movie reviews by PvtCaboose91

After spending the decade of the 1990s in the shadows and remaining overlooked, Steven Soderbergh made his mark in Hollywood with Out of Sight: this sufficiently entertaining crime drama. It's rather a daunting task to categorise a Soderbergh production - this film has elements of romance, comedy, drama, crime and thriller. With these elements in mind, the filmmakers have tossed in a dense, intricate, somewhat fractured screenplay to be implemented by a questionable group of actors. The stage is set for something moderately different to occur.

Jack Foley (Clooney) is a habitual bank robber with a formidable record. Jack decides to shorten his current gaol term by conducting a prison break with the assistance of long-time collaborator Buddy (Rhames). However Jack does not expect to encounter US Marshall Karen Sisco (Lopez) during his prison escape. The pair toy around with an obvious mutual attraction. As Jack and Buddy plan their ultimate scam, Karen is assigned to track them down and bring them to justice. It takes about half an hour to establish that plot. Subsequent to the opening half an hour the plot steadily dissolves with each passing minute. Basically the final 90 minutes of the movie (give or take) are concerned with Karen working to capture Jack and Buddy. However Karen begins having second thoughts about arresting Jack as the mutual attraction intensifies.

Out of Sight is equipped with talent in several departments: acting is generally very good, directing is strong and the screenplay is witty. But director Soderbergh's style will not be liked by all. Quite frankly the film loses its appeal and bogs dreadfully throughout the middle section. The problem with Soderbergh's movies is that, although they're sometimes really unpredictable, it's difficult to assess the importance of each scene. With so little action and so much dialogue there isn't much to sustain interest in the viewer. While watching the movie my eyes were glued to the screen but my mind kept wandering off...I could never remain entirely engaged.

Another fatal flaw is the lack of sizzling chemistry between Clooney and Lopez. George Clooney is always highly charismatic and appears abundantly determined. 60% of Clooney's screen-time features some skilfully-written dialogue and some absorbing drama. It's a shame this level of focus isn't maintained - something solely attributed to the mediocre screenwriting. On the opposite end of the spectrum there's a very questionable Jennifer Lopez. Honestly, I have never liked Lopez's acting so perhaps I am biased. Be that as it may, Lopez is poor at maintaining any degree of intensity. Her lines are occasionally quite witty (sometimes more so than Clooney's dialogue), but she does not do justice to the screenplay. There is zero chemistry between Clooney and Lopez. We have a charismatic performer opposite an actress who really requires a few more acting lessons.

Thankfully the supporting cast are a marginal redeeming feature. Don Cheadle's performance is similar to Clooney's - spirited but let down by the film's unique style. Steve Zahn is always a scene-stealer. It's a shame Zahn is allocated such a minor role. His potentiality could have redeemed this film more emphatically. Michael Keaton's insignificant (uncredited) role is also worth mentioning - a former Batman criminally underused.

Overall, Out of Sight is a mediocre crime film that will not be liked by all. Occasionally there's some great dialogue to absorb and a few strong performances. Not that I was looking exclusively for action, but the drama could have easily been balanced out by more frequent action. I'm glad I watched the film; however I doubt I'll be watching it again any time soon.

Miller's Crossing is an outstanding gangster drama made prior to the Coen Brothers developing into a massive household name. Even in their early days, the duo consisting of Joel and Ethan Coen could produce movies executed with articulate cinematography, witty dialogue and suspenseful action. It's fascinating that the Coen Brothers were able to successfully nail the gangster genre in one attempt with a screenplay they penned themselves.

Miller's Crossing relies solely on its character development to flesh out the plot. Instead of sincerely delving into the lives of several characters, the film is concerned with one man in particular: Tom Reagan (Byrne). Tom is a wise guy and a loner: acting as a quintessential right-hand man to Prohibition-era Irish mob boss Leo (Finney). The story is a complex plot of intrigue, loyalty and betrayal as it examines the morals within the criminal underworld of the 1930s. The film focuses on two rival gangs that contend for control of the city. Tom's loyalties begin to blur when disputes arise between he and Leo over a girl named Verna (Harden). Inadvertently, Tom is now caught in the middle of a gang war while being posed the question of allegiances. On the surface Miller's Crossing is a mob war film, but underneath it's an exploration of the relationships between a horde of interesting characters, largely from Tom's point of view. Most importantly it is fundamentally an examination of Tom's internal conflicts.

