Reviews by PvtCaboose91

"We're losing Los Angeles to an Eastern crook..."

Do not watch 2013's Gangster Squad expecting a meaningful period drama like L.A. Confidential or The Godfather. Instead, this is a hard-hitting, badass gangster action picture with shades of Brian De Palma's The Untouchables. No pretensions exist here; director Ruben Fleischer and screenwriter Will Beall simply set out to create a slick, entertaining big-screen cartoon, and they pull it off with utmost assurance. Gangster Squad also does a great job of paying tribute to the film noirs of yesteryear, with hard-boiled dialogue and characters ripped straight from decades-old gangster films.

In 1949, Mickey Cohen (Sean Penn) is a rising force in the criminal underworld, looking to take control of Los Angeles and kill anyone in his way. Fed up with legal attempts to bring Cohen to justice, L.A.P.D. Chief Parker (Nick Nolte) enlists the aid of a decorated war veteran and upstanding cop named John O'Mara (Josh Brolin). John's assignment is to assemble a covert squad of police officers and wage guerrilla warfare against Cohen to drive him out of town. Recruiting Jerry Wooters (Ryan Gosling), Conway Keeler (Giovanni Ribisi), Max Kennard (Robert Patrick), Rocky Washington (Anthony Mackie) and Navidad Ramirez (Michael Peña), the clandestine "gangster squad" begin attacking Cohen's operations at every turn, halting his flow of drugs, prostitutes and gambling. And because Cohen has half of the L.A. police department in his pocket, Parker permits John to act outside the law - no badges, no warrants and no arrests. However, Jerry strikes up a relationship with Cohen's top girl, Grace (Emma Stone), which complicates the situation, while John's pregnant wife (Mireille Enos) worries about what might happen to her obstinate husband in his mission to bring Cohen down.

Initially slated for a late 2012 release, Gangster Squad was postponed by panicked Warner Bros. executives following the notorious Dark Knight Rises massacre because the film's climax featured a mass shooting in a cinema. Fearing bad public response, the filmmakers were pulled back in to revamp the final third, rewriting the script and conducting reshoots. With this in mind, it is surprising to report how cohesive the finished movie truly is - the reshoot seams are not visible even if you look for them. What is problematic, though, is that fragments of the story seem to have been removed in the cutting room. In particular, Jerry and Grace's relationship feels underdone; they suddenly advance from dalliances to lovers who are ostensibly living together even though they're afraid of having a palpable relationship in case Mickey finds out. Added to this, the titular squad needs more dimension. John and Jerry get the most screen time while the rest of the guys are relegated to the background. The squad's interactions are pure dynamite, and it's terrific fun to watch them engage in shootouts, but there's not enough of either element. As a result, some of the characters feel like wasted opportunities.

Fleischer was also responsible for the unbridled delight that was 2009's Zombieland, and he thankfully brings his competent touch to Gangster Squad. Despite being narratively underdone, the storytelling is surprisingly strong, with Fleischer displaying a firm grasp on pacing. The action set pieces are where the movie truly takes off, though - the shootouts are well-staged, coherent and completely awesome. Gangster Squad also wears its R rating on its sleeve. It is not ultraviolent like a Paul Verhoeven picture, but it does not feel as if any punches are being pulled - when people are shot, bullet hits and blood splashes are visible. It's fantastically fun. Amid the violence and bloodshed, Fleischer also finds time for dark humour, which lightens the atmosphere and makes the production more enjoyable. This is a handsomely mounted flick, too, since it carries a slick, stylised look and the production values are superb, with detailed costumes and sets believably depicting the time and place.

One of the most notable attributes of Gangster Squad is the cast. Leading the pack is Josh Brolin, who ably fulfils protagonist responsibilities with badass confidence. Ryan Gosling, meanwhile, continues to show he's not just the pretty boy from The Notebook. He's a charismatic presence here, and he kicks ass with a firearm. As Mickey Cohen, Sean Penn is more or less an over-the-top Batman villain, but he's enjoyable in the role. Emma Stone plays the token female here, and she does a solid job. Stone is extremely beautiful on-screen, and she looks credible in period garb. Out of the squad members, the most notable is former T-1000 Robert Patrick playing an old-fashioned hard-ass with a fast trigger finger who emanates badassery from every goddamn pore in his body. It is a shame that Patrick is underused, but he has his moments to shine, and said moments are awesome. Nick Nolte also appears as Chief Parker, while Giovanni Ribisi is amiable playing the squad's techie. Rounding out the main players are Michael Peña and Anthony Mackie, who literally just play the token Latina and the token black guy, respectively. More dimension would have been appreciated, but the actors do a decent job with the material.

It is impossible to overstate how badass Gangster Squad really is. It may be a historically inaccurate fantasy that stuffy critics and history buffs will hate, and it would've been nice if the film was on the same level as The Untouchables, which managed to balance excitement with character development, but Gangster Squad is a fine piece of macho, adult action entertainment.

7.9/10

"Noah was a drunk. Look what he accomplished. And no one's even asking you to build an ark. All you have to do is go to New Jersey, and visit a small church on a very important day."

Following in the shadow of Clerks., Mallrats and Chasing Amy, 1999's Dogma denotes filmmaker Kevin Smith's most ambitious motion picture to date. After dabbling in down-to-earth comedy and a sensitive, mature love story, Dogma is more or less Smith's Life of Brian; a sarcastic, humorous exploration of the realm of religion, personal beliefs, Roman Catholicism and God. However, it doesn't really attack religion; it instead provides a fascinating treatise on the topic, supplemented with foul-mouthed dialogue and dick jokes. The resultant motion picture is intelligent, thoughtful, bold and irresistibly entertaining; one of the finest movies on Smith's filmography.

