Reviews by PvtCaboose91

"With all due respect, I'm the best hope you've got."

Olympus Has Fallen is the best Die Hard movie of 2013. Sure, it's not a canonical Die Hard film, but it's Die Hard in tone, spirit and structure, and it's better than the official fifth instalment in the Bruce Willis-starring franchise, not to mention it feels a lot closer to the series than A Good Day to Die Hard. Those expecting another of director Antoine Fuqua's riveting character dramas may not like Olympus Has Fallen, but action fans will find much to enjoy here; it's a generous bounty of R-rated gunfights, wit, explosions and machismo. It has its faults, and it pales in comparison to the original Die Hard, but it's nevertheless a solid, old-school action-thriller that benefits from the fine directorial hand of Fuqua. More than enough works here to ensure it's the first must-see actioner of 2013.

A former Special Ops soldier, Mike Banning (Gerard Butler) is a trusted Secret Service Agent to President Asher (Aaron Eckhart), but he falls from grace when an unfortunate car accident leaves the First Lady dead. Months later, Banning has removed himself from the Secret Service, working a mundane office job in the Treasury Department. When a delegation from South Korea arrives at the White House for a diplomatic visit, Washington suddenly falls under attack from both the sky and the ground, resulting in the deaths of innocent civilians as well as the President's entire security detail. Asher and his entourage are taken hostage by terrorist Kang (Rick Yune), who holds them in the President's underground bunker. But there's a "fly in the ointment, a monkey in the wrench" in the form of Banning, who slips into the White House unnoticed. With Kang demanding that the acting President (Morgan Freeman) remove American troops from Korea, Banning is the country's only hope.

Like 2012's Red Dawn remake, Olympus Has Fallen features North Korean terrorists battling the United States, reinforcing that NK has become the new default international villain. Conflicts with Russia have calmed down since the 1980s and the Russians have become a viable box office audience, but North Koreans are fair game, as they aren't a valuable market for Hollywood movies and nobody would give a fuck if North Korea got offended. Written by first-timers Creighton Rothenberger and Katrin Benedikt, Olympus Has Fallen incorporates several Die Hard elements, including a few scenes directly lifted from the 1988 blockbuster. It's all to nice effect, however. Under Fuqua's direction, the picture moves at a good clip, with some witty dialogue and plenty of opportunities for exciting action set-pieces. It is pretty dumb at times, and the real-world credibility is a little on the skewiff side, but the movie never calls for an unreasonable suspension of disbelief; it's pretty easy to accept everything here. Olympus Has Fallen is a clichéd ride but a smooth one.

On a less positive note, some of the digital effects are distractingly obvious; Olympus Has Fallen strived to evoke action films from the '80s and '90s, hence use of actual models would have been far more appropriate. Likewise, Fuqua adds contemporary cinematography to the old-school pandemonium, resulting in frenetic camerawork that sometimes spoils the fun. Nevertheless, the rest of the production is much more successful, particularly with Fuqua embracing the movie's R rating, spicing up the one-liners with profanity and giving the action scenes an extra punch. Fuqua has honed his gritty action-thriller chops for years, and he delivers the action here with tremendous intensity. Olympus Has Fallen is genuinely gripping from time to time, especially the extended skirmish depicting the takeover of the White House (an incredible sequence), and an armrest-clenching climax. It's a B-grade movie for the most part executed with A-grade technique.

Butler has spent too long careening from one awful rom-com to the next, and he's more alive here than he's been in years. It's a role that's perfect for his capabilities, allowing Butler to make wisecracks and break necks. He's the gruff, more skilled version of John McClane, and his performance is far more energetic than anything Bruce Willis has done in the past decade. As the North Korean villain, Yune pretty much plays the same role he portrayed in Die Another Day, and he displays sufficient menace to make the character work. Also enjoyable is Freeman, who's charismatic and badass, showing us exactly why every movie needs a touch of Morgan Freeman. Meanwhile, Eckhart makes for a decent President, showing a level of humanitarian decency that almost pushes the film into the realm of fantasy. Rounding out the cast is Melissa Leo as the Secretary of Defense, Radha Mitchell as Banning's wife, and Dylan McDermott, who makes a good impression as a fellow Secret Service agent.

Perhaps expectedly, Olympus Has Fallen is getting a bad rap for its pro-America stance, but that's an empty criticism, and it's not even completely accurate. Yeah, the heroes are American, there are some slow-motion shots of American flags, and the characters deliver some jingoistic speeches, but it doesn't feel like propaganda, as the film also depicts Secret Service agents and D.C. cops behaving like morons and dying as a result. So, yes, the movie is by-the-numbers, and the script is not airtight, but it's rare to get an action-packed adrenaline rush this proficiently assembled. It's a total blast, packing in enough escapist action and enjoyable onscreen carnage to make it an entertaining experience.

7.6/10

"Sometimes I would like to get my hands on God."

2008's Punisher: War Zone is the third attempt at bringing Marvel's infamous anti-hero to the big screen, after a bargain-basement 1989 adaptation and a 2004 picture with Thomas Jane. While this reviewer enjoyed the Jane incarnation, it underperformed at the box office, though its strong home video performance prompted sequel talks. Production on the sequel was continually delayed, which resulted in Jane departing and a whole new creative team coming on-board to reboot the Punisher series once again. One of the complaints that greeted 2004's The Punisher was its lack of actual punishing, and it seems that director Lexi Alexander heard those cries from the comic book fanboys, as War Zone is filled with carnage. Unfortunately, the storytelling nuances of its predecessor are lacking here, resulting in a perfectly serviceable slice of cheesy entertainment in dire need of a more fleshed-out script.

