Everyone’s favorite demonic hero is back! This summer we can all watch the antics of Hellboy in Hellboy 2: The Golden Army, the question is will you want to? The Hellboy franchise follows the life and times of a creature from beyond, whose real name is Anung un Rama, but everyone knows him as Hellboy, Red, Big Guy, or some other appropriate pseudonym. Hellboy was summoned by an evil sorcerer in 1944, but was rescued by a group that would come to eventually known as the Bureau for Paranormal Research and Development (BPRD). This group fights against “Things that go bump in the night”. This first movie introduced us to Hellboy, Liz (his love interest), and Abe Sapien. We learned the incredible abilities of each character, as well as the fact that Hellboy, while a hero at heart, would be instrumental in the destruction of the world.

The second movie picks up shortly after the first left off, and reveals that the relationship with Liz has grown, and the team has changed its look. Seth Macfarlane lends his voice for a new member of the squad, and an old member has gone on to colder pastures. Of course, any new member will have to deal with Hellboy’s need to be the alpha male in the group. Much like the first movie the plot is slow to pick up pace, but eventually we find that some creatures of ages long past (trolls, dwarves, elves, etc), have rallied behind a prince that wants to re-claim the world from men. The prince is pretty tough by himself, but what really makes him powerful is the Golden Army that he is trying to control. This unstoppable army will crush the world of man, unless Hellboy and the rest of BPRD manage to take the prince down.

This movie was a bit of a rollercoaster ride for me. Early on there are several things going on that are very fun to watch. The relationship with Hellboy and Liz, the introduction of a new team leader, Hellboy’s desire to become known to the world and the Elf Prince’s quest are all extremely entertaining. The movie does a good job of mixing lore with modern day sensibilities, and I liked the new twist that was put on old bedtime stories. However, after about 45 minutes, the movie became very predictable. Not to say that it wasn’t fun, but the first half by far was the better half. The second half is a bit deeper in terms of themes, and most of the major characters will need to make a choice about sacrificing the one they love for the fate of the world. Hellboys future is brought out again for us, which sets up a 3rd movie very nicely. It’s hard to believe that such a loveable guy could bring about Armageddon, but apparently that’s what he does best.

If you liked the first movie with its quirkiness and tongue in cheek charm, you will definitely enjoy this movie. It is not just like the first one, it is much much better. However it’s still along the same vein as the first one. This move suffers from the poor planning of being released during the same YEAR as The Dark Knight. I can’t in good conscience tell you to skip it to see one of the finest movies in a long time, but how about this: If you happen to get to the Dark Knight late and can’t get a seat, sneak over to Hellboy, you will enjoy it!
Kryos’ Rating: – RECOMMENDED!

Hey folks, Bobert here! Just wanted to put in my 2 Cents and chime in. I pretty much agree with Kryos on this one wholeheartedly. It retains the quirkiness that made the first flick such a unique take on the Superhero mythos, but also benefits from the wildly imaginative visuals dreamed up by a newly unchained Guillermo Del Toro! The film’s abundance of weird and wacky characters (good, bad, and most definitely ugly) is refreshing in a summer filled with pretty faces and chiseled chins (and a pretty good indicator of whose side Del Toro is on), and the foreboding groundwork for the foundations of a possible third flick got this comic book geek’s goosebumps …uh.. bumping! Definitely give it a look inbetween multiple showings of THE DARK KNIGHT! Bobert gives HELLBOY II: THE GOLDEN ARMY Three () cigar-chompin’ Hellboys! Until next time, see ya at the movies!

The Official Studio Line:

With the help of Lieutenant Jim Gordon and District Attorney Harvey Dent, Batman sets out to destroy organized crime in Gotham for good. The triumvirate proves to be effective, but they soon find themselves prey to a rising criminal mastermind known as the Joker, who thrusts Gotham into anarchy and forces the Dark Knight ever closer to crossing the fine line between hero and vigilante.