Angels Loki (Damon) and Bartleby (Affleck) were banished from heaven hundreds of years ago, but the pair plan to get back in by exploiting a loophole they have discovered in Catholic dogma. If they successfully gain entrance back into heaven, however, it would prove God to be fallible, and thus end all of existence. To stop them, an angel named Metatron (Rickman) enlists the help of abortion clinic worker Bethany (Fiorentino), who may be a direct descendent of Christ. Travelling to New Jersey to thwart the plans of the renegade angels, Bethany is accompanied by Rufus (Rock), Christ's forgotten 13th Apostle; a muse-turned stripped named Serendipity (Hayek); and the irresponsible duo of Jay (Mewes) and Silent Bob (Smith).

Running at a hair over two hours, Dogma is the longest View Askewniverse flick to date, but it has no trouble maintaining interest. The flick is exceedingly fun, another trademark collection of witty dialogue and entertaining characters. Ever the geek, Smith also worked a lot of film references into his script, as to be expected. Among the targets are Star Wars (no surprise), Indiana Jones and the Last Crusade, Alien, A Clockwork Orange and E.T., and the characters deconstruct pretty much every John Hughes movie to date. It's funny stuff, and it gives Smith's geeky fans more material and in-jokes to absorb. Admittedly, though, Dogma does grow a tad convoluted as it reaches its climax, digging into religious babble without sufficient explication.

Since this is a religious-themed comedy, Dogma provoked a lot of controversy in the lead-up to its release, to the extent that the distributors got cold feet. Hence, Smith opens the picture with a side-splitting disclaimer defending both himself and the movie, basically stating that nobody should be offended since this is just a movie not to be taken seriously. Smith's words are roll-on-the-ground hilarious, in the vein of the opening credits sequence from Monty Python and the Holy Grail. More than this, Smith seems to be selling himself short, as Dogma is more thoughtful than he apparently wants to let on. Smith imbued his script with theological ideas, questioning Jesus Christ's ethnicity (Rufus maintains that he was a black man) and opening up a can of worms regarding God's gender (the angels bounce between using He and She, and God is ultimately played by Alanis Morissette). Furthermore, Dogma explores the function of angels and the role of church in modern times. It's nothing too deep, but it makes for serious food for thought. Consequently, you'll laugh and have a ball with the film, but you will also be left thinking when the end credits expire.

Smith was working on a $10 million budget here, the biggest budget the filmmaker had ever been given at the time. It's appropriate, as Dogma is large in scale and required proper funds to give life to Smith's vision of unhinged religious insanity. As a result, the movie is permeated with a great deal of comedic energy, though Smith's direction remains workmanlike and somewhat uninspired. Dogma could've been better if Smith delegated directorial duties to a more accomplished visual craftsman, but this is nit-picking since the film is fun enough as it is. Plus, the production design is awesome, with creative-looking angels and a side-splitting statue of Christ that fast turned into an internet meme.

The cast is fucking legendary, one of the biggest masterstrokes of Smith's filmmaking career. It's a massive cast packed with recognisable actors, amplifying the entertainment value a hundredfold. Chris Rock is particularly hilarious here, playing the 13th Apostle who was close friends with Christ but was written out of the bible by prejudiced white people. Rock is a gifted comedian, and he was born to deliver Smith's side-splitting dialogue. Real-life best friends Ben Affleck and Matt Damon are equally fun as the renegade angels, with Affleck much less irritating than he usually is. Meanwhile, Jason Mewes and Smith are funny and energetic as their proverbial characters of Jay and Silent Bob. As protagonist Bethany, Linda Fiorentino is watchable if unremarkable, while Alan Rickman hams it up and chews the scenery playing an angel. Also present here is Smith regular Jason Lee, who disregards his other characters in the Smith cinematic universe to play a demon. Rounding out the main players is the indescribably sexy Salma Hayek, whose introductory stripper dance is the best thing ever glimpsed in a Kevin Smith movie. Even comedian George Carlin shows up here playing a Cardinal, a concept that's offensive by itself to the devoutly religious. Carlin is a very funny man, so his presence and delivery is very much appreciated.

Ho-hum filmmaking style aside, Dogma is a whole lot of good-natured fun. It's definitely one of Smith's finest outings as a writer, with movie references, classy jabs against religion, and enough character and situational comedy to keep anyone entertained. The fervently religious will probably react too sensitively to the flick, but anyone with an open mind and a sense of humour will have a ball with this one.

8.1/10

"If you go looking for Deveraux, he'll find you first."

Universal Soldier: Day of Reckoning is a different film from what many viewers are anticipating. Although it features franchise mainstays, Jean-Claude Van Damme and Dolph Lundgren, it is a unique beast altogether, defying expectations to take the Universal Soldier series in unexpected and refreshing directions. Helmed by Universal Soldier: Regeneration director John Hyams, Day of Reckoning is wholly removed from the tone and intent of the original Universal Soldier, replacing light-hearted summertime escapism with Heart of Darkness-style madness carrying a sinister tone. Isn't it astonishing that Hyams managed to resurrect the once-tattered Universal Soldier franchise with panache after two made-for-television movies and a terrible theatrical sequel in the 1990s?

During a home invasion, family man John (Scott Adkins) is brutally beaten and forced to watch the execution of his wife and daughter at the hands of rogue UniSol, Luc Deveraux (Jean-Claude Van Damme). Awaking from a coma with limited memory after nine months, John sets out to put his life back together and perhaps track down and kill Luc. Teaming with a sympathetic stripper (Mariah Bonner) who knew him before the attack, John begins working through the clues as he is constantly pursued by hostiles, eventually stumbling upon a dark revelation that changes everything.

