelling is in fine form, as he interviews politicians, ex-wrestlers, weightlifters, Olympic athletes, doctors and activists. Every angle of the steroid debate is discussed from the use of Olympic athletes to high school players.

From the producers of “Bowling for Columbine” and “Fahrenheit 911,” the editing is crisp, clean and succeeds in presenting the irony and contradictions of the characters without forcing it.

There are several surprising arguments that Bell is able to bring to the table. Many of his sources argue that steroids are far less dangerous than many legal substances, especially tobacco and alcohol. There were only 3 steroid-related deaths in the U.S. last year, compared to the over 400,000 due to tobacco, according to their research.

It’s hard to swallow this argument. From an early age, it has been instilled in us that steroids are bad. They are cheating. And the conflicting nature of many of the character’s in the documentary make even harder to really believe that maybe steroids should be legal. First the athletes say they never did steroids. Then they say they did them, but everyone does them. Then they say they only drank herbal tea.

The steroid debate is a mess, but only because the demands of the American dream make it so. To be the best, to be the winner is asking a lot of the people of this country. In the shadows of these superhuman mortals, the fantasy of greatness is more lethal than any shot or pill could ever be.


See this article here
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In theaters Friday, May 30, 2008.

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Film Review- Son of Rambow

 “Make Believe. Not War”

 

The tagline for “Son of Rambow,” says it all. This imaginative, playful British film took the film festival circuit by storm, and has finally made its way to the U.S.

 

Director and writer Garth Jennings has created not only a quirky film, but a complete childhood universe, rich with possibility, imagination and the magic of movies.

 

Young Will Proudfoot (Bill Milner) is raised in an isolated world, his family part of the Brethren, a religious group who shuns television and movies. He feeds his imagination only through his illustrations, many of which cover every inch of his schoolbooks. Yet, when an accidental friendship develops between Will and the school bully, Lee Carter, Will gets his first glimpse of film in the form of Rambo: First Blood. Lee and Will set out to make their own film about Rambo’s son, played by Will.

 

Their film includes a flying dog, intense stunts and complicated fight scenes, all shot on their simple home-video. As word spreads, other classmates join in on the project. At the same time, Will is fighting against his mother’s traditional religious views and constrictions on his life.

 

Milner, whose film credits only include a couple of other films at this time, seems like an old pro on screen. And yet, he carries with him the novelty of youth and the intensity of hope.

 

 “Son of Rambow” somehow feels like a short film, which would seem nearly impossible at 96 minutes long. But it is the smooth progression of the plot, and the subtle beauties embedded in the story which give it a refreshing point-of-view.

 

The characters in “Son of Rambow” are developed to their full potential. Quirky, lovable and imperfect, both Will and Lee grow and change in the film. They are interesting to watch, easy to root for, and memorable even after the credits have rolled.

 

It is funny without trying to be so. It is thoughtful without needing to be so. This film could make even the scroogiest of characters smile. The tenacity of the main characters inspires the audience to be more than they thought possible.

 

“Son of Rambow” reminds us all of the potential of life. If two awkward, scrappy young boys can make a film, can’t we all do anything we want?

 

 

Son of Rambow. In theaters Friday, May 2.