By now I’m pretty sure you’ve seen or read dozens of hyperbole-strewn reviews lauding THE DARK KNIGHT as the best movie of the summer, best movie of the year, or best Comic Book movie ever. Because of that, I’ve decided to take a different approach to my examination of the film. Instead of just another review, I’m going to present to you a slew of reviews on the various well-known interpretations of everyone’s favorite caped crusader. I’ll start with THE DARK KNIGHT, but I’ll also be recalling everything else from the 1966 movie starring Adam West and the eventual Camp Fest films from Joel Schumacher, to the animated versions that some consider the definitive visions of the Dark Knight. So I hope you enjoy reading all of this stuff, it sure as hell took a long time to write. So let’s start with the latest and possibly greatest: THE DARK KNIGHT

THE DARK KNIGHT takes the Batman mythos and the general notion of a “Superhero” and applies a healthy dose of reality into it, more so than BATMAN BEGINS ever hinted at. What is the logical escalation that occurs when a masked vigilante starts cleaning up the streets, and how long can he continue on this path the consequences are too great? This film answers those questions, and also reveals the aforementioned repercussions of such actions. Most important, it all feels grittily real. Director Christopher Nolan was given full rein to go all out, with none of the notes or limitations that obviously hampered him with his first installment. In comparison BATMAN BEGINS seems downright silly now, what with a secret society of Ninjas and a fairly ridiculous climax featuring a high tech doomsday device that—DUN DUN DUNN—turns water into steam (except if it’s within the human body)! This is a Crime Drama first and foremost, on the same level as stuff like HEAT or TRAFFIC. The police are not depicted as buffoons that are constantly bumbling things up, on the contrary, they’re portrayed as Batman’s equals in the battle against crime. Especially Lieutenant Jim Gordan (magnificently played by Gary Oldman), who is as much a Superhero as Batman is in this movie.

There’s so many characters featured here that I wouldn’t be surprised if some felt that Christian Bale’s Batman and Bruce Wayne seem to be taking a back seat, but what we’re witnessing here isn’t a typical Superhero movie. The filmmakers could’ve just as easily named this movie GOTHAM CITY and it would’ve been just as accurate a title as THE DARK KNIGHT. You’re constantly exposed to the city, its citizens, its elected officials, and other characters (some honorable, some unscrupulous) all fighting for one thing: The Soul of Gotham City. The inclusion of characters like Lucius Fox (Morgan Freeman), Alfred (Michael Caine), and Rachel Dawes (Maggie Gyllenhaal) among so many others just adds to an already rich tapestry on display here, with every character serving a distinct and meaningful purpose. But above all us, Batman’s integrity and moral code always remains intact. One of the issues I’ve always had with the previous BATMAN films that the character always seemed to fall back on killing the film’s villains, either directly (as in Joker’s case in the first BATMAN) or indirectly (as he did in BATMAN FOREVER with the Two-Face). For me, that breaks one of the fundamental aspects of Batman. He never kills, that’s his rule. No matter how heinous the crime or individual, Batman is no executioner. We get treated to characters not only spouting their philosophical mantras throughout this flick, but actually acting upon them. The Joker remains true to his character to the very end, as does Batman. In the end, he becomes the titular Dark Knight. The hero the city deserves, but doesn’t necessarily need or want. A solitary guardian that must accept his role as an outcast in order to protect and preserve the city and people he loves. And for these reasons, THE DARK KNIGHT has become the definitive interpretation of the character.

THE DARK KNIGHT is unique in the sequel-happy world of Superhero movies. It avoids the common cliché (and ultimately greatest failing) of sequels trying to outdo themselves in the action and special effects department. Everything’s always gotta be bigger and louder the second time around, sometimes resulting in a movie that’s weaker than it’s predecessor. But Director and co-Writer Christopher Nolan wisely avoids these hurdles, choosing instead to intensify the dramatic stakes. The conversations between Batman, Jim Gordan, Harvey Dent (played with appropriately deep pathos by Aaron Eckhart), and Joker are the real draw here. Not the gadgets or the action, not the special effects or the explosions, but the sheer driving drama that these interactions produce. Whether its Bats, Gordan, and Dent “scheming” a way to save the soul of Gotham by giving them the “Hero” the city needs, or the Joker’s tirade about the uncivilized nature of civilization and it’s citizens, the movie’s most compelling moments usually occur during these quieter but always intense confrontations. Not to say that Batman doesn’t have gadgets galore, because the opposite is certainly. Not only does he sport a new suit complete with sonar vision goggles, he also utilizes a monitoring system that keeps an eye on everyone in Gotham City via cellular technology, as well as the new and nifty Bat-Cycle (or Batpod as it’s referred to here). But they always seem practical and even believable in the grimy world Nolan has manufactured, never so outlandish as to elicit disbelief.