A former Special Forces instructor, Frank Castle (Ray Stevenson) is now a vigilante, waging a war on organised crime ever since his family were slain by the mafia. While pursuing crime boss Billy Russoti (Dominic West), an undercover FBI agent is inadvertently killed and Billy is left horribly disfigured. Castle is unable to forgive himself for the FBI casualty, trying to make amends with the agent's widow (Julie Benz) and thinking about retiring as The Punisher for good. However, Billy is soon back on his feet, rechristening himself as Jigsaw and teaming up with his insane brother Loony Bin Jim (Doug Hutchison) to wreak havoc on the city, which compels Castle into action. Meanwhile, a couple of cops (Colin Salmon and Dash Mihok) attempt to track Castle down with plans to arrest him.

To the credit of writers Nick Santora, Art Marcum and Matt Holloway, Punisher: War Zone is a more faithful cinematic incarnation of the comic book mythos than the previous two attempts. It's clear that the film was engineered by people who've actually read a Punisher comic, with Castle's backstory taken directly from the pages of the books, and with Castle getting assistance from his weapon supplier Microchip (Wayne Knight). The problem with War Zone is the trite aspects of its screenplay, as it's full of forgettable dialogue and the storytelling is underdone. Jigsaw even makes the hopelessly clichéd statement "Billy is dead. From now on, you call me Jigsaw." Hensleigh's picture gets flack for its extensive runtime, but its patience is one of its strengths, giving Castle the chance to be more snide in his punishing through crude acts of trickery and deception. Here, Castle doesn't exhibit the same creativity, instead going all-out with guns and mayhem. If taken as a pure cheesy action ride, War Zone does deliver; it's just that it could've been a true keeper and the definitive Punisher adventure if more attention was paid to the in-between stuff.

Alexander is clearly a Punisher fan herself, as she worked to recreate a cinematic look which mirrors the comics. Thus, the colour palette is uniquely comic book-esque, and the cinematography is dark and moody, reminiscent of 1994's The Crow. Moreover, War Zone is full of bloody chaos offered up with glee. A Punisher movie could never be PG-13, and Alexander knew this, dishing up a blood-and-bullets extravaganza that goes bonkers with violence and gore. It's a bruiser of an action movie, evoking the spirit of the '80s in its action (think 1985's Commando). Better, the set-pieces are competently assembled, devoid of shaky camera and rapid-fire editing. It's great to be able to discern what's happening without getting a migraine. Fortunately, while War Zone has enough gore to rival a Saw film, it's presented well, with a comic book tone that never lets it spill over into the realm of despicable bad taste. It's more of a grin-and-enjoy actioner, rather than repulsive gore-porn.

Stevenson is The Punisher; he has the perfect build and demeanour for the role, and represents the most faithful cinematic incarnation of the comic book character to date. The actor looks relentless, going about his business of punishing without compunction, and looking completely casual as he tears into his opponents. It seems foolhardy to compare Stevenson and Jane though, as both actors do a superb job on their own merits as Castle/The Punisher, and each possess strengths and weaknesses. Also in the cast here is West, who gleefully hams it up as Jigsaw, while Hutchison chews the scenery with gusto. Many have compared West and Hutchison to Heath Ledger's Joker, even going so far as to claim that the actors were directly inspired by Ledger. Contrary to fanboy belief, the movie was conceived and shot a long time before The Dark Knight was released, and - shock horror - movies were actually made before The Dark Knight. The rest of the cast is pretty forgettable, though Knight makes a nice impression as Microchip.

In a nutshell, Punisher: War Zone is a comic book adaptation motivated by gratuitous violence. It may be difficult to respect the film in a serious sense, but it is a good fun time if you're part of the target market, an orgy of brutality delivered at just the right frequency to provide an evening of easy-going, popcorn-munching entertainment. It harkens back to the action genre's heyday, coming across as a B-grade '80s film executed with A-grade production values and a slick budget. And yes, it works as pure fun, but it's too bad that other aspects of the script were mistreated and rushed out the door.

6.2/10

"60 years ago, Earth was attacked. We won the war, but they destroyed half the planet. Everyone's been evacuated. Nothing human remains. We're here for drone repair. We're the "mop-up crew"."

Helmed by Joseph Kosinski (TRON: Legacy), 2013's Oblivion is a striking visual feast, displaying remarkable attention to detail in production design and cinematography. It's a pleasure to watch the effort unfold on a large screen, as the picture's aesthetics are a marvel to behold. And despite Oblivion being marketed as an action fiesta, it's more of a patient, old-fashioned sci-fi film that only indulges in a handful of blockbuster moments. Kosinski's film possesses all the right ingredients to become an instant genre classic, but unfortunately, it falls far short of its potential. Despite its ambitious ideas and lavish visual construction, it's a thoroughly hollow effort, and the screenplay is cobbled together from so many other familiar movies that every plot point and twist is visible from miles away.

In the year 2077, Earth is a desolate wasteland as the result of a war involving aliens that poisoned the planet. The majority of Earth's population now resides on the moon Titan, while a corporation oversees the rehabilitation of the planet, using drones that patrol the land in search of leftover alien invaders. Jack Harper (Tom Cruise) and Victoria (Andrea Riseborough) are tasked with maintaining the drones on Earth while their superior Sally (Melissa Leo) watches them from afar. The daily rounds are growing tedious for the pair, though only two weeks remain before their tour ends, and they can join the rest of the human race on Titan. Despite having his memory wiped, Jack dreams of life before he was born and of a woman he's never met. When a deep-sleep space capsule crashes nearby containing Julia (Olga Kurylenko), the very woman he's been dreaming about, Jack's life is suddenly thrown into turmoil, leaving the worker baffled and desperate for answers.

