tag:blogger.com,1999:blog-3941740131958602722024-03-12T20:45:02.116-06:00The Chad ReviewsA Film Blog to RememberChad Hillhttp://www.blogger.com/profile/16387865033599286473noreply@blogger.comBlogger9125tag:blogger.com,1999:blog-394174013195860272.post-57470065638505527292012-10-17T16:35:00.001-06:002012-10-17T16:36:57.437-06:00Argo - Review<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: 12.0pt; line-height: 115%;">There are some stories out there that
most people just won’t believe. They’re too crazy, ludicrous, and impossible to
be true, or even theoretically work. If you saw these events in a movie, you
just might call it out on its stupidity. <i>Argo</i>
is based around such incredible events.</span><br />
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<span style="font-size: 12.0pt; line-height: 115%;">The scene is 1979, and a crisis has
just surfaced in Iran. Radical Islamic citizens have stormed the U.S. embassy
in Tehran and taken the American workers hostage. But the film isn’t about
them.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Instead, the focus is on the six
Americans who managed to escape unnoticed, housed in the home of the Canadian
ambassador. The U.S. government is desperate to get them out, and no options
seem like good ones. So the C.I.A. decides to go with the only idea that might
be crazy enough to work: a fake sci-fi film called Argo.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">American hostages in <i>Argo</i></td></tr>
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<span style="font-size: 12.0pt; line-height: 115%;">Tony Mendez (director/actor Ben
Affleck) is tasked with creating a credible production behind the film to get
into Iran. Under the guise of location scouting, he must sneak the six
fugitives out of the country, with the bloodthirsty revolutionaries searching
around every corner.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">As mentioned before, the plot sounds
absolutely ludicrous. And yet, it actually happened in real life, and it’s this
astounding fact that lends the film much of its tension. The final act is a raw
nail-biter, especially knowing how delicate the operation is.It never fails to
hold your attention, even without gunshots or explosions.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">The amount of nerve-shredding tension
the film emulates is also a testament to Affleck’s shocking ability as a
director. Here, in just three films (his previous efforts, <i>Gone Baby Gone </i>and <i>The Town</i>,
are each critical darlings) he has proven himself to be one of the most
talented directors working today.He effectively captures the uneasiness and
realistic portrayal of the situation, making the film feel all the more real.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">"As long as this script isn't <i>Reindeer Games 2</i>, you got a deal"</td></tr>
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<span style="font-size: 12.0pt; line-height: 115%;">Affleck also manages to effectively
portray the look and feel of an era. From the opening titles to the type of
film stock used, it’s easy to think that <i>Argo</i>
could have been lifted straight out of the ‘70s among the works of Sidney Lumet
(whose classic film <i>Network </i>actually
gets a shout-out during a newscast). Production design and attention to detail
is astounding.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Even with the more tense moments, it
never forgets how laughable the concept is, and has fun with it. Darkly
humorous moments are sprinkled throughout, particularly during Mendez’ scramble
to assemble the production in Hollywood. John Goodman and Alan Arkin perfectly
satirize the politics and mechanisms behind the filmmaking industry. Bryan
Cranston even manages a few laughs.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Ben Affleck’s performance in front of
the camera is just as commendable. While it’s easy for an actor to be very
self-indulgent and showy in this type of film, Affleck plays it very low-key,
letting the story take center stage. His everyman persona proves very
effective, making his portrayal of a determined spy believable and relatable.<o:p></o:p></span></div>
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<i><span style="font-size: 12.0pt; line-height: 115%;">Argo</span></i><span style="font-size: 12.0pt; line-height: 115%;"> is,
simply put, one of the best thrillers to come out this year. Fueled by its
insane, I-can’t-believe-this-actually-happened story, powerful direction, and
effective performances, the film has a major edge that is sure to turn heads
come Oscar season.Always interesting and engaging, it’s a textbook example of
how to do a thriller right. And in market full of <i>Taken 2</i>’s and <i>House</i>s <i>at the End</i>s <i>of Streets</i>, that’s never a bad thing.</span></div>
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<span style="font-size: 19px; line-height: 21px;">4.5/5 Stars</span></div>
Chad Hillhttp://www.blogger.com/profile/16387865033599286473noreply@blogger.com0tag:blogger.com,1999:blog-394174013195860272.post-33163450198059502802012-04-26T19:01:00.003-06:002012-04-26T19:01:44.259-06:00The Fall - Review<div class="separator" style="clear: both; text-align: center;">
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Anyone who isn't a hipster can tell tell you that one of the most annoying personality traits someone can have is pretentiousness. That general attitude that you are better than everyone and everything else, and that you deserve some kind of attention simply because you exist. This is the exact attribute of The Fall that offended and annoyed me to such a strong degree, which is to say: it annoyed the living piss out of me.<br />
