Dredd (2012)

Directed by: Pete Travis

Written by: Alex Garland

Based on the characters created by: John Wagner and Carlos Ezquerra

Players:  Karl Urban, Lena Headey, Olivia Thirlby

Setup: In the decently distant future, mankind exists in a massive city stretching from Washington D.C. to Boston and containing 800,000,000 citizens.  It is here we find the titular Judge Dredd as he begins to take a young rookie cop out on her first assignment, which at first appears to regard nothing more than a random act of violence and murder.  However we soon find the two police officers in grave danger as they attempt to survive the onslaught of a gang that controls a 200 story housing complex, while trying to discover what their key witness is hiding.

Review:  Enemies of 1995's Judge Dredd rejoice, and supporters possibly run to a Japanese cuddle bar and wallow in despair (seriously, these exist).  Unlike the sweeping wannabe epic action adventure of yesteryear, this rendition is a much more taut, tight, and realistic version of the uncompromising police officer from the future, and I welcome it with open arms. 

For all those unfamiliar with the character of Judge Dredd (now played effectively with the helmet always on by Karl Urban) and his general thought process, it is laid out for us pretty clearly by the opening car chase and subsequent criminal apprehension (police officer, judge, jury and executioner, he is the harsh deliverer of the law) This is also apparent in the following discussion with the Chief Judge (his boss yo).  His pairing with the young and "gifted" Anderson (Olivia Thirlby) continues development of varying ideologies (hers being more compassionate towards criminals, along with being more optomistic about society in general).  As the duo face off against vicious gang leader Ma-Ma (calmly played by Lena Headey) characterization continues at a minimal pace while unique special effects add attractive background to the action, mainly emulating the effect of the futuristic drug "Slo-Mo" which is a major part of the plot. 

Giving off clear notions of inspiration from Harry Callahan of Dirty Harry, Judge Dredd emulates the character while the movie itself slightly emulates almost any entry of that series: Harry's brand of justice is always presented, questioned, and openly reaffirmed or slightly altered by the film's finish.  Here is a similar setup, with Dredd appreciating "lessons" given to him by his green but wise counterpart.  As the story really is contained to this film, you could almost see a series of films here like the Dirty Harry series, with various adventures of Dredd occurring in sequels (unlikely however considering the film's low box office gross).

With the director's chair being helmed by Pete Travis (Vantage Point, Endgame), its grit and style efficiently won me over.  However the story by Alex Garland (writer of the masterpiece 28 Days Later and the semi-masterpiece Sunshine), and in essence substance, was lacking.  We have some interesting scenes of exposition, as well as a few twists and turns throughout the piece, but overall the picture mainly consists of kinetic (albeit gorgeous) action in front of fantastically reserved science fiction production design.  Some of the entertaining yet cliché one liners don't help matters, like a gem from our main character when an enemy has him cornered (don't want to spoil it; just hold out after he lifts up his hand and says, "Wait").  

Regardless of its weaker points, the movie succeeded in finding my overall approval with its beautifully unique style, realistic and reserved sci-fi action set pieces, and appreciation for the delivery and ostensible metaphor on violence with it's portrayal of ultra-violent material.  For a good and gratuitous time, this fits the bill just fine.

Tidbit: Director Duncan Jones (Moon) was at one point approached to direct, but felt he would want too much control over the story and vision.  Could've be interesting though...

Drink of Choice:  Brutal yet very fun, you need a heavy yet tasty drink.  For Dredd, we’re going with the ZZU Bar and Grill’s very own Gorilla Piss (solid name… RIGHT?!) by the master bartender Alfredo.

• Bacardi 151
• Orange Juice
• Pineapple Juice

Mix and serve.  No portions are given as some range should be given to those when making this potent concoction.  As for me, I got through college with Alfredo serving up a decent portion of Bacardi with just splashes of juice: think 20 parts Bacardi, 1 part orange juice, and 1 part pineapple juice.