If Duncan Jones' Moon was produced for $120 million and was aimed at the blockbuster market, it would look exactly like Oblivion. In fact, Oblivion comes across as a beat-by-beat remake of the earlier film, right down to the main narrative twist, the message of corporate greed, the ostensibly isolated setting, and even minor plot details (in Moon, the protagonist was nearing the end of his service contract, and so is Jack here). Although Kosinski reportedly pitched his film in 2007, it's hard to ascertain just how much of this stuff was in his initial pitch, as the project was developed over a full six years. Sure, it's hard to tell an original story since practically everything has been done, but there's a difference between reusing clichés and reusing big twists. It's the equivalent of someone using the twist of Psycho or The Sixth Sense for a thriller. Unfortunately, the rest of Oblivion is just as derivative, taking cues from Planet of the Apes and WALL-E, while the climax is a mix of Independence Day and 2001: A Space Odyssey. Unoriginality is not a big problem per se, but Kosinski never enlivens the material; it lacks a touch of soul.

On the positive side, it's easy to be impressed by Claudio Miranda's superlative cinematography, which makes good use of the beautiful production design and eye-catching Icelandic locales. The score by French outfit M83 is also a solid inclusion, though it sounds distinctly influenced by Hans Zimmer. Certainly, Oblivion is competent enough, engaging for isolated sections of time and containing several standout sequences. The script is a misfire, but at least the finished picture is easy to consume, and unfussy movie-goers may find something of worth, especially since the film is not as brainless as Hollywood's regular output. Yet, the experience as a whole remains underwhelming, as it's an emotionally empty experience and the deliberate pacing does not always work. It's quite astonishing that the film is as flat as it is, considering Michael Arndt (Toy Story 3) and William Monaghan (The Departed) were involved in the writing process.

Cruise may now be fifty years of age, but he's still working furiously to maintain his movie star status. Oblivion allows the actor to pull off the usual action movie stuff: driving fast, posing while beautifully lit, running away from explosions, using firearms, and so on. There's even an aerial chase that reminded this reviewer of Top Gun. Cruise haters may dislike his performance, but he's good enough as Jack Harper. Meanwhile, unfortunately, Morgan Freeman is not the lead he was marketed as being, showing up in a phoned-in performance that takes up fifteen or twenty minutes at most. And whenever he's on-screen, Freeman just delivers obvious exposition. It's a wasted opportunity. The rest of the actors are serviceable if unspectacular.

As an exercise in production design and sound effects, Oblivion is a success, as the movie always looks handsome. In fact, it's surprising that the film wasn't in 3D, especially considering Kosinski was responsible for the 3D TRON sequel. Despite the movie's visual strengths, the lack of imagination in other areas reduces the overall value. It's too distractingly familiar and empty. Moon was produced for a substantially smaller sum, yet it contains humanity and soul, two things lacking in Oblivion.

6.1/10

"Great lessons are often found in defeat."

Bunraku is one big mishmash of several different genres, with writer-director Guy Moshe sourcing elements from samurai films, gangster pictures, spaghetti westerns, Hong Kong martial arts flicks, graphic novels, pulp exploitation films, musicals, and anime. It's an interesting concoction, and the result is frequently ravishing to behold thanks to the impressive collaborators that Moshe recruited, including production designer Alex McDowell (Watchmen, Corpse Bride), who co-produced, and Oscar-winning editor Zach Staenberg (The Matrix, Lord of War). Yet, despite the impressive technical accomplishments, Bunraku fails to hold together as a coherent whole. Its narrative is dull and empty, not to mention the characters are downright boring and it's overlong at two hours.

In a post-apocalyptic future, guns are outlawed, and swords are king. In a Shanghai-like town, tyrant Nicola the Woodcutter (Ron Perlman) is a vicious crime boss, employing his gang of assassins led by the flamboyant Killer No. 2 (Kevin McKidd) to keep citizens under his rule. Into the town steps The Drifter (Josh Hartnett), a shadowy, no-nonsense cowboy type. Also on the streets is Japanese warrior Yoshi (Gackt), who wants to keep his family safe and take down Nicola. With the help of a mysterious bartender (Woody Harrelson), The Drifter and Yoshi join forces, hoping to conquer Nicola.

Bunraku represents another attempt at translating graphic novel sensibilities to cinema, using CGI and green screen to create a unique look. It's a well-made motion picture, with the set design perfectly capturing the feel of anime and comic books. Moshe also deploys various interesting camera angles and visual gimmicks, such as speech bubbles and drop-down tags identifying Nicola's henchmen. There's so much to absorb in every shot, with lots of colour, editorial flourishes and extravagant costuming. Bunraku looks phenomenal; this universe is utterly original and was brought to the screen with an incredible amount of aesthetic detail. Moshe was even inspired by classic musicals like West Side Story, most evident in a stylish opening sequence depicting a violent battle between two gangs that plays out like a dance number. However, Moshe's armoury of filmmaking techniques grows thin quickly, and momentum soon flags due to the drab nature of the narrative.

Other, superior movies similarly achieve astonishing visuals, but those films have colourful characters and interesting, coherent stories to tell. Bunraku, on the other hand, doesn't have much story to tell and features a bland cast of caricatures. Thus, while there is plenty of activity here, it's not overly coherent despite constant narration meant to try and keep the plot intact. Bunraku didn't make much sense to me, though it was probably my boredom with the interminable feature that clouded my ability to properly follow the story's progressions. Still, Moshe deserves criticism for his storytelling; the monotony and lack of brevity are a considerable problem, the dialogue is dreary, and it takes too long for the climax to arrive. Bunraku is driven by its fight sequences, but they lack any punch due to the boring in-between stuff and the lack of investment in anything that occurs.

