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Burn Notice (2007)
Future Cult Classic
It seems that a little network is bringing serious competition to "The Big Three" (CBS, NBC, AB) these days as some of the shows with the most potential belong to USA. The finest of this new surge of television shows is Burn Notice.
The show operates under the same premise as other cult-classics like "The Equalizer" and "Stingray." A former government agent is taken away from his former life but retains his formidable skills and contacts which allow him to save the little guy from the clutches of injustice. Of course, he needs a goal to flow between episodes, which is where his hunt for the people who gave him his "Burn Notice." Michael Weston {Jeffrey Donovan) is the quiet avenger here, a blackballed spy who devours tabs of yogurt like its going out of style and, for a guy living in a hollowed-out shack, always has designer clothes and sunglasses. Hes a cold, introverted thinker who uses brains over guns; but that doesn't stop him from dodging glances from his former IRA terrorist/kinda-girlfriend Fiona (Gabrielle Anwar), a 90lb loose-cannon who can somehow beat up men three times her size. There's forced sexual tension between she and Michael, but there's not enough chemistry between the two actors for it to ever be convincing, and I believe that's mainly because the character of Fiona is a sociopath, so its hard to trust where her feelings come from. There's far better camaraderie between Mike's best friend and foil Sam Axe ("Evil Dead"'s Bruce Campbell) and his Mom (Sharon Gless) who bring the comedic timing that really makes the show work.
The funny thing about the show is that its literally something you'd expect to be set in the '80s. The Miami setting, neon lights, music and editing and light-hearted but melancholic tone make it come off as a successor to "Miami Vice." Even the tongue-in-cheek subtitles used to introduce characters seems like a nod to the classic shows of yesteryear. But "Burn Notice" is its very own animal and that's its greatest success.
This is popcorn T.V. at its best. Almost everything is wrapped up in an hour, the bad guys always lose, the characters are colorful and there are always moments that make you smile. Great Summer entertainment.
The Dark Knight (2008)
Not just the greatest superhero movie ever made. A fantastic crime-drama is at play here.
The Dark Knight serves as both the title of the film, and as its final purpose (i.e., its a play on the phrase, "White Knight.") At the essence of this film is an extremely simple story, complicated (rather enhanced) by a series of developments triggered by the introduction of said "Dark Knight" in the previous film. And their consequences.
The core of the movie is Bruce Wayne - originally having intended to serve as a hero for a time - desperately clinging to the hope of Rachel Dawes, and her promise of waiting for him, in the last chapter. But her heart is elsewhere. On the flip-side; everything is troubled by the inner-workings of a clown-apparent madman without a purpose.
Christian Bale is exceptional here; playing the role of both Batman and Bruce Wayne differently (one of the only actors to ever realize that in the role) and both are played with equal confliction and brooding, building on the same promise shown in "Batman Begins." Aaron Eckhardt, on the flip-side of the coin (pun intended), is the obviously-inspired presentation of Harvey Dent like Elliot Ness in "The Untouchables." He is doomed to misery and scarring, of course, from the first reel and - strangely - every scene with him in it carries that pre-established foreboding. Perhaps intentionally. And Maggie Gyllenhaal does well in a role that was poorly-written last time and difficult to really care about. In the end, he comes through and enhances a role that comes off bland on paper. The rest of the cast is exceptional as well. Michael Caine, Gary Oldman, Morgan Freeman and Eric Roberts all shine spectacularly in this ensemble cast.
But the true star of the show is Heath Ledger. From the first reel of the film in which he leads a scene that starts the show with a bang, to the end credits; the actor and the man who was Heath Ledger is nowhere to be found. He disappears into the role with an intensity that you would not expect in - what is ultimately - a superhero movie. I have seen the film three times now and each time I notice something else in the performance. For instance, every line that he utters has a strange comical side of it. Whether its threatening someone's life, giving a rendition of his "violent history" or simply antagonizing Batman; every line is strangely funny and unnerving at the same time. Its also note-worthy that in performing a rendition of the iconic Joker far and away from his comic book origins; he ironically nails the best depiction of the Joker to date. Yes, surpassing even the likes of Mark Hammil.
I found it interesting how they interweaved the Joker into the plot. Without spoiling anything; the Joker exists outside of the entire structure of the film and, truthfully, could have been easily removed and still maintain a tangible film. It almost reminded me of the intentional-writing on "The Sixth Sense" where (again, without spoiling anything) Bruce Willis' character exists in the movie with that same "interchangeable" involvement. This increases the entire scope of the Joker because, as a self-proclaimed "agent of anarchy"; he even exists within the reel of film as the embodiment of chaos.