Christopher Nolan teams up with his brother and sometimes writing partner Jonathan Nolan (MEMENTO, PRESTIGE) to craft this installment’s tale. And while David Goyer is credited as Story co-writer, his comic book sensibilities are notably missing from the screenplay. Which in my opinion is a good thing. The only way for the Superhero genre to evolve beyond its pulpy roots is to stop viewing these movies as just Superhero movies, but as films worthy of as much thought and depth as any other serious movie about crime and punishment. And that’s exactly what the Nolans do. Christopher Nolan’s direction once again brings a stark realism to a Comic Book world, pushing it even farther this time out. Opting to stay out of Wayne Manor and the Batcave from the first film, he instead sits Batman atop Bruce Wayne’s towering penthouse. It overlooks the entire city and the cleanliness of this setting metaphorically mirrors Bruce Wayne’s desire for order, contrasting the anarchy and chaos Joker is wreaking upon Gotham City below. Some have complained that Christopher Nolan can’t direct an action scene, but every action set piece in the movie is staged with such tension and build-up that they blew my socks off at every turn. And gundam that score from Hans Zimmer and James Newton Howard ROCKS! It’s mainly percussions and sounds, but it’s so effective in driving the film’s intensity that I can’t imagine a more traditional score achieving greater success.

So what else can I say about the DARK KNIGHT, which I’ve seen twice now, that hasn’t already been said? I couldn’t possibly get into just how amazingly psychotic and frightening the late Heath Ledger is in this film, or that his performance as the Crown Prince of Crime is every bit as worthy as those clamoring for a posthumous Oscar nomination make it out to be. Nor can I mention without sounding like pretty much every other reviewer writing right now that this isn’t just the most amazing and greatest Superhero Movie ever committed to celluloid, but also one of the most engaging and potent Crime Dramas to come out in the last ten years. So complex and full of twist and turns that I’ll be surprised if Mr. Joe Sixpack will even be able to comprehend half of what’s going on. Howabout the fact that THE DARK KNIGHT sets up a sequel so dark, so bleak, and so utterly devoid of the possibility of a happy ending that I predict THE DARK KNIGHT RETURNS (one of two graphic novels from the 80’s that changed the face of Superheroes and Comic books) will be the basis and title of a third film in this radical vision of the Caped Crusader. One can hope and dream at least right? Whatever the next installment has in store for viewers and our favorite pointy-eared avenger, Christopher Nolan and Co. have guaranteed that at least this viewer will follow them to whatever great depths they take Gotham’s Dark Knight and beyond. Until next time, see ya at the movies!
Bobert’s Rating: - DIGADEESH! (A MUST-SEE!)

Hey folks, Bobert here! Just got back from a Midnight showing of THE DARK KNIGHT, and I wanted to share a couple of trailers that were featured before the main attraction. At least one of these will send shivers down your spine, I know it did me. I’m sure you can guess which one. And the other—well let’s just that there MIGHT be a chance that a fourth film in a franchise that lost all viability after the end of the second movie may turn out not half bad. Click on the pics below to see the trailers, and be on the lookout for my write-up on THE DARK KNIGHT in a few hours. But for now, the Bobert has been up for 24 hours so he’s gonna hit that pillow long and hard. Enjoy!

The Official Studio Line:

“Shoot First. Sightsee Later.

Colin Farrell and Academy Award-nominee Ralph Fiennes star in this edgy, action-packed comedy, filled with thrilling chases, spectacular shoot outs and an explosive ending you won’t want to miss!

Hit men Ray (Farrell) and Ken (Brendan Gleeson, Harry Potter) have been ordered to cool their heels in the storybook city of Bruges (it’s in Belgium) after finishing a big job. But since hit men make the worst tourists, they soon find themselves in a life-and-death struggle of comic proportions against one very angry crime boss (Fiennes)!