The cast is a mixed bag, as well. Perlman is frequently impressive as the villain, displaying a solid amount of menace and thoughtfulness. Likewise, Kevin McKidd is a scene-stealer as Killer No. 2, displaying ample charm, panache and flamboyance. McKidd is so enjoyable to watch that it's a shame he's not a hero here. Also good is Harrelson, who is having a blast as the bartender. The rest of the actors, alas, are less impressive. Hartnett is outright boring as The Drifter; he lacks charm, and he shares no chemistry with his co-star Gackt, who's just as bland. Even Demi Moore is flat, to the extent that it never registers that she's even in the movie.

It's easy to admire the technical construction of the picture, but it's challenging to get through a single viewing of Bunraku, as it continually tests your patience. Thus, while it deserves credit for its ambition and a few isolated elements, it's a misfire.

4.8/10

"Sgt. Todd... what's it like? What's it like being a soldier? What do you think about?"

1998's Soldier is a science fiction action film written by David Webb Peoples. For those unaware, Peoples co-wrote Blade Runner and Twelve Monkeys, and scripted Clint Eastwood's Unforgiven, among several other credits. The writer actually considers Soldier a spiritual cousin to Blade Runner and a "side-quel" since it takes place in the same cinematic universe. However, Soldier is also directed by Paul W.S. Anderson (not to be confused with Paul Thomas Anderson), a director who likes to make trashy action flicks and gets a lot of flack for his efforts. Hence, while Peoples' script might have been more substantive at some stage, the end result is merely an entertaining action film with a few nice ideas, and it works in that sense. It's a shallow macho guy film, a blood-and-bullet fest beset with R-rated content destined to appeal to its target market.

Sergeant Todd (Kurt Russell) is a hardened soldier trained from birth, indoctrinated as a killing machine who carries out orders without a second thought. Every emotion has been leeched out of him after decades of fighting in various wars and campaigns. However, the ambitious Colonel Mekum (Jason Isaacs) introduces a new breed of genetically engineered soldiers that are younger, faster, stronger and better than their predecessors, rendering Todd and his comrades obsolete. Discarded after being bested by Mekum's finest soldier, Todd is dumped on a planet inhabited by a small band of stranded colonists. Although Todd is accepted into their community, trouble looms when Mekum arrives on the planet to put his new soldiers through a training exercise. He deems the colonists' presence unlawful and orders their termination, but Todd is unwilling to let that happen.

To the credit of Peoples and Anderson, Soldier takes its time building the characters and observing Todd as he struggles to ingratiate himself into a more peaceful culture. Peoples' script has several things on its mind, exploring if a lifelong killing machine can assimilate themselves back into society. It doesn't exactly explore the concept with any real depth, but it gives what's essentially a dumb action film some thematic relevance. However, the narrative here plays out like any generic "new guy moves into town and saves the townspeople" flick (Shane, anyone?), and it doesn't contain many original elements. As a matter of fact, it borrows from any number of films, including Aliens and Rambo. Also problematic: Mekum's motivation for heading to the planet to decimate the populace is completely flimsy, leaving us to just shrug and accept the contrived behaviour.

Anderson gets a lot of hate for his movies, but he knows how to construct fluid and exciting action scenes. The fight choreography here is solid, and the gun battles are badass. When Todd cuts loose and sets out to eliminate his opponents, Soldier is insanely entertaining, guaranteed to leave you with a big dumb grin on your face. It's the type of red-blooded American action film we often saw back in the '80s when the "one-man army" genre was so prominent (Rambo 2, Commando). The production values here are also impressive, as expected from a well-budgeted $60 million film. Although a few special effect shots look dated (especially an explosion at the end), this only amplifies the fun factor. If you come to Soldier seeking an evening of pure popcorn entertainment, rest assured that it delivers in a big way. It's definitely cheesy, but that's all part of the picture's charm. They don't make enjoyably goofy flicks like this anymore.

Russell was handed a challenging task in portraying Todd. Although the star is on-screen practically all the time, he only says about 100 words throughout the entire movie. Instead of using words to convey his character's feelings, Russell had to do all the heavy lifting with facial expressions and body language. And he pulls it off beautifully. It's a terrifically nuanced performance, showing that Russell is a better actor than he gets credit for. Also in the cast is Isaacs, who essentially plays a cartoonish, moustache-twirling villain. It's a cheesy role, but Isaacs seems in the right spirit. Gary Busey is also here, showing us why every movie can benefit from a touch of Busey.

With a few rewrites, Soldier could've been a thoughtful sci-fi action masterpiece. As it stands, this is just a ridiculously entertaining blockbuster overseen by a veteran purveyor of filmic junk food. Unfortunately, the film was a box office disaster, grossing less than $15 million at the domestic box office and predominantly going straight-to-video in the rest of the world. The critics used it as a punching bag, as well. But it matters not. As long as you can accept the movie for what it is, it's a blast.

7.1/10

"You did it. You crazy son of a bitch, you did it."

Based on the best-selling novel by Michael Crichton, Jurassic Park developed into a critical and commercial smash when released in the summer of 1993, and for good reason. A groundbreaking blockbuster, it's a masterpiece of suspense and action, overseen by filmmaking wunderkind Steven Spielberg. Written for the screen by David Koepp and Crichton himself, Jurassic Park remains every bit as potent and enjoyable as it was back in the '90s; an enormously accomplished action-adventure supported by astute direction, glorious photography, pitch-perfect performances, and an overwhelming sense of cinematic escapism.

