Eagle Eye

This cautionary tale derives much of its influence from 2001 and 1984, both exceptional stories, yet very much unrealistic. The film begins with a special operations group targeting a terrorist Muslim group somewhere in the Middle East using the latest and greatest computer assimilating technology, dubbed Eagle Eye. From there the story flashes to Chicago where we find out unlikely protagonist, Jerry Shaw (Shia LaBeouf) leading a remarkably unremarkable life as a copy clerk. He is chosen by a mysterious voice and is paired up with Rachel Holloman (Michelle Monaghan) to complete a series of tasks that put them both in constant jeopardy. Will they escape? Who is behind this mysterious omnipotent voice? Who cares?

What begins as an intriguing story begins its inevitable demise far too early in the film to be taken seriously. There are good sequences of action (those which don't have so much shaky camera work that the screen is a blur of twisted metal and explosions) and some of the technological aspects of the story are interesting, but the characters never fully convince the viewer that they are worthy of these tasks, or that they deserve to survive.

After many red herrings and unwarranted tension-filled scenes, the elaborate puzzle pieces come together in a cacophony of absurdity. Is there anyone within the Department of Defense who knows what they are doing? Will Jerry and Rachel complete their tasks? What are their tasks? Again - who cares? The film does a terrible job compelling the viewer to invest emotion in these characters.

Billy Bob Thornton is in his element as the FBI Special Agent in Charge of Anti-Terrorism, and adds some dry humor as well as some star talent to the picture. Michael Chiklis on the other hand, is entirely out of place as the Secretary of Defense. Perhaps it's difficult to see him playing anything except for a morally corrupt cop who is out for street justice, but just about anyone would have been a better choice for this particular role.

DJ Caruso seems to have a template for his films, attempting to manipulate the viewer by giving the protagonist a tragedy that somehow affects the outcome of the story. This paradigm gets old, and the story would have been better off had this not happened (of course, the story gets so ridiculous that I'm not sure if it would have actually been better off).

Shia is a very affable actor, good screen presence and witty. He plays a good action/comedy lead, but Monaghan doesn't do anything for me. Bottom line - this film has some good action, but is ridiculous and lets the viewer down at the end. 6/10.

Seven Pounds

I had the distinguished privilege of being at a test screening of Seven Pounds over three months before its scheduled release date in late December. It has already begun generating Oscar buzz, but I will give you the straight scoop.

Seven Pounds follows an IRS agent named Ben (Will Smith) who is trying to atone for a tragic accident that he feels personally responsible for, by committing random acts of kindness to strangers who happen to be on his caseload. The story is a little more complicated than that, but without spoiling anything crucial, that is the premise.

Will Smith will be nominated for an Oscar for his performance, without a doubt. The filmmaker (Gabriele Muccino - the Pursuit of Happyness) and film are another story altogether. Granted, I viewed a rough cut, and with the audience response, I am sure that some major cuts will be made including some of the more pivotal scenes in spoiling the twist. Smith is harrowing in his performance, no humor at all - just the shell of a broken man trying to find his personal salvation through others. The dark undertones of the story take a little bit away from the performance, but despite what you think of the film itself, Smith is still a beacon of brilliance.

Rosario Dawson is the love interest, and although she holds her own, there is something that doesn't seem quite right about her playing this role. A conversation about her heart condition came up afterward and there were some lingering questions. Woody Harrelson is a bright spot among an otherwise unremarkable supporting cast (Barry Pepper was awful and should be cut altogether). He receives a minimal amount of screen time, but it is powerful, particularly the seemingly out of place phone conversation with Smith near the beginning of the film.

There are a few minor flaws, which may still be addressed before the film is rolled out for general audience. The first is that there are a couple of plot twists that the viewer suspects way too early on and are simply anti-climactic when they come to fruition. The second is the ending. Once the pivotal climax occurs, there is too much reflection and the final sequence drags out unnecessarily. On a brighter note, the choice of pet that Will Smith owns is probably the most original and interesting seen in film in recent memory. There is one image that stays in my mind even after the plot of the film and the dialogue fade.

It is not a bad movie by any stretch of the imagination, in fact, with some surgical editing, it could be a very good one. I just think that the themes and story are too dark and depressing to end up winning statues in March. Smith is exceptional (again) and I look forward to seeing the final cut on DVD next year. 8/10 (with optimism for some final editing).

Burn After Reading

The much anticipated follow up to the best film of 2007 by two of the most creatively innovative filmmakers of our time takes the form of a silly spy comedy, but it works. Star power and Coen movie regulars carry witty dialogue and character development despite the lack of a compelling story. There are clearly trademark Coen comedy staples, such as the long loud wingtip-clacking walk down a government agency hallway. There is something about the camera behind the shoes angle that never gets old to me. There is also the slightly morbid twist of gratuitous violence that shakes up the comedic vibe, something that has turned off many other critics, but which works just fine with this film.

