Reviews by PvtCaboose91

"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

"At last, mankind has returned."

Imagine if someone at Disney wrote a Jack and the Beanstalk animated movie at some point in the 1990s employing all of the company's trademark staples but decided to shelve the project. Now imagine that someone dusted off the screenplay two decades later amid the fairy tale reboot craze and decided to transform it into a live-action blockbuster. The result would resemble 2013's Jack the Giant Slayer, a misguided fantasy epic and a total waste of time. Directed by Bryan Singer, the movie was meant to be released in June 2012 but was delayed about nine months for unclear reasons and underwent a title change from Jack the Giant Killer to the less vicious Jack the Giant Slayer. Although it's an attractive-looking big-budget movie, it only sporadically springs to life, and the film seems confused about what it wants to be.

As a child, farm boy Jack (Nicholas Hoult) was read bedtime stories about monks who used magic beans to grow beanstalks in an attempt to meet God. Instead of reaching the heavens, however, the monks encountered a land of bloodthirsty giants with an eye towards conquering humanity. As an adult, Jack struggles to make ends meet, now living with his disparaging uncle. While looking to sell a horse in town, Jack is given magic beans by a nervous monk. That night, Jack is visited by Princess Isabelle (Eleanor Tomlinson), a rebellious young woman who wants to explore the world before she goes through with her arranged marriage to Roderick (Stanley Tucci). But a rainstorm triggers the growing power of one of the beans, lifting the princess into the clouds. Hoping to rescue Isabelle, Jack joins the king's rescue efforts led by royal guard Elmont (Ewan McGregor). Climbing beyond the clouds, the crew enter the land of the giants, who become determined to climb down the beanstalk and face off against humans once again.

Jack the Giant Slayer is a complete mess. Due to its initial title and a few incidental plot details, it looks as if the movie was at one stage intended to be a remake of the 1962 flick Jack the Giant Killer, an adaptation of the Celtic legend of the same name. But Singer's film takes most of its cues from the classic story Jack and the Beanstalk, another piece of literature that just happens to also involve giants and a protagonist named Jack. The mishmash is peculiar, to say the least. Additionally, it looks like Giant Slayer started life as a gritty fairytale reboot in the vein of Snow White and the Huntsman and Hansel & Gretel: Witch Hunters. But it looks as if the studio stepped in, likely in the late stages of production, to demand that the film be rejigged to be a soft kiddie fantasy adventure (probably the reason for the film's extensive delay and the title change). Hence, the giants here are aggressive and bite off a lot of human heads, yet we never see any of it, with awkward cutaways hiding the carnage and blood oddly lacking. The result is, in a word, bewildering.

The schizophrenic tone is a huge issue, as Singer mounts battle scenes and gruesome giant killings but also tries to play to the Shrek audience with silly slapstick humour and deaths happening off-screen. This type of mash-up can work in the right hands (Peter Jackson and Sam Raimi can do this stuff while unconscious), but it's just a mess in the hands of this team. To Singer's credit, Jack the Giant Slayer is handsomely mounted; the huge $195 million budget was put to good use as the production values are mightily impressive, though the CGI for the giants is an oddly mixed bag. The world of the giants is an impressive creation; it's an island floating in mid-air, and a lot of thought and detail went into its creation. The movie works in parts, as set pieces shine here and there, but it fails to hold together as a coherent whole. The picture eventually climaxes with a large-scale battle pitting the humans against giant soldiers. It's an enjoyable enough sequence sold with solid effects, but it's a complete rip-off of the Minas Tirith siege from The Lord of the Rings. And Peter Jackson did a far better job.

All of the actors seem to be on different wavelengths. Hoult and Tomlinson play it completely straight, but Tucci leans towards outright camp, and McGregor apparently believes he is in The Princess Bride. Meanwhile, as the King, Ian McShane looks fresh from Lord of the Rings auditions. Admittedly, though, the actors are all good enough, especially McGregor, who's very watchable as Elmont. Also worth a mention is Bill Nighy, instantly recognisable as the voice of one of the giants. It would seem that Nighy just recycled his Davey Jones voice here.

Although Jack the Giant Slayer is periodically enjoyable in the moment, it's forgettable to the max, the very definition of humdrum blockbuster entertainment. And that's disappointing, because it could've worked if Singer's crew had committed to one tone. If it was a DreamWorks animated adventure like How to Train Your Dragon, it could've been mature and imaginative. And if it was a gritty fantasy adventure, it could've been a compelling movie. But the final product is indecisive, not to mention it runs far too long at almost two hours. Slow-paced and plodding when it should be light on its feet, it lacks the charm and multi-tiered appeal of all the best family films. Suddenly, Singer's return to the X-Men franchise is worrying.

5.1/10

"That's the trouble with the world, Sarah darlin'. People got different ideas concernin' what they want out of life."