Gabriel Byrne is astonishing as Tom Reagan. Interestingly enough, Byrne's performance reminded me of the classic Bogart performances: a wise-cracking, cool, manipulative and likeable rogue. Byrne is very engaging for those with patience. His performance in this film will always be remembered as one of the genre's finest. Albert Finney is at the top of his game. Similar to the rest of the cast, Finney is absorbing whenever he receives screen time. If anything I believe that Finney was underused; appearing rarely into the second half. Jon Polito is terrifying and menacing as the rival mob boss. Polito nailed his character. Every scene he features in he is nothing short of brilliant. I could not spot any flaws or lapses in his concentration.

The style of the Coen Brothers will not be accepted by all. Many of their creative choices are questionable, albeit unique. The pacing is sometimes extremely slow: an aspect that can be attributed to the way they direct the actors. Similar to every dialogue-orientated gangster film in existence, the filmmakers demand patience. Another unique style of the Coen Brothers is the over-the-top violence and bloodshed. You will frequently witness geysers of blood spurting out from a character that has been shot.

The film also boasts some amazing cinematography. Barry Sonnenfeld's career started as a cinematographer before moving further up the ladder to directing. Sonnenfeld's work cannot be faulted.

Miller's Crossing is one of the definitive films of the Coen Brothers, and marks one of their crowning achievements. The film's single fatal flaw is that it's extremely difficult to get into. It's vital to pay attention to every scene otherwise you'll fall behind and struggle to catch up while missing more of the movie. Naturally, this just means that several screenings are necessary. Overall, Miller's Crossing is extremely an entertaining gangster movie that may not be for all tastes. Do not judge too harshly after your first viewing.

An erotic thriller with an unhinged female lead, 1992's Single White Female was released mere months after Poison Ivy, The Hand that Rocks the Cradle and Basic Instinct, all of which tread similar thematic ground. Scripted by television veteran Don Roos (his first feature film credit), the movie is an adaptation of John Lutz's 1990 novel "SWF Seeks Same," and the resulting thriller represents a mostly effective genre exercise thanks to a game cast and a capable director in Iranian filmmaker Barbet Schroeder (Reversal of Fortune, Barfly). Single White Female is a gripping slow-burn, evidently taking inspiration from the likes of Alfred Hitchcock and Ingmar Bergman, but, unfortunately, it is unable to stick the landing, with the third act devolving into clichéd slasher movie silliness.

A fashion software programmer living in New York City, Allie (Bridget Fonda) is left hunting for a new roommate to help with the bills after a tough break-up with her cheating fiancé, Sam (Steven Weber). Allie's newspaper advertisement attracts several unsuitable applicants, but she ostensibly finds the perfect housemate in the meek, kindly Hedy (Jennifer Jason Leigh) who is eager to please, forcefully trying to befriend Allie by giving her gifts. However, Allie is creeped out by Hedy's obsessive behaviour, and a hostile rift emerges when Allie welcomes Sam back into her life, reconciling the broken relationship. With Allie and Sam engaged again, Hedy gets dangerously possessive of her housemate, especially with Allie wanting to live with her fiancé. Things only get creepier when Hedy starts modelling her appearance after Allie, buying the same clothes and even getting the same haircut, with Hedy unwilling to let anybody stand between her and the twin sister she has always wanted.

Although not revolutionary in the genre, Single White Female deserves credit for developing the two lead characters beyond surface-level archetypes, exploring Allie's professional and personal life to make her feel like more than just a bog-standard slasher victim. Furthermore, Hedy is not portrayed as an out-and-out villain; rather, she suffers from borderline personality disorder and has a backstory to explain her increasingly obsessive, violent behaviour. It helps that Fonda and Leigh go for broke both emotionally and physically in their respective roles, exhibiting gravitas and intensity, and the two actresses even bare all on several occasions throughout the film. The supporting cast is fine but unspectacular, with Stephen Tobolowsky (Basic Instinct) making the biggest impression as Allie's sleazy client, while Peter Friedman is believable and likeable as Allie's upstairs neighbour Graham.

