What I Watched this Week: 10/21 - 10/26

This is a nifty little feature for me to talk about flicks I watched without giving a critical write-up, being that my reviews are so thorough, in-depth, and expertly written.

INTERVIEW WITH A VAMPIRE, 1994
Starring Tom Cruise, Brad Pitt, Kirsten Dunst, Antonio Branderis; Written by Anne Rice, Directed by Neil Jordan

** (out of ****)

I’m really interested in vampires right now; with the HBO series TRUE BLOOD being absolutely phenomenal and buzz about the teen flick TWILIGHT on maximum overdrive, I thought this would be a good time to see this critically acclaimed cult favorite. Turns out, it’s not as bad as I thought it was going to be (pictures of Tom Cruise’s haircut quite frightened me). What I was most surprised about was Kirsten Dunst’s performance; even as a kid, she did remarkably well. After the initial ‘That’s Tom Cruise in a bad wig’ shock wore off, I began to enjoy his character, Lestat – the Big Honcho of Vampires. Lestat is cool and swift, and if need me, one mean Sam Jackson-like mother. Brad Pitt doesn’t add anything new, seemingly playing himself but with freaky eyes and fangs. Although the actors were distracting, I did enjoy the overall story of Louis (Pitt). I have yet to see QUEEN OF THE DAMNED, or read any of the Vampire Chronicles books, but my interest has been peaked.

HIGH SCHOOL MUSICAL 3, 2008
Starring Zac Efron, Vanessa Hudgens, Ashley Tisdale; Written by Peter Barsocchini, Directed by Kenny Ortega

*** (out of ****)

A worthy conclusion to these characters storylines, while simultaneously setting up future possibilities for the inevitable continuation of the franchise, HSM3: SENIOR YEAR is just plain fun. The actors have officially shown that they aren’t just pretty faces, that they actually possess the ability to perform and not just be a Disney icon. The music is pretty fun, although I don’t have as many favorites as I do with HIGH SCHOOL MUSICAL 2; to me, a majority of the songs featured here rather sound the same, but it could just be me. My only problem with this movie is the choreography; now, I’m not even close to being a professional dance dude person thingy, but sometimes the dances appear simply lazy. With that said, “The Boys Are Back” is probably the most creative sequence the HSM crew has ever constructed, and is wholly enjoyable. It is somewhat sad to see these characters leave (though I wager some will have cameos in the following flicks), but it was a damn good send off fitting for a theatrical experience.


SAW V, 2008
Starring Tobin Bell, Scott Patterson, Costas Mandylor; Written by Patrick Melton & Marcus Dunstan, Directed by David Hackl

** (out of ****)

SAW V leaves a lot to be desired, unfortunately, but it is, still, a good movie. There are two points for this flick: show how Detective Mark Hoffman became John Kramer’s accomplice, and how to avert suspicion on his behalf after he and Detective Strahm (Patterson) are the only ones left alive from the events of SAW III/SAW IV (aka SAW III.5). The flick plays very much like SAW II: less about the horror and more about driving the plot, the rising action, and the somewhat irrelevant plight of a group of five stuck in a Jigsaw-like game. Consisting of mainly flashbacks and the most amount of scenes involving the opening of folders and looking at pictures, its pretty much a game of associating this particular scene to this particular movie, and so on and so on - to match continuity; it can be a little fun, but sometimes irritating when you want to just sit back and enjoy the show. SAW V still makes one anxious for SAW VI, but not too enthusiastically.

NOTES ON A SCANDAL, 2006
Starring Cate Blanchett, Judi Dench, Bill Nighy; Written by Patrick Marber, Directed by Richard Eyre

*** (out of ****)

Wanted to see this for quite a while; the trailer played repeatedly on the SUNCOAST promo disc and the obviously intense performances and eerie music sold me each time it was on. NOTES ON A SCANDAL didn’t disappoint. This flick is about a school teacher (Blanchett) who has a affair with a 15-year old boy (not Bill Nighy), and she is found out by her friend (Dench) who implores her to end it or else everyone - including her husband (Nighy), will know. I was never a fan of Blanchett, though I respect her body of work, but this was truly the first time I was truly uber impressed (scratch that, now I'm remembering ELIZABETH) with her, and her beauty. Judi Dench still scares me half to death when I look at her, and she effortlessly delivers a phenomenal performance. I have a automatic love for Nighy, so it goes without saying anything he does is bloody brilliant. It's a fun waste of 92 minutes, and it is expertly crafted.

NORMAL ADOLESCENT BEHAVIOR: HAVOC 2, 2007

Starring Amber Tambyln, Ashton Holmes, Keli Garner, Hilarie Burton; Written & Directed by Beth Schacter

** (out of ****)

I confess: the only reason I wanted to see this was because of actress Amber Tamblyn (THE GRUDGE 2), daughter of Russ Tambyln (WAR OF THE GARGANTUAS, a cult favorite of mine), who I believe to be oh-so-very beautiful. Unfortunately, the movie isn't all that great. It's main problem suffers from the script and the supposed "real" dialogue, something that also spelt doom for Christian Bale in HARSH TIMES. The movie is basically about a very, very, very tight group of teens who pretty much do everything with eachother and to eachother, and when one of the members (Tamblyn) meets someone new and wants to leave the group, all hell breaks loose. It's a very strange movie, and one I wouldn't bother seeing if Tamblyn wasn't in it. I get why she chose the part (same reason Hathaway chose the first HAVOC, of which these two movies share no relation with the exception of title). Overall, don't bother with this cup of tea.