Something larger is at play at the centre of Day of Reckoning, but it takes more than an hour for the big picture to start coming into focus. If you stick with it for long enough, the story is ingenious. Critics trashed previous Universal Soldier movies for their formulaic and predictable story construction, but such complaints are irrelevant for Day of Reckoning, as the team of writers (Doug Magnuson, Jon Greenhalgh, Moshe Diamant and director Hyams) actually pay attention to developing an intricate plot. The long-winded build-up does deserve some criticism, though, and the movie does keep us in the dark for too long. The film runs too long at 115 minutes and will undoubtedly lose audiences without the patience to stick around and find out what is really happening.

Day of Reckoning sees Hyams returning to the director's chair after helming 2009's unexpectedly good Universal Soldier: Regeneration. Whereas the previous picture was a gritty actioner concerned with large-scale action, Day of Reckoning is a sinister thriller with nightmarish visions and clones. Hyams and his crew never let the restricted $8 million budget show through, lensing the movie in pristine 3D and convincingly executing numerous impressive action sequences. Most laudable are the climactic fights spotlighting an unhinged John, who goes on a vicious, violent rampage. Instead of relying on quick-cutting, Hyams and cinematographer Yaron Levy capture the sublime fight choreography with steady wide angles, and there are a handful of gorgeous extended tracking shots. Of particular note is the extended POV shot at the film's beginning that lets us see everything from John's perspective as he is attacked before Luc shoots his wife and daughter. Despite being a strange fit for 3D, the extra-dimensional effects are well executed here, as expected from a feature shot natively in the format. There is a strong sense of depth here, and the format enhances the immediacy during several scenes. Viewing Day of Reckoning in 3D is not essential, but the experience is magnificent.

Sensitive viewers should tread lightly, as Day of Reckoning is an astonishingly violent feature. The frequent fisticuffs bring about extremely bloody consequences, and limbs are both hacked off and blown apart. Hyams and his team embrace an old-fashioned approach, relying on gory makeup, prosthetics and squibs rather than digital bloodshed. And for good measure, the film also serves up some nudity in its first thirty minutes. Believe me, this is an extremely graphic, vicious and, at times, sadistic flick that confidently earns its R rating. Hyams' only misfire from a technical perspective is the use of strobe lighting, which is irritating and may be harmful to those prone to epilepsy.

Although Van Damme and Lundgren show up on the cover, Day of Reckoning makes limited use of the two muscular behemoths. The pair only pop in for a few scenes, receiving glorified cameos rather than central roles and never facing off against one another. It is a shame that their screen time is limited, especially since the performers are terrific: Lundgren hams it up beautifully, while Van Damme goes the Colonel Kurtz route, delivering his most nuanced performance in years. The protagonist here is rising star Scott Adkins, showing again why he's such an underrated performer. Star of the outstanding Undisputed sequels, Adkins is a charismatic and muscular presence with genuine acting chops, but he can also kick ass with the best of them.

Action movie enthusiasts will find Universal Soldier: Day of Reckoning an utter godsend, and it stands alongside The Raid as one of 2012's finest action offerings. Gloriously violent and often exciting, it is a competent showcase for the martial arts skills of its main stars. It's a different kind of Universal Soldier picture, and it's admirable that the filmmakers had the audacity to try something out of the box.

7.2/10

"All every woman really wants, be it mother, senator, nun, is some serious deep-dickin'."

Though it contains the standard witty dialogue and laughs aplenty that we've come to expect from the man behind Clerks. and Mallrats, 1997's Chasing Amy is a different kind of Kevin Smith film. The writer-director baulked from recycling his Clerks. formula yet again, instead concentrating his efforts on creating an unconventional love story handled in a mature, sensitive fashion, denoting a terrific change of pace for the filmmaker. Since Mallrats underperformed on a $6 million budget and wasn't well received by critics, Smith returned to his low-budget indie roots here, producing the film for a tiny $250,000 sum. The independent sensibility is precisely why Chasing Amy is so terrific; it examines contemporary romance with a stark, honest edge that few films have the balls to do. Life is presented as it is, without any sugar-coating.

Best friends Holden McNeil (Affleck) and Banky Edwards (Lee) are comic book artists who work together to create the popular "Bluntman and Chronic" comic. At a convention, Holden meets fellow artist Alyssa Jones (Adams), with whom he becomes instantly smitten. Unbeknownst to Holden at first, Alyssa is in fact a devout lesbian with a girlfriend. Despite his disappointment and frustration regarding Alyssa's sexual orientation, Holden becomes close friends with her, and soon finds himself falling deeply in love. Holden sets out to win Alyssa over, in the process creating distance between himself and Banky that threatens to tear the two apart.

Chasing Amy is, yes, a constituent of Smith's View Askewniverse; a cinematic world that connects Smith's various films through recurring characters, themes and blatant references. Thus, trademark View Askewniverse regulars Jay (Mewes) and Silent Bob (Smith) appear here (the Bluntman and Chronic characters are based on them), and characters discuss memorable events from both Clerks. and Mallrats. Nevertheless, Chasing Amy is far more dramatic than its predecessors in spite of the laughs and jokes. This was a personal tale for Smith, who based the story on his experiences with his then-girlfriend Joey Lauren Adams, who plays Alyssa. Much like Alyssa, Adams was an adventuresome girl, and had done and seen a lot of things that Smith apparently struggled to deal with. This heightens the film's innate sense of realism, making this one of Smith's greatest writing endeavours to date.