Schroeder's sense of mood and atmosphere benefits Single White Female, with the movie at its strongest throughout the first hour or so. Schroeder stages ominous and unsettling beats, finding menace in Hedy's behaviour, and creating suspense as Hedy remains unseen in a dark apartment. With Hedy's behaviour continually escalating, Single White Female goes big in its latter stages, leading to a surprisingly action-packed third act that favours histrionic confrontations over nuance or subtlety. There is a way to execute this premise with a bit more tact and realism, but Schroeder and Roos were evidently aiming for a mainstream thriller, sophistication be damned. At least the set-pieces are competent, while the cinematography by Italian veteran Luciano Tovoli (Dario Argento's Suspiria and Tenebrae) is perhaps more stylish than the material deserves, with careful compositions and terrific use of shadows, while the Manhattan apartment - and, by extension, NYC - becomes a character unto itself. Luckily, the picture encapsulates an authentic sense of time and place, with nothing feeling like it was simply shot on a soundstage. Added to this, Howard Shore's score adds some perceptible menace, nicely complementing the visuals.

A distinctive early 1990s feel permeates Single White Female, particularly with the soundtrack choices as well as the recognisably ancient technology glimpsed throughout. Although by-the-numbers in terms of narrative construction, and even though this is an undeniably silly thriller as the finale approaches, the movie remains an enjoyable, compelling watch despite its flaws, and it's easy to laugh at the more over-the-top moments. It's disappointing that the movie never rises to the same level as a classic Hitchcock or Brian De Palma thriller, but it's certainly not the worst movie of its kind. Those who enjoy suspense thrillers will likely get the most out of it, while those who dislike the genre should probably steer clear.

6.7/10

Considering David Fincher's stellar reputation with thrillers, I expected significantly more from Panic Room: a film that turned out to be preposterous, derisorily corny thriller yarn that represents the low point of Fincher's career. (The film is even worse than Alien 3 - now that is saying something!) Fincher is a talented director who brings intense thrills and remarkable camera angles; however the script is inexpressibly appalling.

Recently divorced woman Meg Altman (Foster) is now a single mother living with daughter Sarah (Stewart). Searching for a new home, they decide to purchase an expansive old-fashioned house in New York. To the naked eye it seems like a straightforward house, but it includes the latest state-of-the-art security feature designed for paranoid rich people: a panic room. Panic rooms are impregnable secure rooms intended for refuge during a home invasion. They are made from concrete and steel, therefore impossible to break into. Meg and Sarah become imprisoned in their panic room when a trio of thieves enter the house on the search for a lost fortune. Naturally, said lost fortune is actually inside the panic room which is now impossible to break into. Now it's time for the screenwriter to consult the book of film clichés: screenwriter David Koepp arms this film with every convention and cliché one could possibly comprehend.

The script of Panic Room was inspired by the increasing trend of paranoid people who install "safe houses" for extra security. This film is certainly no commercial for panic rooms; in fact it's quite the opposite. It's a good thing panic rooms aren't as flawed in real life! It seems screenwriter Koepp has no problem with moving from one predictable cliché to the next in quick succession. The whole package has been installed here - stupid thieves with one being reluctant, sick child who needs medical attention outside of the confined panic room, overprotective mother who never does one intelligent thing, etc.

I have no idea how such a dreadful screenplay attracted such a magnificent cast. Jodie Foster's performance is intense and involving. A versatile actress of this stature should never appear in a movie like this. Interestingly enough, Foster voluntarily stepped onto the production when Nicole Kidman had to pull out. Forest Whitaker is another of the generation's finest actors tragically dragged into this mess. Whitaker looks out of place, albeit determined. The rest of the cast are impressive, especially young Kristen Stewart.