THE EXORCIST, 1973

Starring Jason Miller, Max von Cobb, Linda Blair, Chris MacNeil; Written by William Peter Blatty, Directed by William Friedkin

**** (out of ****)

Never saw this until Saturday, and it was pretty damn good. Even with the movie’s age, it still has the ability to freak the living shit out of viewers of this age, where we have guts splattering over people’s faces all over the place in the SAW and HOSTEL films. Damn fine performances from every cast member; I was most surprised by Chris MacNeil, playing Ellen, Regan's (Blair) mother. She was a prominent force, not just your typical 'What's happening to my daughter?' Perhaps it's the running time that helps caring for characters who could potentially be quite one-dimensional. The flick is 2 hours, but I can honestly say those two hours flew by quite quickly. Although the initial 20 minutes kinda lack a coherent feel (though the above shot sent frakking chills up my spine), the rest of the movie is spot on perfect. Yes, indeed, a classic!

Max Payne

Starring Mark Wahlberg, Mila Kunis, Chris O’Donnel

Screenplay by Beau Thorne, Directed by John Moore

** (out of ****)

Nifty poster, yeah? Too bad the movie is nothing resembling that. If I had the opportunity to meet up with the marketing people responsible for the trailer and poster for Max Payne, I would attempt to kick some serious Karate Kid-ass on their behinds for misleading me (and the general public). All signs indicated an apocalyptic, Constantine (2005)-like movie – something right up my alley. Imagine my complete and utter disappointment when it was revealed this movie was about a bad drug. Whops, was that a spoiler? (assuming no one played the game before) Feel glad, I just saved you $10.

Mark Wahlberg plays NYPD officer Max Payne, currently working in their Cold Case department; before he was working homicide with his friend (the dude who was Nicholas Cage’s friend in Ghost Rider (2006), and the dude talking about “the pretty lights” in Dark Knight), but the death of his wife and child three years ago has set him in depressed mood, and he now spends his time looking for anything that can lead to new details about why they were killed. His detective works brings about a connection between a street-drug called VALKYR and the Aesir Corporation. This drug makes the individual fairly strong and fearless – downside, they also hallucinate giant winged angel-like beasts. Max is connected to a homicide; people don’t believe his side of the story. Thus, Payne goes outside the law to track down the people responsible for murdering his wife and children and shipping out this crazy drug. Throughout, we are treated to two giant shoot-em-up moments, and, I daresay, they’re pretty damn entertaining!

Payne opens up pretty damn well: Detective Max Payne unconscious, drowning, while he gives a monologue to the extent of, “Look at them, reaching out to grab me like I’m one of them.’ (meaning the bodies below) A pause; ‘Easy mistake to make.’ See, now that’s a fantastic technique to engage the viewer and make them want to stick around to see how the character ended up where he does. Unfortunately for us, the paying audience, the movie doesn’t engage and the poorly-written script is quite laughable (because, really, how could one screw up something this simple?)

One thing it does do right…slightly…is that it emphasizes story over action. Obviously, the flick has the mandatory action sequences (which are quite satisfactory; not Shoot 'Em Up (2007) quality, more like it’s five-year old kid), but the story takes the front and center seat. However, like I said, the script blows. Laughable, clichéd dialogue; once certain plot points (or characters) are introduced, you know every beat of the entire flick. Oh, wait, Payne actually does another thing right…scratch that, well: its visuals. Sometimes creeping into Sin City (2006) territory with a almost black & white plate to vibrant colors (such as flashes of red symbolizing one hell of a beating), Payne is quite a visual beauty to behold.

Acting wise, nothing falling under the remarkable category, but passes for being a video game adaptation flick. Wahlberg is pretty much his character from The Departed as far as tone, but lacking the smart dialogue and charisma. Best thing that can be said for the actor is that this was definitely a few hundred steps better than this summer’s bogus load of bollocks The Happening, though any fault with that movie is solely attributed to Shyamalan himself. Mila Kunis shows up as a…something. At one point she tells Payne, “You know what I am, and you know what I can do.’ However, we’re not really explained what it is exactly she does. As for me, I’m assuming she’s some sort of drug lord who keeps check of her domain, or perhaps a mercenary.

Not really in the mood to write anything else down about Max Payne other than if you really want to see it, wait ‘till you can pick it up as a DVD rental; it’s nothing you haven’t seen before, and crafted better. It’s just…there.

How to Lose Friends & Alienate People

Directed by Robert D. Weide, Written by Peter Straughan based on a book by Toby Young

Starring Simon Pegg, Megan Fox, Kirsten Dunst, Jeff Bridges, and Gillian Anderson. Rated R, 110 mins.

** (out of ****)

There’s something I call the Pegg Factor, meaning that Simon Pegg is so awesome I’ll see something he’s done just because he’s so damn awesome. This applies to this movie. Perhaps the only other reason why I would go see HOW TO LOSE FRIENDS AND ALIENATE PEOPLE would to find out once and for all if Megan Fox can act (debatable). But instead of making this entirely about Pegg (which I will try my hardest to accomplish), I’ll try to talk about the flick a bit. Honestly, I don’t know how to review this movie, so everything’s going to be more like little scribbles of thoughts.

Plot
Sidney Young has grown up always wanting to be one of those people invited to the big Hollywood parties…by any means necessary. After a few failing attempts to be in the ‘In Crowd’, Sidney receives a phone call from Sharps Magazine editor Clayton Harding (Jeff Bridges) recruiting him to work on the magazine in New York. Evidently, Sydney’s own little magazine peaked Clayton’s interest. His dreams semi-realized, Sydney agrees without hesitation. Even before his first day of work, Sydney parties in the Big Apple, dancing around like a idiot and attempting to hit on miscellaneous women, one of them being a girl at a bar named Allison (Kirsten Dunst). A novelist and mild mannered, Allison shrugs him off. Imagine Sydney’s surprise when he finds her seated near him at work. Causing havoc and mischief wherever he goes, Sydney is the laughing gag at Sharps. Either he shapes up, or he’s fired. What’s a man to do?

Review
HOW TO LOSE FRIENDS is a solid comedy that doesn’t try too hard for the jokes, nor does it try to invoke some serious drama. However, what it does do is attempt to make the audience believe in a relationship between Allison and Sydney, who throughout the entire movie they seem quite platonic. But, I guess they needed a romantic subplot to hit all the formula marks.

