thegouch23 Reviews

Eraser (1996)

Rock 'em sock 'em cinema

[8/10 · 13 November 2004]

Eraser is a film typical of its genre. What genre, you ask? Why, the "the terrorists-are-coming-and-it's one-man-against-the-world-so-shoot-em-up, blow-em-up, and save-the-girl-and-the-day" genre, of course. Too complicated for you? Don't worry, because the movie isn't. As a matter of fact, it's readily accessible to anyone over the age of 7 - not that this movie is age-appropriate for everyone over the age of 7 (Note: This was my favorite movie when I was 10) - but rather that the concepts, and thus the plot, are simple. This isn't a movie you go see if you're seeking a two hour thinking experience.

Casting Schwarzenegger for the lead instantly gives the main character, John Kruger, a personality of his own. Though nothing is ever known of his background (even by the end credits), that doesn't matter. Dialogue is used mainly for two purposes: to explain the unfolding saga of the federal scandal in the movie, and for the ever-composed and ever-cool Schwarzenegger to calm Dr. Lee Cullen (Vanessa Williams), a key witness in the scandal saga. Instead, what drives the movie is the action sequences and Schwarzenegger's resourcefulness in a myriad of combat situations where he always finds himself outmanned, outgunned, and beaten to the first punch, yet always manages to gain the upper hand.

Williams does an excellent job, and in many ways, is forced to be more of an "actor," per se, than Schwarzenegger. She has to display a wide array of emotions, from sadness, to fear, to regret, to resolve, and even anger, while Schwarzenegger is only called on to mainly display the final two. James Caan is legitimately a scumbag in his role as Robert DeGuerin, and James Coburn, in a smaller role, is fatherly to Kruger as Chief Beller. Solid, unspectacular performances all around...save that of Caan, who borders on something more.

The action in this movie is incredible for its time. The rail guns are visually impressive if not scientifically plausible (but who cares about that anyway?), and Schwarzenegger's combat ingenuity gives flavor and style to the action sequences. Director Russell seems to show a bizarre fixation with bloody puncture wounds (objects protruding entirely through the skin) throughout, but does show some creativity of his own in placing Schwarzenegger in clever combat situations where he can use his mind to outsmart his many more-heavily-armed enemies. Russell also plays with the moviegoer in several situations, making it unclear whether or not Kruger is alive after several close calls. This keeps moviegoers on the edge of their seats for the nonstop thrill ride that rarely pauses to take a breath. From the first scene to the last, explosions, shooting, and violence are the norm, and it is not meant to be any other way.

Men in Black (1997)

Strictly entertainment, and pretty good too

[8/10 · 12 November 2004]

A mid 90's sci-fi/action flick that asks, "How does humanity deal with the common alien invasions of Earth?" MIB is a comical romp through the worlds of science fiction, aliens, invasions, and the secret society that protects the Earth from extraterrestrial threats. The film does a good job of creating and maintaining this top-secret culture throughout, giving it life with "standard issue neuralizers," various high-tech weapons (the "noisy cricket," for one), code names, a special Batmobile like vehicle in which the MIB travel, and much much more. Though nothing here is realistic, that has never been criteria for successful movie content. The believability factor is zero, but it is easy to fit one's mind into the culture of the film. This is to director Sonnenfeld's credit, as his choice of cinematographic sequences eases the moviegoer into the traditions and methods of the MIB (much as character Jay - played by Will Smith - is eased into said traditions and methods by his partner Kay - played by Tommy Lee Jones).

The problem central to Men In Black revolves around a "bug" that has landed on Earth to capture "the galaxy." The MIB are charged with protecting "the galaxy" from the "bug" at all costs. The plot widens to include a developing love interest between Jay and Dr. Laurel Weaver (Linda Fiorentino), and tackles the age-old secret serviceman's dilemma - withholding information from a loved one. And will the MIB save the Earth from certain destruction by rescuing the "galaxy?" What will become of Jay, Kay, and Dr. Weaver? The special effects ride is nonstop entertainment all the way to a comically thrilling conclusion.

The doses of humor throughout help add to the movie's action romp flavor. Casting Will Smith for the role of Jay was definitely a good choice, as he brings a life and a humor to the role that is unique to him and certainly welcome. Tommy Lee Jones plays perfectly opposite him as the grizzled veteran of many MIB campaigns. In fact, all the acting performances fit their roles, and contribute to the experience Sonnenfeld wants you to leave the theater with.

So, in short, this film is strictly entertainment. It won't leave you with any deeper understanding of life, but at the end of the 98 minutes, you will have enjoyed yourself straight through. And that's not a bad thing.

21 Grams (2003)

Putting the Pieces Together

[9/10 · 4 November 2004]

A movie directed in inimitable style, Inarritu's 21 Grams is a provocative, deeply moving filmic work that explores several fundamental questions: What is a life, what is its value, and can we place a value on it? Directed in a series of small, seemingly disconnected fragments that come together as the film progresses, the film is thus shot in a style deeply unfamiliar to American moviegoers. At the beginning, most American viewers will find the choppy, nonlinear timeline distracting and frustrating - a cinematic form of coitus interruptus where once on the verge of revealing an underlying plot concept, the fragment abruptly stops and is picked up at an unrelated point. This style continues throughout, but don't worry. The answers do come after a while.

It is worth noting that the actual storyline, when told linearly, is not as gripping as when told in this style. The linear form would resemble a typical mindless story of the wounded seeking revenge. The way Inarritu constructs the story allows him to give the viewer a sense of where various characters are at the same time without the appearance of repetition. It allows moviegoers to see actual events first, then form associations later. There is a sense of, "Oh, now I get it!" that would be conspicuously absent if 21 Grams were told linearly.

Moving on, the performances of the actors and actresses in the film are incredible. All are believable. The animalistic hatred of Christina Peck (Naomi Watts) for Jack Jordan (Benicio Del Toro), the deeply troubled father who regrets his big mistake and has become a born again Christian, is palpable throughout. Paul Rivers (Sean Penn) is genuine in his efforts to repay, literally, a life debt. The performances breathe further life into the series of events that 21 Grams attempts to chronicle.

By the film's ending, the entire tale of what has transpired is revealed to the viewer. Since key plot elements often appear in several of the disconnected sequences, they come to be points of reference that astute moviegoers can use to sort the rest of the plot. By the end, everything is complete. The title is finally put into context, and the attempt to answer the three previously mentioned fundamental questions is made. Yes, at the beginning, this movie may not seem to make much sense, and it may even be frustrating to watch. Still, resist the temptation to get up and leave the theater. Stick around and watch the whole thing. The pieces do ultimately fall into place. I promise. And besides, there's only one way to find out.

The Ice Storm (1997)

The Victims of Spoilhood

[8/10 · 4 November 2004]

Set in upscale, suburban New Canaan, Connecticut in 1973, The Ice Storm (based on a novel by Rick Moody) is a scathing social criticism of the values and ideals of upper-class American society during that time period. With the background for the movie being the Nixon Watergate scandal, the corruption is portrayed as extending all the way into the American Home through a short glimpse into the lives of two families: The Hoods and the Carvers.

Both families have two children (Carvers: two sons, Hoods: one son, one daughter), and appear perfectly normal and supportive at first glance. However, through a series of common experiences, and through the way the families struggle to communicate both within and with one another, it becomes clear there are deeply rooted problems. Director Lee uses the children to exemplify the failures of the parents, and their mistakes reflect heavily and harshly on the adults in their lives. The adults also make their own mistakes, and these are depicted as far worse - for as adults, they should know better. Their struggles in dealing with their children are at times almost comical, and show their lack of proper parenting skills. As a criticism, this structure is flawless, comprehensive, and unrelenting throughout. Except for a few fleeting scenes, the irresponsibility of the adults dominates the screen.

Of course, all these events are building up to a climax of epic proportions. The saying, "a stitch in time saves nine," comes to mind when discussing this movie. Had any of the adults taken the proper steps of good parenting anywhere along the way, the events that unfold would not have occurred. Like the failed parenting of the adults, however, it's too little, too late. Bad parenting, selfishness, lavishness, sexual promiscuity, greed, lack of communication, and foolishness lead these adults to make mistakes within their lives, the lives of their children, and the lives of their friends. And come the closing credits of this incredibly well directed, well acted film, they are the ones left to pick up the pieces.

Armageddon (1998)

Suspend your disbelief - you have to

[6/10 · 3 November 2004]

Right before the turn of the millennium, all these apocalyptic Armageddon films (Deep Impact, End of Days, even South Park Movie anyone?) were hugely popular. Fascinated by the seemingly impending disaster of the Y2K phenomenon, we moviegoers flocked to the theaters like sheep to see these films, caught up in a monotony of "End of the World" scenarios. However, Armageddon somehow stood out compared with the others.

Maybe it was the cast. The star filled cast of Willis, Thornton, Affleck, Tyler, Buscemi, and Wilson is a start, but the performances were actually quite good under the circumstances. Harry Stamper (Willis) is believable as a lifelong oil driller. Affleck, not so much, but in the defining role of his career (to that point), he did a good job. Though the scripting of his love for Stamper's daughter (Tyler) is cheesy at best, by the end of the movie there seems to be a real connection between the two. It's not by any means a masterful script, but then nor does it pretend to be. It's a special effects action romp on an imaginary asteroid hurtling towards the earth at (literally) breakneck speed. Forget how corny it seems that the setbacks keep occurring one after another. Forget the mistakes with the actual physics of space - "Fire in space? How?...There's no air!" as well as a scene where someone tosses a pipe in the air and it actually comes down ("This asteroid is so big it has its own gravitational pull?") - Forget all that. If you analyze anything here, it won't work. But then if you analyze the Ninja Turtles, Spider Man, or the X-men, they won't work either. While Armageddon will undoubtedly fall short of the ranks occupied by those comic book/video game (and now film) deities, that doesn't mean it can't be enjoyed, even by those of us who do have, and like to use, our brains. Just sit down, grab some popcorn, suspend your disbelief, and watch the movie. And when it's over, don't discuss it except to give praise to the actors where it is due, talk about the cool effects, or mention the awesome Aerosmith song "I Don't Wanna Miss a Thing." To apply reason and rational evaluation to a film in this genre would be as catastrophic as, well, an asteroid the size of Texas slamming into the earth.

The 400 Blows (1959)

Painfully brilliant

[8/10 · 2 November 2004]

A masterfully directed, beautifully rendered indictment of a society where a boy such as Antoine can fall through the cracks. The cinematography is incredible, contrasting innocence with experience, playfulness with malice, and love/friendship with indifference. The film is a poignant, but equally breathtaking reminder of the fact that children will be children, and that without support from the adults in their lives, they will lose direction despite the best efforts of their own peers. Rings all too true even now in American society, where the neglected children of parents with their own ideals, goals, aspirations, and desires are all too often left to fend for themselves without the essential support system of any culture - the family.