On a fictional island 100 miles off the coast of Costa Rica, billionaire entrepreneur John Hammond (Richard Attenborough) has created the ultimate theme park, a zoo populated with real dinosaurs genetically engineered by a team of scientists. But Hammond's investors grow anxious about the park after an employee is killed, compelling him to bring in a team of experts to test the experience and deem it safe for the public. Enter palaeontologist Alan Grant (Sam Neill), palaeobotanist Ellie Sattler (Laura Dern) and mathematician Ian Malcolm (Jeff Goldblum), as well as lawyer Donald (Martin Ferrero) and Hammond's grandchildren Lex (Ariana Richards) and Tim (Joseph Mazzello). The group take off on a self-guided tour of the park, astonished by the prospect of coming face-to-face with animals that have been extinct for millions of years. However, when a hurricane strikes and one of the computer technicians messes with the system, the park is shut down, leaving the guests in the middle of a dinosaur playground with no protection.

Similar to Spielberg's Jaws, the focus of Jurassic Park is not purely on dino carnage, but more on the narrative and characters. We don't glimpse our first dinosaur until half an hour has elapsed, and it takes a good sixty minutes for the actual rampaging to begin. Combined, the dinosaurs only get around fifteen minutes of screen-time in this two-hour picture, as Spielberg predominantly observes the characters dealing with the omnipresent danger of the animals. Furthermore, the script explores the ethics behind the park; Dr. Malcolm quickly recognises the scientific hubris of resurrecting species which nature had selected for extinction. It's this thought towards intelligent characters, subtext and science lessons which amplifies the value of the film. And yet, while there is plenty of chatter, Jurassic Park is a brisk, agile picture in the hands of Spielberg, who has a perfect grasp on narrative rhythm and cinematic thrills. What's also surprising is just how comedic the material is, with sharp dialogue (Dr. Malcolm is a wise-cracker) and a smattering of gallows humour (Dr. Grant gives a young boy a lesson on how the Velociraptor can rip you apart).

Looking at Jurassic Park two decades later, it's astonishing how little the movie has dated beyond the computer technology (ah, floppy disks) and a reference to a CD-ROM tour program. Although we've come a long way since 1993 in terms of digital effects, the dinos remain just as convincing now as they were two decades ago. One cannot overstate the realism of the creatures on display here. While blockbusters these days primarily rely on CGI, Jurassic Park melds practical animatronics and puppetry with computer animation, and the result is seamless. The dinos look truly alive, with realistic movement and textures, and they carry no trace of artificiality. Indeed, not many movies since have equalled or topped the sheer photorealism of the special effects - the sense of wonderment and discovery here is truly sensational. Furthermore, the visuals are helped in no small degree by the sound design, which gives these extinct creatures a lifelike voice. The dinosaurs look and sound like living, breathing creations, and the grand illusion still stands in 2013.

Although Jurassic Park is family-friendly entertainment with shrewd laughs and a heroic score by John Williams, it is surprisingly dark and violent at times. It carries its PG-13 rating for a reason; Spielberg generates an aura of genuine threat whenever the carnivorous dinosaurs are on-screen, and young kids may find the movie too terrifying. Indeed, Jurassic Park is extraordinarily intense, and it has lost none of its ferocity over the past twenty years. The first appearance of the T-Rex still induces goosebumps, and the animal's roar is enough to strike terror into the hearts of anyone. Likewise, late set-pieces involving the Raptors are mercilessly intense and edge-of-your-seat. When it comes to white-knuckle intensity, Spielberg is the king. Furthermore, the film is carried by a selection of outstanding performances from an able cast, including Goldblum who earns big laughs as the proverbial wise-cracking cynic. Also worth mentioning is Attenborough, who humanises the role of John Hammond in an effective fashion.

To bring the picture back to theatres on its twentieth anniversary, Jurassic Park was converted to 3D. The 3D makeover is better than expected, exhibiting a fine sense of depth and dimensionality. At times the picture does actually look as if it was natively shot in the format. However, the photography is not as vibrant or sharp as a more recent movie, making some shots look a tad soft and hazy. Added to this, the photography involves a lot of rack focus, and backgrounds are frequently blurry. This type of stuff is fine in 2D, but it doesn't entirely work in 3D. Nevertheless, it's a valiant conversion effort rather than a lazy cash-grab, and it's well worth checking out, if only to see the sensational extravaganza back on the big screen where it belongs.

Jurassic Park is one of the masterpieces that Steven Spielberg will forever be remembered for. It's a borderline perfect adventure picture, a skilfully-assembled blockbuster which has lost none of its ability to amaze and shock. The special effects have not even slightly dated, and it's easy to appreciate the picture's sheer intensity, the nuances of Spielberg's storytelling, and the thematic undercurrents which provides more brain fodder than the average action movie. It's still one of the very best blockbusters in history.

10/10

"The choice is yours. Do you want to remember or do you want to forget?"

Trance is classic Danny Boyle in every sense of the word, a sophisticated thriller more in the vein of Trainspotting than his more linear recent efforts. It's unsurprising, then, that the movie reunites Boyle with John Hodge, who previously wrote Trainspotting and The Beach for the filmmaker. In a nutshell, Trance is a twisty, hallucinogenic thriller combining elements of film noir and a typical heist picture filtered through a mind-fuck lens. It's an ideal project for Boyle, who called upon his usual arsenal of visual storytelling techniques to create a perpetual aura of uncertainty and anxiety. Anyone expecting something as cut-and-dried as Slumdog Millionaire or 127 Hours will undoubtedly walk away perplexed, but those eager to engage their brain will find plenty of mental fodder here. Trance is admittedly not entirely satisfying, but it's a unique trip worth taking for its stunning visual construction and a handful of convincing performances.