At the very least, it’s enjoyable to watch celebrity life made fun of by the filmmakers. PRADA celebrated that sort of life, but here, Sydney wants that life, but he can’t help but notice the ludicrousness of some of the things he encounters, and aptly comments on them (much to the growing agitation of his employer).



Concerning if Megan Fox could act, if I were to judge by this, I would go with no, but this could all be related to her portrayal of this character – ditzy, dumb, and having no business being in the acting scene but her hotness got her a audition; so, I’m on the fence there.

Anderson (X-FILES) chums up a good Meryl Streep-like performance as Bitch-In-Charge woman. Also, I think this is the first time I ever noticed this woman had breasts (no, not being perverted here; they were out there for every human being to see!), and Megan Fox not so much. Anyway, the scenes she was in, Anderson stole the show due to her Icy Cool nature. Jeff Bridges sports yet another strange hairdo (is that in his contract somewhere? ‘Must have uniquely weird hair’) and acts like...well, Jeff Bridges. At least in IRON MAN, the dude was able to channel his character, but here, he’s just Jeff Bridges saying some lines of dialogue with different tones to create a disappointed or agitated atmosphere. Woopie-doopey. And finally, I have no idea why Kirsten Dunst signed on for this role. Perhaps she liked the script, perhaps she wanted to co-star with Pegg, but she adds nothing to it. Imagine Mary Jane Watson, minus the red hair and with a little bit more intelligence, you have her character.

Simon Pegg made my day with SHAUN OF THE DEAD (2004), a movie I laughed with many times, but it wasn’t until HOT FUZZ (2007) that I truly, completely fell in love with this guy’s comedy. Unfortunately, I have yet to experience the inevitable awesomeness that is SPACED, but it is on my Netflix Que. Pegg starred in RUN, FATBOY RUN earlier this year opposite Thandine Newton (who makes a brief cameo here as girl Pegg attempts to pick up) and Hank Azaria, and although it was your normal everyday flick, Pegg’s comedic humor and wit helped improve the movie greatly. Same deal goes here.


Is there anything new in this movie? Nope. Does the title really make any sense in the context of the movie? Nope. Will you laugh (at least a few times)? Yep. Is Megan Fox really that hot? Eh. Is Simon Pegg awesome? Yep. Is he the entire reason to see this movie? Absolutely.

Death Note

Directed by Shusuke Kaneko, Screenplay by Tetsuya Oishi, Based on the bestselling Japanese comic by Tsugumi Ooba and Takeshi Obata

Starring Tatsuya Fujiwara, Kenichi Matsuyama, Yu Kashii, Asaka Seto, 126 mins.

*** (out of ****)

I work in a DVD store, and our best-selling titles are all anime titles. NARUTO, BLEACH, DRAGONBALL Z, and above all, a series called DEATH NOTE. Me, not being much for the Anime crowd, simply scoff at the people shelling out a good amount of cash for a DVD that contains four episodes maximum. However, out of all the Anime in our selection (and we have a lot), DEATH NOTE has intrigued me the most. Certainly, it has a bizarre premise that I can’t really believe has extended to 9 DVD volumes and countless mangas, but its dark tone and intriguing creature designs pulled me in. I finally succumbed to my curiosity when I picked up the live-action adaptation of the Anime series to watch because, frankly, everything I read about it, the images, the trailer, and that damn awesome cover captivated me. (though, perhaps it was due to my allegiance to director Shusuke Kaneko, who re-invented the giant monster genre with the 90’s GAMERA trilogy) Bracing myself for what could possibly be one of the most messed up movie experiences of my life, I am pleasantly surprised to say that DEATH NOTE is a phenomenal movie that leaves you wanting more.

The basic story of the movie (although I don’t know how closely it follows the manga) follows Light Yagami, a very bright, successful student who finds the Death Note, a notebook dropped from the sky (oddly enough, the title and its rules are written in English), with the power to kill anyone whose name is written in the pages. Turns out, the book is the property of a winged, giant Death God named Ryuk, who forms a bond with Light, who finds himself unsatisfied and aggravated by the so-called justice system. Thus, using the powers of the notebook, he vows to use it to rid the world of all evil. His plan christens the ‘serial killer’ as “Kira” by police and civilians who view his work as either a monstrosity or necessary, and agencies around the world are hot on Light’s trail. The mysterious “L” involves himself in the investigation, and Light must quickly cover his tracks, but “L” will not be defeated easily.

As I mentioned above, one of the prime motivations for picking up DEATH NOTE was the involvement of Shusuke Kaneko, the man responsible for granting the giant monster genre a bit of respect with the near-perfect GAMERA trilogy from the 90s. Most recently, he also corrected the giant filmmaking flaws of Ryuhei Kitamura (VERSUS, MIDNIGHT MEAT TRAIN) in AZUMI 2: DEATH OR LOVE (2005), which was a vast improvement over Kitamura’s original. Kaneko knows how to frame a camera, where to position it to create the best amount of emotion; perhaps it is for this reason that these rather one-dimensional characters work so well.

The script, written by Tetsuya Oishi, evidently is quite successful in condensing the manga into a two-hour film while maintaining and acknowledging crucial plot points. Obviously, by me not reading or watching anything prior, I can’t comment on this, but I can say that Oishi’s script is tight, and very, very well written. It’s not DARK KNIGHT, but being based off a manga and Anime series, it has far greater strength than I would have given it credit for. Oishi brings up debates concerning justice, or whether this omnipresent killer known as “Kira” is justified in his actions. The movie touches upon complex questions, but never fully indulges in them – mainly because it is about our characters, and in that, the script excels as well.

