Category: Movies (Page 150 of 191)

Movie Review: “Welcome to the Punch”

Starring
James McAvoy, Mark Strong, David Morrissey, Peter Mullan, Andrea Riseborough, Daniel Mays
Director
Eran Creevy

The British film industry is overflowing with a wealth of talent, which is what makes its poor output of quality movies so maddening. While there’s never been a short supply of stuffy period dramas and gritty gangster flicks, very few other genres have managed to find much success overseas. Evan Creevy’s sophomore effort, “Welcome to the Punch,” attempts to bridge that gap by delivering a Hollywood-style crime thriller on an indie budget, but although he’s landed an impressive cast of A-list British talent, it’s mostly squandered on a bland and overly predictable script. “Welcome to the Punch” displays a lot more potential than the recently released “The Sweeney,” but it still falls short due a lack of suspense and personality.

Ambitious young detective Max Lewinsky (James McAvoy) is hot on the trail of master thief Jacob Sternwood (Mark Strong), but after tracking him down to the scene of his latest heist in progress, Sternwood manages to escape and Max gets a bullet in the kneecap for his troubles. Three years later, Jacob is still coping with the events of that night (the scar and accompanying knee pain a constant reminder of his failure), but when Sternwood’s son is fatally wounded during a gun deal gone wrong, Sternwood emerges from his Icelandic hideaway to smoke out the men responsible. Convinced that Sternwood’s vendetta will lead him back to London, Max is given another chance to capture the elusive criminal, only to uncover a deeper conspiracy within his own police department connecting the two crimes.

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Blu Tuesday: Political Edition

The hits keep on coming this week with several more high-profile releases, but you better enjoy it now, because the next few weeks don’t look nearly as promising. In fact, there are so few quality Blu-rays hitting stores in late March/early April that I’ll either be skipping my column during those weeks, or I’ll combine them into one post. With that said, there’s plenty worth being excited about today, with such a heavy emphasis on politically-themed films and TV series that you’d almost think it was November again.

“Lincoln”

Steven Spielberg has been trying to make a movie about Abraham Lincoln for so long that it seemed like it might never happen. But after years stuck in development, his passion project finally got made, albeit with a different actor in the title role. Though Daniel Day-Lewis is certainly no slouch, the prospect of Liam Neeson reteaming with his “Schindler’s List” director was a lot more exciting. Nevertheless, Day-Lewis proves himself a more than adequate replacement as the 16th U.S. President, commanding the screen with a vigor that combats the film’s languid pace. His Lincoln is stubborn and stoic, but also witty when the mood permits, and though he was the only cast member to win an Oscar for his performance, the acting is top-notch all around, including fellow nominees Tommy Lee Jones and Sally Field, and James Spader as a slimy lobbyist. While the more bureaucratic scenes drag on for too long, they’re a big part of what “Lincoln” is all about and provide some of the film’s best moments. The movie does get a little too caught up in the intricacies of the political process at times, but it’s an engaging behind the scenes look at one of the country’s most historic moments.

Blu-ray Highlight: A review copy didn’t arrive in time, but some quick research shows that there are two versions of the Blu-ray available: a barebones two-disc edition with a pair of brief featurettes and a four-disc edition with an additional 65 minutes of bonus material. If you’re a history buff, or you just really like behind-the-scenes extras, go with the latter set. Otherwise, the two-disc version should suffice.

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A chat with Colin Farrell (“Dead Man Down”)

Colin Farrell in Dead Man Down"

Colin Farrell was first introduced to American audiences in Joel Schumacher’s “Tigerland” in 2000, and he’s managed to leave a lasting impression in each film he’s done. With leading man good looks and acting chops to match, the former bad boy’s onscreen intensity is sometimes enough to make up for some questionable script choices. Whether giving life to an underrated supervillain in “Daredevil,” or starring in the 2012 reboot of the iconic “Total Recall,” Farrell is as talented as he is fearless.

In almost an extension of “Total Recall,” where the main character Douglas Quaid is trying to remember his past, his latest role as Victor in “Dead Man Down” is about a man using revenge to come to grips with his. We recently had a chance to speak to Colin about his preparation for the role, working with co-star Noomi Rapace (“Girl with the Dragon Tattoo”), and his upcoming slate of films, including the animated film “Epic,” featuring the voices of Amanda Seyfried and Beyonce, and “Saving Mr. Banks,” where he plays the father of “Mary Poppins” author P.L. Travers.

BE: The film raises the interesting question of “How far would you go?” So how far would you go?

COLIN FARRELL: I have no idea. It’s never good to answer in “what ifs.” I think it’s horseshit. I don’t think any of us have an iota of how we’d really respond to most situations.

BE: Do you ever leave the set wondering what you would do in a character’s situation?

COLIN FARRELL: When you’re doing a film, once you start asking “What would I do?” you start getting the distance greater between yourself and the character or you’re bringing the character to you, which is self-serving in the wrong way. I think it seems that the idea is to bring yourself to the character.

BE: Were you able to relate to the character?

COLIN FARRELL: Well, you know, it’s fiction. I don’t even have to do that. It’s in you already. You just treat the fiction as reality, kind of. Ideally, you read a script so often and you think about the context of the scene so much that you begin to dream. You’re in pretty good shape if you begin to dream the character and certain conventions of the story. Noomi started having earlier dreams than I did. (laughs)

BE: How are you feeling, outside of the role?

