Ok, I know this is hardly film or video game related, but gundammit, this thing lifted my spirits on a bummer of a day so I’m going to post it! What do you get when you cross Nine Inch Nails with Johnny Cash with Kermit the Frog? You get Sad Kermit. Click on the pathetic looking little green dude playing the gee-tar below to see what I’m talking about!

Danny Boyle’s 28 DAYS LATER undoubtedly revived the Zombie genre (even though technically there are no actual “Zombies” in the flick), so it was pretty inevitable that we would see a follow-up. From the looks of it, the filmmakers involved seemed to be actually utilizing a story seems a natural evolution from the first flick. Could an unnecessary sequel, with neither the original director or writer behind it, possibly be any good? After watching the new trailer for 28 WEEKS LATER, this Zombie lover is optimistically hopeful. Click on the gaping gnarly maw of one of “The Infected” below to see the trailer for yourself!

Well lookee here, a review for a flick that has yet to come out?! How is that possible? Well let’s just say I got connections. Ok, not really. A friend got some free Early Screening passes and he was kind enough to share. So now that my cool factor is at an all-time low, I can’t make it drop any lower when I admit that I am an unabashed TEENAGE MUTANT NINJA TURTLES nerd. I watched the cartoons and the gawd-awful movies (well that first one was good, at least I think so…), I played the Nintendo game (Hardest. Frickin. Game. Ever) and subsequent sequels, I had the action figures, dressed up as one for a Halloween many moons ago, and even ate those delicious “Turtle Pies”. So you know when I heard a new movie was in the works, I was pretty excited. Enjoying a rather long stay in Development Hell, as far back as 2000 when John Woo was attached to direct, TMNT is finally here. And all I can say is–COWABUNGA…

Right away, let me just assuage the fears of the Old Schoolers reading this and assure you that TMNT is classic Teenage Mutant Ninja Turtles. There’s none of that strange space-faring, sushi-eating, apartment-living crap I hear the new cartoon series has turned into. The cartoon show from the 80′s was already far sillier and fantastical than its original darker and grittier comic book counterpart, so if this new Computer Animated movie had been more like the modern show I would not have been as enthusiastic to see it. As it is, our favorite heroes in a half-shell are exactly as we remember them. Leonardo leads, Donatello does machines, Raphael is cool but crude, and Michelangelo is a party dude. Even Splinter is still kicking around (literally), as soft-spoken and as wise as ever. But when the film starts, things aren’t going so well for the green quartet. Sent on a training mission to become a better leader, Leonardo has vanished in the jungles of South America. Without their big brother to lead them, the Turtles have given up their vigilante ways and opted for regular jobs. Don does Tech support, Mikey performs at kid’s parties as (you guessed it) a giant turtle, and Raph sleeps all day (Or does he?). All the while, a ruthless new hero named The Nightwatcher fills the void left behind.

And here’s where some noticeable changes exist, as April O’Neill is no longer an intrepid reporter but a ancient artifact dealer (along with her boyfriend Casey Jones, who’s still doing his Hockey-Stick-Hero routine). The Foot Clan is still around, but Shredder is dead and the clandestine group is lead by a mysterious young woman named Karai (apparently a character from the comics making her first appearance on the big screen). There’s also some nonsense about some immortal Warrior Prince that inadvertently unleashes 13 monsters from another dimension a few thousand years ago and his quest to capture them. Not much of a plot, but I guess they needed something to get this thing off the ground. I didn’t really care, I was just digging seeing my fave irradiated adolescent tortoises doing their sick Ninjitsu thing again.

They pulled together a pretty cool cast for this thing. While the Turtles are voiced by unknowns, many of the supporting characters have some fairly big names attached. Sarah Michelle Gellar (best remembered as everyone’s favorite Vampire Slayer, Buffy) voices April, Chris Evans (The Human Torch from the FANTASTIC FOUR flicks) handles the role of Casey Jones, Patrick Stewart (Captain Picard and Professor X of course) lends his voice for the film’s apparent antagonist Max Winters, Mako (from PEARL HARBOR, SAMURAI JACK, and various other roles that require an old mean looking Japanese dude) is Splinter, and Zhang Ziyi (MEMOIRS OF A GEISHA, HERO) gives life to Karai. Kevin Smith (yes THAT Kevin Smith. or Silent Bob as he’s most lovingly known), Laurence Fishburne (Morpheus, the guy that convinced us all to take the red pill) Billy West (of REN & STIMPY and FUTURAMA fame), and John DiMaggio (Bender from FUTURAMA).