Light is played by Tatsuya Fujiwara (BATTLE ROYALE), and his performance is quite haunting. At some points he’s your regular Everyday Joe, then on the tele he watches a criminal or suspect walk away free from justice, he turns into – well, the Punisher (minus the black skull shirt). Fujiwara was awesome – he played his character as determined, sorta off the rocker, but simultaneously sympathetic. Light’s nemesis, “L”, is played by Kenichi Matsuyama (NANA), and he is truly the freakiest thing about the entire movie. Forget the miscellaneous deaths or the winged God of Death, Matsuytama’s deadpan stare that seems to look right through you is friggin’ creepy. Matsuyama is also able to make him a man who is not to be reckoned with. The cat-and-mouse game between these two culminate in a ending scene that just reeks of tension, and the success of that tension can be attributed to the wonderful performances Fujiwara and Matsuyama deliver. These two alone make me anxious for DEATH NOTE II.

Yu Kashii (LORELEI) is Shiori Akano, Light’s girlfriend and an individual quite passionate about the law – believing that “Kira” must be stopped. Unfortunately, Kashii isn’t given much to work with, so she has quite the “Mary Jane factor” of merely being the girlfriend and damsel-in-distress. The other prominent female in the cast is Asaka Seto (ONE MISSED CALL 2), playing Naomi Misora, Raye’s fiance. Once a certain event occurs at the halfway point, Naomi becomes consumed with rage, and determined to find “Kira” at all costs. Seto sells this perfectly. Aside from changing clothes (looking very fetching, by the way), Seto’s whole mannerisms change from playful fiance to “I’m about to go Charlie’s Angels” on your teenage ass!” It is unfortunate her character will not be showing up in PART II, she was an interesting character and a pretty fine actress.

Finally, the film’s conclusion brings about the biggest surprise of them all: the familiar sound of the Red Hot Chili Peppers. Initially, I thought it was going to be another strange Japanese pop song, but nay – the person is speaking English! And then the song continues, and it’s the bloody Red Hot Chili Peppers’ “Dani California”! Damn, smart move for international appeal, though I am curious if Japanese viewers were thinking, “what the f-?” in their seats.

Overall, DEATH NOTE was an intense and wholly enjoyable experience, and I find myself anxious for DEATH NOTE II: THE LAST NAME, which is coincidentally premiering at my local theater as part of a “Death Note” event October 16th and 17th. For those, like myself, who don’t particularly enjoy Anime but yet are intrigued by this particular title, I recommend you pick it up. It's dark and intriguing, while simultaneously fun to watch.

My Best Friend's Girl

Directed by Howard Deutch, Screenplay by Jordan Cahan

Starring: Dane Cook, Jason Biggs, Kate Hudson, Lizzy Caplan, Alec Baldwin, 101 mins.

** (out of ****)


For some reason, MY BEST FRIEND’S GIRL has been receiving press not based on the movie itself but because of ‘comedian’ Dane Cook. Evidently his appearance here was horrid. I’m not quite sure that sort of criticism is warranted. Cook has two sort class of movies: the ones where he actually performs in a dramatic, real fashion (MR. BROOKS, DAN IN REAL LIFE) and the ones where he’s the comedic ass who wants the top-billed girl (EMPLOYEE OF THE MONTH, GOOD LUCK CHUCK, this). This flick falls in-between the two mediums. Cook plays a ass, but – er, um – attempts to invoke a bit of humanity in his character (hence the bringing up drama). Look, you’re not driving to the theater and paying almost ten dollars to watch Cook play bloody Hamlet; with the exception of the two movies mentioned above, Cook plays the same character, so you come to this type of ‘romantic comedy’ to be entertained, and bottom line: it sorta succeeds.

Dustin (Jason Biggs) is deeply, head-over-shoes in love with Alexis (Kate Hudson), a co-worker from…work… They are sort of dating, but also sort of not. Alexis thinks Dustin is a sweet, awesome guy, but simultaneously not very much attracted to him romantically. Seeking to solve this dilemma and further the plot, Dustin enlists the help of his best friend/roommate, Tank (Dane Cook), notorious for his ability to be a pure, 100% asshole. When not selling air conditioners to clients, Tank also gets paid by ex-boyfriends who want their girl returned to them – and he does this by working his asshole magic and having the ex-girlfriends running back to their dear ol’ ex-boyfriends. Dustin just wants Tank to show Alexis exactly how much of a good catch he is, but a small, tiny problem arises during the date: Alexis doesn’t fall for any of Tank’s tactics, and they end up sleeping together. Tank slowly begins to fall for Alexis, and Alexis just wants some shagging. Will Dustin find out what Tank’s up to? Will Alexis fall in love with Tank, or be with Dustin? How does Alec Baldwin fit into any of this?



MY BEST FRIEND’S GIRL is an alright movie. Much to my surprise, I actually laughed quite loudly (in the vacant theater) during one particular montage/countdown sequence. In the very beginning of the movie, the flick jumps between dates Tank have had and some of the tactics he’s used to repulse his companions. Some of these moments are pure, beautiful genius. The movie has its high points, surprisingly, but the rest of it is just sorta…there. Nothing exciting or new, nothing that will exactly make you want to recommend this ‘masterpiece’ to your buddies – it’s just a nice time passer. And that’s pretty much all I got to say about that, but I just want to touch on something else:

Jason Biggs. Damn, dude, I’m sorry your career isn’t fly-rocketing up. I absolutely love the AMERICAN PIE films (and can endure the direct-to-DVD ones with the exception of BAND CAMP) and after the third one, you could really have done something, man. However, you star in independent titles that don’t get adequate recognition, and your mainstream titles is merely redundant crap (that Woody Allen thing, like five years ago, OVER HER DEAD BODY, and this). I can forgive SAVING SILVERMAN because it was a funny movie, but the other ones weren’t. Biggs, buddy, please fire your agent and seek out some good roles.


There’s two things I haven’t mentioned yet: Lizzy Caplan and Alec Baldwin. Why? Because they’re barely in the movie and hardly worth mentioning. Caplan, not-so-much covered in dust and still has her body intact a la CLOVERFIELD, plays Hudson’s sexually open best friend who delivers the humorous one-liners and directs Hudson to the next plot point. Caplan’s character arc is predictable from beginning to its also funny end. Baldwin is Tank’s sexed up father (imagine a slightly younger Denny Crane/William Shatner) who delivers not-so-serious advice to his son. Yes, Baldwin does have some humorous moments, but frankly, nothing all that fantastic. You want Baldwin comedy, watch 30 ROCK.