Despite the Smith connection, Chasing Amy's closest cinematic relative is 1989's When Harry Met Sally, which similarly examines contemporary romance in a frank, biting manner while also being mightily hilarious. Chasing Amy benefits from Smith's top-flight scripting; the deconstruction of male dysfunction is spot-on and insightful, and the characters have plenty of frank conversations. Indeed, this picture contains some of the sharpest and most candid dialogue to ever emerge from the crude mind of the writer-director. The script is loaded with evidence of Smith's tremendous nerdiness too, as to be expected. A hilarious Star Wars discussion breaks out not long into the film and there's a brilliant Jaws parody, not to mention there are sly references to the likes of The Untouchables, The Breakfast Club and Outbreak. Owing to the low budget, Chasing Amy is not exactly attractive or bright, but the acting carries the picture and the music is excellent. Smith has a wonderful ear for songs, and David Pirner's original music is effective and memorable.

Without a doubt, the cast from top to bottom is flawless. Leading the cast is Ben Affleck, a veteran of Smith's cinematic universe who had a supporting role in Mallrats. Affleck is an amiable star, and his performance as Holden is charming and believable, not to mention he fulfils the dramatic requirements of his role with utmost confidence. Meanwhile, Adams - who was also in Mallrats - excels as Alyssa, and the fact that she's essentially playing herself makes her all the more credible. Adams had to shoulder a lot of emotional baggage, and she handled it beautifully. As good as Affleck and Adams are, though, the most outstanding performer here is Jason Lee. Another actor from Mallrats, Lee is a born comedian, and he's able to effortlessly digest every word of Smith's dialogue and spit it out with authority and abandon. He's simply a lightning rod, and his jokes are uproarious. Of course, Chasing Amy has its fair share of cameos: Jason Mewes and Smith are predictably funny as Jay and Silent Bob, and Matt Damon and Clerks. star Brian O'Halloran show up for a one-scene appearance. The list goes on. Suffice it to say, everyone hits their mark.

Yes, Chasing Amy looks like the low-rent production that it is, and, yeah, not every gag is a home run. Nevertheless, this is Smith's masterpiece; a side-splitting comedy, an indie classic and a powerful character drama. It's a film that matters because it's about something, and does not shy away from exploring issues that most filmmakers would baulk at. Although its fashions are now dated, Smith's script is imbued with truths that remain as relevant and familiar today as they were in 1997. Everyone will see a hint of themselves in the characters, and perhaps recognise a mistake that they might have made.

8.2/10

"Hell hath no fury like a woman scorned for Sega."

Following Kevin Smith's breakout film Clerks. in 1994, the filmmaker was free to do whatever he wanted on the studio's dime. Smith's next film became Mallrats, another uproarious showcase of his talent for witty dialogue and entertaining characters. Bringing back the roles of Jay (Mewes) and Silent Bob (Smith), the film is also a part of Smith's interconnected "View Askewniverse" series of movies; it's not exactly a sequel to Clerks., but it unfolds in the same cinematic universe. Although Mallrats bombed at the box office and received a lukewarm critical reception, the film was a success on home video, and has developed into somewhat of a cult classic. Ignore the bad reviews, as this is a devilishly enjoyable "beer and pizza" comedy.

After slackers T.S. (London) and Brodie (Lee) are dumped by their respective girlfriends, the pair retreat to their local shopping mall for a hangout. Upon arrival, they discover that a dating show is being filmed in the mall, overseen by Jared Svenning (Rooker), father of T.S.'s former girlfriend Brandi (Forlani). On top of this, T.S. and Brodie encounter a number of mall-dwellers, including Brodie's ex-girlfriend Rene (Doherty), angry sales clerk Shannon (Affleck), underage sex documentarian Tricia (Humphrey), and the dynamic duo of Jay and Silent Bob, who aim to prevent the dating show from taking place.

Smith simply recycled the Clerks. formula for his sophomore effort, changing the central setting to a mall but otherwise retaining the trademark of quirky, offbeat protagonists who deal with personal issues and banter about pop-culture topics. With most of the action confined to the shopping mall, Mallrats amounts to an infectiously fun sequence of non-sequiturs and comedic vignettes sporting sight gags, practical jokes and one-liners. Admittedly, the pacing is not as strong as it was in Clerks. since the dialogue is not as consistently sharp, but the film nevertheless contains a healthy amount of sparkling, quotable dialogue. Mallrats also contains many film and comic book references that geeks will appreciate. The likes of Batman, Apocalypse Now, Butch Cassidy and the Sundance Kid and Jaws are all referenced, and Stan Lee, the master of the comic book universe, even makes a cameo. Added to this, there are a few nice visual gags; the shops are given wonderful names like Rug Munchers, Buy Me Toys, Burning Flesh Tanning Salon and Popular Girl Fashions.

Working on a much more generous budget as opposed to the $27,000 he provided himself to make Clerks., Mallrats is a more professional-looking picture than its predecessor, even though Smith's direction is somewhat on the drab side. There's not a great deal of artistry to the photography, with Smith and director of photography David Klein simply pointing the camera at the actors, mostly filming in master shots and only getting limited coverage. As a result, this is not exactly a dynamic flick, and dead spots arise because of this. However, there are a number of excellent sequences, the most notable of which involve the hijinks of Jay and Silent Bob. Surprisingly, action scenes stems from the antics of these two bumbling fools as they try to stop the game show and evade police. It's great stuff. On top of this, the film kicks off with a brilliant opening title sequence involving a killer joke and images of the cast in comic book form.

