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13 Hours: The Secret Soldiers Of Benghazi Review


Not the subtlest director working in Hollywood, Michael Bay brings his surging machismo to this retelling of the notorious attack on an American compound in Libya on the anniversary of 9/11 in 2012. As always, Bay stages the action on a big scale in a way that looks amazing, but he neglects both the story and the characters. As a result, the film feels epic and beefy, but is impossible to engage with.

It opens as a team of hired soldiers assembles at a secret CIA base in Benghazi. Jack (John Krasinski) is the newest arrival, joining his old pal Rone (James Badge Dale) and four more tough guys (Pablo Schreiber, David Denman, Dominic Fumusa and Max Martini). Meanwhile just up the road, the American Ambassador (Matt Letscher) is staying in a rather unsecure compound with not quite enough security, despite stern warnings from Washington that trouble is brewing. Sure enough, as night falls a local jihadist militia launches a violent, fiery assault. The CIA base chief (David Costabile) tells his men not to join the fight, but of course they can't resist the chance to charge in and save the day.

Over a long and bludgeoning two and a half hours, Bay carefully recreates this long, vicious night of fighting, as the situation continually twists out of control. The best thing about the film is the way it depicts how difficult it was to know which locals were on which side, but even this is simplified in Chuck Hogan's script. Everyone on-screen is interchangeable as either a bewildered nerd or a fierce warrior, and the only one in between is by far the film's strongest character: Peyman Moaadi's translator, who gets pushed right into the middle of the nightmare. In the few quiet moments, there are clumsy attempts to give these manly men some back-story, but it's the same for everyone: former black ops soldier with a wife and kids back home.

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Premiere Of The '13 Hours: The Secret Soldiers Of Benghazi'

Erwin Stoff - Premiere of the '13 Hours: The Secret Soldiers of Benghazi' screening at Aventura AMC Theater - arrivals at Aventura AMC theater - Aventura, Florida, United States - Thursday 7th January 2016

Erwin Stoff
Erwin Stoff

Burnt Review


Strong characters help hold the attention as this overcooked drama develops, but in the end it feels so concocted that it's difficult to believe. While there's plenty of potential in the premise, the film becomes distracted by irrelevant subplots that try to stir up some tension but never quite manage it. And for a movie about food, the cuisine is simply too abstract to be mouthwatering.

At the centre is Adam (Bradley Cooper), a bad boy chef whose partying ways ended his high-flying career in Paris. After a period of penance in New Orleans, he moves to London to start again, with the goal of finally getting his elusive third Michelin star. Since he has alienated his friends, he turns to Tony (Daniel Bruhl), a guy who always had a soft spot for him and happens to be running a posh restaurant, which Adam quickly takes over. He rustles up some old colleagues (Omar Sy and Riccardo Scamarcio) and hires hot-shot Helene (Sienna Miller) as his sous chef. But his demanding perfectionism is keeping things from running very smoothly.

This set-up is ripe for both black comedy and soul-searching drama, and yet writer Steven Knight throws in irrelevant sideroads including a mandated therapist (the wonderful Emma Thompson), a bitter rival (a jagged Matthew Rhys), a couple of randomly violent loan sharks and a precocious little girl. Even though the actors do what they can to make every scene intriguing, none of these story elements add anything to the overall film. Still, Cooper holds the movie together with sheer charisma, even if his sudden transition from absolute tyrant to cuddly sweetheart isn't terribly convincing. At least he adds some surprising textures to his scenes, and indulges in sparky banter with those around him. And while Miller is solid in her thankless role, even she can't breathe life into such a thinly developed romance.

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Unbroken Review


With a true story that's almost hard to believe, this inspiring biographical drama is made with attention to detail and a remarkable resistance to sentiment. And strong acting helps bring the characters to life, even if everything feels a little too carefully staged. But it's the real-life aspect that grabs the attention, and a central figure who's a remarkable example of the indomitable human spirit. The film also marks an auspicious step forward for Angelina Jolie as a director, telling a big story without giving in to the usual sappy moviemaking pitfalls.

Son of Italian immigrants, Louie Zamperini (Jack O'Connell) grew up in 1920s Southern California and by the time he hit his teens is on the way to becoming a criminal. But his brother Pete (Alex Russell) helps him channel his energy to running instead, and his natural skill make him a local champion as well as an American record-holder at the 1936 Berlin Olympics. When the war breaks out, he enlists and serves as a bombardier in the Pacific, surviving a plane crash before later going down at sea and drifting with two colleagues (Domhnall Gleeson and Finn Wittrock) for 47 days before being captured by the Japanese. From here he endures a horrific stint in a prisoner of war camp, taunted by the cruel commandant everyone calls The Bird (Miyavi), who takes particular notice of Louie simply because he refuses to break.