So what is there left to say? See the movie or don't see a movie, it's not gonna make a bloody difference in your life; it's not the 'end-all-see-all' comedy (I nominate HOT FUZZ), but, as I said, a enjoyable interlude of everyday life to eat some popcorn and hang out with friends.

Chuck: Chuck Versus the First Date

“My name is Charles Carmikle, I am a CIA agent, and this is my trap. I don’t think you gentlemen don’t realize the gravity of the predicament you’re in.” – Chuck

“Chuck Bartowski has served this country with honor. Now he’ll die with honor to protect it.” – Tony Todd's character dude

(S02E01) My love for all things CHUCK began when I picked up the first season on DVD. I caught only a few episodes when they first aired, and they were humorous, but nothing too enticing. I don’t know the difference between them and now, but when I bought the DVD, after the first episode, I was hooked. I mean it; I went on a CHUCK-a-thon. Episode after episode after episode, each one was absolutely perfect and entirely enjoyable. Few shows are able to have a ensemble cast that are just entertaining and interesting week to week, and are able to balance action, humor, darkness, thrills, geek references, and espionage so well. (the only other person I can think who succeeds in this regard [minus the espionage] would be TV Master Joss Whedon, who proved this point on not just one, not just two, but three television programs)


Plot
Chuck & Co. have a problem keeping the hard drive to the new Intersect in their hands: they lose it, they get it, they lose it again, and now they got to get it again. The best part, the hard drive is in the possession of a very intently intimidating operative (Michael Clark Duncan). Once this hard drive is secure, the new Intersect can be operational, and Chuck can live his life free from the CIA and be with Ms. Sarah Walker! Not so fast – the CIA has their own plans: Chuck is too much of a risk, him knowing the secrets of the government and everything, so he must be eliminated. Meanwhile, at the Buy More, Big Mike is looking for a new Head Honcho to be in charge of sales – naturally, he proposes the job to Chuck, who declines. So, Big Mike has now made it his duty to determine who will take the mantle of Head Honcho. All this and more as Chuck goes on his first official date with Sarah, must locate the Intersect had drive, and finally and most importantly, pick who to be in charge of sales at the Buy More. Just another exciting episode!



Review
CHUCK begins season two on a high note. Fast paced, instant with the comedy, and for those who are just catching up on the show, a sufficient ‘This is who this person and this person are, and this is what they do’ recap. From the opening alone, the nine-month wait for a new episode vaporized instantaneously, and I was sucked into Chuck World. Funny one liners, action, beautiful Yvonne Strahovski, great music choices, and a damn enjoyable good time.

Chuck really owned this episode. Have any reservations about Chuck being a valuable CIA agent? Watch the ep. His total ownage of Intimidating Dude and his team near the end on the rooftop was seriously awesome; if I wasn’t in the school computer lab, I would be whistling (if I actually could whistle) and clapping for our dear Chuck.

By now Zachary Levi is perfectly comfortable with the character of Chuck (though, come to think about it, he seemed to totally get the character from the first episode), and shines in every scene he’s in. When Levi, Baldwin, and Strahvoski are on screen, they are a formidable comedic duo.



Adam Baldwin is a true highlight to any series. I was most familiar with him from the last few episodes of ANGEL as the suit-wearing Hamilton, a liaison to the Senior Partners (bad guys plotting Armageddon). Definitely intimidating but simultaneously funny, Hamilton was awesome. Next up was his stint in FIREFLY and the movie adaptation SERENITY (Whedon dialogue serves him well; they work terrifically together). Further adding to his list of cancelled programs was THE INSIDE, which I only watched a few episodes of because of Tim Minear’s involvement; though I don’t really remember what Baldwin’s character’s role was. Anyhow, point is: Baldwin was made for two roles: Casey and Jayne (FIREFLY). Every episode, Baldwin is terrific. In my opinion, he helps make the show as good as it is.

Yvonne Strahovski is as great as ever, although it is sad she is no longer working at her old place (yep, it’s all about the outfit). But the best thing about Strahvoski is that she is able to be a beautiful, sexy woman when necessary, but the cold-blooded CIA agent comes first, and she sells that brilliantly. To show how much I love this show, I care about Chuck’s future to the extent that I want a new Intersect built so Chuck can be done with the CIA and live this life and thus end the show – as long as Chuck’s happy, I’m happy. Though, of course, that brings about a conundrum because the orders are to kill Bartowski once the new Intersect is operational (unless they keep him around for insurance reasons – just in case).


The last five minutes of the episode were simply awesome. The hard drive being a bomb from Fulcrum was genius (I didn’t anticipate it, evidently some did), and I loved the whole glasses thing (Tony Todd takes his glasses out and puts them on as the other agents take their glasses off). Casey sneaks into Chuck’s house to kill him under orders as Chuck prepares his lines to Sarah. The music playing perfectly compliments these moments as well. Though, I shouldn’t be surprised. Josh Schwartz is Einstein when it comes to music selection.

Also, anyone else begin to think the INDIANA JONES theme was about to start when Morgan was talking about Jeff and his Twinkie eating?

Unfortunately, numbers for CHUCK aren’t good. Thus far, there’s 13 episodes completed, and I’m hoping to whatever deity I worship that CHUCK will persevere. Give teen idiots their GOSSIP GIRL and ONE TREE HILL, just let me keep my CHUCK! (and REAPER…and SUPERNATURAL…)

But in all honesty, if you haven’t started watching CHUCK, I highly, highly, highly recommend it. Nowhere else on television will you find such a fantastic blend of different genres nor wonderfully crafted scripts with an extensive cast of likable characters. Give it a try, you won’t be disappointed.