Get ready for the outrageous and unpredictable fun you will have In Bruges, the movie critics are calling, ‘wildly entertaining’ – Stephen Rebello, Playboy.”

This was actually going to be a part of my Quickie Review Round-Up I periodically do now, but I decided I just had too much to say about IN BRUGES that it would be nigh-impossible for me to encapsulate all of that in one big paragraph. I’m sure you all remember one of my chief complaints about WANTED is that it wallows in its sequences of bloody violence like a Tinseltown pig, making no attempt to explore or humanize the nature of it. We’re left feeling completely disconnected from these actions, approached with a nonchalance that is both boring and inconducive. IN BRUGES is the complete antithesis of WANTED, and I find the coincidence of seeing it only a few days after putting myself through that wretched mess too amusing to ignore. Hence this ridiculously extended review. Writer/Director Martin McDonagh never pulls any punches when depicting the violence in this film, but there’s also a purpose and, most importantly, there are always consequences to those actions. Whether it’s the death of innocence (figuratively and literally) or overwhelming guilt, McDonagh doesn’t shy away from showing the reality of just how human seemingly inhumane acts of violence really are. Brutally and unapologetically honest. I know this all sounds like really heady stuff, but don’t let my over-analytical view fool you. IN BRUGES may carry a sharp undertone of social commentary and wonderfully original take on the underworld, but its also a seriously funny flick.

The humor ranges from sophomorically vulgar and ingeniously witty to uproariously racist and mischievously violent, but always ruthlessly dark. My favorite brand of hilarity, mind you. Kids getting their heads blown off and dudes falling to their grotesquely vivid deaths may not, however, bring the house down as they say. Did I mention the flick gets exceptionally dark and brutally violent at times? I did? Ok, just making sure. Truth is, when “Drama” is done as well as it is in this flick and the reality of said drama (which includes subjects as varied as suicide, murder, racism, the after-life, and guilt) is so accurately realized, the humor that seeps into these heart-wrenching moments feel very true and elicit boisterous laughter. At least from yours truly they did. Some of this stuff might understandably scare off and offend other folks. Kurt Vonnegut once said “Laughter and tears are both responses to frustration and exhaustion. I myself prefer to laugh, since there is less cleaning up to do afterwards.” I’m with him on that, and the filmmakers behind IN BRUGES also seem to agree with that sentiment. This could’ve been a sob story of epic proportions, filled with copious amounts of self-pity/loathing. There are moments where the film veers dangerously close to such depths, but luckily a bit of opportune yuk-yuks always comes in and rescues us from such a fate. Strangely enough, there’s a sense of hope that does run throughout the film. Whether it’s the pregnant owner of a quaint local hotel, or the fairytale-like setting Bruges embodies, its there and never feels forced.

And thank goodness Colin Farrell showed up for this flick. Sometimes an actor that you remembered being amazing in something like TIGERLAND loses himself in the big Movie Star making machine that is Hollywood, and he starts churning out garbage like—Oh, I don’t know—like S.W.A.T., DAREDEVIL, and ALEXANDER, and you forget that the guy could once act. Then he comes back with something that reminds you why you were so impressed with them in the first place. IN BRUGES does that for Farrell. His character starts off hating Bruges with a passion, dealing with an unimaginable sort of guilt over a ghastly act. Certainly a lead character that refuses to adhere to our conventional notions of what a cinematic protagonist should be. He’s crass and violent, but also possesses a child-like spirit and naiveté that is enduring. He doesn’t play an overly sympathetic or likable character, instead he offers viewers a very real guy with serious issues. A killer with a flawed conscience, and we actually find ourselves feeling sorry for him. Brendan Gleeson’s character is undoubtedly the most likable in the lot, playing a warm-hearted hitman. Gleeson’s performance reminds us that even nice people can do horrible things. And Ralph Fiennes is riotously funny as a short-tempered gangster with an especially unpleasant disposition, but still managing to achieve a level of decency rarely afforded to heavies in a Crime flick. He even gets the chance to toss in a few bits of self-referential humor that breaks that pesky fourth wall. In fact the entire movie has a tinge of meta-theatricality about it, an intriguing and amusing element indeed.