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The Fall is set in an early 1900s hospital, in which 5-year-old Alexandria is recovering from a broken arm. During her stay, she befriends Roy, a stunt-double who's been left paralyzed after an accident on set. Roy seems nice, telling young, naive Alexandria wonderful stories of bandits and princesses. But little does she know that something dark lurks behind Roy's stories.<br />
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<tr><td class="tr-caption" style="text-align: center;">Really, nobody thought to put an escalator in here.</td></tr>
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It is these stories that give the film its life. I will give credit where credit is due; Tarsem Singh has a real knack for visuals. The world created by the stories are marvelously rendered and take place in breathtaking, fantastical landscapes. This gives the film a unique look and style unlike anything you've probably seen before.<br />
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However, there's a point in the film in which I suddenly felt a familiar feeling. In fact, it was the very same feeling that I had while watching Zack Snyder's Sucker Punch. It was the realization that all these beautiful scenes, gorgeous visuals, and breathtaking style served absolutely zero purpose other than to look pretty. It's uncanny. Both films tell fantasy stories that mirror reality, and in both, the best visuals are within these stories. But they only comprised about half an hour of Sucker Punch's running time; Roy's stories take up a good half of this film.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-Ztdwgchhc8Q/T5nu8wvvRLI/AAAAAAAAAGc/PCtj5OVr-O4/s1600/ChrisK6613.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="257" src="http://3.bp.blogspot.com/-Ztdwgchhc8Q/T5nu8wvvRLI/AAAAAAAAAGc/PCtj5OVr-O4/s320/ChrisK6613.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Uh, this probably isn't a big deal, but...why exactly are those priests spinning?" -<br />
"STFU, it looks cool and artsy and DEEP." - Tarsem</td></tr>
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I'm being serious when I say that they could have left the stories out of the film entirely, and the only thing it would have done was take away an excuse for elaborate visuals. The intention is that they would reveal Roy's inner torment and suicidal thoughts (over the loss of his girlfriend, I kid you not), but it's pulled off with all the subtlety of a Michael Bay movie. What's more, why go to such lengths to tell such a simple, albeit overdone and utterly stupid, story?<br />
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Furthermore, the film can't seem to commit to a single tone. At times, the film is obnoxiously and overtly goofy, and other times dark, serious, and artsy. The changes are jarring, and throws the viewer off balance. I didn't know how I was supposed to take in the events that were unfolding on screen? I'd also like to know why Roy would unload all this depressed, dark, suicidal turmoil onto a 5-YEAR-OLD GIRL who clearly neither fully comprehends it nor is able to handle it.<br />
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<tr><td class="tr-caption" style="text-align: center;">Congratulations, kid. You've unwittingly committed euthanasia.</td></tr>
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What we have on our hands is a self-indulgent, self-important "labor of love." But what's to expect from a director that simply goes by "Tarsem," as if he's great enough for you to instantly recognize who he is and all his work. "Tarsem" is the director Tarsem Singh, known more recently for the films Immortals and Mirror, Mirror (his only credit prior to The Fall was The Cell).<br />
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This fact alone merits enough disdain, but what really frustrates me is a single set of words on both the poster and at the very beginning of the film: "David Fincher and Spike Jonze Present." There's a couple names I should know and should trust. There's a couple names that are worthy of recognition. Those words gave me some comfort, some pretense that what I was about to see would actually be worth my time. And then they were used to sell some mishmashed, narratively-flimsy film that, *erherm* falls flat on it's face under the weight of its own visual splendor and self-importance.<br />
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1/5Chad Hillhttp://www.blogger.com/profile/16387865033599286473noreply@blogger.com1tag:blogger.com,1999:blog-394174013195860272.post-73340263532174781322012-04-14T19:26:00.002-06:002012-04-14T19:28:50.248-06:00The Raid: Redemption Review<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-2vX-GXU-BTE/T4oczUd-R3I/AAAAAAAAAFc/ehrbQJyM7pw/s1600/The+Raid.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-2vX-GXU-BTE/T4oczUd-R3I/AAAAAAAAAFc/ehrbQJyM7pw/s320/The+Raid.jpg" width="216" /></a></div><br />
It has been a very long time since a single action movie has come along and knocked you on your ass. Correction: it's been a long time since an American action movie has done this. Let's face it, Hollywood has been manufacturing the same cookie-cutter, stylized fluff for years and peddling it as to audiences who wouldn't know any better. Leave it to Welsh director Gareth Evans and an entirely Indonesian production to come along and show them how it's done.<br />
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The story of The Raid (and I refuse to add the silly subtitle Redemption; it was added for American audiences) is really kinda inconsequential and just a setup for the action, but it goes a little something like this. A group of cops attempt to take down a drug kingpin's apartment complex in the slums of Jakarta. When the job goes bad, and entire mob of angry drugheads and gangsters stands between the survivors and freedom. And now we have our action movie.<br />