George Clooney headlines as a sex-addicted Treasury Department agent (although the Marshals fall under the Justice Department, but that's a technicality). He finds himself involved in a tangled web of players ranging from CIA spooks to a trio of "Hardbodies" gym employees, to Russian emissaries when a classified file is discovered and used as an instrument of blackmail. The character is a bit of a schmuck, but played well by Clooney who has a wonderful comedic presence and was probably in his element filming this role.

Brad Pitt (who I honestly believe is a great actor) is the likable but not-so-bright gym employee who orchestrates the debacle with the secret disk. His performance is a far cry from the cool Tyler Durden or Detective Mills of the 90's, he exudes self-effacing confidence and is hilarious in the process.

John Malkovich (excellent performance), Frances McDormand and Tilda Swinton round out the A-list cast, but it is JK Simmons, David Rasche and Richard Jenkins that give the film its Coen brothers feel. The dialogue between Simmons and Rasche is worth the price of admission alone, and their final conversation left me laughing out loud.

Cleverly written, well acted all around, and worth checking out to any fan of the Coens, Pitt, Clooney, or Malkovich. It does not have the serious feel of Fargo or No Country, but the premise of the film is intriguing enough, and the closure is exceptional. I felt that the pace was slowing near the middle, and there were probably some unnecessary scenes, but as it comes to a close, every loose end is tied up and it is done quickly and with hilarity. JK Simmons has to be one of the funniest straight-faced actors around, and he was given some great lines.

Overall, a thoroughly entertaining movie, but perhaps a slight disappointment considering the talent involved. 7/10.

The Rocker

The Rocker follows a washed up forty-something drummer named Fish (Rainn Wilson) who does a Pete Best impression and gets kicked out of his band just prior to them making it big back in 1986. Vesuvius becomes the metal sensation ruling the 80's and 90's like Metallica, Motley Crue, Guns n' Roses and Poison all rolled into one monstrous supergroup. With Spinal Tap flair, the band is comprised of barely recognizable comic veterans Will Arnett, Bradley Cooper and Fred Armisen.

Flash to the present. Fish is desperately trying to leave the pain behind, but the reminders of Vesuvius' mega success pervades his every thought, and he just can't escape the personal hell of what might have been. From this point forward, what we get is a more mature and good-natured version of School of Rock, but Wilson is not nearly as annoying as Jack Black despite his character's many deficiencies, and the kids are a little older. What sets the film apart is that you root for Fish to succeed. There is something intangible about the positive way that this film was created. There is something counter intuitive about the character. You keep expecting some horrible quality to come out, but there is simply an excess of sloth and a love for banging the skins. Wilson is almost endearing even as he shamelessly doffs his clothes in a Will Ferrell-esque jam session. Separating Fish from the Dwight Schrute that we all know and love is nearly impossible, but that is alright.

The kids pull their weight as well, especially Fish's nephew (Josh Gad) who is the socially retarded keyboardist who conjures a less brash Jonah Hill. Their journey takes them to unprecedented heights of success, and there is even some satisfaction in the end. What is missing however is the raunchy humor and Apatow wit that we've seen in recent years, but it works as a kid-friendly film.

One knock in my opinion (although small) is the choice of original music. There is a bit of misrepresentation as the kids band is more Emo and less Rock, and although it plays into the plot a little smoother (and makes it more believable), I was really craving some bad 80's metal a la Spinal Tap, or... Vesuvius.

Alas, I left the theatre both impressed and feeling good. Rainn Wilson can carry a film, and apparently some great comedians stand behind him as well (most of the SNL cast). I would recommend this for a good time. Definitely not going to win any awards, but some good laughs nonetheless. 7/10.

Tropic Thunder

The premise sounds hilarious on paper; a motley crew of pompous Hollywood actors find themselves filming a blockbuster Vietnam War movie that turns out more real than they bargained for. The actors involved had to lobby for their roles in the film (including some excellent cameos), and Ben Stiller put together a pretty decent action comedy in the end.

The main characters are introduced in hilarious fashion through mock trailers that clearly show their personalities, the best of which is Satan's Alley with Robert Downey Jr. and a surprising cameo by Tobey Maguire. From there, we are taken into the jungle where the shallow and vice-ridden actors are on set of their most recent film, Tropic Thunder which is experiencing problem after problem and whose budget is skyrocketing, much to the chagrin of the studio head (Tom Cruise).

The story becomes both predictable and dull, but the character interaction keeps it afloat with eccentric personalities and some great dialogue. There are bright spots in the mix - including Cruise, Downey Jr. and the film's explosives expert Danny McBride. Jack Black has some great lines as well, but his performance is a little over the top and the fat comedian/drug addict cliche overshadows some of the enjoyability.