Mallrats stars an array of familiar faces, all of whom were in the early stages of their career at this point. In the cast there's Jeremy London, Ethan Suplee, Jason Lee, Claire Forlani, Shannen Doherty, Joey Lauren Adams, Michael Rooker and even Ben Affleck. London is a nicely effective T.S., but the standout is Lee, who's hilarious unhinged and adorably childish as Brodie. Lee steals the show with ease. It's also interesting to see a young Affleck here in a performance that oozes douchebaggery. Meanwhile, Rooker plays a moustache-twirling villain type as Brandie's father, but he does amusing things with the role.

Mallrats is one of Kevin Smith's least-respected films, but this reviewer had a ball with it. And, let's face it, it looks positively immaculate alongside the dreadful misfires of Cop Out and Red State. Although certainly no Oscar contender in any respect, Mallrats is a fun film with plenty of jokes and lots to enjoy.

7.6/10

"You think I'm a hero? I am not a hero. And if you're smart, that scares you. Because I have nothing to lose."

2012's Jack Reacher is not the type of film most people will be expecting. With Paramount marketing the picture as a pure action fiesta, movie-goers will likely watch the movie anticipating an unofficial Mission: Impossible sequel featuring Tom Cruise, the generic action hero. But, as those familiar with Lee Child's Jack Reacher books will be aware, the movie is, in fact, a mystery/thriller more concerned with intrigue and plot twists than outright violence. Though it falls short of its potential, Jack Reacher is a fun, handsomely mounted flick that delivers wholesome escapist thriller entertainment, the likes of which we only occasionally see done well. (It's a lot better than Alex Cross).

When unhinged Iraq War veteran James Barr (Joseph Sikora) is framed for a vicious sniper rampage that took the lives of five people, his one request is to get Jack Reacher (Tom Cruise). A drifter who now lives off the grid, Reacher is a former U.S. Army investigator, and he rides into town as soon as he hears of Barr's arrest. Though Reacher assumes Barr is guilty due to the vet's previous actions, the former Military Police Investigator begins to dig deeper into the clues with Barr's lawyer, Helen (Rosamund Pike), revealing a more intricate plot. As he works through suspects and conducts an investigation, Reacher soon comes up against brutal enforcer Charlie (Jai Courtney) and his fingerless boss, The Zec (Werner Herzog).

Writer-director Christopher McQuarrie's screenplay is based on Lee Child's 2005 novel One Shot. The translation to the screen is, for the most part, successful, with engaging dialogue and with McQuarrie keeping the story interesting throughout. Pacing is a strong suit, as no unnecessary subplots weigh the film down. Jack Reacher is very no-nonsense, with the titular character consistently moving from Point A to Point B, only occasionally slowing down to present Helen with his findings and allow the audience to catch up on all the evidence. However, the narrative is so sophisticated and dense that it seems McQuarrie was unsure how to handle it. Characters uncover conspiracies and shady company dealings, but McQuarrie opts for the easy way out, eventually simplifying the equation to people shooting one another. Those involved in the conspiracy end up dead, of course, but how much can be proved in court to justify the killings? Can the company behind the conspiracy be taken to task, or has Reacher done them a favour by eliminating the pawns who did all the dirty work? A lot needs further wrapping up after the climax, and McQuarrie does not even try to resolve it, cutting the film off instead.

McQuarrie's regular day job is as a screenwriter extraordinaire, with credits like the Oscar-winning The Usual Suspects and 2008's Valkyrie to his name. Jack Reacher is only his second directorial effort after the 2000 film The Way of the Gun from twelve years prior. Even though this is only his second time directing a feature film, McQuarrie's handling of Jack Reacher is slick and accomplished, building intrigue and staging action sequences with equal assurance. Most impressive is the opening sniper massacre, a harrowing and gripping set piece that begins the film with no dialogue and ample tension. With cinematographer Caleb Deschanel capturing the movie on 35mm film, this is a good-looking, old-fashioned action-thriller, with every fight and conflict captured through steady camera set-ups, smooth editing and extended shots. Cruise did most of his stunts, adding realism and excitement to the set pieces. A loud, intense car chase and a vicious showdown between Reacher and Charlie are of particular note. After so much patient build-up, the action may be out-of-place, but at least the action sequences are skilful and entertaining.

Internet controversy came thick and fast when Cruise closed a deal to star as Reacher. The books describe Reacher as a tall, muscular behemoth with short blonde hair, making the role appropriate for someone like Dwayne Johnson or Dolph Lundgren. A more faithful screen iteration of Reacher would be interesting, but Cruise makes this version of the character work, as he is both brutal and charming. The role is gruffer than the characters Cruise usually plays, and the star embraces the chance to go against his typecast persona, replacing his trademark smile with steely determination and tremendous ferocity. Cruise is fifty years old here, but he does not look a day over forty. Meanwhile, practically any actress could have played the role of Helen, but Rosamund Pike is a good pick, as she is beautiful and believable. The dependable Richard Jenkins also impresses as the District Attorney, while Australian actor Jai Courtney makes for a credible brute. What really boosts the film, though, is the casting of German filmmaker Werner Herzog as The Zec. He gets limited screen time, but he is memorably sinister. Also of note is the always-reliable screen legend Robert Duvall, who plays a gun shop owner and former Gunnery Sergeant. Duvall shares excellent chemistry with Cruise.