Whether director David Fincher is your cup of tea or not, you cannot deny that the man has a good eye for detail. Throughout the movie we have elegant cinematography and meticulously detailed shots executed with excellent special effects. The first half of the movie is suspenseful and effective...as the second half commences you will realise how dreadful the script truly is. There is no intensity anymore and the character development appears to be for nothing. As the film kept dragging on I had hoped that the climax would be the film's saving grace. Instead the climax is the poorest part of the movie.

While I was watching Panic Room I wished that I had a panic room of my own - so I could escape this film! Fincher's stylish directing and the top-notch performances from the cast are the only positive aspects of this film. The script is just too horrible for words. This is your typical fluffy Hollywood thriller: convoluted, silly, stupid, filled with plot holes and...did I mention stupid?

V for Vendetta is a monumental science fiction action-thriller, denoting the duly excellent redemption of The Wachowski Brothers. After helming two horrendously disappointing sequels to their landmark sci-fi picture The Matrix, the brothers have irrevocably redeemed themselves for past blunders with estimable elegance. This outstanding comic book blockbuster is everything one could possibly desire - it's exhilarating, riveting, intense, chilling, electrifying, heartbreaking and extraordinarily entertaining. V for Vendetta is fundamentally a cautionary tale about the rise of fascism and totalitarianism, but it thankfully packs summer-movie pyrotechnics to accompany.

Essentially a hybrid of Agatha Christie and Alfred Hitchcock, Identity is a contemporary reinvention of classic mystery/suspense thrillers aimed at today's slasher flick-loving movie-goers. Shades of Psycho and a few creative touches were interweaved into the framework of Ten Little Indians to create Identity, and the result is an engrossing thriller dripping with atmosphere that's imbued with colourful characters and a handful of plot twists. Effectively finding the line between psychological thriller and slasher horror, Identity begins as a seemingly routine excursion into clichés before ultimately metamorphosing into something altogether unexpected and startling.

Identity's narrative takes place in two different basic locations. In a Judge's chambers, a murderer (Taylor Vince) on the eve of his execution is being brought to a hearing by his legal defence when new evidence is brought to light that could potentially rescue him from death row. The main story thread, though, takes place on a dark, stormy night in the Nevada desert. With the roads flooded, a group of seemingly unrelated travellers are forced to check into an out-of-the-way motel. The clichéd group of strangers include limousine driver and former cop Ed (Cusack), the has-been actress that Ed is chauffeuring (De Mornay), a just-retired prostitute (Peet) headed to her Florida hometown to start over, an argumentative newlywed couple (DuVall, Lee Scott), a police officer (Liotta) transferring a dangerous convict (Busey), and a down-on-their-luck family consisting of sincere a sincere stepfather (McGinley), a critically injured mother (Kenzle) and their son (Loehr), not to mention the motel owner (Hawkes). As the weather worsens and the night drags on, the strangers begin getting killed one-by-one by a mysterious killer in what increasingly seems like a systematic fashion.

To further describe the story would spoil the surprises therein, which suffice it to say are best left unspoiled. Nothing equals the satisfaction of seeing this for the first time and being surprised by it.

Questions are raised throughout Identity. Is the motel situation a flashback to the events which got the murderer on death row? Are these two separate events happening concurrently? The uncertainty is all part of the skilful writing which throws buckets of red herrings at us. What's also superlative about the writing is the way we're compelled to guess about the whodunit aspect. Just when we become convinced that one person is the culprit, more red herrings are thrown in until the point when we are just about ready to give up. Reading the premise, you may believe you have Identity all figured out, or sigh with the feeling you've seen this all a thousand times before. Think again. For its first hour, Identity may be a B-grade slasher, albeit one orchestrated with A-grade technique, but then it completely defies expectation with a plot revelation that changes everything. However, this twist is not present for the mere hell of it - it has a true purpose for being. The twist transforms the film from what could've been a conventional high-gloss slasher into something deeper, richer and more existential in nature. All the apparent clichés are in fact just a set-up - they are more like a MacGuffin. The clichés seem to be the focus of the movie, but they are in truth a distraction from the filmmaker's true agenda.