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And what stunning action is on display here! The Raid features some of coolest and best fight choreography in any movie, period. The film never stops or slows down, delivering a relentless assault of visceral thrills and jaw-dropping "oh-my-god-I-can't-believe-that-just-happened" moments. The fighting is fluid and quickly paced, always keeping you on the edge of your seat. One such scene involves our protagonist taking out a hallway full of goons with just a knife and a billy club. And another versus five machete-wielding enemies.<br />
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Part of what makes these scenes so effective and mind-blowing is Gareth Evans' direction. Not once does he shake the camera to "make it realistic," but instead gives us a clear view of the violence in long, unedited takes. The film is carefully edited to make the most of the fights, making them far more impressive when two enemies duke it out for what seems like forever. There's very little reliance on CGI or slow-motion, two staples of the modern action movie, but rather Evans uses them sparingly and appropriately. This move is wise, as these two components are much more effective when used in moderation.<br />
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One could say that the film really lags in the storytelling department, and yes, what little plot that's there is a bit familiar and cliche. However, the film's goal was never to really tell a story, and because of this it never relies heavily on it's weak plot. It's introduced, set up, and then lets the action take it the rest of the way. Unlike most films, which would constantly throw its weak story in the viewer's face, it addresses what needs to be addressed, then leaves it alone. And that can be forgiven if the rest of the film makes up for it.<br />
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And it's safe to say that The Raid absolutely, 100% makes up for such a weak story. It's expertly edited, directed, and paced for an action film, trimming the cheese and fat that often comes with most modern action films. It gives the viewer a highly concentrated dose of adrenaline that doesn't wear off until an hour after the credits have rolled. I have nothing bad to say about it. It's hands down the best action film to be released in years, and you would do yourself an injustice by not seeing it.<br />
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It was announced the week that The Raid hit theaters that it was being considered for a Hollywood remake. That is the absolute wrong way to react to this film. Instead, Hollywood directors should learn from The Raid. We can do with a little less shaky-cam and a little more awesomeness. Just leave this one alone.<br />
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5/5 starsChad Hillhttp://www.blogger.com/profile/16387865033599286473noreply@blogger.com1tag:blogger.com,1999:blog-394174013195860272.post-8747181404453840702012-04-11T11:53:00.001-06:002012-04-11T11:58:18.231-06:00Hating Kristen Stewart<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-ULPKSGM5sH8/T4W8wtfP1JI/AAAAAAAAAE8/et-IMG1lDZo/s1600/kristen_stewart300.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-ULPKSGM5sH8/T4W8wtfP1JI/AAAAAAAAAE8/et-IMG1lDZo/s320/kristen_stewart300.jpg" width="240" /></a></div><div><br />
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Recently I was discussing upcoming movies with a few of my friends, as I am apt to do as a film fanatic. One of the films I brought up was the upcoming fantasy epic Snow White & The Huntsman, a film that I personally am looking forward to quite a bit. Each of my friends gave this general consensus. They agreed that the film could be good, but all were turned off by the main star, Kristin Stewart. When I asked why they held such distaste for her, they gave a one word answer: Twilight.<br />
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<div>Now it's no big secret that Twilight is a terrible franchise. It's a poorly written, faux-romance wet dream of a series that little girls and middle-aged women seem to go completely bonkers over. It's also wildly successful, with each film being one of the highest grossing films of their respective release years. Such wild popularity has launched its stars, particularly Stewart, to the forefront of pop culture. And it is here that Stewart gets a lot of largely undeserved criticism.</div><div><br />
</div><div>Before I go any further, let me clarify something. I hate the Twilight Saga with an undying passion. I am in no way a fan, nor am I a Kristen Stewart fanboy. I just want to shed some light on a topic that I find interesting, and something that I feel should be addressed.</div><div><br />
</div><div class="" style="clear: both; text-align: left;">If any of you have been unlucky enough to have seen a single frame of the Twilight films, you would be familiar with the character of Bella. Bland, emotionless, pathetic, annoying Bella. Her emotions seem to range from complete apathy to deep depression. She's a source of a lot of hatred, both among fans and haters of the franchise. This hatred has since carried over to Stewart, and she's been branded as a bad actress with the emotional range of a potted plant. It's even become a really popular internet meme.</div><div class="" style="clear: both; text-align: left;"><br />
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</div>But this characterization is based solely on the Twilight series. Anyone who's seen any other film Stewart has done knows that this is completely false. Stewart has been praised for her performances in both The Runaways and Welcome to the Rileys, as well as showing her true acting chops in films like Panic Room, Zathura, and Adventureland. In other words, she has the capacity to be good in a film. But just like any other actor, she needs the right material.</div><div><br />