Jack Reacher entered cinemas at an awkward time for American audiences. Arriving not long after the tragic Sandy Hook Elementary School shootings, many may feel uncomfortable watching the sniper slaughter, in which a gunman kills innocents in cold blood. This observation is not a criticism of the film, and the timing is not McQuarrie's fault, but sensitive movie-goers should be wary of the content. Ultimately, Jack Reacher is two-thirds of a great thriller and one-third of a standard, generic action film. It had the potential to be a more sophisticated, Oscar-grade flick, but the finished movie is nevertheless enjoyable as popcorn entertainment. Cruise is aiming for another film franchise here, as several other Jack Reacher books can be adapted if Paramount deems this endeavour successful enough. And there is no problem with that - I would happily pay to see further adventures of Cruise as Reacher.

7.1/10

"I'm not even supposed to be here today! "

Produced in 1994 on a measly $27,000 budget, Clerks. was the feature film debut for Kevin Smith, and it proved to be his ticket into the industry. Smith reportedly financed the flick himself, selling off his comic book collection, maxing out his credit cards and borrowing money from his parents to produce this foul-mouthed, witty and extremely enjoyable small-scale comedy. Love it or hate it, Clerks. defines a generation, and it has amassed an enormous cult following in the years since its release. And on top of being frequently entertaining, Clerks. is imbued with topics and ideas that resonate with people, regardless of how profane the dialogue is.

In the small township of Leonardo, New Jersey, Dante Hicks (O'Halloran) works a dead-end job at a local Quick Stop convenience store while his friend Randal (Anderson) watches over the neighbouring video shop. In the early hours of a Saturday morning, Dante is forced to come into work to even though it's his day off. From there, Clerks. is very much a day-in-the-life portrayal of Dante and Randal as they endure ungrateful customers and attempt to sort out their personal problems. Dante deals with his love life after finding out that one of his ex-girlfriends is getting married, while Randal spits blatant misanthropy and cynicism at every customer he sees. All the while, a pair of stoners named Jay (Mewes) and Silent Bob (Smith) hang around the store to sell marijuana, occasionally shoplift, and generally chill out.

Clerks. is a plotless 90-minute movie set almost entirely in one single location concerning a small group of main characters. And since it was shot on 16mm black and white film stock by an inexperienced crew, the film isn't exactly an aesthetically pleasing experience. For all intents and purposes, Clerks. should not have worked, but it does on account of Smith's witty screenplay, the well-judged pacing and the selection of entertaining characters. Smith has created some of the funniest, most intelligent speakers in the movie world; people who mix terms like "oral bowel movement" and "managerial control" with scores of profanity. Clerks. also excels as a biting commentary on working in retail. It's clear that Smith has dealt with his fair share of ignorant, moronic and rude souls during his time as a retail clerk, and wanted to expose the true nature of such people. Smith did not even need to use exaggeration; the idiosyncrasies displayed by the customers are hilariously authentic, and anyone who has worked behind a counter for more than a week will guffaw at how truthful the film is. At one stage, Randal even exclaims "This job would be great if it wasn't for the fucking customers" - something that any retail worker can relate to.

One has to admire Smith's dedicated work ethic. He was employed at the convenience store where the film was shot, and, for three straight weeks, he worked from 6am until 11pm, then filmed until 4am and got about an hour of sleep before repeating the cycle. However, while Clerks. is peppered with witty dialogue and brilliant jokes, it is an independent film created by a first-timer, and it does look rough. To save money, Smith shot on cheap film stock, leading to a grainy-looking picture with some harsh editing and odd cinematography, on top of various other technical issues. But while the film is not pretty, the raw moviemaking gives the film a sense of character.

For the most part, the acting is fairly amateurish, which is perhaps to be expected since Smith used his family and friends. (Some people even played various roles.) However, leads Brian O'Halloran and Jeff Anderson are exceptional, displaying top-notch comic timing and emanating boundless charm. O'Halloran and Anderson exchange banter beautifully, and their interactions always sparkle. Also of note is an amusing Jason Mewes as Jay, and Kevin Smith himself who's funny and effective as Silent Bob.

Years on, Clerks. still holds up. It's very much a product of his time with its dated pop culture riffs and heavily out-dated depiction of video stores. (Remember VHS tapes? Remember when people rented films on a consistent basis, rather than pirating 90% of new releases?) However, its early '90s characteristics are all part of the charm. This is not family-friendly viewing due to all the expletives (the MPAA tried to slap the film with an NC-17 rating due to its dialogue), but those who enjoy more adult-oriented comedies should have an absolute ball with this one.

7.8/10

"We need someone to watch the kids. We were wondering if you'd want to?"

I thought (hoped?) Hollywood got over these types of movies years ago. Parental Guidance is one of those "dysfunctional family" comedies that were run into the ground by the likes of The Pacifier, Are We Done Yet?, Cheaper by the Dozen, Cheaper by the Dozen 2, RV, The Game Plan, and so on. And yet, it would seem that filmmakers still haven't learned how to do these types of comedies properly. Rather than an amusing distraction, Parental Guidance is a putrid holiday coal lump designed for the lowest common denominator, suffering from shamelessly broad acting, flaccid humour and an entirely trite message about family unity. It honestly feels like a tuneless 30-minute sitcom episode that has been tragically extended to feature-length.

Artie (Billy Crystal) is a veteran announcer for a minor league baseball team, but he suddenly loses his job for not being "hip" enough. When Artie's daughter, Alice (Marisa Tomei), and her husband, Phil (Tom Everett Scott), head out on a business trip, they call in Artie and his wife, Diane (Bette Midler), to babysit the kids. Artie baulks at the idea, but Diane embraces the chance to get closer to her grandchildren. However, Alice and Phil abide by a modern parental approach, which does not sit well with the old-fashioned Artie. Let the predictable hijinks begin...