Collateral (2004)

Directed by:  Michael Mann

Screenplay by:  Stuart Beattie

Starring:  Tom Cruise, Jamie Fox, Jada Pinkett Smith 

Plot:  After meeting the woman of his dreams, a Los Angeles cabbie in denial catches up with a killer brimming with STYLE!…It’s really kind of a bummer for the Cabbie.  Either way, both men will never be the same.

Review:  Alright alright, I know this is way ridiculous.  It has been a whole YEAR since I’ve written a review, and after all this time, I resort to reviewing ANOTHER Michael Mann movie.  My last review was The Last of the Mohicans, where I happened to unabashedly profess my love for the director and his films.  So where do I go now?  The MANN!

I coincidentally happened to watch Collateral recently, and as I meant to get back into the spirit of sharing my feelings on film with the masses (currently mass…or lack thereof), this 2004 beauty seemed like the perfect place to hang.  Do my ecstatic feelings shown previously appear in this endeavor?  For the most part, yest.

Collateral is a film I find myself pushing endlessly towards the masses (again…maybe just Mom here) regardless of my recent knowledge of it.  In all actuality, I truly believe I’d only seen this film twice, and the second time possibly more than 5 years ago.  Upon this revisit, there were moment of true bliss, and others that left me slightly perplexed; these were few and far between however, as Collateral may very well be Mann’s most taut film to date.

One major difference compared to all of his previous work is the script: it wasn’t his (although he reportedly revised it substantially).  Stuart Beattie is credited with this little baby (early drafts by Executive Producer Frank Darabont of Shawshank and The Walking Dead Fame) making quite a tightknit piece of work.  Not only does the story take place over the course of one night, but much of it is in a cab with major philosophical battle between the two leads.  The story is simple enough, with Vincent the hit man (played cool and efficiently by Tom Cruise) essentially taking Max the cabbie (Jamie Foxx in a star making turn) hostage, as he takes out his 5 targets he has been contracted to kill.  While you may think one has the upper hand over the other, events of the night and fairly calm debates show a continually alternating picture of who each of these two men really are, played effectively up front and in the subtext.

Mann’s first foray into digital cinematography (and justified by the accent of the LA night) truly is a visual masterwork.  Scenes showcasing life in and out of the taxi cab, in clubs, skyrises, and trains are truly stunning and beautiful.  One issue I could not separate myself from was that while it looked like Mann, it did not completely feel like Mann, most likely based on the fact that the story did not originate from him.  This should not be viewed as a fault necessarily; directors shouldn’t have to keep exactly consistent from movie to movie (why should they).  It just took me slightly out of the story, and I can’t help but feel upset.  Still….that’s my own damn fault, isn’t it?!  Not the fault of the MANN!  Even if it was something completely new, he actually did go with a script that in the end seems almost to be tailor made for his visual sensibilities. 

Maybe in my old age, I’m becoming a little short with my favorite filmmaker.  Regardless, Collateral truly is a slick spectacle that remains taut and tight through to the end.  Music here is fairly stellar (maybe a little too bombastic at the end) and the setting of LA is fleshed out well enough to truly be a supporting character.  And speaking of supporting, the cast adds depth and background that effectively surrounds our two leads without being overbearing.  Some of the cast you will may not even recognize at first (Mark Ruffalo never looked so Narc) while others might be making some of their first big US appearances (never realized Javier Bardem was here).

Even though at first the film may have differed from what I remember, I cannot deny the cool, the real, the vibe that makes me truly feel I’m in LA like I’ve never seen it before.  He may have not written the piece, but make no mistake, this is Michael Mann’s movie, and it ranks up there with his best. 

 

The Last of the Mohicans (1992)

Directed by:  Michael Mann

Screenplay by:  Michael Mann & Christopher Crowe

Based on the novel by James Fenimore Cooper

Starring:  Daniel Day Lewis, Madeleine Stowe, Wes Studi

Plot:  Set in the year 1757, the last three members of a Native American tribe becomes caught in the middle of the French and Indian War as they attempt to protect the daughters of a British Colonel. 

Review:  It’s hard for me not to be biased in this review.  I’m generally in love with any film that is directed by Michael Mann.  Not only is he the creator of my all time favorite film Heat (aka “The Greatest Film of All Time”) but he also never ceases to keep his works grounded in atmospheric reality, regardless of story, genre, or period.  Is it any different with this film?  Nay.