An employee at a London auction house, Simon Newtown (James McAvoy) conspires with career crook Franck (Vincent Cassel) to steal a Francisco Goya painting worth millions of dollars. But a complication during the heist leaves Simon unconscious and the artwork missing. Unfortunately, Simon loses his memory of what happened during the robbery and has no idea where he stashed the Goya. With Franck's torture methods proving ineffective, they enlist the help of hypnotherapist Elizabeth Lamb (Rosario Dawson), who may be able to use hypnosis to dig the information from Simon's scrambled mind. But the more Simon is put under, the more his dreams begin to blur with reality, and it gradually becomes clear that Simon's memories may be better left untouched.

Trance is actually an adaptation of a low-budget television movie from 2001, the writer-director of which, Joe Ahearne, had a hand in the scripting here. The film opens beautifully, with a stunning sequence introducing us to Simon, who fills us in on the history of art theft and the security measures of the establishment he works for. The heist unfolds during Simon's narration, a brilliantly engaging device that hooks us from the beginning. Although Boyle never tops the enthralling simplicity of the picture's opening, Trance contains several standout sequences. When Boyle delves into Simon's troubled head, the filmmaker runs rampant, abandoning all sense of coherence in favour of outlandish, visually striking images, as we get a glimpse into the dark recesses of the man's mind. The ultra-stylish cinematography by Boyle mainstay Anthony Dod Mantle is sensational. Shooting digitally, Mantle's photography is beautifully ethereal, psychedelic and arresting, while the editing by Jon Harris gives the dream sequences a jittery edge. From a technical perspective, Trance is impossible to fault.

Throughout the narrative, the script raises the typical noir question of who's playing who, and it becomes unclear exactly who the heroes and villains of this picture truly are. Moreover, as Simon's sessions with Elizabeth increase in volume, we find ourselves in a similar position to Simon, who is disorientated and unable to separate reality from fantasy. Boyle keeps teasing us, compelling us to wonder just how many of the narrative goings-on are actually "real" (within the context of how they're presented, that is) and how many are warped through the characters' perceptions. People will no doubt compare Trance to Inception in that sense, but Boyle actually one-ups Nolan; whereas Inception's job was to be a lavish blockbuster, Boyle is unafraid to truly mess with us through his incoherent visuals, evoking the spirit of 1929's Un Chien Andalou. But despite its strengths, Trance is not as involving as it could've been, as the complexity denies us the chance to get invested in the characters. The script is fairly messy and overwrought, lacking in dramatic effect.

McAvoy (X-Men: First Class) is a reliably charismatic performer and makes for a beguiling Simon. Boyle takes Simon to unexpectedly dark places as the narrative unfolds, yet McAvoy confidently handles the role's less savoury aspects. Even more impressive is Cassel, showing both toughness and a sense of humanity as Franck. Even though his role is more or less villainous, Cassel is always accessible and watchable while still coming across as a real threat. Meanwhile, Rosario Dawson has the hardest role to play, yet she pulls it off with assurance. She's a credible hypnotherapist whose voice is soothing during the hypnotherapy sessions, and she was also ready to tackle all of the role's complexities. It's such a confident performance from the actress.

It remains to be seen if Trance will hold up to post-viewing scrutiny, as it's difficult to rationalise the motivations of the central characters, and it seems fruitless trying to decipher what's real. It's a solid flick, yet Boyle and his crew work so hard to create something so intensely beautiful that it won't leave a substantial impact, and it lacks soul and humanity. But although it's not one of Boyle's best, it's a slick ride and a worthy addition to his filmmaking oeuvre that shows more creativity and visual flair than 99% of Hollywood's current output.

7.7/10

"Friends don't steal friends' identities, do they?"

Identity Thief is neither as gut-bustingly funny as it should have been nor as bad as it's been made out to be. Directed by Seth Gordon (Horrible Bosses) and written by Craig Mazin (The Hangover: Part II), the movie is fundamentally a comedic showcase for its two leads: sublime straight man Jason Bateman and up-and-coming comedy dynamo Melissa McCarthy (Bridesmaids). Although the flick has a few good laughs here and there, it's an aggressively forgettable affair, with its simple premise becoming overcomplicated and overextended. It's not that the movie is bad per se; it's just lazy, and flawed scripting often spoils the fun.

A happy family man who finally catches a major career break, Sandy Patterson (Bateman) finds his life turned upside down when his identity is stolen by Florida resident Diana (McCarthy), who racks up thousands of dollars of debt in Sandy's name. When Sandy's job is threatened as a result of Diana's activities, he has no choice but to go after the criminal himself, especially with the police proving to be of little help. Leaving his wife (Amanda Peet) and daughters behind, Sandy flies from his Denver home to Florida, hoping to find the scam artist and convince her to return home with him to face the music. Diana doesn't plan to go down without a fight or three, but she finds herself teaming up with Sandy when she's pursued by a pair of criminal enforcers (Genesis Rodriguez and T.I.) and a skiptracer (Robert Patrick).

Identity Thief runs too long at around 110 minutes, with Mazin and Gordon padding out the simple premise with unnecessary sub-plots that spoil the fun. The story threads of the enforcers and the bounty hunter ultimately lead nowhere, only proving to be a perfunctory obstacle popping up at inconvenient times for the protagonists. Plus, at one stage, Sandy engages in illegal activities with Diana, which takes the story to unnecessarily dark places and puts Sandy in the grey area of morality. The beauty of Planes, Trains & Automobiles is its simplicity and momentum, and it runs a brisk 90 minutes. By comparison, Identity Thief just keeps going and going, and the plot complications cause more frustrations than laughs. It's too callous and heavy-handed. Worse, Mazin's screenplay has no plausible underpinnings supporting it - it presents questionable depictions of how police detectives operate, how the corporate world works, and the operations of credit card agencies. Nothing rings true; it feels like a pure fantasy, and the film assumes we're too ignorant to realise the difference. And Diana steals Sandy's identity using the oldest scam trick in the book; only an idiot would fall for it.