Parental Guidance points out cultural differences in an attempt to score laughs, but the results are flat and predictable. Artie and Diane do not understand the new generation of parenting, leading to a few instances of "back in my day..." dialogue. Sure, today's overzealous, high-tech, "politically correct" parental methods are absurd, but the potshots are too easy and obvious. Oh, and the grandparents aren't well-versed in today's Internet world, leading to more "hilarious" gags - when Artie's boss fires him, he says he'd prefer an announcer who tweets, to which Artie replies, "I'll make any noise you want!" Outside of this, writers Lisa Addario and Joe Syracuse trust in the good ol' poop and fart formula, with one of the kids turning the name Artie into "Fartie" and with skateboarder Tony Hawk stacking on a halfpipe after slipping on some urine. Every scene exists to set up some kind of gag, but everything is signposted so far in advance that you'll accurately predict whatever pitfall is about to occur. Worse, barely any of the gags are even funny; they are just pedestrian.

Unsurprisingly, sentiment eventually sneaks into the production, underscored by trite piano twinkling to shamelessly reinforce how important the moment is meant to be. There's no rhythm, personality or feeling to Andy Fickman's workmanlike direction. To its credit, Parental Guidance at least looks bright and vibrant, rendering it at least somewhat watchable to the unfussy viewers. Furthermore, as bad as the film is at its core, a few moments admittedly work, with a small amount of set pieces that achieve what they were designed to do. The problem is that it just takes too damn long for the half-decent stuff to kick in. Plus, too much trite malarkey is included for the stereotypical formula's sake. Of course, there's going to be a scene in which Alice and Phil unexpectedly arrive home at the most inopportune time for Artie and Diane, which leads to tattered relationships; of course, there's going to be heartfelt chatting and reconciliations, and of course, the good in Artie and Diane's old-school parenting methods are going to be brought out and lauded. Fickman could only do so much with this material, I guess.

By all accounts, the leading players at the centre of Parental Guidance are terrific under normal circumstances. Until recently, Crystal has been one of the most entertaining funny-men in the industry, but he's clearly lost his touch. Crystal hasn't headlined a movie in many-a-year, making it all the more disappointing that he sprinted into this tosh instead of attaching himself to a better script. It's clear, though, that all of the actors were let down by this by-the-numbers script. A few lines may cause guffaws, but there's a good chance that Crystal ad-libbed all of the worthwhile dialogue, and there's absolutely nothing here on a par with Crystal's best material.

Parental Guidance is a showcase of pretty much everything that can go wrong in filmmaking shy of forgetting to load the camera (which actually would've made for an improvement here). It's utterly terrible, a holiday movie intended to make you laugh and cry but will instead make you cringe and stare blankly at the screen. It feels too calculated and manufactured, without an ounce of passion or care in sight. The film also closes with a short additional scene at the end of the credits. Conventional wisdom would dictate sticking around for this, but it's not worth prolonging one's experience any longer. When the credits roll, just escape and move on with your life. Hell, escape before you start watching this rancid malarkey.

3.8/10

"Kable's the perfect soldier. He's a tactical killing computer. His only vulnerability is the nanex itself; the ping, the delay between Simon's commands and Kable's ability to execute."

Gamer is essentially the Death Race of the videogame world, topped off with a hint of social satire and filtered through the distinct filmmaking lens of Crank masterminds Mark Neveldine and Brian Taylor. There is a sci-fi twist, however - the gamers of the story do not control artificial avatars in a computer-generated environment, but are instead given full control over real flesh-and-blood human beings. To be sure, Gamer excels when it's locked in frenetic action mode, but the flick is less successful whenever the bloodshed halts, with the half-baked narrative leaving a lot to be desired.

In an unspecified future, virtual reality videogames are enormously popular. Owned by wealthy media mogul Ken Castle (Hall), the videogame Slayers lets players control the body of a death row inmate who's sent into a hellish warzone. The condemned prisoners volunteer to participate in the game, as they are promised their freedom if they survive 30 rounds of violent warfare. One warrior named Kable (Butler) is getting close to earning his freedom, with only a few rounds left to survive before he can return to his family. Knowing that Castle will not easily let him go, Kable asks the gamer who's controlling him, Simon (Lerman), to set him free during a battle. Staging an escape, Kable sets off to find his wife Angie (Valletta), who's a participant in Castle's other virtual reality game, Society. Helping Kable is a controversial group of hackers who called themselves 'Humanz'.

Neveldine and Taylor's script for Gamer is more ambitious than their efforts on the Crank movies. It's a satire which explores society's current love affair with both reality television and interactive videogames like The Sims, World of Warcraft and Second Life. Gamer also recognises that, when online, gamers can become anyone that they want thanks to internet anonymity. This is emphasised by the fact that Kable's attractive wife is seen being controlled by a disgusting fatty. The satire is easy and obvious, to be sure, but it is amusing, and it affords the film some sense of thoughtfulness. Unfortunately, Gamer carries the earmarks of a motion picture that was mangled in the editing room. The film is lean and mean at around 90 minutes in length, leaving no room for any meaningful dramatic growth. Admittedly, this facilitates effective narrative momentum, but it leaves the picture feeling underdone, with the huge cast of familiar faces (Alison Lohman, Keith David, Terry Crews, Ludacris, Milo Ventimiglia and John Leguizamo are all here) all stuck in thankless supporting roles, indicating that they might have formerly been part of a beefier story.