</div><div>What a lot of people don't realize is that there's a lot more that goes into an actor's performance than just them standing in front of the camera and doing their thing. The actor's job is merely to bring to life a character that until then has only been on paper. There are two things that have a lot of say-so when it comes to what the actor does on camera: the script, and the director.</div><div><br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-IYodMw9IEX8/T4XDVx9NayI/AAAAAAAAAFM/uLjUF7ACd_4/s1600/Kristen_Stewart_and_Chris_Weitz.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-IYodMw9IEX8/T4XDVx9NayI/AAAAAAAAAFM/uLjUF7ACd_4/s1600/Kristen_Stewart_and_Chris_Weitz.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Alright, Kristen. Think mannequin, think mannequin....perfect!"</td></tr>
</tbody></table><div><br />
</div><div><br />
</div><div>Before an actor is even cast in a role, a script is written. This script includes the characterization of the people in the film. It is the screenwriter's job to create compelling characters with interesting plots. If the script and characterization isn't there, then it doesn't matter whether you've got Robert freakin De Niro in your movie; the character will still likely be poorly written and the actor is left to do their best with what they've got (note: see Al Pacino's performance in Jack and Jill).</div><div><br />
</div><div>Many people may be unclear as to what the director actually does for a film. Their job is to envision the film as a whole and bring it to life, including the story and characters. They decide how everything is going to be done in the film, including the performances. In most films, the director instructs the actor as to how they want a certain person to act, react, and exist. They get the performances they want from their actors, and unless the actor is a true legend, ignoring them is an easy way to get booted off the project.</div><div><br />
</div><div>With this in mind, let's take another look at Twilight. We already mentioned how poorly written it is. The characters (not just Bella) are bland, uninteresting, and have unclear motivations. The story itself is completely anticlimatic and suspense-less in every way. It's a bad, bad script. Which often leads to (shocker) bad performances from the actors playing these bad characters. And as they give the same performance in every film, it's quite clear that they portrayed the characters exactly how the directors wanted them to.</div><div><br />
</div><div>Kristen Stewart is just unlucky. She got roped into a franchise that continuously calls for a bland performance that's far below anyone's capabilities as an actor. It's unfortunate that her involvement in these films has led to such harsh criticism. Basing an actress' talents off of one character is completely unreasonable, unless they give the same performance in every film they do, which Stewart clearly doesn't.</div><div><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-_mdUQe72J5Y/T4XEx00LDiI/AAAAAAAAAFU/n4FsyLIUiuo/s1600/snow-white-stewart.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="160" src="http://1.bp.blogspot.com/-_mdUQe72J5Y/T4XEx00LDiI/AAAAAAAAAFU/n4FsyLIUiuo/s320/snow-white-stewart.jpeg" width="320" /></a></div><div><br />
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</div><div>The good news is that Stewart has a chance to redeem herself with Huntsman. The film looks epic, fun, stylish, and slick, and Charlize Theron is gonna kill it as the Queen. Stewart's involvement neither adds nor detracts from that opinion. Either way, I'll be in line to see it when it hits theaters. And hopefully a certain star won't turn people away.</div>Chad Hillhttp://www.blogger.com/profile/16387865033599286473noreply@blogger.com0tag:blogger.com,1999:blog-394174013195860272.post-26106507793164660582011-12-11T22:24:00.002-06:002011-12-11T22:25:53.906-06:00Die Hard - Review<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-v58ve3fTnmM/TuV4UNMoCsI/AAAAAAAAADs/dlDUTr0s8zk/s1600/190925.1020.A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-v58ve3fTnmM/TuV4UNMoCsI/AAAAAAAAADs/dlDUTr0s8zk/s400/190925.1020.A.jpg" width="268" /></a></div><br />
Around this time of year, people start asking each other what their favorite Christmas movie is. I always get a funny look when I answer Die Hard. And I can't blame them. Die Hard has no Santa, no elves, no snowmen, no awkward family meals, and no underlying moral lesson about family and the spirit of the the holiday. There aren't any gifts exchanged, but instead bullets and awesome one-liners. And there lies the reason that I love it so much.<br />
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For the uninitiated, John McClane is the hero of this action-packed thriller. McClane is a New York City cop who flies out to Los Angeles to be with his estranged wife and children for Christmas. While waiting for his wife to finish at a her office's Christmas party, a few uninvited guest toting machine guns crash the party, led by one Hans Gruber. They lock down the building and hold the guests hostage while attempting to break into the building's vault and steal the millions of dollars lying within. But they didn't count on John McClane giving them a, aherm, run for their money.<br />
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What follows after this main setup is a tightly written, intense, and fun action film, and one of the best action films to ever be produced. Each action sequence is effortlessly exciting and enthralling, mostly due to director John McTiernan's exceptional eye for action. This film was made before the days of shaky-cam, and it's all the better for it. McTiernan films the action scenes smoothly and breathlessly, giving the audience a clear view of all the stunts.<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-88e76QMDKE8/TuV712eQP6I/AAAAAAAAAD0/f-Smywfw-bU/s1600/Image66.6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="http://1.bp.blogspot.com/-88e76QMDKE8/TuV712eQP6I/AAAAAAAAAD0/f-Smywfw-bU/s320/Image66.6.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hopefully you'll never get to know what a<br />