The sub-par performances include Nick Nolte, who plays the Vietnam Vet with his typical gravelly voice, but there is little life behind the voice. I've long thought he is blessed with one of the more unique voices in film, but his acting is suspect at times. This is one of those times. Additionally, Ben Stiller is a little too Zoolander in this one. Granted, he is the action star of the bunch, but does he really have to be a complete idiot? He is a great writer and director, and is hilarious at times, but when he crosses over into the outlandish comedic zone (Zoolander, Dodgeball, Anchorman), it gets a little absurd.

Overall, this is a surprisingly fitting blend of action and comedy with some gross-out visual effects, but what stands out is the great ensemble cast and the A-list cameo performances. A bit of a sidebar, but keep an eye out for Jay Baruchel, who plays a member of the military team. He has comedic presence reminiscent of Michael Cera. Very natural and innocent. His most significant previous performance was as Danger in Million Dollar Baby.

With regard to complaints about the offensiveness of some of the content, it is simply hypersensitive activist groups attempting to draw attention to their cause. It bothers me to no end when entertainment is targeted as offensive for whatever reason. The best way to avoid being offended is to avoid the content in the first place. This movie is not for everyone, but it is quite funny.

I have always thought that Tom Cruise is an exceptional actor. Jerry Maguire, A Few Good Men, Magnolia, and Collateral being some of his better works. He impressed me in last year's Lions for Lambs as well. The problem with him is both the public perception and he is too often typecast as the good looking action star. He isn't given ample opportunity to show his range - particularly his comedic range. I am looking forward to his next few movies, as it appears that his choice of roles are less commercial and dictated by the studios, and more appealing to his own taste.

It is an entertaining movie, not likely to be remembered for more than Downey Jr. playing the black guy or Cruise playing the fat, bald studio head. Worth a look though. 7/10.

The Dark Knight

The hype has been established. Ledger for a posthumous Oscar nomination buzzing around the Internet. Single day and weekend sales records shattered by what absolutely must be called the cinematic event of the summer, if not the entire year. I settle into my seat in the IMAX theatre and await what many are calling the best superhero film ever, and one of the best movies of the decade. Richard Roeper (one of my most respected sources) even commented that "Ledger doesn't have to steal every scene he's in because he walks in and owns it from the get-go. This is one of the funniest, creepiest, darkest, most interesting and most amazing performances I've seen in any movie this decade." If that isn't praise coming from an expert, I don't know what is. The lights dim, and after an amazing look at next year's Watchmen, the film begins.

From the opening scene, there is a feeling that this is something different. Not your run-of-the-mill action film, or superhero film for that matter. Maybe it is the knowledge that Chris Nolan has revived a franchise from the depths of comic book purgatory (see Joel Schumacher's mid 1990's debacles). Maybe it is the strangely darker tone that is taken from the opening bank robbery. My personal feeling is that it is a superbly well-rounded feature; from the music, to the old fashioned stunt work (as opposed to CGI), the acting and perhaps best of all, the writing.

Nolan wrote the screenplay with his brother Jonathan, and manufactured the heart behind what will certainly be the most talked about performance of the year - Ledger's Joker. As great and interesting a character as the Joker is, he is only a layer of this complex story that ponders morality and justice amidst a chaotic world consumed with uncertainty and fear. The emergence of District Attorney Harvey Dent (Aaron Eckhardt) takes center stage as the focal point of the story and shines as a beacon of fragile hope for the city, but also accentuates the nefarious nature of the criminal elements that plague the notorious Gotham City.

The Dark Knight is filled with excellent actors who must have been clamoring for their roles, and most impress even with minimal screen time. A noted upgrade over the most recent incarnation is Maggie Gyllenhaal who replaced Katie Holmes as the eye candy/love interest Rachel Dawes, and adds a dimension of humanity and acting ability beyond that of a tree. Gary Oldman gets more screen time on this time around as well as the incorruptible police Lieutenant Gordon.

Acting and story aside (as if that weren't enough), the score is amazing and the stunts are reminiscent of the times before computers made things like transforming cars a reality. The explosions are real, and although some of the fight scenes are a little hard to see due to the dark night, they are impressive nonetheless.

Heath Ledger must be mentioned, as he is the reason for much of the buzz, and it is fully deserved. It is tragic what happened, but he will forever be remembered for his final and finest role of a short yet distinguished career. He portrayed the Joker with undeniable emotion and terror. He conveys his sociopathic tendencies with such nonchalance that it is eerily believable. From the awkward walk to the eccentric talk to the creepy lip-smacking, he brings an intrigue and intensity to the screen that I haven't seen from a character in a long time. His body language and posturing alone is worthy of praise that even the most experienced and respected actors around have taken decades to earn. It is unfortunate that he won't be around to accept his Oscar next year. Excellent film, a true must-see for the summer and the year. IMAX optional. 10/10.