It’s a real shame that we don’t get IN BRUGES in Blu-ray, because I’m sure the beautiful medieval town would’ve looked gorgeous in Hi-Def. At least we get a couple of interesting featurettes detailing the making of the film, the experience of shooting in Bruges, and a short tour of Bruges with factoids included. There’s a slew of deleted scenes, a gag reel, and truncated version of the film that showcases all of the F-Bombs dropped throughout the flick.

This could’ve easily have turned out to be a fun little farce about a couple of crooked fish out of water, and honestly I’m sure that would’ve been just fine. But, thankfully, it strives to be more than just that. Thanks to a cast of actors committed to imbuing their characters with real heart, nuances, and a slightly twisted sense of morality and principles, IN BRUGES ends up being one of those rare Crime Dramas where even the bad guys achieve a level of humanity that we can all identify and sympathize with. We don’t want to see any of ‘em dead really, but alas this is a movie about criminals after all. And you know what they say about folks that live by the sword…Until next time, see you at the movies!
Bobert’s Rating: - A MUST-SEE!

Hey folks, Bobert here with another edition of Bobert@The Movies! This week there’s only one Major release I’m looking forward to seeing, the others I couldn’t care less about. But there’s a smaller film may have not heard about that has caught my attention. Read about ‘em below, and remember to click on the pics below to check out the trailers!

I wasn’t much of a fan of the first HELLBOY movie. I can’t really put my finger on as to why, but I remember feeling pretty blasé about the whole thing. So why am I so excited about HELLBOY II: THE GOLDEN ARMY? It’s all about that sick and twisted maestro, Guillermo Del Toro. After years of toiling in Hollywood, acting as a gun-for-hire while occasionally sneaking back off to Mexico to make his smaller more intimate Horror masterpieces, a major movie studio has finally given him the boucoup bucks as well as the complete freedom to go nuts. Just from the superficial looks we’ve had at the film from various trailers and clips, the sheer magnitude and imagination packed into this flick looks to be ten times what the original HELLBOY offered and loads more than anything released in the last couple of months. I know I’ll be standing in line for my ticket this weekend, and so should you. Check out HELLBOY II at a theater near you!

I wish Eddie Murphy would just go back to doing the crude and rude stand-up we all love him for in the 80’s. Not only because I miss that R-rated humor of his, but because its extremely apparent that Eddie doesn’t know how to pick his projects. Just check out the premise of MEET DAVE provided by the good folks at Yahoo!:

“A massive fireball from space hits New York’s Central Park and an ordinary man emerges unscathed. The man turns out to be a spaceship operated by 100 human-looking aliens who are one-quarter inch tall and seeking a way to save their planet; complications ensue when their captain falls in love with an Earth woman who’s always picked losers for previous romances.”

I mean, WTF? Who in their right mind thinks to themselves “I wanna be in that!”, let alone want to see a movie that sounds that r-tarded. Obviously you’re not going to be finding me at a screening of this flick, but if you’re a masochist and actually enjoyed drivel like PLUTO NASH and NORBIT, by all means knock yourself out.

Then there’s this JOURNEY TO THE CENTER OF THE EARTH 3D movie starring Brendan Fraser. Uh, I guess that COULD be good. But I’ve endured enough absent-minded fair this summer to subject myself to this thing. Besides, those 3D glasses are tough to enjoy when you have to wear prescription glasses underneath ‘em

Here’s a smaller film getting a limited release that has a real potential to really gain steam, or rise in the ranks of the Cult Film Hall of Fame. HAROLD is the story of a geeky kid struggling to live a “normal” life while going to High School. Only problem is that he’s already suffering from a severe case of male pattern baldness. First time director/writer T. Sean Shannon definitely has an uphill battle with differentiating his film from precursors like NAPOLEAN DYNAMITE, but I think the unique premise and slightly more biting nature of the film will keep audiences from crying “Déjà vu!”! Check your local listings for a showing and click the pic above to see a trailer if you’re still not convinced about the flick!