Although there are a few quality laughs here and there, Identity Thief ultimately comes up short in the comedy department. Many of the jokes either fall flat or are completely witless, relying purely on crude dialogue to get laughs. One especially awful recurring joke is characters constantly referencing the fact that Sandy is a woman's name. I guess none of the characters have heard of Sandy Collins or Sandy Koufax. Hence, when everyone makes snide comments about Sandy's name, it seems forced and ignorant. To his credit, Gordon does an admirable job of steering the picture between the comedic and the dramatic, exhibiting a degree of heart that feels surprisingly earned. Nevertheless, the ethics behind Identity Thief are questionable, asking us to sympathise with Diana due to her troubled history. Mazin's script tries to make excuses for blatant criminal behaviour, which doesn't sit right. I mean, Diana's fraudulent activities destroy lives; just because she had a rough upbringing doesn't mean she can be forgiven for stealing thousands upon thousands of dollars.

Although McCarthy has featured in films and television shows for over a decade, her breakout role in 2011's Bridesmaids catapulted the actress into the spotlight. And for good reason; she's on fire here, denoting one of the biggest strengths of Identity Thief that keep the film watchable throughout its rougher patches. She nails the humorous aspects of the character, and she handles the dramatic elements skilfully as well. As for Bateman, he simply plays Jason Bateman, the proverbial straight man. While Bateman doesn't exactly stretch his abilities here, he's always an amiable and believable presence on-screen. The coupling of Bateman and McCarthy is a brilliant one, which is why it's such a shame that the material doesn't serve them better.

With a talented comedic director at the helm and a pair of capable comic leads, Identity Thief had the potential to be the comedy highlight of 2013. Instead, it's mildly amusing from time to time but ultimately underwhelming and rarely outright hilarious. The movie will probably please the target market, though, who come looking for an easy-going, switch-off-your-brain comedy. But it will be forgotten almost immediately, whereas classic comedies like Planes, Trains & Automobiles are still remembered decades on.

5.7/10

"You have just said goodbye to oxygen. You silly, stupid cop. You refused me. I offer you the keys to a kingdom and you tell me you're an officer of the law? I AM THE LAW! ME!"

Arriving the year after Tim Burton's Batman set the box office on fire, 1990's Dick Tracy was Disney's attempt at kick-starting their own comic book film franchise. The House of Mouse pulled out all the stops, relentlessly feeding the hype machine and marketing the hell out of the picture. Although it proved to be somewhat of a disappointment for the studio, Dick Tracy is delightfully enjoyable all these years on, a colourful adaptation of the comic strip of the same name by Chester Gould. What the film lacks in gripping storytelling, it makes up in memorable visuals, strong filmmaking and tremendous star power, and the result is a real hoot. Dick Tracy really was ahead of its time as well, and it's difficult not to be impressed with the visual fireworks on display considering the primitive tools at the disposal of director/star Warren Beatty at the time.

A police detective sporting a yellow overcoat and fedora, Dick Tracy (Beatty) splits his attention between cleaning up the streets and wooing his girlfriend, Tess Trueheart (Glenne Headly). Into his life soon steps The Kid (Charlie Korsmo), an orphan boy saved from the streets by Tracy. Meanwhile, ruthless crime boss Big Boy Caprice (Al Pacino) is positioning himself to rule the city with his gang of outlandish goons. Looking to take down Caprice, Tracy becomes distracted by Breathless Mahoney (Madonna), a sexy nightclub singer owned by the violent gangster. Amid all this, a new menace emerges known as The Blank, whose allegiances are ambiguous.

Gould started the Dick Tracy newspaper comic in 1931, and the strip is still being published today. Tracy is a character who communicates with other police via wristwatch walkie-talkies, and he pursues a cavalcade of eccentric villains of peculiar appearance. All of these characteristics carry over into the movie with a screenplay by Jim Cash and Jack Epps Jr. (Top Gun). The film pays meticulous attention to fan service, cramming in as many characters from the comic as possible to pleasing effect. The only real problem with Dick Tracy is the story, which is completely nondescript and clichéd. It's a typical tale of a powerful gangster looking to rule the city while law enforcement works to prevent such a goal. Additionally, the script baulks from exploring Tracy the person; we see him fight crime, but we never find out his motivations or past.

From a technical standpoint, Dick Tracy is a home run. The production values are immaculate; shots burst with colourful sets, detailed costumes and period-specific cars and props. The action sequences are consistently strong, as well. There are not many shootouts, but the stuff that is present is of a high standard. The film also made headlines in 1990 for its unique visual approach in bringing the comic strip to the big screen. Beatty and his crew restrict the film's colour palette to seven colours, each of which is the same shade. It gives the picture a look that's unique to this day, and it recreates the comic strip faithfully. Additionally, the visuals mix live-action material with hand-drawn matte paintings, giving it a slightly cartoonish appearance that makes it look even more unique. Beatty and cinematographer Vittorio Storaro limit camera movement as much as possible, too, aiming to make the film feel like a series of still panels. Going one step further, the outrageous bad guys are covered in extensive prosthetics to recreate the look of the comic's characters. Also impressive is Danny Elfman's flavoursome score, as well as the inclusion of several original songs written by Broadway legend Stephen Sondheim. Dick Tracy was nominated for seven Oscars, ultimately winning in the categories of make-up, art direction and original song.

Beatty has copped a bit of criticism for his portrayal of Tracy. He's not exactly the first person one imagines for such a role, but Beatty's performance is solid; he presents a perfectly serviceable interpretation of the hero cop. Likewise, Pacino is frequently belittled for his scenery-chewing turn as Caprice, which actually earned a very controversial Oscar nomination. It's not exactly a skilful performance, but Pacino is a hoot, hilariously cheesy and over-the-top. The supporting cast is huge and completely star-studded, with appearances from the likes of James Caan, Dick Van Duke, Paul Sorvino, William Forsythe, Charles Durning, and many more. Beatty must have called in every single favour he could. Madonna is also here, while Dustin Hoffman plays Mumbles, a character ideally suited to the actor's abilities. Hoffman takes the role and runs with it; he's very entertaining.

Before Beatty nabbed the director's chair, Walter Hill was apparently close to filming his take on the comic book character. Beatty ultimately stopped Hill due to the filmmaker's violent vision, which is frankly somewhat disappointing as it'd be interesting to see what Hill could have made of this material (it would've likely been R-rated and thematically thoughtful). Nevertheless, Beatty's film is a lot of fun despite its flaws, and it's a shame that it has become so obscure. Indeed, no sequel ever came, the film didn't inspire much of a cult following, and no other Dick Tracy projects (movie or TV) have been made as of 2013. Looking at it today, it's a garish product of its era that deserves a wider audience. Given that comic book adaptations aspire to be realistic and gritty these days, it's refreshing to watch Beatty's Dick Tracy, which is light-hearted and stands by the roots of its source material.

7.7/10

"Those who do evil to others - the killers, the rapists, psychos, sadists - you will come to know me well. Frank Castle is dead. Call me... The Punisher."

Superhero films have become a major trend in the 21st Century, with Marvel and DC comic book properties transforming into lavish CGI-driven blockbusters concerning fanciful protagonists. Although 2004's The Punisher is based on a Marvel character, this big-screen adventure is a far cry from the PG-13 antics of Spider-Man or X-Men. Written and directed by Jonathan Hensleigh, this is a vicious vigilante action film, closer to Dirty Harry and Death Wish than Fantastic Four. How refreshing it is to have a brutal anti-hero in this era of comic book do-gooders, and it's nice to behold an R-rated Marvel movie punctuated with brutal action sequences that has the balls to be something other than family-friendly eye candy. The Punisher underperformed at the box office (even despite its modest budget), but it's a cracker of a film. Fun, gritty and highly entertaining, it's a satisfying actioner deserving of a wider audience.

A Gulf War veteran, Frank Castle (Thomas Jane) is an undercover federal officer working on a case involving illegal guns. When the police move in to break up the deal, a firefight results in the death of Bobby Saint (James Carpinello), the son of mobster Howard Saint (John Travolta). When Howard learns of his son's death, he vows revenge against Castle, sending his men to wipe out the officer's entire family during a family reunion. Surviving the assault while the rest of his relatives, including his wife and child, are slaughtered, Castle spends several months recovering and plans to dish out vigilante justice against Howard Saint. Building an arsenal, Castle begins to dispense punishment to those who wronged him with the help of his oddball neighbours (including Ben Foster, Rebecca Romijn-Stamos and John Pinette).

The Punisher was the directorial debut for Hensleigh, who carved a career for himself writing action movies like Die Hard With a Vengeance and Armageddon. Hensleigh worked on the script with Michael France, who co-wrote other Marvel films like Ang Lee's Hulk and 2005's Fantastic Four. Hensleigh's experience in the action-adventure genre serves him well here, dialling down over-the-top superhero movie theatrics in favour of a more grounded big-screen adventure for Marvel's brutal vigilante. Castle is from the "everyday heroes" mould like John McClane and Paul Kersey, as he's portrayed as a mortal who bleeds and cares, and who relies on guts and brains to dispatch his enemies. Castle does not fly or spin webs, nor does he have the bank account of Tony Stark or Bruce Wayne. The only problem with Hensleigh's film is that it baulks from being as relentlessly dark as its source material. I mean, a torture scene involves Popsicles, and Castle's neighbours are played too broadly. The adaptation is enjoyable for what it is, but Hensleigh should have gone the whole hog. (See the 2012 short The Punisher: Dirty Laundry by Jane himself for a better cinematic representation of the character.)

Just as the titular character is the antithesis of his Marvel superhero counterparts, The Punisher is a different type of Marvel flick in terms of tone and technique. Hensleigh relies on practical effects as much as possible here, with little in the way of CGI. Hence, there are real stunts, real car crashes, real explosions, and practical blood squibs. The action sequences are all impressive here, coherently assembled and vehemently R-rated. Considering Hensleigh was reportedly working on a scant $33 million budget, The Punisher is quite an achievement, although even the filmmaker himself laments the fact that the production lacked suitable funds to make the movie all that it could have been.

One would imagine the likes of The Rock or Vin Diesel in the role of The Punisher, but Jane is an ideal pick. A huge fan of the character, Jane prepared extensively for the role, working for several months to build muscle and learn proper military firearms techniques. He nails the character's stoic, badass demeanour, and he handles the character's vulnerable side with ease. Travolta, meanwhile, hams it up as Howard Saint with a scenery-chewing performance that wouldn't look out of place in Dick Tracy. Digging into the supporting cast, Roy Scheider (Jaws) has a small part as Castle's doomed father, and professional wrestler Kevin Nash also pops in for a vicious brawl that denotes one of the picture's highlights.

There isn't much originality or depth to The Punisher, not to mention the film is a little on the long side, and perhaps there should've been more actual punishing. Nevertheless, this is a solid effort by all involved, and a badass revenge action film that easily provides a fun evening of popcorn entertainment. It's a nicely-produced B-movie that plays out like a spaghetti western or an 80s-era revenge action film that Charles Bronson or Arnold Schwarzenegger might have starred in. The definitive Punisher feature film has yet to be made, but this is a valiant effort.

7.7/10