TV dinner feels like.</td></tr>
</tbody></table>We've often grown accustomed of late to action movies with cool stunts, but awful scripts. Die Hard is not one of them. The dialogue, particularly John McClane's, are humorous and often witty, adding an awesome one-two punch to many shootouts in the film. Neither did the writers skip on plot. The plot is quite intelligently thought-out, particularly in the way the terrorists handle the law enforcement and how we see them do exactly what is expected. It turns the idea of the smart cops battling against a bunch of dumb, faceless thugs on its head, and instead does the reverse.<br />
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Make no mistake, our villains are no simple thugs. Hans Gruber oozes intelligence and is quite the charming villain, played brilliantly by Alan Rickman. Rickman practically steals the show, leaving the viewer unable to take their eyes from his performance. Beyond Hans, each individual terrorist seems to have their own personality rather than being faceless fodder for McClane's bullets.<br />
<br />
But the reason the film succeeds is because of its incredibly likable lead character. McClane is Bruce Willis' defining role, and he plays it with such enthusiasm. McClane is the kind of guy to taunt a bad guy even while staring down the barrel of a gun. He's witty, smart, and perhaps the coolest action hero of the 80s.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-lZLxbQoab7E/TuV_aOTRy4I/AAAAAAAAAD8/bOr24OWbcRU/s1600/Die-Hard-hans-gruber-8625717-1016-570.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="179" src="http://2.bp.blogspot.com/-lZLxbQoab7E/TuV_aOTRy4I/AAAAAAAAAD8/bOr24OWbcRU/s320/Die-Hard-hans-gruber-8625717-1016-570.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kids, this is what happens to people<br />
who make the naughty list.</td></tr>
</tbody></table>Only technically a Christmas movie, Die Hard remains my favorite of a series that includes such films as <i>It's A Wonderful Life</i>, <i>A Christmas Story</i>, and <i>Miracle on 34th Street</i>. It's a testosterone fueled thrill ride that's as much fun as it is purely awesome. The industry is short on such unabashedly great action films lately. Iconic villains and all, it doesn't get much better than this. So this holiday, join the party, come out to the coast, get together, and have a few laughs. Die Hard is the cure for the overly-sappy, sentimental holiday schlock.<br />
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5/5 starsChad Hillhttp://www.blogger.com/profile/16387865033599286473noreply@blogger.com2tag:blogger.com,1999:blog-394174013195860272.post-3034105254768509592011-11-25T22:39:00.001-06:002011-11-25T22:47:18.977-06:00Jack and Jill - Review<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-Bx-8iAhjw9k/TtBtFCQAltI/AAAAAAAAADc/TXlREcOu64U/s1600/MPW-69774.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-Bx-8iAhjw9k/TtBtFCQAltI/AAAAAAAAADc/TXlREcOu64U/s320/MPW-69774.jpg" width="212" /></a></div><br />
"Burn this. Burn all copies. No one should see this."<br />
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This line comes from one Al Pacino during the closing moments of Jack and Jill, Adam Sandler's latest assault on the box office. What a fitting way to end such a horrid film. Of course, Pacino was referring to the ridiculously lame and embarrassingly unfunny commercial he starred in in the film, but in this case it also applies to this ridiculously lame and embarrassingly unfunny movie.<br />
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In Jack and Jill, Adam Sandler plays Jack Sadelstein and his identical twin sister, Jill (and already you can see the level of intelligence in this film, as this is an impossibility). Jill is obnoxious, annoying, passive-aggressive, and uniquely unfeminine in any way, shape, or form. And she happens to get on Jack's last nerve at every turn during her visit over the holidays. As the weeks drag on, however, Jack sees a business opportunity brewing in the form of Al Pacino's attraction to Jill. And thus he chooses to endure Jill's incessant nagging in order to land a commercial with Pacino.<br />
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At this moment, there are few words to describe how torturous an experience it was to sit through this atrocity. Perhaps the words I used to describe the title character are most fitting: this "film" is obnoxious, annoying, rude, and loud. I'm surprised at how many laughs it got out of the audience I shared the theater with. Every joke falls flat on it's own fat face, and you can see each one coming a mile away.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-vFRARhZ0g9w/TtBtNSgTU7I/AAAAAAAAADk/826-qQtzw3g/s1600/adam-sandler-jack-jill-movie-trailer.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="178" src="http://4.bp.blogspot.com/-vFRARhZ0g9w/TtBtNSgTU7I/AAAAAAAAADk/826-qQtzw3g/s320/adam-sandler-jack-jill-movie-trailer.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This is what you have to look forward to, ladies and gentlemen.<br />
Please, contain your laughter.</td></tr>
</tbody></table>I don't mind Adam Sandler, I really don't. He's made a couple movies that I find quite humorous, and he's usually likable enough in each one. But Jill is anything but. Her character seems to never stop talking, hoping that something funny will come out. Adam Sandler doesn't even seem to be cracking himself up with the role like he usually does. Meanwhile, Katie Holmes barely makes her presence known, as if she's embarrassed to be there (which she should). Al Pacino is the only saving grace this film gets. He plays a quite insane caricature of himself, and he's the only actor who made me smile. I admire how much he committed to the role. But it begs the question: why on earth are you in this movie?<br />
