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.

Extremely Loud & Incredibly Close (2011)

PSYCH! This is actually a remake of Home Alone 2!

Directed by: Stephen Daldry

Screenplay by: Eric Roth

Based on the novel by: Jonathan Safran Foer 

Players: Tom Hanks, Sandra Bullock, Thomas Horn

Setup: A unique young boy sets out to discover what he believes to be a quest from his father a year after his death on 9/11. 

Review: One can't avoid the oncoming fear of overtly developed sentimentality with a plot like this, especially with its release timing last year (December = Oscar Bait), the marketing, and general word of mouth.  As I was generally open to the film but not completely eager to see it, a fairly positive review from a family member (no names mentioned here, but she did give birth to me) was encouraging.  My chance came when a friend and I wanted to ditch the streaming and actually rent a new release (this one isn' so new, but it worked out).  To answer the question that's the big ass elephant in the room, "Did I cry?", it would be almost.

First off, it should go without saying that shedding tears during a film is far from a bad thing; I actually welcome the opportunity.  It just waxes negative with me when one is manipulated into doing so, whether it be overly dramatic and with otherwise inappropriate music, or with sappy dialogue and shoddily false performances.  With ELAIC, even though I appreciated the film overall, this factor unfortunately occurs more so than not and sadly detracts from the quality, which otherwise is fairly high when not speaking about the lead performance...

To be completely honest, I am still going back and forth on Thomas Horn (playing the the lead Oskar Schell). As a character, I cannot deny that he felt fairly fleshed out and developed, probably largely due to the detailed script/novel.  However while Horn must be attributed with slight success in this regard, I can't deny there are many moments where he appears to simply be restating lines straight from the script (albeit emotionally). Just as well, whether it be the actor or the character being the reason for these traits, I can't help but find him extremely annoying.  His mannerisms and quirks have their entertaining moments, but unfortunately in small doses.  While this is not the end all be all of the film, I can't help but find disfavor in these factors (arguably due to my own temporary misanthropic state).

He'll always be Brewmeister Smith to me

Truthfully, all other aspects of the film are generally met with positive feelings by this curmudgeon, especially when it comes to other performances.  Max Von Sydow (playing a mysterious mute renter of Schnell's Grandmother's apartment) always rules, but performs beyond expectations in an effective and reserved role without one line (haven't seen Christopher Plummer's performance for which he netted the Best Supporting Actor Academy Award, but I call foul on Max losing out).  John Goodman, Jeffery Wright, and Viola Davis all bring effective supporting talent to the table, while Sandra Bullock plays Schnell's mother with believable emotion.  All do their best with the script, which overall is a moving and interesting story also dealing with the tragic baggage of the September 11th attacks.  However, whether it be based on written word or on direction by Daldry, some dialogue regarding "The Worst Day" (as its appropriately referred to in the film) definitely feels forced.

With high production values and fantastic cinematography, Extremely Loud & Incredibly Close effectively represents the crux of the film based on Oskar Schnell's journey; its mostly a drama bringing people closer together, all thanks to a loud and generally annoying kid.  

Tidbit: Thomas Horn was on Jeopardy, and was brought it to audition based on the type of character he showed on the program.  Me thinks one should not necessarily cast someone because they act like the film character in real life.  

Drink of Choice: This doesn't feel like a film appropriate for a heavy drink.  Therefore I suggest a light, chilled white wine such as the 2010 JB Atkinson Sauvignon Blanc.  American made (from Napa Valley), it will relax and put you at ease, possibly also accentuating emotions of happiness/sadness based on where you are with the film (if watching). 

Just make sure the blabbering kids are asleep to avoid feelings of accentuated frustration.

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.