Jolie assembles the film as a big-budget epic, with massive set pieces as the plot cycles through several outrageous episodes before settling in on the prison years. Cinematographer Roger Deakins carefully contrasts Louie's sunny California youth with the much starker visit to Nazi Germany and the astoundingly bleak Japanese prison camp, with those endless days baking at sea in the middle. So the film looks terrific, drawing us into each chapter in Louie's story while building a sense of momentum. It's not quite as complex as it looks; Louie's darker moments feel a bit superficial. But O'Connell adds some weight to each scene, offering a kick of emotion as well as the charisma that convinces the men around him to draw inspiration from his tenacity.

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Tom Cruise At The 'Edge Of Tomorrow' Photocall In Osaka, Japan

Doug Liman, Tom Cruise and Erwin Stoff - Tom Cruise at the 'Edge of Tomorrow' photocall in Osaka, Japan - Osaka, Osaka, Japan - Thursday 26th June 2014

Doug Liman, Tom Cruise and Erwin Stoff
Doug Liman and Tom Cruise
Doug Liman and Tom Cruise
Doug Liman and Tom Cruise
Doug Liman and Tom Cruise

Edge Of Tomorrow Review


A smarter-than-expected script turns this noisy sci-fi action movie into something remarkably entertaining. A-list stars, solid actors and whizzy effects aside, the dialogue is packed with clever observations that are both mind-bending and unexpectedly hilarious. And director Doug Liman (Mr. & Mrs. Smith) lets his cast have a lot of fun with it.

In the near future when aliens called Mimics have rampaged across Europe, Cage (Tom Cruise) is a military media spokesman suddenly sent into the front-lines from London, battling the fearsome creatures on the beaches of Normandy. He's killed fairly quickly, but wakes up that same morning and is again sent through battlefield prep with harsh Sgt Farell (Bill Paxton) and a rag-tag team. Again and again. Eventually he breaks out of the pattern and discovers another soldier, Rita (Emily Blunt), who seems to understand why he is living this day over and over only to die each time. So he uses the repetition to figure out what's really going on, and he and Rita plot a way to stop the aliens for good.

Yes, the premise is a direct riff on Groundhog Day, as Cage makes the most of each day, learning something new that will get him further the next. And the film's script knowingly plays with the set-up, offering witty comments and some genuinely suspenseful set-pieces along the way, all sharply edited into a relatively coherent narrative, although the ending will generate a lot of post-screening debate. Liman packs the film with kinetic, intense action sequences that are rendered with strikingly realistic effects that occasionally have some extra fun with the 3D.

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The World Premiere Of 'The Edge Of Tomorrow'

Erwin Stoff - The world premiere of 'The Edge Of Tomorrow' at The IMAX London - London, United Kingdom - Wednesday 28th May 2014

New York Premiere Of 'Edge Of Tomorrow' - Arrivals

Erwin Stoff, Doug Liman, Emily Blunt and Tom Cruise - New York Premiere of 'Edge Of Tomorrow' at AMC Loews Lincoln Square - Arrivals - New York City, New York, United States - Wednesday 28th May 2014

Erwin Stoff, Doug Liman, Emily Blunt and Tom Cruise
Erwin Stoff

Beautiful Creatures Review


While this package has all of the key marketing elements to reach the Twilight audience, the film itself is rather a lot more fun, made with some wit and intelligence, plus a cast that's happy to chomp on the scenery. Based on a four-novel series, this film actually has more in common with True Blood than Twilight, with its Deep South setting and the clash between religious fundamentalism and supernatural beings.

At the centre is Ethan (Ehrehreich), a 16-year-old who is bristling against the isolation of his small South Carolina town. His recently deceased mother instilled in him a love of books banned by the town's hyper-religious leaders, and the local librarian Amma (Davis) helps keep his interest alive. As a result, he's more open than the other teens when Lena (Englert) arrives at school. But she's shunned because her Uncle Macon (Irons) is the town's pariah, a landowner whom everyone thinks is a devil worshipper. Actually, the whole family are casters, people with special powers that are designated good or evil on their 16th birthday. 

The plot stirs up some suspense as Lena's big day of reckoning approaches. She's terrified that she'll go over to the dark side like her man-eating cousin (Rossum) or, worse still, her spectral mother, who does her mischief by inhabiting the body of the town's most pious housewife Mrs Lincoln (Thompson). This of course gives Thompson two insane characters to play at the same time, and she has a ball with it. As does Irons with the shadowy, snaky Macon. And at the centre, Ehrenreich and Englert both show considerable promise, with their strikingly non-Hollywood good looks and a depth of character that makes the film more engaging than we expect.

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Water For Elephants Review

With a heavy dose of gold-hued nostalgia, this Depression-era drama works overtime to generate big romantic emotions. But the characters aren't quite interesting enough to really grab our sympathy. Besides the elephant.

On the verge of receiving his veterinary degree in 1931, Jacob (Pattinson) is left homeless by his parents' sudden death. Wandering aimlessly, he stumbles into the Benzini Brothers Circus and convinces gruff boss August (Waltz) to give him a shot. Soon he's training the new star Rosie, an elephant that will perform with August's wife Marlena (Witherspoon). There's a clear spark between Jacob and Marlena, who know better than to act on it due to Jacob's hot temper.

Sure enough, he grows insanely jealous, and with the circus on a financial knife-edge, real trouble is brewing.

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The Day The Earth Stood Still (2008) Review

Remakes are the bane of many a film fan's existence. Some are strident in their wholesale hatred, while others take a "wait and see" stance before eventually dismissing the attempted upgrade. Of course, by doing so, they have ignored quite a few quality films (Cronenberg's The Fly, Jackson's King Kong, Scorsese's The Departed). Yet in general, when a modern filmmaker takes on a considered classic, they run the risk of embarrassing themselves and the material being remade. A true masterwork from the '50s, Robert Wise's The Day the Earth Stood Still is considered "verboten" by purists. An update stands as a disaster waiting to happen, right? Actually, no.

When a huge spherical object lands in New York's Central Park, a first response team led by members of the military and scientific community set out to explore its purpose. Dr. Helen Benson (Jennifer Connelly) makes contact with a strange being exiting the orb, but said creature is accidentally shot by a soldier, mandating immediate medical care. Eventually, the humanoid-looking alien named Klaatu (Keanu Reeves) explains his purpose. Mankind's lack of environmental concern and overall violent nature has led other civilized planets to mandate the destruction of the entire population. While the Secretary of Defense (Kathy Bates) plans an armed solution, Helen helps Klaatu escape, and along with her stepson Jacob (Jaden Smith), she tries to convince the extraterrestrial emissary that humanity is worth saving.

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Street Kings Review

Cops countermanding the law, using the close-knit nature of their badge to secretly settle scores on the street, have long since become a cinematic cliché. The police have gone from donut-munching jokes to felons in blue and black finery. From the decent beat officer taking bribes to buffer his paycheck, to the undercover operative in so deep he no longer remembers what side of society he's on, "to protect and serve" has been modified -- at least in the movies -- to "pervert and steal." Street Kings, the latest motion picture inspired by a story from James Ellroy (L.A. Confidential), dabbles freely in this kind of corrupt no man's land, and for the most part, it's a thrilling journey.

Alcoholic police detective Todd Ludlow (Keanu Reeves) has just finished wrapping up a notorious kidnapping case when Captain Jack Wander (Forest Whittaker) gives him the bad news. His ex-partner Terrence Washington (Terry Crews) is talking to Internal Affairs, and bureau head Captain James Biggs (Hugh Laurie) is looking to take Ludlow down. Before he can intimidate his former friend into not snitching, a pair of gang bangers kill him. Desperate to clear his own name in the death, Ludlow begins to investigate. Soon, he's linking the crime to a couple of local drug dealers who seem incapable of committing the hit. With Wander on his side and Biggs on his back, it will take all the street savvy he has to solve the case -- that is, if someone doesn't try and permanently stop him too.

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I Am Legend Review

To the modern eye, the plot for the 1954 Richard Matheson novel I Am Legend might sound something like Cast Away with zombies. Truth be told, that's not a terrible premise, and Constantine director Francis Lawrence runs with it in this third film adaptation of the novel (and first to keep its title). Where he takes it may not always work, but he makes sure we enjoy the ride.

Will Smith plays Robert Neville, a virologist investigating a genetically engineered cure for cancer that has gone very, very wrong. With most of the world's population wiped out and a small remnant turned into ravenous, infected carriers, Neville ekes out a lonely existence with only a dog for company in the remains of New York City, hunting, foraging, and exploring by day and shutting himself in at night. The infected, as it turns out, are vulnerable to ultraviolet light.

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A Scanner Darkly Review


When Richard Linklater released Waking Life in 2001, he became the granddaddy of a whole new kind of filmmaking process. The film had been shot and edited like a normal feature, then sent to computer jocks who basically painted over each frame, giving the images a surreal quality of undulating colors that fell somewhere between photography and animation -- an acid-trip philosophy lesson.

Linklater returns to the same technique once again (and for the last time, from what he has said, due to rampant production difficulties) for a much more literal acid trip. Based on the Philip K. Dick novel of the same name, A Scanner Darkly is a feature-length PSA on the evils of drugs and the potentially-as-damaging efforts to ferret them out of society.

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Biker Boyz Review

Ever since I saw my first Ruff Ryders video on MTV that featured hip hop stars like DMX and Eve riding tricked-out motorcycles, I knew that a black biker trend was on its way. Then when I saw a group of black bikers hanging out on the side of the highway in North Carolina over Christmas, I knew it had arrived.

So it was really only a matter of time that a movie like Biker Boyz would be released, ripe to cash in on the fad of glammed-up, nitrous-powered high-speed bike racing. And judging from all the ads for Biker Boyz, it seemed like the motorbike fans would get just what they wanted: a Fast and the Furious on two wheels--plenty of explosions, crashes, tits, and dumb as a rock dialogue. I expected it so much that I was actually looking forward to that kind of experience with this film, but that's far from what the movie is.

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