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Beyond that, the film continues to insult the audience's intelligence even more, with Sandler's typical gross out humor that just never works. Numerous scenes had the audacity to remind us that a joke was just told and that we should be laughing. And on top of that, this script asks us to feel bad for our detestable main character. The opposite actually happens and you end up caring for Jack, who spends most of the film being a jerk to Jill, more.<br />
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Movies like this baffle me beyond any measure. Who thought this was a good idea? How did this get made? And most of all, why do people find it funny? While Al Pacino steals the show and manages to get a few chuckles, this comedy, in the lowest sense of the word, is one of the most shoddily written, poorly conceived, and unbearably arduous movies in a long time. If Adam Sandler in drag appeals to you, or maybe you're just braindead, you might love Jack and Jill. For those with even half a brain cell, you will find very little worthwhile in this garbage heap of a movie.<br />
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0.5/5 StarsChad Hillhttp://www.blogger.com/profile/16387865033599286473noreply@blogger.com1tag:blogger.com,1999:blog-394174013195860272.post-70359422713309998162011-09-14T21:37:00.003-06:002011-11-25T22:47:55.748-06:00A Guide to Recognizing Your Saints - Review<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-DmqyN1crpO0/TpEj-uISdPI/AAAAAAAAAC8/Ieuz4FSuCis/s1600/guide-to-recognizing-your-saints-poster-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-DmqyN1crpO0/TpEj-uISdPI/AAAAAAAAAC8/Ieuz4FSuCis/s320/guide-to-recognizing-your-saints-poster-1.jpg" width="213" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div>To quote an oft-mocked trailer for a recent action movie, never forget where you came from. It's a bit of sound advice that Dito Montiel seems to have taken to heart with the release of his book A Guide to Recognizing Your Saints. That is, until he returns home for the first time in 15 years.<br />
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Here we see the sick father whose love he rejected. We see the young lover he left behind. We see the friends he abandoned and the lives he forgot in his desperation to leave his inner city neighborhood. But most of all, we see the events that caused all of it, and how it was almost unavoidable, in this deeply personal Sundance film.<br />
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I call the film personal because it obviously is. Dito Montiel is the protagonist, writer, and director of this story of a man's struggle to make amends with those he abandoned. Normally this kind of thing gets in the way of the film's overall quality, due to an overly meticulous and caring filmmaker, but that's not the case here. Montiel, a first-time director, imbues his film with such raw emotion, almost perfectly capturing the struggles the audience is asked to relate to.<br />
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Every scene is electric, with anger, rage, and grief all flowing like electrons through a wire. Even more riveting is how it makes its way out. The actors and characters attempt to hide their feelings, and do a damn good job of it, until it violently erupts into the scene. Often these scenes are punctuated with sudden violence that helps urge it out. Perhaps the most effective, and heart-breaking, scenes are those confrontations between Dito and his father.<br />
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Director Montiel brings out the best in all his actors in this film, so not to lose any of his intended impact. Shia LaBeouf and Robert Downey, Jr. shine as the younger and older Montiel, respectively, though Downey doesn't have much to do until the very end of the film. Channing Tatum is even a credible actor in this film, coming off at first as the stereotypical tough guy, but fleshing out into a much more complex character. Perhaps Chazz Palminetri gives the best performance as the heartbroken father trying to look understand and care for his son. His scenes are truly the most remarkable.<br />
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As was said about Tatum's character Antonio, the same could be said about most of the characters. What comes off at first as stereotypes evolve into a much deeper dynamic by the end of the film. Most of it naturally comes from the strong writing and performances, but also from a handful of scenes that break the fourth wall, in which the characters speak to the viewer. Such scenes give great insight into each person, but at the same time disrupt the flow of the film. However, it's merely part of the charm of this indie flick.<br />
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On that note, A Guide to Recognizing Your Saints is a highly personal indie flick that mostly succeeds. It's a deep look into the life of an inner city boy, lovingly brought to us by a man that literally inhabited his shoes. For this reason, it could be somewhat difficult to relate to for some viewers. However, it's also a reminder of why you need to remember the ones you love, and the ones who love and care for you. It's a reminder to recognize your saints, so to speak. And if you're overtaken by this emotional roller coaster of a film as I was, it's one you won't soon forget.<br />
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4/5Chad Hillhttp://www.blogger.com/profile/16387865033599286473noreply@blogger.com3tag:blogger.com,1999:blog-394174013195860272.post-18679159301333480152011-09-01T22:45:00.002-06:002011-11-25T22:48:31.128-06:00Summer 2011 In ReviewThis summer, I managed to snag a job reviewing for my town newspaper. As a result, I saw more movies this summer than I ever have in my very brief and insignificant existence. There were some highs and some lows, but this summer saw a significant redemption from last year's crapfest (excluding Inception and Toy Story 3, of course). Here is what I thought of the films I saw.<br />
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<b>Best Film:</b> Super 8<br />
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</div><div class="separator" style="clear: both; text-align: left;">Super 8 marked the most memorable movie of the summer for me. It's a magical trip down nostalgia lane, bringing back memories of Spielberg classics like E.T., Close Encounters, Indiana Jones, and even The Goonies. It's no surprise; director J.J. Abrams admits that Spielberg was a source of inspiration and he even executive produces. The child actors are the best I've seen in any movie, acting like (shocker) actual kids might act. Throw in the most thrilling train crash ever put to film, and you've got one unforgettable experience.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><b>Worst Film:</b> The Hangover: Part II</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.flicksandbits.com/wp-content/uploads/2011/01/The-Hangover-2-image-The-Hangover-Part-2-image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="166" src="http://www.flicksandbits.com/wp-content/uploads/2011/01/The-Hangover-2-image-The-Hangover-Part-2-image.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div>Truth be told, I wasn't a huge fan of the first one, and I didn't see that many bad films this summer. But I at least enjoyed the first Hangover film, and I was somewhat excited to see a sequel. Then I realized how lazy the filmmakers got this time. There is absolutely nothing in this film that you didn't see in the first one. Just about every gag is reused, sans laughter. The tone is meaner, the characters are meaner (especially Alan. Fatass.), and the movie just is not very funny. At all. The Hangover: Part II is not so much a sequel as it is a lazily disguised remake.<br />
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<b>Biggest Surprise: </b>Pirates of the Caribbean: On Stranger Tides<br />
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Yeah, I liked this movie. I'm as surprised as you are. Going in, I knew that most critics (and other filmgoers) were extremely displeased with this fourth installment. Considering my hatred for Dead Man's Chest and At World's End, I didn't expect to like it either. However, I found it to be a nice return to form for the franchise. The humor and sense of adventure present in the first film returns and the story is streamlined, lightening the load by leaving out a few characters. God knows it needed to happen. Dare I say it, I was entertained. Here's hoping the next two follow suit.<br />
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<b>Biggest Disappointment: </b>Cars 2<br />
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You don't know how much it saddens me to say that PIXAR has made a stinker. The first Cars was certainly their weakest film, which begs the question: why a sequel to THIS? The answer: merchandising. I think that's the only thing this film had going for it. It simply wasn't funny (at least to adults, but PIXAR is known for providing fun for all ages), the plot was cliched, and Mater was annoying as hell. Look at the bastard. Sitting there with his stupid grin like there's nothing wrong. Simple fact is the film is mediocre, which is a first for describing just about any PIXAR film.<br />
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<b>Best Superhero Movie: </b>X-Men: First Class<br />
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This summer the X-Men franchise got its redemption. After bombs Last Stand and Wolverine, fans finally got the film they deserved. Boasting rich characters, outstanding performances from James McAvoy and Michael Fassbender as Professor X and Magneto, as well as Jennifer Lawrence as Mystique, an awesome retro vibe courtesy of director Mathew Vaughn, First Class is one knockout of a comic book movie. Furthermore, the film developed the relationship between the two leads magnificently, something never explored in the franchise before. It's easily the best film in the franchise, and the best superhero film of the year.<br />
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<b>Biggest Overreaction:</b> Green Lantern<br />
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Judging from the critics' reaction, you'd think this was the worst movie ever made. The truth is that it's not, and it's actually quite fun. Did it live up to its full potential? No. Could it have been better? Absolutely. And I can understand how fans would have been displeased. But what we got was still a fun, campy summer film, even with its myriad of problems. Seriously, guys. Just take a chill pill and enjoy.<br />
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<b>Best Use of 3D: </b>Transformers: Dark of the Moon<br />
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I'm gonna be honest, this was the only movie I saw in 3D this summer. That being said, this final film in one of the most hated franchises ever used it extremely effectively. Seeing shit get blown up real good is exactly what 3D was made for, and love it or hate it, Tranformers: Dark of the Moon blows shit up reaaaal good. And it's even more awesome in three dimensions.<br />
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<b>Best Experience: </b>Harry Potter and the Deathly Hallows: Part II<br />