Gamer is at its best whenever the Slayers competitors enter the combat arena. Visually, the film is a home run; the world of Slayers is excellently-designed, with fantastic abandoned environments a perfect setting for plenty of awesome destruction marshalled by veteran action directors Neveldine and Taylor. The action set-pieces peppered throughout the flick are never short of spectacular. Although the photography is often shaky and the editing is a bit on the rapid side, it's still possible to discern what's happening, and the results are enormously exhilarating. As Gamer was shot with Red One cameras, it looks gorgeous and crystal clear, proving that digital photography is here to stay. Also impressive is the depiction of the other virtual reality game, the Sims-like Society. It's a bright, colourful and stylised world of sex, drugs, wigs and dated fashion.

Predictably, acting is terribly average on the whole, with none of the performers projecting enough gravitas or intensity to make for a proper central anchor to latch onto. Gerard Butler gives it his all, but the material renders him forgettable, as his character has no substance to speak of and Butler is just left to spout generic action movie speak. Michael C. Hall (TV's Dexter) embraced the chance to play the villain here, hamming it up to extremes. At one stage he even does a flamboyant song and dance number, for crying out loud. The rest of the cast is strictly 'meh'; Lohman is attractive but unremarkable, Leguizamo has exactly nothing to do, Crews gets an extended cameo at best, and so on.

In final analysis, Gamer is enjoyable as a switch-your-brain-off action fiesta (especially with the R-rated levels of carnage) but it's also frustrating. Neveldine and Taylor introduce a number of interesting concepts and ideas, but they are at odds with the generic storytelling. It's as if Philip K. Dick mapped out the broad strokes, but the fine details were filled in by much less sophisticated writers. Still, Gamer is not the joyless disaster that critics seem to have dismissed it as. Yes, the film could've been a profound sci-fi masterpiece if it ventured deeper below the surface, but it has a bucket-load of excellent action sequences and the hyper-kinetic style ensures that the picture is never boring.

6.5/10

"When the day of quality ends in this country, we'll all be in great trouble indeed."

Rote adaptations of Charles Dickens' 1843 novella A Christmas Carol are a dime a dozen, with a vast amount of filmmakers having produced versions that retain the 19th Century London setting as well as all the proverbial characters. It has been done to death so much that straight retellings are now completely superfluous. Announcing itself to be different via its title, 1979's An American Christmas Carol transplants the classic story to Depression-era America in the 1930s, retaining Dickens' core story elements and thematic principles while putting a new name and face on the old tale.

Standing in for Ebenezer Scrooge is curmudgeonly businessman Benedict Slade (Winkler). Set in New Hampshire in 1933, Slade spends his Christmas Eve driving around town with his assistant, Mr. Thatcher (Thomson), out to heartlessly repossess goods and properties from the less fortunate. Thatcher is fired after questioning Slade's bitter behaviour, forcing him to return to his family with bad news and a bleak outlook for his sickly young son Jonathan (Cragg). Alone on the night before Christmas, Slade is visited by the spirit of deceased business partner Jack Latham (Pogue) who warns Slade about what the afterlife may hold for him. Throughout the night, Slade is then visited by several more apparitions who guide him through his past, present and potential future, hoping to make him see the error of his ways and perhaps persuade him to fix his life before he meets with a lonely death.

Wisely, writer Jerome Coopersmith did not simply copy and paste the highlights of A Christmas Carol into the 1930s setting. An American Christmas Carol disposes of the ancient Dickens dialogue, and, though the story is essentially the same, not every scene or character is given an equivalent here. In fact, some of the most memorable moments and passages were done away with; Slade doesn't even use the phrase "humbug" at any point. Coopersmith also worked to make certain aspects of the story relevant in its new setting. For instance, instead of growling at people seeking donations for the orphanage, Slade warmly invites them into his business and gifts them with leaflets containing advice about self-reliance and financial responsibility. In spite of the changes, the movie still upholds the spirit of Dickens' story to the letter, effectively reinforcing the relevant messages of the source material.

Director Eric Till (A Muppet Family Christmas) has a talent for storytelling, as An American Christmas Carol is well-paced and at times absorbing. The flick's greatest success is its trip into Slade's past. This particular section of the narrative is meaty and engaging, with the script borrowing elements of Ebenezer Scrooge's recognisable past but ultimately providing a fresh-feeling background for Slade that's relevant to both the period and the setting. However, An American Christmas Carol is a made-for-television movie, and this is often obvious. Although production values are usually impressive and the flick was lensed in 35mm film, the cinematography lacks flair, giving the film a flat and basic appearance. Added to this, there is not a single attempt to make the ghosts look like anything other than regular people, hence this adaptation is at no point frightening or dark enough. Plus, the Ghost of Christmas Yet to Come is an African American in '70s fashion, which seems somewhat corny and makes the picture look dated.

An American Christmas Carol was produced in 1979, at the height of Fonzie-mania. Henry Winkler was renowned and recognised for played Fonzie in Happy Days, hence the actor wanted to feature in more projects that would help him live down the Fonzie image and show he that was more than just a leather jacket and a catchphrase. In the role of wealthy Scrooge-esque businessman Benedict Slade, Winkler is a mixed bag. He fares best in the scenes of Slade's past since he looks more at ease with the role and his face isn't obscured by make-up. As elderly Slade, however, Winkler is not quite convincing. The make-up is strictly okay, and Winkler has trouble effectively selling himself as an old man. His mannerisms are half-baked, while his voice sounds forced and youthful. At times the illusion works, but for the most part Winkler's performance is underwhelming.

An American Christmas Carol probably seems pointless, especially since a number of excellent A Christmas Carol adaptations are readily available. Nevertheless, this American retelling is worth a watch. Even though the film's final resolution is completely predictable and the story's messages have grown trite, this production tells the story well, and it's interesting to see how the filmmakers handled the change from England to America.

6.8/10