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The Walk Review


After the Oscar-winning 2008 documentary Man on Wire told this story with such energy and suspense, it was only a matter of time until someone decided to make a full-on adventure movie. And it's no surprise that the filmmaker turned out to be Robert Zemeckis, known for putting the seemingly unfilmable on the screen, from Who Framed Roger Rabbit to Forrest Gump to The Polar Express. So even if the film feels oddly artificial, this is a rousing, thrilling movie overflowing with cheeky energy.

At the centre of the story is Philippe Petit, played by Joseph Gordon-Levitt with a twinkle in his eye and a faintly silly French accent that works perfectly. In Paris, Philippe is working as a street performer when he sees a drawing of the planned Twin Towers of New York's World Trade Center, and he immediately vows to put a wire between them and walk on it. Over the next few years, he recruits a team of accomplices, including his girlfriend Annie (Charlotte Le Bon) and his circus-performer mentor Rudy (Ben Kingsley). Then in Manhattan, they find some men (James Badge Dale and Steve Valentine) to help them on the inside. And in August 1974, just before the towers were finished, they set their elaborate plan in motion.

While other accounts of this story describe Petit's high-wire performance in words and grainy still photos, Zemeckis uses swooping camera movement and vertiginous angles to give the audience goosebumps as Petit elegantly walks back and forth more than 400 meters above the gawping crowd below. After the rousing caper that went on before, this sequence is exhilarating. And Gordon-Levitt plays it beautifully, channeling the man's mischievous passion into every step. This even helps the audience accept the silly narration segments, in which Petit describes the action while perched on the top of the Statue of Liberty with 1970s Manhattan in the background.

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53rd New York Film Festival - Opening Night Gala - 'The Walk' Premiere

Jack Rapke - 53rd New York Film Festival - Opening Night Gala - 'The Walk' Premiere - Red Carpet Arrivals - Manhattan, New York, United States - Saturday 26th September 2015

Jack Rapke
Jack Rapke

Flight Review


With another deeply committed performance, Washington brings badly needed complexity to what is otherwise a contrived, overstated drama about addiction. It helps that the film is directed by Zemeckis as a kind of companion piece to his last live-action movie, 2000's Cast Away, another film about a man whose life is dramatically changed by a plane crash. Although here he's lost in a wilderness of substance abuse.

Washington plays Whip, a veteran commercial pilot who fills his days with women, alcohol and drugs. Even when he's flying a plane full of passengers. On a routine flight from Orlando to Atlanta, a catastrophic malfunction sends his airliner hurtling toward the ground, prompting an outrageously inventive reaction that saves 96 of the 102 lives on board. Then the investigators discover that he had both alcohol and cocaine in his system at the time. His union rep (Greenwood) hires a high-powered lawyer (Cheadle) to represent him, but Whip doesn't even try to straighten up until he meets young junkie Nicole (Reilly), who's serious about cleaning up her life.

The main problem here is that Gatins' script completely misses the point of his own story, never remotely touching on the central theme of a flawed hero who has no real moral compass. So drugs are the villain; it has nothing to do with Whip's personal failings. Instead, the script just uses a variety of contrived characters to confront him with his drug problems until he finally cracks under all this pressure. Fortunately, Washington is excellent as the high-functioning addict, and the supporting cast is solid in providing whatever element Gatins needs at the moment: Cheadle's straight-arrow efficiency, Reilly's hopeful anguish and Greenwood's steadfast friendship, plus scene-stealer Goodman as Whip's hilariously honest dealer-buddy and Leo as a ruthlessly tenacious investigator.

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Flight UK Premiere

Louis Spence - Flight UK Premiere London England United Kingdom Thursday 17th January 2013

Louis Spence

The 50th New York Film Festival - 'Flight' - Closing Gala & World Premiere

Todd Roskin Sunday 14th October 2012 The 50th New York Film Festival - 'Flight' - Closing Gala & World Premiere

Todd Roskin

Mars Needs Moms Review

Like Zemeckis' A Christmas Carol, this animated adventure features an uneven mix of not-quite-right realism and fantastical imagery. It's enjoyable enough, but a live-action movie with a better script would have been much more engaging.

Surly 9-year-old Milo (performed by Green with Seth Dursky's voice) is annoyed by the way his mother (Cusack) runs an efficient house. But this is precisely what the Martian Supervisor (Sterling) needs to help her raise her regimented planet's female population (the useless males are sent to an underground rubbish tip). After Milo accidentally hitches a ride to Mars, he's found by a human, Gribble (Fogler), who's hiding underground. And they meet a friendly Martian (Harnois) who wants to help them find and rescue Mom.

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A Christmas Carol Review

The quintessential Christmas classic gets yet another movie incarnation with this visually impressive version from effects wizard Zemeckis. For most of us, all the surprises here are visual, and it's well worth seeing in 3D.

For seven years after his business partner Marley dies, Ebenezer Scrooge (Carrey) ruthlessly pinches his pennies, underpaying his assistant Bob Cratchit (Oldman) and neglecting the family of his nephew Fred (Firth). Then on Christmas Eve, Marley's ghost informs Scrooge that he will be visited by three ghosts, and that night Scrooge takes a terrifying odyssey through his past, present and future, realising that he has completely missed the point of his life. And of Christmas.

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Beowulf Review

From the advent of sound with 1927's The Jazz Singer to the computer-generated effects breakthrough of 1989's The Abyss -- advancements in technology have had a major impact on cinematic storytelling, for better and worse. New technologies open up more cinematic experiences and new avenues for directors and actors to explore their craft. But it's easy to get caught up in the razzmatazz of the latest spectacle, instead of focusing on age-old, tried and true thematic substance. And that's exactly Beowulf's tragic flaw.

The Beowulf legend originates from a 700 A.D. oral tradition that was adapted in epic poem form by the English and into film form by director Robert Zemeckis -- using motion-captured live-action performances that are turned into a computer-generated light show. Much like the IMAX 3D screenings of Zemeckis' previous effort, The Polar Express, Beowulf's tale of a hero who comes to rid a Scandinavian village of its monster, while screaming his name every chance he gets, is more a showcase for RealD technology than an engaging film.

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Monster House Review


Every perfect and picturesque neighborhood - at least in the movies - has one: that creepy old house that fuels the nightmares and serves as the centerpiece of the double-dog dares for the local kids.

DJ (Mitchel Musso) has made the house his mission. He's set his bedroom up as home base to watch old Mr. Nebbercracker across the street, an irate curmudgeon (voiced by Steve Buscemi) who steals any balls or bikes that find their way into his yard, chases after kids to keep off his lawn, and, presumably, thinks the music kids listen to today is nothing but noise. Within an hour of DJ's parents leaving for the weekend, Nebbercracker is dead (from a heart attack during an apoplectic moment at finding DJ on his lawn) and DJ is finding out that the old coot might not have been the most dangerous part of the creepy old house, because the house itself is starting to... eat people.

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Matchstick Men Review

Matchstick Men is an uncharacteristic departure for director Ridley Scott. After all, who didn't think the man was utterly without a sense of humor or even a soul of after the hopelessly depressing Gladiator and Black Hawk Down?

But even Scott proves that he can't suppress his frosted side forever, thanks to this spirited and undeniably sweet look at the con game spliced with a family drama -- his best work in years.

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Cast Away Review

Only a year ago, Cast Away would have been subject to unavoidable and endless Gilligan's Island comparisons. Now, it will never hear the end of Survivor analogies, and that's too bad, because the film really has no resemblance to either TV show.

Cast Away is The Big Tom Hanks Movie of 2000, the latest in a long line of Big Tom Hanks Movies that stretches back to include The Green Mile, Saving Private Ryan, Apollo 13, Forrest Gump, and Philadelphia. However, Cast Away has the distinction of being the only Tom Hanks Movie to star no one but Tom Hanks.

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The Prize Winner Of Defiance, Ohio Review

Someone should tell Julianne Moore that this isn't how box office careers are made. If you want to play the same character over and over, have it be a model the multiplex masses can warm up to. Vince Vaughn has taken the smartass route; Ben Stiller the imbecile track. Who's going to connect with 1950s housewives? Not the key demographics, certainly.

At the same time, when Moore gives as brilliant performance as she does in The Prize Winner of Defiance, Ohio, who should stop her? Moore is in every scene in this true, against-all-odds story about a woman whose penchant for winning contests keeps her family financially afloat. The teary story combined with Moore's constant presence could lead to self-indulgent tedium. It doesn't for one simple reason: Julianne Moore becomes Evelyn Ryan, not the other way around.

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What Lies Beneath Review

So far, this summer's supposed blockbusters could have used a free course on filmmaking from Robert Zemeckis.

Lesson number one: Take time to acclimate the audience to the characters. Unlike The Perfect Storm, What Lies Beneath completely absorbs the main character's personalities into the dramatic mix- frailties and all, through an intense look into their psyche, practically forcing the audience to become emotionally attached. This is not an original concept in cinema, but after watching Clooney and Wahlberg jump on that fishing boat and mournfully pronounce their goodbyes as if they already knew the ominous storm was on its way, you can't help but root for the ship to capsize.

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