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Harry Potter is dead, long live Harry Potter! The end of an era has come, as we saw the final Harry Potter film hit theaters. And boy did it go out with a bang. Perhaps the greatest film in the franchise, Deathly Hallows: Part 2 was an emotional thrill ride, featuring all the badass wizarding action the franchise has been building up to. While it's sad to say goodbye to this series, and these wonderful characters, the ending of the film eases any sadness you may have about seeing this franchise end. All in all, it was a fun, emotional, and brilliant experience.<br />
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Those are the highlights (and a few lowlights). Now, here's all the films I saw this summer, along with what I rated them. Comment below, let me know what you think.<br />
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Thor - 4/5<br />
Pirates of the Caribbean: On Stranger Tides - 4/5<br />
The Hangover: Part II - 2/5<br />
X-Men: First Class - 4.5/5<br />
Super 8 - 5/5<br />
Horrible Bosses - 4/5<br />
Transformers: Dark of the Moon - 3.5/5<br />
Green Lantern - 3/5<br />
Cars 2 - 2/5<br />
Harry Potter and the Deathly Hallows: Part II - 5/5<br />
Captain America: The First Avenger - 3.5/5<br />
Cowboys & Aliens - 3.5/5<br />
Rise of the Planet of the Apes - 4.5/5<br />
30 Minutes or Less - 3.5/5Chad Hillhttp://www.blogger.com/profile/16387865033599286473noreply@blogger.com4tag:blogger.com,1999:blog-394174013195860272.post-12682135090301966232011-08-31T23:11:00.001-06:002011-11-25T22:49:03.310-06:0030 Minutes or Less - Review<div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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</div><div>I had thirty minutes or less to write this review, so here we go.</div><div><br />
</div>A fine genre known as the stoner comedy has emerged recently, due to the rise of Judd Apatow and actor Seth Rogen. We've seen it in films like Pineapple Express and Harold and Kumar. It often refers to the fact that the film heavily features pot, but I tend to think it's more descriptive of the films' sense of humor. In this, the film feels like it's written for younger audiences with a sense of humor that, well, you may have to be stoned to get. With that in mind, 30 Minutes or Less probably fits the bill just fine.<br />
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</div><div>Dwayne is an idiot with a crappy life. He's got no job, few aspirations, hangs out with his equally stupid friend Travis all the time, and his rich father constantly treats him like the skidmark he is. One day, he decides that he's fed up, and he wants his dad's money. So he and Travis decide to hire a hitman to kill him so that they can get the inheritance. But first, they need the money to pay for the hit.</div><div><br />
</div><div>That's where Nick comes in. He's a pizza delivery boy whose life seems to be going nowhere. On a routine pizza run, Dwayne and Travis attack him and strap a bomb to his chest, threatening that if he doesn't bring them $100,000 dollars in less than ten hours, they'll blow him up. With his friend Chet in tow, Nick has no choice but to give in. And antics ensue.</div><div><br />
</div><div>There's no doubt the film lives up to it's title. At only 80 minutes, the film moves fast and is over quickly. It's a brief ride, but tries to make sure you're entertained for the entire duration. The humor and jokes go so quickly that it's often difficult to process it all at once. A good bit of the humor falls flat, but when it hits, it hits hard.</div><div><br />
</div><div>The scripting may be the blame here. For most of the movie, it the jokes and humor seemed heavily improvised, as if the writers forgot to write a comedy and the actors had to make it up on the spot. Considering, they do pretty well.</div><div><br />
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</div><div>Jessie Eisenberg, while it's disappointing to see him return to this type of role after his outstanding turn in The Social Network, brings his usual neurotic charm to the character of Nick, and gives his scenes a sense of honesty and earnestness few comedies have. Aziz Ansari steals the show as his buddy Chet, delivering some of the funniest lines in the movie. These two play off each other particularly well, making their friendship more believable. </div><div><br />
</div><div>As for our nefarious duo, Danny McBride uses his usual white trash schtick that we've seen him do before. It's just not that funny very often. McBride seems to have the notion that dropping constant swearing into his lines somehow makes them funnier. Sometimes it is, and sometimes it isn't. Nick Swardson is somewhat better, but does nothing particularly noteworthy with his role other than give someone for McBride to play off of.</div><div><br />
</div><div>In truth, the movie should have been much funnier. It boasts a wacky premise that would make old-school screwball comedies proud with a talented cast of comedians. Perhaps the writers only had 30 minutes or less to write it and only had enough time to come up with this outrageous plot and left the actors to make the jokes. It certainly feels that way at times, what with jokes that fall flat and some serious suspension of disbelief (seriously, we're supposed to believe that these idiots can design such a complicated bomb?). However, scenes like the hilarious bank robbery give us a glimpse of what could have been a fantastic comedy.</div><div><br />
</div><div>30 Minutes or Less is a brief, uneven, but fun ride. It's brisk pace, criminally short length, and lazy writing keeps it from meeting it's full potential, but it can be quite entertaining. It's a comedy written for the internet age, and fans of films like Pineapple Express should enjoy it a lot. I certainly did.</div><div><br />
</div><div>3.5/5 Stars</div>Chad Hillhttp://www.blogger.com/profile/16387865033599286473noreply@blogger.com0