Well that’s all for now folks. You don’t need me telling you what’s coming out next week. I’m sure all of us are ready for our date with a certain DARK KNIGHT next Friday. So until then, see you at the movies!

The Official Studio Line:

There are heroes… there are superheroes… and then there’s Hancock. With great power comes great responsibility — everyone knows that — everyone, that is, but Hancock. Edgy, conflicted, sarcastic, and misunderstood, Hancock’s well-intentioned heroics might get the job done and save countless lives, but always seem to leave jaw-dropping damage in their wake. The public has finally had enough — as grateful as they are to have their local hero, the good citizens of Los Angeles are wondering what they ever did to deserve this guy. Hancock isn’t the kind of man who cares what other people think — until the day that he saves the life of PR executive Ray Embrey, and the sardonic superhero begins to realize that he may have a vulnerable side after all. Facing that will be Hancock’s greatest challenge yet — and a task that may prove impossible as Ray’s wife, Mary, insists that he’s a lost cause.

Y’know what, I liked HANCOCK. Not because it succeeds in telling a competent and exciting Genre-skewing take on the Superhero mythos, it ultimately fails in that regard, but because it seems to this viewer that all of the participants involved really gave their all in making something entertaining. The issue seems to lie with the film’s second and third acts where it seemingly abandons its unconventional approach and adopts the tried and true formula of a Superhero origin film. A disappointing choice because I believe we’ve reached a point in general audience expectations where these movies can start defying the rules and offer something fresh. It’s kind of like we were promised something along the lines of WATCHMEN or DARK KNIGHT RETURNS (both darker and grimier interpretations of Superheroes) and instead we got a MY SUPER EX-GIRLFRIEND/SUPERMAN III redux. There are moments in the film that Director Peter Berg retains that aforementioned edge, but they’re diluted in an overall attempt to appease the great unwashed. As it stands, the first third is fun and interesting stuff, cashing in on the storytelling possibilities a publicly-open Superhero that’s despised by the public opens up. The fact that Hancock cares very little about his public image, outwardly displaying his disdain for everyone and their opinions, makes for some fun moments. His propensity for wreaking as much havoc (or more-so) as he prevents, leaving behind gaping holes where ever he lands and drunkenly smashing through anything in his erratic flightpath, and the understandably vocal outcry by unhappy citizens is something a mainstream Superhero film (Aside from the prologue we see in THE INCREDIBLES) hasn’t fully explored yet . But as soon as Berg and Co. try to slap a mythic origin on Hancock, as well as try to forcefully insert drama of the Greek-Tragedy variety, things begin to fall apart. By the end of the movie, I kinda lost interest. Especially as soon as I realized that Hancock’s climatic adversaries would end up being a bunch of disgruntled escaped convicts gunning for revenge.

Peter Berg is an interesting director, having realized several interesting movies on the Big Screen that include FRIDAY NIGHT LIGHTS and THE KINGDOM, as well as more fun and disposable fair like VERY BAD THINGS and THE RUNDOWN. He brings some of that grittiness and haphazardness to HANCOCK, but doesn’t shy away from getting a bit ludicrous at one moment or another. Since this is his first foray into such fantastical material, he can be forgiven for the missteps the film makes. The extensive CGI utilized is also not the best I’ve seen, sometimes looking like the effects studio put all of it together in a slapdash manner. Luckily, the film’s performances go a long way towards redeeming the film’s shortcomings and faults. Will Smith is his usually charming self (complete with his now trademark “Aw, Hell Naw!” exclamation), only this time not obliged to play a necessarily nice guy. His character’s abrasive nature and dislikable tendencies actually helped better endure the character to me. Except the whole “Don’t call me an asshole” stuff, that was just silly. After all the disparaging things the character has heard himself be called by the public, why would that particular nomenclature bother him so?