The third instalment in director George A. Romero's undead franchise, 1985's Day of the Dead was intended to be the Gone with the Wind of zombie movies, with an ambitious story and epic scope. However, the budget was slashed from $7 million to $3.5 million by nervous financiers concerned about the film's gory content, with Romero hesitant to conform to the limitations of an R rating (how quaint, looking back), and with executive producer Salah M. Hassanein unwilling to fund an unrated film. The screenplay was therefore rewritten in line with the budget cuts, in the process compromising Romero's initial vision. Even though Day of the Dead is not a genuinely epic zombie extravaganza, the finished film is nevertheless hard to dislike. Although the scope is restricted, ample funds were available for the special effects - and consequently, this is a vehemently old-school, insanely violent horror film with the most impressive zombie make-up of its era, while the script is beset with thoughtful thematic content.

Picking up an unspecified time after 1978's Dawn of the Dead, the zombie infestation has only intensified and grown - for every living human on the planet, there are four hundred thousand zombies. Day of the Dead finds a number of survivors in an underground Floridian bunker, where scientists cohabitate with armed military personnel. The science team, led by Dr. Logan (Richard Liberty) and including Dr. Sarah Bowman (Lori Cardille), is conducting experiments on undead bodies in the hope of finding a cure, or at least another way to deal with the growing zombie numbers. However, the soldiers, led by the antagonistic Captain Rhodes (Joseph Pilato), are becoming impatient, and sanity levels are rapidly declining due to the confined space and ostensible lack of hope for the future.

Although zombie movies are usually brainless endeavours, Romero creates cautionary fables about societal malaises, buttressing the material with satire. Night of the Living Dead concentrated on the unrest emerging from the civil rights movement, and reflected the era’s growing fear of invasion by foreign forces. Dawn satirised materialism, viewing crass commercialism as a mindless escape from reality and a new drug of choice. Day of the Dead, meanwhile, is a product of the Regan era, with Romero setting his sights on the military and creating a doomsday prediction of life in the not-too-distant future. The tone here is darker and more dour than its predecessors, disposing of the almost slapstick feel that permeated Dawn of the Dead. Due to the budget cuts, Day mostly takes place within the labyrinthine underground facility, similar to Dawn's shopping mall setting. However, the mood here is more hopeless and the zombies are not the only threat, as the human characters begin to turn on one another. Romero posits that although some humans may still be alive during a zombie apocalypse, the undead still win if they destroy the soul of humanity.

Day of the Dead is backed by conceptual intelligence, but it is still an entertaining movie driven by visceral bloodshed and gore, with Romero never skimping on the nasty details. Without a doubt, this is make-up and special effects artist Tom Savini's artistic masterpiece. Savini is a long-time special effects champion, and he lets his war-scarred imagination run wild here (he was a combat photographer in Vietnam). As a result, Day of the Dead is viciously gory, with an unsettling attention to anatomical detail - we get a person's face being torn off by the eyelid, a head being cut in half with a shovel, and zombie fingers prying open living humans to pull out the gooey viscera inside. The zombies themselves look outstanding too, exhibiting convincing deterioration and decay. Additionally, some of the zombies are missing limbs, while another is entirely cut open on an operation table. Other elements of the special effects still impress to this day, including the terrific practical blood squibs. Furthermore, Romero's direction is expectedly competent, driving the mayhem and staging the action set-pieces with a sure hand. If there is a shortcoming, it's the synth score by John Harrison, which noticeably dates the film. Romero's vision needed a stronger musical accompaniment.

Admittedly, the characters inhabiting Day of the Dead are not exactly likeable or sympathetic; virtually everybody here is an over-the-top cartoon, from the mad doctor to the insane, trigger-happy soldiers. But aside from the sheer entertainment value of these caricatures, it is a credible portrayal of this type of situation - with the world in a post-apocalyptic state, the only people left alive are either rational or crazy. Pilato is the standout in terms of acting; his character of Captain Rhodes is memorably unhinged and rich in personality, yet he is also arguably the film's real hero. After all, he is right about the futility of surgery to "domesticate" the zombies, and the facility's security is ultimately threatened because of the scientists. Rhodes is mad and unsentimental, but that is precisely why he survived for so long. Meanwhile, Cardille is a strong and charismatic female lead, while solid support is provided by Terry Alexander as the rational helicopter pilot. Gary Howard Klar also warrants a mention; he's over-the-top and fun as one of the crazed soldiers. But perhaps the strongest performer here is Sherman Howard as Bub, a zombie in the process of becoming domesticated through scientific experiments. Howard looks like a brainless zombie at first glance, yet he also nails the role's more complex nuances. It's a quality performance, making Bub the most sympathetic character in the film.

Due to the screenplay changes necessitated by budget cuts, Day of the Dead is a polarising film that is seen as either a fan favourite or a missed opportunity. The movie certainly struggled to find its audience when released in 1985, with disappointing box office to boot, but it found second life on home video. Although it's lamentable that Romero could not accomplish his original vision, Day of the Dead is great for what it is: another bold portrayal of the zombie apocalypse that's creepy, frightening and gory. Romero's view of humanity here is detached and cynical, the film is full of scenery-chewing lunatics, and Savini's special make-up effects remain simply astonishing to this day. It adds up to another masterpiece in this reviewer's mind, though Day of the Dead is not for all tastes.

7.7/10

"Let's move! The world ain't saving itself!"

2009's G.I. Joe: The Rise of Cobra had franchise potential written all over it, yet the flick severely underperformed at the box office, leaving sequel talks dead in the water for a few years. And now Paramount is trying again with 2013's G.I. Joe: Retaliation, which looks to start afresh with a new slate of characters. It was a golden opportunity for a different creative team to course-correct the series, and the effort thankfully pays off. Though imperfect, Retaliation is an enormously enjoyable actioner, benefiting from astute direction and a sharp screenplay courtesy of Zombieland scribes Rhett Reese and Paul Wernick. This is easily the best movie produced under the Hasbro banner, clearing perhaps the lowest cinematic bar known to humanity.

With a nuclear threat brewing in the Middle East, the G.I. Joe military group, led by Commander Duke (Channing Tatum), are sent to Pakistan to diffuse the situation. The Joes save the day again, only to be betrayed in a deadly strike that decimates the team. The only survivors of the attack are Roadblock (Dwayne Johnson), Lady Jaye (Adrianne Palicki) and Flint (D.J. Cotrona), who suspect that the President of the United States (Jonathan Pryce) has been replaced by master of disguise Zartan (Arnold Vosloo), a member of the Cobra unit. Once the Cobra Commander (voiced by Robert Baker) is broken out of prison by Storm Shadow (Byung-hun Lee) and Firefly (Ray Stevenson), a scheme is put into effect to eliminate nuclear weapons and hold the world hostage using destructive satellites orbiting the Earth. Once back on American soil, Roadblock enlists the help of General Joe Colton (Bruce Willis), an original Joe.

Retaliation was meant to enter multiplexes in June of 2012, but Paramount pulled the plug merely a few weeks before the scheduled release date despite having blown a lot of cash on marketing the film. The delay facilitated a 3D conversion and, reportedly, allowed the filmmakers to beef up Tatum's cameo (though not by much). Predictably, the 3D conversation is entirely for naught. It adds nothing to the experience; the picture looks flat for the most part, and the extra-dimensional stuff feels rote. Worse, the shaky cinematography renders the action scenes a complete blurry mess from time to time. Retaliation's 3D conversion brings back memories of Clash of the Titans; it's that bad. Why haven't studios learned their lesson about forced 3D by now? However, Retaliation is a lot stronger in other aspects. Reese and Wernick's script is very effective, mixing a healthy sense of humour with genuine stakes and charismatic characters. The characters aren't deep, but it's easy to like them, and you won't spend the entire movie being bored of their presence. The dialogue is a lot stronger this time, as well.

Director Jon Chu was a baffling choice to steer this extravaganza, as he's known for helming two Step Up instalments and the positively apocalyptic Justin Bieber: Never Say Never. Against all odds, Chu guides the flick with a sure hand, displaying a firm grasp of pacing and orchestrating several astonishingly fluid action sequences. Paramount reportedly blew around $175 million on The Rise of Cobra, but Retaliation was produced for a smaller sum of $135 million. Frankly, the reduced budget is for the best. Whereas The Rise of Cobra was coated in a disgusting amount of digital effects, Retaliation is a bit more down to earth, relying more on sets and locations than pure green screen. The more grounded action scenes here are, therefore, more exciting, even though there's some unfortunate shaky-cam here and there. One of the most impressive sequences is a perilous, high-flying ninja fight over the cliffs of the Himalayas. Cohesively shot and impressively executed, it's an astonishing set piece bursting with excitement.

Retaliation was assembled before Tatum suddenly developed into a good actor and a box office star, hence he's in and out fairly quickly to make room for the new faces. Thankfully, Tatum has loosened up as an actor, and his presence is amiable here. Even better is Johnson, who has the right physicality and attitude for the role of Roadblock. Johnson was born to be an action star, and it's always terrific to see the actor spending his time on films like this rather than kiddie rubbish. As General Colton, Bruce Willis pops in for a few scenes. He's not entirely disinterested here - he does deliver some sharp dialogue, but he's clearly coasting and looks to be only present for the paycheque. The rest of the cast fare well, with Palicki and Cotrona fulfilling their duties well enough as Roadblock's team members. More impressive is Pryce, hamming it up to extremes as the President (and his impersonator). It looks like Pryce enjoyed himself here; it's a fun performance.

Nobody was interested in sequel talks when The Rise of Cobra snuck into cinemas to minimal fanfare, but G.I. Joe: Retaliation leaves room for another sequel that would frankly be welcome. Of course, the film will not work for everyone, as it does come across as another jingoistic document about America's perception of itself as the world's police. Hell, towards the end, England suffers complete destruction, but no one seems to care, and no tears are shed. Nevertheless, it's a silly, over-the-top romp that succeeds in providing a good time. This reviewer had a ball with it.

6.5/10