I had never heard of Imagi Animation Studio until the announcement that production of a new Turtles movie was underway. Apparently, the Hong Kong-based animation studio had previously done the short-lived NBC TV show FATHER OF THE PRIDE, and little else. I was a bit apprehensive when I learned that this untested company had been chosen, but the flick turned out to be quite a visual treat. While not as photo-realistic or detailed as something like FINAL FANTASY: SPIRITS WITHIN, the animation gets the job while being a bit more cartoony in appearance. I will give it major kudos for at least one aspect of the flick: The action is beyond anything seen on the TV show or live-action movies. The animators and director Kevin Munroe struck up a good balance between a darker tone and the inherent lighter side of the material. But my favorite scene by far is a fast and furious confrontation between Leonardo and Raphael. As they battle it out on a rooftop, the film achieves a dark intensity that I was most grateful for. My only quibble would be that I wish the rest of the flick was more like this scene, but that would be unlikely for a PG-rated movie.

Admittedly, TMNT is still a kid’s movie when it comes down to it. But what’s really wrong with that? I dunno about you, but I don’t mind sitting back and watching something that takes me back to a much simpler time in my life. When mutated Turtles knew Kung-Fu, ate pizza, and skateboarded through the sewer tunnels below. Until next time, see you at the movies!

Seems like I’m playing a lot of catch-up these days, once again writing about a flick for the first time despite having been released some months ago. As I read up on the production of this flick, I knew CASINO ROYALE was a step in the right direction for the 007 franchise. From the against-type casting to the premise of rebooting the series (ala BATMAN BEGINS), this 21st installment in the suave spy series was going to be unlike anything we had seen before. I can’t really imagine anyone being disappointed with this new and certainly improved James Bond, but I suppose anything is possible. And I’m sure there were plenty of naysayers that had already counted the MI6 Secret Agent out. But you know what they say: Never Say Never–Again…

This flick is absolute class from start to finish. The opening sequence, all done up in Black & White like an Old School Hard-Boiled Film Noir, brilliant! It’s rare these days that we see films actually start with a title sequence, probably cause they’re usually pretty damn boring and unimaginative. But it’s even a rarer treat when a title sequence is actually SO good it gets you pumped up for the actual movie. Last year that only happened one other time, and that was the classically influenced opening sequence for SUPERMAN RETURNS. Anyway, like I was saying, CASINO ROYALE oozes slick style and gleaming class, which even translates over to the excellently realized Action sequences. From the chases and gun fights, to the fisticuffs and torture scene, this movie has some of the most exciting action of any film in 2006. There’s just something to be said about practically done stunts and effects. It makes a huge difference in the enjoyment of an action movie. But enough about the action, as this installment offers more than just that. It allows us a glimpse at how a cold-hearted and efficient killer is born. The only complaint I may have is that the too-good-to-be-true but necessary penultimate ending severely slows down the film, but I suppose its an unavoidable circumstance of allowing the story to unfold naturally in this case. Gone are the one-liners, frivolity, and ridiculous gadgets (well, not completely) that one might have once associated with a franchise that had become more Fantasy than Thriller. In it’s place is a dark, solemn, and hardcore Spy Thriller.

Martin Campbell was an inspired choice to return and helm his second Bond flick (his first being GOLDENEYE), and once again rebooting the aging series with a rousing and rejuvenating start. The popular consensus has become that Daniel Craig is the best Bond of the entire franchise. But I think he has an unfair advantage over all of the previous actors to portray the super spy. He gets an opportunity to play with a younger and more inexperienced Bond, before the character became the unemotional and cold killer that Sean Connery, Roger Moore, Timothy Dalton, and Pierce Brosnan were saddled with. Don’t get me wrong, he’s an excellent actor that gives an equally charming and psychotic performance. Seriously, you’d have to be a little crazy to do the things that James Bond does and Craig makes sure we see that side of him. This time around we also get a Bond Girl that not only looks good, but also exudes intelligence and is able to stay toe-to-toe with Bond in the snarky comment and witty retort department. Eva Green plays Vesper Lynn, the only woman to ever break Bond’s armor and heart. Their first meeting and subsequent “interrogation” of each other is among one of my favorite scenes in the flick. The rest of the cast are also high-class choices, from Mads Mikkelsen (Le Chiffre) and Giancarlo Giannini (Rene Mathis) to Judi Dench (M) and Jeffrey Wright (Felix Leiter).

But what about the DVD? Is it worth getting now, or should you just wait for the Special Deluxe Super Spy Edition that’s bound to show up a few weeks before Bond’s next theatrical outing?

Technically speaking, the flick looks great and the sound is bombastic, so no complaints there.
And the extras? Well it certainly isn’t the most packed two-disc special edition I’ve ever run across, but it does offer some interesting details and information on the making of this reboot of a nearly 50-year-old film franchise. The supplements can all be found on the second disc, while the first disc only features the film. “Becoming Bond” is a less than 30-minute making-of featurette that mainly focuses on the casting of a new actor to play the legendary role of James Bond, with some bits here and there regarding the acquiring of the CASINO ROYALE rights, the writing of the script, and finally the shooting of the film. Next up is “JAMES BOND: THE REAL THING” which is also a less than 30-minute look at the stunts of CASINO ROYALE. The stunt coordinators and special effects folks admit their passion for film action sequences and special effects practically, and they take great pride in explaining just how much of the effects in CASINO ROYALE were done on set and for real.