In theory, the idea of shooting the majority of a film on a conventional dark and stormy night is the kiss of death, but director James Mangold is a skilled craftsman capable of sustaining tension and atmosphere; bringing the somewhat unremarkable script to life with transfixing technique. Identity is not an overly frightening or gory movie - it is more of a Hitchcockian thriller. The stormy night-time setting lends the film an appropriate noir tone, accentuating the uncertainty of what is right around the corner. Mangold does deploy such clichés as jump scares with regularity, yet the director executed these moments with a sense of style and panache; showing that old devices can still work if done effectively. It also helps that Mangold was aided by the sumptuously moody cinematography by Phedon Papamichael which expertly uses shadows and pouring rain for maximum effect, in addition to the well-judged editing by David Brenner which keeps the pacing tight. If there's a flaw with Identity, it's that the dialogue is not always solid, and there are moments of sheer silliness which simply don't sit right.

Each member of the cast had minimal material to work with since they were playing a genre type without much psychological background. Nevertheless, the top-notch assemblage of acting talent makes each character feel real and unique, which is crucial to the narrative's ultimate destination. John Cusack has always been an amiable screen presence who specialises in laidback, everyman kind of roles, and his portrayal of Ed makes for an engaging protagonist. Usually in genre films of this type, the female protagonist is on hand to run and scream, but Amanda Peet develops her role of a former prostitute into something far more than a helpless heroine. The excellent Peet matches Cusack scene for scene. John C. McGinley was allotted a minor role, yet he's fascinating and he brings a wonderful, believable energy to his character. McGinley has proved time and time again that he's a superb character actor (Scrubs, anyone?), and Identity further reinforces this. Everyone else - especially the compelling Ray Liotta, the off-kilter John Hawkes, and bright young newcomer Bret Loehr - are terrific in their deliberately archetypal roles.

Ultimately, whether or not Identity will work for you entirely depends on how you perceive the third act. The twist may be seen as moronic by some, while others may be disappointed that the film does not go through with what is expected of a spooky whodunit slasher, and it will probably not be liked by those who don't pay close attention and decide to predict everything out loud with utmost arrogance and cynicism. However, for those tired of the same old thing, Identity is a surprisingly challenging and rewarding genre flick; a true gem in a sea of bland, by-the-numbers psychological thrillers. The premise may seem overused, but the execution coupled with a few delicious twists makes this an absolute must-see.

8.2/10

Patricia Highsmith's novel of the same name was held in high regard in the literary world. Anthony Minghella (R.I.P), celebrated director of The English Patient, has made a terrific psychological thriller out of the already outstanding source material. The Talented Mr. Ripley subsists as a terrifically unique, mysterious drama/thriller assisted by a marvellous horde of actors and some exotic locations.

Initially set in late 1950's New York, the film introduces its audience to a young underachiever named Tom Ripley (Damon). Tom is talented at playing the piano in addition to possessing the skill to impersonate people, yet he is down on his luck. After playing the piano at an upper class garden party he meets the wealthy Herbert Greenleaf (Rebhorn): the father of recent Princeton graduate Dickie Greenleaf (Law). Herbert mistakes Tom for a recent graduate of Princeton University who also knew his son - and Tom lets Herbert believe it. Tom is offered $1,000 to travel to Italy and convince Herbert's son Dickie to return to New York. Down on his luck and with very little money, Tom reluctantly agrees. Upon arrival in Italy, Tom meets with Dickie who is in the company of cultured girlfriend Marge (Paltrow). Dickie is a rich boy with inclination for nothing more than sailing his yacht, masquerading as a playboy and spending time with Marge. Following a few initial meetings, Tom grows an attachment to Dickie and Marge: he is fond of their style of living and develops a mad obsession for Dickie. Tom begins compounding lies, fundamentally assuming the identity of Dickie Greenleaf.

Director Minghella expertly creates three quarters of an excellent movie, with the concluding segment transforming into a complex amalgamation of typical clichés with little to sustain one's interest. This can also be attributed to the film's length - it seems the screenwriter was incapable of upholding any further appeal from limited subject matter. Of course, the subject matter is fascinating by all accounts; however it lost its overall appeal with gross over-length and sluggish screenwriting.