COLIN FARRELL: I’m was doing good. I’m fairly healthy. Sometimes, you come home from work and you’re just tired and you wouldn’t want to see anyone and just be on your own. Consciously, you kind of look after yourself, whatever that may be. Whether you go out for a few drinks and dinner or just hit the couch and watch TV, or go to the gym or yoga class. Just be aware that there’s the potential for you to be in it and respecting wherever you find yourself, so I was fine.

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A chat with Terrence Howard (“Dead Man Down”)

Terrence Howard in Dead Man Down

Terrence Howard is one of those rare actors who you almost hope jumps into one of his characters when he talks to you. Whether it’s street pimp turned rapper DJay in 2005’s “Hustle & Flow,” or his latest role as mid-level mobster Alphonse, his soft-spoken demeanor masks a persona that is always in a state of hustling. Behind the hazel green eyes that appear to stare through you is a man who seems enamored with his craft, but always looking for the next piece of the puzzle to inner piece.

He reconnects with Colin Farrell in “Dead Man Down” as Alphonse, a mobster struggling with respectability as he tries to keep his close-knit crew together from an enemy that’s closer than he thinks. We had a chance to sit down to talk to Terrence Howard – actor, entrepreneur…and chemical engineer – to discuss his role, his relationship with Farrell, and how he plans on making diamonds a boy’s (and girl’s) best friend.

BE: How were you comparing your life to a tone?

TERRENCE HOWARD: A solid tone; a true element is one that is able to reach the wave amplitude, but after the fifth octave, all elements carbon is no longer able to reach its full amplitude and so it breaks down into small things called isotopes. Then, it becomes lead and gold and all of those other processes. It’s the decay of matter. I’m a chemical engineer.

BE: Your role is reminiscent of Henry Fonda in “Once Upon a Time in the West.” You think he’s a good guy, but he’s not.

TERRENCE HOWARD: Neils [Arden Oplev] did a good job of establishing my character as a victim and someone that’s being attacked. It’s slowly revealed that he was responsible for all of the circumstances that are befalling him, at present. It’s the karmic retribution. It’s the reciprocity of sowing poor and bad seeds, but he also establishes the true dichotomy of humanity. What we are dealing with is that all of the characters are so rich in the fact that they are all seeking some sense of retribution against life and an entitlement of lost happiness. But they’re doing it by creating more problems. They’re digging graves for other individuals and forget that they’ll carry the weight and responsibility of that dead person and need to dig a grave for themselves. He didn’t make anybody a villain or a victim. He made them very human and I think that was quite genius of him in telling this simple story and making it so diverse. I think Dominic Cooper’s character is the only one that is reconciled to good, because he makes a good choice for the sake of his family. He does good at the end of it, so I think he will have a good life at the end of this movie.

BE: The character starts the movie as being afraid. Do you intentional set out to make your character sympathetic?

TERRENCE HOWARD: No, Khalil Gabran wrote “The Prophet,” but he also wrote this story called “The Criminal.” In it, this man at the top of a hill, strong of body and good of spirit, but his nature is being broken. He’s crying out to the heavens and he says, “Lord, you said knock and the door would be opened.” Well, I knocked upon the doors and asked for work, but they said I was uneducated. And they sent me away. Therefore, I went to the schools and begged that I could gain and education. And they said you don’t have any money and they sent me away. So, I was left to beg on the streets and everyone said that I was of strong body. I must be lazy and weak and they spit upon me. So, now I find myself here. At that moment, a lightning bolt struck a tree and the branch fell upon him. When the branch fell up on him, he asked that I should be given what I should be given and it was not given to me, so now I shall take what I want. By the strength of my brow, and the strength of my arm. He said that he descended into the city and within two years, he was the most notorious villain and gangster of all time. A new wicked Emir took over the city and made him the chief of his army. This is what we do of good men. By our inhumanity, we turn them into monsters. That’s who I based Alphonse on. The criminal who had a good heart, but as a little kid was hurt. He just needed a couple more hugs.

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Movie Review: “Admission”

Starring
Tina Fey, Paul Rudd, Nat Wolff, Lily Tomlin, Michael Sheen, Wallace Shawn
Director
Paul Weitz

There was a time when Paul Weitz used to make great movies. After reviving the teen sex comedy with “American Pie” and adapting the Nick Hornby bestseller “About a Boy” alongside brother Chris, the eldest Weitz stepped out on his own, continuing his fantastic track record with underrated gems like “In Good Company” and “American Dreamz.” In recent years, however, the director’s career has been marred by a series of flops, and though “Admission” is probably the best of his cinematic failures, it’s a failure nonetheless. Not even Tina Fey and Paul Rudd, arguably two of Hollywood’s most likable performers, are able to do much to save Weitz’s latest effort, and that only makes “Admission” even more of a disappointment.

Fey stars as Portia Nathan, an admissions officer at Princeton University who spends her days diligently poring over student applications and her nights with her dull, longtime boyfriend Mark (Michael Sheen), who also works at the university as an English literature professor. When she receives a call one day from John Pressman (Rudd), a teacher at the alternative academy New Quest, asking her to visit the campus to meet a promising student named Jeremiah (Nat Wolff), she’s completely blindsided by John’s suggestion that the gifted teen is the child she gave up for adoption nearly 20 years earlier. Though Jeremiah is far from the typical Princeton applicant, he’s a prodigy and self-proclaimed autodidact who wants nothing more than to attend the university. But while Portia comes to appreciate Jeremiah the more time that she spends with him, she faces an uphill battle convincing her peers that he’s worth the risk, all while hiding the fact that he may be her son.

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