Then there’s the fairly longer fluff piece “BOND GIRLS ARE FOREVER” which I had a hard time sitting through so I won’t say much about it since that would be unfair. What can I say? The moment I saw them interviewing Halle Berry on the set of DIE ANOTHER DAY, I couldn’t stomach watching it any further. Finally there’s the Chris Cornell music video for the film’s opening theme, “You Know My Name”, which I think is one of the best opening theme songs for a Bond flick ever. Oh, and there’s some trailers on there too. Joy. So should you buy or wait? Well, in my case it was a no-brainer. There was no way I was going to wait a moment longer to pick up this DVD and rewatch what is one of the best Bond flicks ever (if not THE best), but also just an overall great movie in general. But if I was a more discerning buyer, I’d probably wait for the inevitable uncut super duper collector’s edition. For now though, this is a pretty good DVD and definitely worth picking up. Until next time folks, keep those discs spinning!

I know that 2006 has been over for almost 3 months now, but just bare with me here for a moment. I never got around to spouting my love for this flick when it hit theaters late last year, and then I slacked on the FAVE FLICKS OF 2006 article I had planned to post just before the Oscars last month. But after re-watching the flick for the first time on DVD, I was compelled to sit down and rant about what I believe to be the smartest, sweetest, funniest, and most original flicks of 2006…

STRANGER THAN FICTION achieves a balance between believability and implausibility that is very rarely attained. In this film’s case, we are asked to accept the premise that a man is living a life that is predetermined by an acclaimed novelist that so happens to be writing a story about the life and imminent death of this very same man (unbeknownst to the writer of course). And the real kicker is that the dude hears this writer narrating the events of his mundane life as she types it. I’m sure after reading that ridiculously truncated synopsis of the flick you would no doubt be reluctant to believe the watchability of such a preposterous setup. Well, thanks to some great performances (and very likely Will Ferrell’s very best to date) and the wittiest screenplay of the year, the suspension of disbelief comes easily.

It refuses to allow itself to be categorized easily as a “Comedy” or “Drama” or “Romance” or whatever else you want to throw into the mix. Simply put, this is a movie about life and the little things that get us through it day in and day out. However, if you’re one of those anal types that need to pigeonhole a movie then I would have to begrudgingly assign it the title of “Comedy”. But this isn’t some broad comedy that relies on toilet humor or wacky hijinks, the laughs originate from someplace deeper and, strangely enough, sadly tragic. Through the course of the film, straight-laced and obsessive-compulsive number-cruncher Harold Crick struggles with deciphering whether his story is a comedy or tragedy, the two paths all of life inextricably goes down. It’s that underlying theme, of life and death, of living your life and/or accepting death, giving into fate and destiny or making a conscious choice not to, that makes the film the most satisfying and fulfilling flick of last year. At least in my most humble opinion

And have I mentioned the performances? Oh my, everyone involved just does inspired work. Whether it’s our main cast of characters that include Harold Crick (Will Ferrell), the doomed IRS agent; Karen Eiffel (Emma Thompson), the writer and narrator of Crick’s life; Jules Hilbert (Dustin Hoffman), the literature professor that helps Crick understand his dilemma; and Ana Pascal (Maggie Gyllenhal), the socialist baker that Crick falls in love with. Or even supporting players like Penny (Eiffel’s assistant), played by Queen Latifah, or Dave (Crick’s one and only friend) played by Tony Hale. They all deliver the wonderfully witty dialogue with honesty and conviction. Many kudos must go to Ferrell and Gyllenhal especially, whose sweet, quirky, and very real happenstance encounter-turned-romance glues the film together and is one of the film’s defining attributes for me. This is by far one of my favorite on-screen romances since PUNCH-DRUNK LOVE’s deliciously dysfunctional coupling of Adam Sandler and Emily Watson. And Emma Thompson is uproariously funny as the scattered and sarcastic novelist struggling with writer’s block. Her line delivery is so razor-sharp and filled with deliberate disdain that I couldn’t get enough of it. Absolutely lovely.

Director Marc Forster has turned out to be quite a versatile filmmaker since his debut feature, MONSTER’S BALL. He’s easily jumped from something so dreadfully dark as that first film to something so fantastical as FINDING NEVERLAND in 2004, to the supernatural-themed STAY in 2005 and now something completely different than anything he’s done before with STRANGER THAN FICTION. And the film’s screenwriter, Zach Helm, has already been dubbed “the new Charlie Kaufman” despite only having one film released so far. His next film, MR. MAGORIUM’S WONDER EMPORIUM (which he is also directing), is already garnering much attention. Mr. Helm will definitely be a filmmaker to keep in an eye on.

Rarely does a film make you so honestly laugh, feel, and think all within a running time of less than two hours. Complete with a happy ending that doesn’t leave the audience feeling betrayed, tricked, or pandered to. This film earns its happily ever after, and you’ll welcome it wholeheartedly. STRANGER THAN FICTION is out on DVD, so do yourself a favor and pick up a copy. There’s some cool featurettes that actually do a good job of giving us an in-depth look at the film’s production, with one focusing completely on the “G.U.I.” (affectionately pronounced as “Gooey” and standing for “Graphic User Interface”) effects that give viewers a glimpse into Crick’s mathematical perspective of the world. It’s good stuff, believe me. Until next time folks, keep those discs spinning!

Hey folks. I know its been a while since I’ve posted anything on the site. Its hard to say why, whether its the lack of inspiration or just plain laziness. But here I am, giving it another shot. But things are going to be different. You won’t find those long-winded analyses that used to be the norm around here. In recent months my disdain and intolerance of the Film Critic community has grown, leaving a very unpleasant taste in my mouth at the very thought of participating in said community. So from here on out I’ll simply be telling you why I love or loathe a particular flick, with no pretentiousness or proclamation of being anything more than just simple babblings from yours truly. Here’s hoping I can keep it up this time…..

300 is without a doubt, one of the most amazing visual experiences ever captured on celluloid (or was it all filmed digitally? Hmm, I forget.). While I’ve never read or seen Frank Miller’s original Graphic Novel (which this film is based on), there are images here that are unmistakably Comic Book in origin. But unlike the last Miller comic-to-film adaptation (SIN CITY), this isn’t a shot-for-shot recreation of comic book panels. Director Zack Snyder (who last helmed the surprisingly good remake of DAWN OF THE DEAD) opted to retain more freedom when filming his vision of the Battle of Thermopylae, and as result what we see speaks a purely cinematic language. No worries though, there’s more than enough slow-mo sequences, sped-up stop-motion action, and iconic images to keep even Comic Book fans happy. And oh the ever glorious battle sequences we are treated to. Violent, visceral, and always easy to follow, these sequences are saturated with sweat, blood, and spit. I had a silly grin on my face the entire time. If what you’re looking for is a half-way realistic Historical Epic, like GLADIATOR and TROY strived to be, then look elsewhere because there’s very little in 300 that is realistic or historical. This is a hyper-stylized and hyper-realized depiction of an already mythical and undoubtedly embellished story. Be prepared for giant wolves, mystical priests, half naked oracles, deformed mutants, and one very tall and androgynous God-King. And its all done in an Hard “R” presentation. Its got almost all of the major food groups: Violence, Sex, and Monsters. It’s just missing the colorful expletives we’re all used to. Speaking of the dialogue, star Gerard Butler and the rest of the cast deliver their lines, no matter how ridiculous, cliche, or bloated, with enough fervor that you easily forgive it’s shortcomings. Besides, you don’t go into a movie like 300 looking for riveting dialogue. You go in looking for a testosterone fueled, adrenaline pumping movie about statuesque beauties and chiseled warriors.

On a side note, the filmmakers, in their infinite wisdom, have decided to wedge in a subplot involving Leonidas’ wife the Queen of Sparta and her bid to rally support for her husband and his stand against the armies of Persia. This is all well and good I suppose, but I honestly felt that these scenes offered very little merit. Not to take away from the work that actors Lena Headey (Queen Gorgo) and Dominic West (as a scheming and conniving Spartan politician), but they just seemed to forcefully pull us away from the real action unnecessarily. I also have to mention the rumblings that have come up regarding the apparent political undertones the flick possesses. I for one didn’t feel there were any hidden messages the filmmakers were trying to pass along. One must keep in mind that this is a film based on a comic book conceived and released almost a decade ago, which itself dramatizes events that took place thousands of years ago. What’s happening here is that folks on both ends of the political spectrum are seeing things that are simply not there. There are a few lines sprinkled about (especially in the final speech spoken by the Spartan Dilios) that will certainly rise an eyebrow momentarily, but this is a classic story filled with classic themes that are timeless and not necessarily meant to be taken as an allegory about our modern times. But if you want I suppose you can keep on believing that’s the case here. But in my case, I simply just cannot wait to see 300 again on the big screen (preferably the IMAX), the only way anyone should see this flick. And I’m more than happy to settle for the blood-soaked, mesmerizing, and strangely arousing battle sequences over figuring out whether Xerxes or Leonidas are supposed to represent George W. Bush. And that’s my take on it. Until next time, see you at the movies.