Screenplay flaws aside, The Talented Mr. Ripley is overall somewhat staggering to watch. Anthony Minghella is an expert at the helm of a thriller. This essentially Hitchcockian thriller is occasionally very exhilarating with strong directing and outstanding performances in addition to gorgeous scenery and an elegant setting to boot.

Matt Damon became a household name with Good Will Hunting. Triggering elements of his brilliant portrayal in that earlier film, Damon is in one of his best performances to date. I don't think we've ever seen Damon with this level of vigour or intricacy surrounding him. He is supported by a number of equally excellent performers. Cate Blanchett once again displays her amazing skills as an actress. The film also flaunts great performances from Jude Law and Philip Seymour Hoffman. Law and Hoffman do a fine job in convincing us of the playboyish nature of their characters. Gwyneth Paltrow's portrayal is moderate. Paltrow is a mediocre actress still incapable of painting an entirely convincing character portrait.

The Talented Mr. Ripley is a fine psychological thriller boasting a wonderful ensemble of excellent actors. Some have called this a Hitchcock production of the 90s. I strongly agree. Matt Damon's ability to represent a human leach is amazing at times, proven by the scenes when I actually had sympathy for him. There are scenes of utter shock and dismay, but it is the engulfing build to the inevitable murder and mayhem that grabs you. By all accounts this film is by no means perfect due to some problems in the screenwriting department; however this is a thriller definitely worth checking out.

A Streetcar Named Desire is a compelling, mesmerising drama that exhibits a benchmark in revolutionary screen performances. This formidable tour de force hasn't dated one iota: even after several decades the film's prominent themes and potent nature are still convincingly evident. This is an example of filmmaking from Hollywood's golden age. The magic of these classics will never be recaptured by any modern filmmakers.

Based on a successful play by Tennessee Williams, we follow Blanche DuBois (Leigh) as she arrives in New Orleans suffering from a condition of psychological apprehension attributed to a number of financial difficulties. Blanche comes to New Orleans to visit her sister Stella (Hunter) who had recently gotten married to the authoritative Stanley Kowalski (Brando). The lives of Stella and Stanley are overturned by the arrival of Blanche: a sexual disturbed, delicate and neurotic woman on a frantic prowl for someplace in the world to call her own. Blanche is in a world of illusion as she is immediately drawn into a battle of wills with her intimidating brother-in-law who lacks in refinement. With the brutal, terrestrial Stanley in her life, Blanche's world begins to crumble as she slowly finds her circumstances unbearable.

This is the essential performance from Marlon Brando: a truly electrifying piece of acting that earned him an Oscar nomination (he ultimately lost to Humphrey Bogart). Stanley Kowalski is an animalistic individual brilliantly captured in two different styles by actor Brando. Many of his lines are absolutely unforgettable. (The most notable line of Brando's is his much imitated, much parodied line "Hey, Stellaaaaaaa!")

Brando is not the only stand out in the cast: we also have an outstanding performance from Vivien Leigh in the title role. Leigh earned herself an Oscar with this astonishingly realistic, haunting, stimulating and extraordinary performance. Leigh's portrayal is one of the finest screen performances in cinematic history. She never strikes a false note and always keeps the audience enthralled throughout the film's duration. As questions regarding her sanity arise, Leigh always remains 100% focused. An Oscar was also awarded to Kim Hunter whose performance is incredibly unforgettable.

I can't stress this enough: the central three protagonists are flawless in every respect. This high level of determination is a rarity in modern cinema. The film was also awarded with an Oscar for actor Karl Malden in addition to an Oscar for the film's elegant art direction and set decoration. There were several other nominations, including Best Picture, Best Music and Best Director.

A Streetcar Named Desire features an undeniably stunning, spellbinding score. This jazzy music was highly influential at the time of release. Even now the music is disturbing and haunting. This music sets the mood amazingly, and is complimented with the stylish directing and incredible black & white photography.

A Streetcar Named Desire is a classic production that welcomed a new era of filmmaking. This will always be one for the history books: a timeless movie that exhibits magnificent performances and persuasive themes. Marred only marginally by its slow pacing during the middle section.

When the film was initially released the censorship board removed a few minutes of the film that underscored the sexual tension between the central characters. These few minutes were eventually restored back into the movie.