This film completely stands out as a modern classic, joining elements of rousing adventure and romance with grounded story telling and filmmaking techniques, making it, in this reviewer’s eyes, one of a kind. 

The sweeping cinematography, beautiful locations, and grandiose action assist the viewer in completely being entranced and accepting the film as reality.  Moving at a steady pace, it never really slows, keeping conflict and the stakes in constant focus.  The set pieces feel realistic and legitimate, the numerous supporting characters add to the epic nature, and the music (scored partly by Trevor Jones and partly by Randy Edelman … truly phenomenal.  In fact, this movie could succeed fairly well with a different score solely based on previous aspects listed, but it wouldn’t nearly have the efficacy and grandeur. 

Taking place in 1757, we see an America still in development, with a wilderness that no longer exists, tragically along with various Native tribes (including the titular Mohicans).  Not only is this setting unique, but the main characters including Hawkeye (Daniel Day Lewis), and, by adoption, his father Chingachgook (Russell Means) and brother Uncas (Eric Schweig), create a fresh and interesting dynamic; the latter two are blood relatives, and Hawkeye is not, nor is he native. 

This adds to the interesting conflicts and duplicitous nature within the epic; how all these various groups can and cannot get along.  We have settlers fighting to live their own lives, English fighting French, and native Americans fighting either for revenge in the case of the antagonist Magua, or more generally just to survive.  Evoking what ostensibly were major issues of those times, we see politics and real issues come into play in the subtext, without being overstated or commandeering the story, making a for a welcoming and complex experience.  We also can find some way, if at all possible, to understand the plight of the Native Americans with the unstoppable invasion by immigrants.  They are hard struck to find a choice or answer in regards to living the way they had for centuries.  As a Huron war chief puts effectively in the third act, “What are the Huron to do?”

"Dad's always constapated and sooo sloow... CMON!"

Other aspects of the film excel as well; acting seems to be obviously fantastic, with Daniel Day Lewis at the helm.  One may doubt his talent in an action piece, based on previous works (Room With A View, My Left Foot) but after viewing his total submersion into the Hawkeye character, there is no doubt.  Just as well, the action set pieces are clearly planned and executed, with a vivid geographical sense at play, so we know where everything occurs. 

Based on a book by James Fenimore Cooper, the film is adept and able in keeping with the rousing and adventurous nature while including complexity (the book is rather simplistic in its plot and description of Native peoples).  There was also a previous film made in the 1930s, of which I have not yet seen.  I imagine it to be similar in some regard to the subject of this review.  However, I cannot imagine either to be as exciting, entertaining, dramatic, rousing, romantic, and epic as Michael Mann’s version; truly an amazing vision of adventure you can take seriously.  

Wasabi (2002)

Directed by: Gérard Krawczyk

Writtien by:  Luc Besson

Stars: Jean Reno, Ryôko Hirosue, and Michel Muller               

Plot: Dispatching crimanls with succinct success but also collateral damage ala Riggs/Murtaugh, policeman Hubert Fiorentini is pushed to vacation while still pining over his lost love for the last 19 years.  After receiving a phone call that she has passed away, he returns to Japan where he once lived to obtain her remaining effects… including the daughter he never knew.

Review: Borrowing this from a friend at work, I can say I was not exactly sure what I was in for.  Based on the artwork, it had to be fun, entertaining, and have a certain mix of euro-action and comedy that’s come to be known in varying degrees throughout Luc Besson’s work (The Professional, Taken).  Upon completion, I can say it was mostly expected and enjoyable, but not totally without surprise.

Fairly consistent action and fast paced camera work are almost required with this pedigree of film.  You generally have a cop, hitman, or anyone who can easily eliminate a plethora of bad guys, and then throw in a personal “hook” that challenges them (i.e. plethora ad infinitum) to the point of every action junkie’s pleasure.  Here we have the same ingredients:  bad ass policeman who along with finding out he has a daughter, discovers her mother stumbled onto something sinister, resulting in her demise.  Enter guns and explosions…well at least the former.