(Screencaps from ChuckTV.net)

The Dark Knight (Original Motion Picture Soundtrack)

Music composed by Hans Zimmer & James Newton Howard

*** (out of ****)

Christopher Nolan said when he sat down to pen the script for THE DARK KNIGHT; he popped in the CD for BATMAN BEGINS to get in the mood and inspiration. If that CD brought about such a phenomenal sequel, just imagine what Nolan can construct popping in the DARK KNIGHT CD.

Composers Hans Zimmer (THE LAST SAMURAI) and James Newton Howard (KING KONG) re-unite and deliver one hell of a brilliant score. Take away the movie entirely but leave the music – you’ll still have one hell of a fantastic experience. Now, I’m not the best bloke in the world to review musical scores, but this one was just too good to ignore. Hopefully my ill-fated attempt at describing the beauty of this score will perhaps spark curiosity on your part and download a few tracks.

“Why So Serious?” begins the album, and it’s a doozy. Also known as the ‘Joker’s theme’, it is erratic and edgy, keeping you constantly engaged by the unpredictability of what’s going to happen next. “I’m Not a Hero” continues the trend of awesomeness, being moody yet thrilling, and “Harvey Two-Face” perfectly compliments the character of Harvey – valiant and Mr. Do Gooder. Pumping up the blood is “Aggressive Expansion”, which completely engrosses you into the action. “Like a Dog Chasing Cars” is energetic and thrilling, the resounding action piece of the album. “Agent of Chaos” is gut-wrenching. “Watch the World Burn” is haunting, freaky, and uncomfortable. The disc concludes with the 16-minute “A Dark Knight”, which is pretty much a culmination of all the themes present in the past two movies, and it, too, is beautiful.

Every CD has their one particular track that stands out above all others, and although most would argue it’s “Why So Serious?”, I lean towards “Like a Dog Chasing Cars.” The track is simply breathtaking, beautiful, brilliant, fantastic, yada, yada, yada. It truly, I feel, epitomizes the Batman character and his struggle against himself and the rest of Gotham City, as well as the entire film itself. It is, simply, an excellent, emotionally moving track. The other track that stands out would be “Agent of Chaos”; as stated earlier, when you link the events of the film to this cue (which is almost unavoidable), it truly is one of the most emotionally moving recording I’ve heard in quite a while. Although it has taken repeated listening to get into it, the final suite, “A Dark Knight”, is nothing short of perfect. These tracks, out of this entire album of greatness, stand out against the rest as – um, even greater-ness…ness…

So, to sum up for those slow on the uptake: bloody brilliant score, and I recommend it to everyone, even the blokes who aren’t exactly very into the whole music scene. If the score for Dark Knight is overlooked by the Academy gits, I will be very, very, very agitated. I’m thinking Hulk-sized agitated, my friends.

On a side note, the CD for Dark Knight was released in two different versions. One is your normal jewel case sporting the cover imaged above with nothing but the soundtrack; the other is a ‘Special Edition’ that, unfortunately, doesn’t live up to that title. Sporting a cardboard case similar to Disney’s PIRATES OF THE CARIBBEAN: AT WORLD'S END release, it contains three collectable cards, each featuring a face shot of a character: Batman, the Joker, and Harvey Dent (holding his I Believe in Harvey Dent badge) that you’ve seen before. In the back of them are stills from the flick. So, that’s pretty much it. Kind of disappointing for the extra money spent on it.

Tracks:
Why So Serious? (9:14)
I’m Not a Hero (6:35)
Harvey Two-Face (6:17)
Aggressive Expansion (4:36)
Always a Catch (1:40)
Blood on My Hands (2:17)
A Little Push (2:43)
Like a Dog Chasing Cars (5:03)
I Am the Batman (2:00)
And I Thought My Jokes Were Bad (2:29)
Agent of Chaos (6:55)
Introduce a Little Anarchy (3:43)
Watch the World Burn (3:48)
A Dark Knight (16:15)
Total Album Time: 73:35

Smallville: Odyssey

Starring: Tom Welling, Allison Mack, Erica Durance, Cassidy Freeman, Aaron Ashmore, Justin Hartley
Teleplay by Todd Slavkin & Darren Swimmer, Story by Brian Peterson & Kelly Souders, Directed by Glen Winter

“I’ve written eulogies. I’ve seen people walk away from me, but I’ve never really said goodbye. I’ve been holding onto a life on this farm that hasn’t existed in years.”- Clark

*** (out of ****)

(S08E01) Eight seasons in, and SMALLVILLE is still insanely entertaining! Anyone else think this show was going to last more than five seasons max? C’mon! Give it some kudos! Alright, this being the season premiere, it has some high expectations, seeing as how no matter how good or how crappy a entire season is, the premieres and finales are always exceptionally well crafted. “Odyssey” isn’t the greatest premiere by any means, but it’s still fun and entertaining, keeping your attention throughout; and aside from being anxious to see Clark Kent fly and don his costume, I wager the “fun” factor is what keeps people tuning in each week.

Previously on…
Season seven left things in a strange, rather illogical way. A secret society called Veritas (who knows why) was formed by a bunch of gazillionaires – the Queens, Teagues, Luthors, and Swann. Their purpose: find the Traveler (a extraterrestrial being) for reasons I don’t really remember why. If, however, the Traveler was hostile instead of a Barney-like character, there is this ‘weapon’ that has the ability to control him. Lex embarked on a hunt to locate the weapon, while Clark merely talked about stopping him without doing much about it. Jimmy proposed to Chloe, but the Department of Homeland Security came knocking and took her into custody. Lex discovered the Fortress, weapon in hand, and Clark arrived to try to talk sense into his former mate. Believing Clark to be the Destroyer of Worlds or something along those lines, Lex impaled the weapon into the Fortress crystals. Clark collapsed to the ground, immobile, and Lex crouched to comfort him as the Fortress crumbled above them.

Anyone got any sort of explanation for what Alfred Gough and Miles Miller were trying to do? Lex knows Clark’s identity – a complete contradiction from the comics, and can be resolved in only one way: Lex once again getting knocked in the head, wakes up, and forgets everything from the past month. Also, how did that ‘weapon’ work exactly, and why would Jor-El create such a thing? Taking Jor-El’s speechyfing the past six or seven seasons, that whole thing doesn’t make much in the way of sense. The topping on the cake is the Fortress being destroyed – why the hell did that happen? This ‘controlling’ of the Traveler was nothing more than making him immobile? Huh?

Review
So here we are. Only two cast members from the first season are still around (Welling and Mack), and we have seven past seasons of storylines – how can this show survive its eighth season on the air?

To my utter amazement, the premiere was better than I expected. Obviously, this being Smallville, there are areas that need improving, but overall, a pretty damn decent episode.

Plot
Four weeks after the events of ‘Arctic’ (S07E20), Tess Mercer, the newly appointed CEO head honcho, meets up with Luthors’ right hand man, Reagen, who is desperately searching for Lex. She expects results, and they better be soon, damn it! Then, three members of the Justice League – the Green Arrow, Aquaman, and the Black Canary – storm onto the site looking for Clark, and all they find is his damn red jacket that I wish was burning in the pits of Hades. Turns out, Clark is in a Russian labor prison camp thingy, and lacking the whole being-super powered-thing; but no biggie. Oliver Queen (aka Green Arrow) arrives on the scene to bail Clark out. With Clark found, they embark on a quest to locate Chloe, who has also been missing for four weeks. Well, Chloe is being held against her will in a LuthorCorp-owned building in Montana that Lex created to interrogate or study meteor freaks – which is what has been happening to Chloe. Also, Chloe has picked up a new ability: super-brains! Oliver rescues Clark and they embark on a mission to rescue Chloe and the other two members of the League who were captured via a cell phone trace. While executing their siege on the factory, Clark meets up with Lois, and they combine forces and free Chloe. During this period of time, Oliver is drugged, and under the influence, he shoots Clark. Dying, the Martin Manhunter stops by, picks Clark up, and flies towards the sun. When Clark wakes, he’s in his barn, the Martin Manhunter still there. Clark’s powers have been reinstated, while the Manhunter’s powers went bye-bye (permanently or temporarily is not explained). Jimmy meets up with Chloe, and Chloe responds to Jimmy’s marriage proposal with a resounding “yes.”

The mystery that’s most likely going to play out until the series finale – whenever that will be – is the disappearance of Lex Luthor. In four weeks, LuthorCorp knows nothing except that Lex is still missing – and, well, the briefcase of Lexs’ that has Clark’s crystal. So, unless the Smallville writers make the Lex Luthor who is Superman’s arch nemesis a clone, Lex is still alive and well. What kind of state is Lex in? Did he lose his memory? (He better not, because the writers have used this device to death, and I won’t be in the least happy) Nonetheless, it is nice to know Lex still holds a strong influence on the characters and the overall season. Hopefully, when this storyline is resolved, it better have a satisfactory conclusion.

Tom Welling gave us a fantastic performance in this episode, so that means next week he’s going to be completely uneven; seriously, it’s a strange thing: one week, Welling is phenomenal, the next, it’s something straight out of a really bad Ed Wood movie. Instead of making mortal Clark whiney and completely irritating, Welling made the wise decision to retain an authoritative voice and come off all heroic, which is a nice change of pace (see: Seasons 1-7). So, good for you Tom!

Cassidy Freeman joins the cast as a series regular. Fingers crossed, she can act better in future episodes, because if this is any indication, her ‘performances’ are cringe worthy. Yes, she can pull off being an authoritative bitch very well, but who can’t, really? Freeman’s main fault is that she isn’t believable. The scenes and dialogue written for her are powerful and well written, so that rules out it being the scripts fault; nay, all signs point to Ms. Freeman and her inability to act not stale.

Allison Mack graces us again with a effortlessly portrayed Chloe Sullivan; I’m sure both Allison and Tom can do this job sleepwalking, but it’s good to give them props nonetheless. Erica Durance enters her fourth year as Lois Lane, and just this episode alone, I’ve never loved her more. Confident, a total smart ass, and undeniably beautiful; this season is going to let Lois shine. Justin Hartley also sleepwalks through a fun and energetic performance as Oliver Queen, while the actor who plays Aquaman has hardly a thing to do other than look pretty, and the actress who plays the Black Canary seriously cannot act.

Weak points of the script: the conclusion to the Veritas storyline. Although it is possible Jor-El stripped Clark of his powers prior to the mechanism functioning to its full potential, the notion that all this weapon did to ‘control’ the Traveler was make him human is completely absurd and totally stupid, not to mention entirely redundant from previous seasons (S05E02, ‘Mortal’). Yes, thank the Almighty Lord that the Veritas arc is concluded, but still – this was just a load of bollocks. But, overall, I blame it on previous Smallville executives and writers Al Gough and Miles Miller (The Mummy: Tomb of the Dragon Emperor) for going along with this ridiculous idea (though, admittedly, I was initially intrigued). Another very discouraging part of the episode that made me fear the writers have run out of ideas was Clark, once again, dying (S05E03, ‘Hidden’). It’s a very annoying tactic I hope doesn’t pop up again, though its use here is, to an extent, understandable.

Smallville can still deliver the goods. Presenting a seemingly more mature show with above average, intelligent writing and performances, it still can entice viewers. Why does Chloe have this new power? Where is Lex? Who the hell is Tess Mercer? What happened to Lexs’ right hand man? And..how the hell can they keep this show going for another season?

(Screen cap from Devoted to Smallville)

In Short: Ghost Town, Hamlet 2

GHOST TOWN

Starring: Ricky Gervais, Greg Kinnear, Tea Leoni, Directed & Written by David Koepp

102 mins.

** (out of ****)

Get ready for this novel idea: a dude (this time the socially awkward Ricky Gervais) dies for some odd mintues, wakes up, and finds that he has the ability to see the dead walking amongst the living! This individual begins to talk to the dead, slowly realizing that he is, in fact, having conversations with himself, and must thus weevil out his way out of sounding insane to everyday people. One of these dead have a "final wish" that must be fulfilled, and then they can get off this damn Earth and go get some peace and quiet in the afterlife. A truly stunning and original premise that doesn't get expounded or given a original landscape all that much. GHOST TOWN is nothing more than a alright time-passer when there’s no better comedies on, like PINEAPPLE EXPRESS or SUPERBAD. Although, I admit Gervais occasionally makes the ‘talk-himself-out-of-a-odd-convo’ moments fun to watch, but that’s few and far between. A small, nifty semi-twist is that Gervais’ character is a downright prick, giving less than a shit about anyone who is not him, and his ‘epiphany moment’ (oh, sorry, is that a spoiler?) was handled convincingly and actually got me to laugh, which this flick accomplished maybe three times total. Tea Leoni infuses her performance with more vigor than I anticipated; although she easily could have sleepwalked this part, she instead decides to – well - give a bit of a damn. If you’re bored and you saw everything at your local multiplex already, then I recommend GHOST TOWN because it works well as a nice diversion; there’s very little originality or substance to the flick, but the parts it does get right, they’re enjoyable.



HAMLET 2
Starring: Steve Coogan, Cahterine Kenear, David Arquette, Directed by Andrew Fleming, Written by Pam Brady & Andrew Fleming, 92 mins.

* (out of ****)

I have only been disappointed by a movie once this year, and that movie is HAMLET 2. The trailers made it look humorous, the poster sold me, and the concept was bloody brilliant; it could have been a fantastic comedy. Instead, HAMLET 2 was just pure, utter crap. I’ve only just encountered the ‘actor’ Steve Coogan with this summer’s TROPIC THUNDER and he was slightly humorous in that, but he’s given top billing here, and with the exception of one joke I laughed at, everything he did was flat and nearing on agitating. There are three bright spots to be found in the movie, though: Catherine Keener (40-YEAR OLD VIRGIN) plays Coogan’s frustrated wife, and David Arquette – barely having six inconsequential lines – who plays a drunken free-loader at their house. These two actors are the funniest thing about the entire movie. Finally, the musical number “Rock Me Sexy Jesus” is so brilliantly awful and funny, it would be the only reason I recommend this to anyone (which I’m not). Not even Amy Poehler's humorous cameo can save this flick. I’ve read plenty of 50/50 reviews, so HAMLET 2 is definitely a movie you’ll have to experience to get a opinion about it. As for me, I was as giddy to see this as I was THE DARK KNIGHT, and I ended up with a god-awful movie with very few bright spots. If possible, skip the first 80% of the movie and just watch the actually HAMLET 2 performance – that’s when it becomes bearable. However, the play is so completely frakked up, and makes no coherent sense whatsoever. But sod it, it was slightly enjoyable. But if you’re curious, give it a try, but otherwise, I implore you to save your bucks.

Reviews Index

17 Again
(500) Days of Summer

A

Adventureland
American Teen
Antichrist
Army of Darkness
Avatar (3-D)

B

The Bad Lieutenant: Port of Call New Orleans
Bang Bang, You're Dead
Batman - Portraits of Evil: Silent Night
The Boondock Saints
The Boondock Saints II: All Saints Day
The Book of Eli

C

Cirque du Freak: The Vampire's Assistant
College
A Couple of Dicks
Couples Retreat
Crank: High Voltage

D

The Dark Knight (Original Motion Picture Soundtrack)
Death Note
Defiance
District 9
Doubt
Dungeons & Dragons: Wrath of the Dragon God
Duplicity

E
Edge of Darkness
Evil Dead
Evil Dead 2
Extract

F

Fame (2009)
Fanboys
Fantastic Mr. Fox
Fargo
Fast & Furious
Feast
Feast II: Sloppy Seconds
Feast III: The Happy Finish
Fighting
Fired Up!
The Fourth Kind
Free Enterprise
Fred Claus
Friday the 13th (2009)
From Paris with Love
Frost/Nixon
Funny People

G

Ghost Town
Ghosts of Girlfriends Past
G.I.Joe: The Rise of Cobra
Gran Torino

H

Halloween II (2009)
Hamlet 2
Hannah Montana: The Movie
Harry Potter and the Half-Blood Prince
The House of the Devil
How to Lose Friends & Alienate People
The Hurt Locker

I

I Love You, Beth Cooper
I Love You, Man
Ice Age: Dawn of the Dinosaurs
The Imaginarium of Doctor Parnassus

J
Jack the Giant Killer

K

Knowing
Kyle XY: The Complete Second Season - Revelations

L

Lady Vengeance
The Last House on the Left (2009)
The Last Temptation of Christ
Law Abiding Citizen
Let the Right One In
Love Happens


M

Max Payne
Miss March
Monsters vs. Aliens
Moon
The Mummy: Tomb of the Dragon Emperor
My Best Friend's Girl
My Bloody Valentine 3-D

N

O

Observe & Report
Oldboy
Outlander

P

Pathology
Paul Blart: Mall Cop
Percy Jackson & the Olympians: The Lightning Thief
The Pink Panther 2
Point Pleasant: The Complete Series
Pride and Glory
The Proposal
Punisher: War Zone

Q

Quantum of Solace

R

The Reader
Reaper: Season One
Revolutionary Road
Road Trip: Beer Pong
Role Models

S

Saved!
The Secret Life of the American Teenager - Season 1
Sex Drive
Shutter Island
The Spirit
Star Trek (2009)
Step Brothers
Street Fighter: The Legend of Chun-Li
Sunshine
Sympathy for Mr. Vengeance

T

Taken
The Taking of Pelham 123
Terminator Salvation
Terminator: The Sarah Connor Chronicles - Season 1
The Time Traveler's Wife
Transformers: Revenge of the Fallen
Transporter 3
Turistas
Twilight
Twilight Saga: New Moon


U

The Ugly Truth

V

Valkyrie

W

When in Rome
The Wolfman (2009)
The Wrestler

X

X-Men Origins: Wolverine

Y

Year One
Youth in Revolt

Z