Christopher Nolan comes through yet again. One of the things I was hoping walking in was that the movie would be more urban than "Begins", which was more wrapped up with mythology than action and deeing the Batman in action. This time, we start off running with Batman finishing some business from the last movie. He keeps the film on the brink Another interesting thing I noticed about the film is that EVERY character is developed by the end of it. At first glance, all of the characters, second-billing and less, comes off extremely cardboard cut-out and one-dimensional. Surprisingly, throughout the course of the film, each and every one of them have their little story arcs that flesh out their characters.
Perhaps this is why the movie has an epic feeling that surpasses the vast hype surrounding it. Having seen it three times in the theater, and "other places" (*waves at the Internet police*) I find myself hard-pressed to find a legitimate gripe about the movie. I have been sitting here this entire time trying to find one - and I can't. It is a taut, hard-boiled crime-thriller and mystery that happens to have a superhero at the thick of it; which is exactly how a Batman movie should work. Most of the film is even strangely realistic, in an unsettling way.
Probably the finest movie of the year and a legitimate masterpiece.
****/****
The Punisher (2004)
A Misunderstood, Decent Revenge Film
When I first saw The Punisher in theatres, I walked out with that empty, kind of bitter feeling you get all too much now days when investing money in a movie. I felt as if someone took a concept that CAN blow all superhero movies out of the water, based on one thing -- its more real and gritty than Spiderman can ever be.
This haunted me until I got it on DVD from a friend and watched it a few times. Then, it occurred to me, that this isn't meant to be the ultra-grim Punisher many have come to know. The Punisher is just an origin to a potential series.
The major flaw with this film is that it spends too much time setting up the final fifteen minutes. And, to its loss, the final fifteen minutes don't warrant sitting through the initial hour and a half. For this reason, many have scorned the film as boring, and campy (which it self-knowingly is) in light of the material.
Just be sure to watch it without too many expectations. The Punisher is a very good adaptation of some of the Garth Ennis work; which is either your cup of tea, or not. There is also extremely influenced by the '70s gangster movies and '80s cinema, all laced with a more modern feel to keep things from being too retro. It is ulta-violent, so much so that it is almost akin to the likes of the classic RoboCop and Running Man. But it also has a pretty complex story for a glorified cop-flick. For this reason -- it is unlike anything you've seen recently.
Jacked Up (2001)
Good, could have been better.
I've always been a fan of these low-budget, direct-to-video, B-movies. Independent films, such as this one, are usually a nice break from the shallow crap Hollywood churns out each year. However, the production quality is usually on par with a sleazy porno flick. But I was none-the-less shocked when I caught 2001's "Jacked" on Black Starz last night. Watching it, I knew not to take it seriously.
A gang-banger kills a policeman by accident. He returns to make nice with the family of the cop, and eventually falls for the daughter. All while being pursued by his murderous, Coke-addicted friends.
The truth is that they have a really interesting plot, which unfortunately isn't as polished as the characters. From the on-set, you get the immediate vibe that the entire film was rushed, and this shows in some of the editing and in the Broadway-like camera style -- that takes place mostly in a suburban house of the Barnes' family. But this is excused because it gives a truly realistic mood to an insane story. And, as I chuckled after viewing it, some of the gunshots by Zach(Bizzy Bone) are unintentionally hilarious. To be honest, his character as the villain is by far the one thing which brings parts of the story downhill, yet gives some humor for B-movie appeal. Watching him on camera (where he is high 90% of the time, and then pointlessly shooting thugs for the rest) gives you the distinctive image of Drexl Spivey from True Romance. And the end fate for his character seems choppy at best; could have been way more climactic, or at least had made more sense.
Now, for the good points, I was honestly surprised by Alexis Fields in this movie. Coming fresh from her years as a child-actor, she truly has great acting range, and holds the crazy gangster storyline in touch with the tragic love story, which is the focal-point. And her portrayal is the single memorable thing left in my mind the next day. Not many actors can both make a viewer feel sympathy and want for her to never find out the truth of her father's murder. Needless to say, I knew there would be extreme tearing from her in the ending. The mother offers a solid supporting role from "Friday" actress Anna Maria Horsfield, as the hooker/mom. While the brother is just dead weight in what is a neglected role. Also, I liked RonReaco Lee as the lead character, Dre. While you can see he is intimidated with some of the dramatics, he still gives a delicate character moral's, which make you feel emotion for his conflict in the sad ending.
But the best element here is third-time director Timothy Wayne Folsome -- who takes a Film Noir film, and weaves in some inventive camera shots and semi-predictable, but effective plot twists. He is someone that could very well create a future masterpiece if given proper filming time, and a reasonable budget.
Overall, good movie. But just doesn't live up to what it could have with some plot changes, and a more polished script. Still, worth watching on a bored afternoon.
***/*****