For being marketed as an action film, there is oddly not much.  That is not to say its isn’t vibrant like one, also including plenty of entertaining moments featuring our protagonist (Jean Reno) taking out baddies creatively yet efficiently.  However, the newfound relationship between parent and child (of which the the latter is oblivious of for some time) appears prominent, and refreshingly so.  Fiorentini discovers his daughter actually hates policemen, as well as the idea of her father, enticing him to remain silent of his role while a bond between slowly but surely develops.  With the mystery being fleshed out alongside, we have a fairly effective and believable look into family members meeting for the first time, even with the fairly unbelievable action surrounding it.

"I used to protect Natalie Portman you know... where the hell is MY oscar?"Besides surprising devotion to characters, humor and laughs are fairly constant throughout.  The writing and acting are no doubt thanks to that, with Jean Reno bringing bittersweet comedy to his bad ass cop without a family, while Ryôko Hirosue (playing his daughter) is young and vibrant, ignorant to the fact this man is protecting her (to hilarious effect).  Adding comedic support is Michel Muller playing a bumbling former colleague in Japan, always saying the wrong thing while attempting to back up his friend throughout his ordeal.

Even though one may easily see a formula at work, Wasabi succeeds at throwing out fun oddities; look at the title?  The actual Japanese horseradish only plays a small cameo and joke in the film, but makes sense as the title, with Japan playing the main setting.  Even phonetically it somehow seems right.  Is the film really spicy though?  Medium to medium hot.



Equilibrium (2002)

Directed By: Kurt Wimmer Written By: Kurt Wimmer Studio: Dimension Films

Cast: Christian Bale, Sean Bean, Taye Diggs, William Fichtner, Angus MacFadyen, Dominic Purcell, Emily Watson

How can I attempt to describe the 2002 dystopian SciFi action/thriller film Equilibrium, one word: Gunkata!

Before I get into this review I had a one major initial beef with this film. For the first 10 minutes of the movie I couldn't see past the emotionless acting. It felt stale, deadpan and in general I just couldn't connect to any of the characters. But then it hit me that is EXACTLY what this film was going for.

Synopsis:

You see Equilibrium is a portrayal of a not to distant future where man, in an effort to be more humane to their fellow man, have forsaken all feeling. People walk around alive, but they don't truely live. With an emotion sedating substance known as Prozium fascist leaders, known as Tetragrammaton Council, control the populace. Where the drugs fail to control special soldiers known as Clerics completely destroy all resistance using superior fighting skills with extreme efficiency.

The Tetragrammaton Councils top Cleric John Preston (Christian Bale) has always done his job unrepentingly until he accidentally misses one dose and begins to feel. These feelings will turn his world upside down, and in the process maybe humanity will be human again.

Review:

I loved Equilbrium, and have now watched it twice. The action scenes are amazing well done, and have a very similar feel to watching The Matrix, but without CGI as a crutch. Everything is done practically; shootouts, swordplay and fisticuffs all happen in a rapid flurry of camera pans and hard cuts that allow you to experience them instead of just admiring them. And the aforementioned Gunkata wasn't a joke! The martial art of firearms has never looked so damn good, and is just exhilarating to watch!

The acting is a little trickier to rate, as the majority of the characters are meant to be emotionless, and in that respect they do an adequate job. But the ones that do feel such as Preston, Cleric Partridge (Sean Bean) and "Emotional Content violators" (Such as Emily Watson) are a sharp contrast to the sedated majority. It is in Christian Bale's performance that we see true acting chops as he slowly transforms from apathetic drone into a real person who feels, loves, hates and questions his own existence.

Equilibrium has something for everyone in it. Intense action (I feel is superior to The Matrix) that is just fun to watch. Social commentary on what it means to truly be human and the importance of emotions. Hell, there is even some heavy hitting drama, especially revolving around Preston's relationship with his young son.

Oh, and there is a cute puppy ... you know, if you are into that thing.

 

Do yourself a favor, and check out Equilibrium today! And just in case you don't want to take my word on it here is the trailer: