An arch approach makes this bonkers thriller rather enjoyable, even if it never quite cracks the surface. The story comes from the Edgar Allan Poe story The System of Doctor Tarr and Professor Fether, written in 1845, so director Brad Anderson (The Call) has fashioned the movie as bit of riotous Victorian mental institution nuttiness. Cue the mad-eyed acting, gothic production design and ludicrously batty plot. But if you take it for what it is, it's pretty entertaining.
It takes place in December 1999, as the new century is about to dawn and young doctor Edward (Jim Sturgess) arrives at Stonehearst Lunatic Asylum in a freakishly isolated corner of England. Instantly smitten with the inmate Eliza (Kate Beckinsale), Edward struggles to concentrate on the tasks given to him by his sinister boss Silas (Ben Kingsley), while being constantly watched over by the glowering groundsman Mickey Finn (David Thewlis). Silas' revolutionary system of treatment involves indulging the patients in their specific delusions, which has created a deranged sense of community in the sprawling hospital. Then one night stumbling around in the darkness, Edward discovers a group of people locked in prison cells in the basement, and their leader Benjamin (Michael Caine) claims to be the true head doctor. Yes, the inmates have taken over the asylum!
This premise allows the cast to indulge in a variety of hilariously shifty performances, hamming up every scene with constant innuendo. There isn't anyone in this place who looks remotely sane. Sturgess is fine as the dull Edward, while Beckinsale keeps her character's madness just out of sight, so both of them pale in this colourful company. Kingsley and Caine camp it up marvellously, while Thewlis adds a strong sense of menace and Sophie Kennedy Clark almost steals the film as an amusingly sex-mad virginal nurse. It's also worth watching the background players, as each has a ball his or her brand of craziness.
Continue reading: Stonehearst Asylum Review
After a breathless car chase on the US-Mexico border, an outlaw (Gibson) is thrown into a Tijuana prison known as El Pueblito, which is more like a run-down favela than a jail. His criminal mind immediately kicks into gear as he finds ways to survive by causing as much mayhem as possible. Soon he befriends a 10-year-old kid (Hernandez) whose mother (Heredia) is being exploited by the power-mad top-dog prisoner Javi (Gimenez Cacho). And our unnamed protagonist will need to use all of his wits to get out of here alive.
Continue reading: How I Spent My Summer Vacation [aka: Get The Gringo] Review
Opening credit narration explains that there exist people born with special powers they don't necessarily want, and since the '40s an entity called Division has been trying to round them up and turn them into super-soldiers. There are a handful of abilities, and if you have one, you get a catchy name. Watchers can see the future. Pushers can put thoughts in your head. Sniffers can find out what you've been up to by smelling your stuff (really). And so on.
Continue reading: Push Review
Somewhere in all Turturro's chaos is a story about Nick Murder (James Gandolfini), a blue-collar schlub with a stolid wife, Kitty (Susan Sarandon), and a trio of slightly cracked daughters -- Constance, Baby, and Rosebud (Mary-Louise Parker, Aida Turturro, and Mandy Moore, respectively) -- who function partially as a junior set of Furies but are mostly there to bash out songs in the backyard as part of the three-piece bubblegum garage band they've formed. In short: Nick's a two-timing bastard who's stepping out on the wife with Tula (the previously mentioned Irish hussy), a fact Kitty doesn't take to overly well, and numerous friends and family get dragged into their scuffle and forcing everyone to occasionally bust out in song.
Continue reading: Romance & Cigarettes Review
Here's a prime example of what happens when fascinating subject matter falls prey to inept filmmaking. Lian Lunson's Leonard Cohen: I'm Your Man is a frustrating mess, redeemed intermittently by a few solid musical performances and by the towering, erudite presence of Cohen himself.
Much of Lunson's tribute to the legendary songsmith is taken up by a 2005 concert featuring a lineup of international folk and pop artists honoring Cohen's music. I don't claim a close familiarity with Cohen's music, but it doesn't take an aficionado of it to figure out that several of the performances are overwrought, shrill, or just plain boring. Rufus Wainwright's nasally crooning and vamping reduce the wry humor of "Everybody Knows" and "Chelsea Hotel #2" into fey cabaret numbers. Elsewhere, Nick Cave's version of "I'm Your Man" by way of a Vegas lounge act deadens the senses, and Jarvis Cocker's stiffly delivered "Death Of a Ladies' Man" is god-awful. Aside from the default pleasure taken in knowing that you're hearing one of Cohen's songs, this is disposable material. All of it, that is, with the exception of Teddy Thompson's version of "Tonight Will Be Fine," Antony Hegarty's "If It Be Your Will," and Martha Wainwright's "The Traitor": Three performances that achieve the grace and soulful resonance of Cohen's music, so devoid in the rest of Lunson's documentary.
Continue reading: Leonard Cohen: I'm Your Man Review
Its dialogue like that that makes Payback the first great film of 1999. Everybody likes to watch jerks on screen. They walk around with a cockiness and lack of respect for anything and everyone that you can't help but love to watch them. In this movie, I think everybody falls into this category.
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The Victorians were well known for keeping a stiff upper lip about everything, and their romance was absolutely no exception. Their entire world was constructed around subtlety, and, in tune with that, the one word that can be used to describe An Ideal Husband is subtle.
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Gibson plays Scottish hero William Wallace, a Scotsman with simple roots who finds himself thrust into a role as leader of the Scottish revolt against England in the late 13th century. After the despicable King Edward the Longshanks (Edward I) decrees that English nobles will have the right to sexual relations with all newly-wed Scottish women, the revolution is set in motion. Wallace takes up the cause, only to find himself facing incredible odds against a superior English army and fighting Scottish nobles who want to negotiate peace instead of fight. In fact, it's the nobles who turn out to be the bigger obstacle.
Continue reading: Braveheart Review
We Were Soldiers is based on the book We Were Soldiers Once...And Young written by Lieutenant Colonel Harold Moore and Joseph L. Galloway, the only journalist willing to go into the front lines to capture a first hand account of the war. In the film, Mel Gibson plays Harold Moore, a down-to-earth officer who is responsible for leading a group of innocent, naive young men into the area of Vietnam known as "The Valley of Death." But not soon after Lt. Col. Moore and his troops touch down, their position is compromised and they find themselves outnumbered almost 5 to 1. The American soldiers engage in a deadly battle for control of the area.
Continue reading: We Were Soldiers Review
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