As for the supporting cast, Jason Bateman stands out. Bateman’s an actor who has had a resurgence of late thanks to the TV show ARRESTED DEVELOPMENT and memorable performances in stuff like SMOKIN’ ACES, THE KINGDOM, and JUNO. Definitely a far cry from the guy most people remembered as the kid from THE HOGAN FAMILY and the actor that replaced Michael J. Fox in TEEN WOLF TOO. His genuine and funny portrayal of a dedicated and well-meaning Public Relations agent helps keep this leaky boat afloat, giving audiences someone a bit more ordinary to root for along with our Super-powered protagonist. Charlize Theron’s character is a bit of a plot device, for both the second and third act, but the actress does the best she can do with the material is handed. The film’s “villains” (as mentioned before consist of mainly bank robbers and such), with no disrespect to actor Eddie Marsan (MIAMI VICE and V FOR VENDETTA), are probably the film’s weakest links of all, especially since they become Hancock’s major threats in the film’s conclusion. That simplified approach would’ve been appropriate if they had remained auxiliary elements in a story examining a character’s own internal struggles, but they crumble when the weight of a film’s climax rests on their shoulders.

For all of its foibles and flaws, HANCOCK is still an entertaining ride most of the time. It’s obvious that the cast and crew were trying to put a new spin on what is becoming a tired old record, but unfortunately just missed the mark. It isn’t the next UNBREAKABLE, but thank god it ain’t the mindless drivel that WANTED is. Be sure to give it a shot. Until next time, see ya at the movies!
Bobert’s Rating: - CHECK IT OUT!

BE KIND REWIND

The Official Studio Line:

Experience the antics of two outcasts, Jack Black (School of Rock) and Mos Def (The Italian Job), as they attempt to save a local video store in this outrageous and offbeat comedy from Academy Award-winning writer/director Michel Gondry (Eternal Sunshine of the Spotless Mind). Amateur film director Mike (Mos Def) must find a way to save the business after his magnetized friend Jerry (Black) erases every movie in the store. Using an outdated video camera and their own special effects, the two embark on an adventure to remake all the movies, from Ghostbusters to Driving Miss Daisy, turning the two town misfits into local celebrities!

Upon first hearing that Michel Gondry’s next film would be about two friends creating amateur remakes of some of Cinema’s all-time classic movies, I was filled with excitement. Not only because Gondry in his infinite wisdom saw fit to include ROBOCOP in that collection of films-to-be-remade, but because I just plain love Gondry’s projects. Whether they’re music videos, documentaries, or movies, his work overflows with creativity and quirkiness. Its that same off-kilter execution, however, that probably scares a lot of movie-goers away. Aside from the universally loved ETERNAL SUNSHINE OF THE SPOTLESS, Gondry’s work has not received the accolades and appreciation it deserves. BE KIND REWIND unfortunately seems to have suffered that same fate. You’d think the inclusion of Jack Black’s decidedly broadly humorous hijinks would have helped audiences more easily traverse Gondry’s rich and layered sense of humor, but alas the film would largely ignored and occasionally panned. Granted, the film’s ending reaches a schmaltzy finish that in any other less-capable film would have had me gagging, the difference being BE KIND REWIND actually earns this sentimental conclusion. Through the genuine and thoughtful performances of Mos Def, Danny Glover, Mia Farrow, and other supporting players, the film won me over and I couldn’t but root for a happy ending. Not to say the filmmakers cheat and have our heroes save the video store from the city bulldozers, the exact opposite actually, but the jubilation on display leaves room open for hope. If not that, at the very least, a feeling of closure. I haven’t even mentioned the scenes involving our heroes remaking (or “Sweding” as they call it) classics like GHOSTBUSTERS, 2001: A SPACE ODYSSEY, and of course ROBOCOP. These moments are so full of fun and creative energy that I felt like I was participating in the “Sweding” myself! Suffice to say, I left the film with a big grin on my face, and I can only hope it does the same for you. The Blu-ray disc looks great and includes some interesting featurettes, novelties (Jack Black and Mos Def improvising movie theme songs and a tribute concert for Fats Waller), as well as the full Fats Waller Biopic seen in the flick. A solid recommendation from yours truly.
Bobert’s Rating: – RECOMMENDED!

YOUTH WITHOUT YOUTH

The Official Studio Line:

Romania is on the brink of war with Germany, and linguistics professor Dominic Matei (Tim Roth) has little left to live for. On Easter Day 1938, he crosses the street and is struck by a bolt of lightning. Badly burned and nearly dead, he amazes the doctors by healing in only a short time. He defies science and ages in reverse from 70 to 40. There’s seemingly no limit to the wonder and love he can find in his new youth. He pursues lost dreams, endless knowledge and the secrets of life until his secret is discovered. Now he must use his increased intelligence to keep his powerful secret safe from the wicked powers that would use it for evil.

It’s been ten years since Francis Ford Coppola made a movie, his last being 1997′s John Grisham adaptation THE RAINMAKER. His last great movie in my opinion is BRAM STOKER’S DRACULA, achieving a visual gracefulness and romanticism in that film that is rarely paralleled by modern filmmakers. So it seems fitting that the film marking his return to the cinema would mirror those same visual and romantic themes. YOUTH WITHOUT YOUTH is a sumptuous and gorgeous production, made all the more alluring thanks to Coppola’s conversion to Digital Photography. Seeing this film in Blu-Ray is the only way to go. But enough about how amazing the film looks, is the flick any good? YOUTH WITHOUT YOUTH is a film of mysteries and ambiguity, presenting many questions and rarely offering any clear-cut answers. The plot delves into subjects as varied and as oblique as metaphysics, transmigration, humanism, and religion. The underlying themes of Life, Love, and Death may be easier to grasp for some viewers, but when viewed within the context of what YOUTH WITHOUT YOUTH attempts to explore, the simplicity of said motifs can very easily get lost. And perhaps that is the only flaw in Coppola’s latest work, trying to say too much at once with little to no clarity. The film is obviously a very personal story, refuting the conventions of traditional Hollywood movies and narratives. So with that in mind, the film’s ambiguous nature and experimental execution is completely acceptable. But everyone is different, so not everyone may be as receptive to the material as I was. Without a doubt, Tim Roth’s performance is one of humanity and sincerity, with an undertone of sadness that is haunting and compelling. His female co-star, Alexandra Maria Lara, is a stunning beauty that dives into her emotional role completely, helping to shape the Love story that glues the entire film together. The Blu-ray also includes three in-depth featurettes that go behind-the-scenes of the making of the film, the make-up process, and the film’s unique musical composition and orchestration. Plus the commentary track from Francis Ford Coppola makes for a great listen for film fans. As it stands YOUTH WITHOUT YOUTH is a fascinating, sometimes-infuriating, but youthful masterpiece from an old master seemingly hitting a new feverish but hopefully prolific stride. Truly an unforgettable excursion for folks willing to invest the time and effort into it.
Bobert’s Rating: – HIGHLY RECOMMENDED!

SHINOBI: HEART UNDER BLADE

The Official Studio Line:

The year is 1614. Japan has been united under the Tokugawa Shoguns and the land is begining to feel at peace. Two remote ninja clans, the Koga and the Iga, are ancient enemies but have long been bound by a peace agreement forbidding them to fight. The heirs to the leadership of both clans have fallen in love but a tragic fate awaits them. A cruel plot is set by the Shogun to wipe these two clans from existence by breaking the peace agreement and forcing the two clans to battle. Five Ninjas of each the Koga and Iga clans will battle against each other to the death. As a great war begins it brings the two young heirs together again. But this time as enemies.

Its still pretty rare these days to find Foreign Films not domestically distributed by the Major Studios on Blu-ray, so I was excited when Funimation Entertainment (a major producer/distributor of Anime like DRAGON BALL and FULLMETAL ALCHEMIST) announced they would be bringing the live-action Japanese “blockbuster” SHINOBI to American shores in Hi-Def. Unfortunately the film is not all that and a bag of chips. It’s like one of those mini-bags of chips that you find are only filled up half-way the moment you open it up (howabout that for an analogy huh?). The film is based on a popular Japanese novel that has been adapted a number of times before, both in Manga form and as an Anime. With that said, a lot of the characters, names, and situations may seem familiar to some folks. Those of you that are aware of either the BASILISK manga or Anime adaptation of said Manga will probably have a severe case of Deja Vu, as SHINOBI and BASILISK were both adapted from the same novel. Maybe it was due to that familiarity, but I found myself rather bored with SHINOBI. The film is far from slow, its actually briskly paced. It’s definitely a Pop-Culture Japanese flick, lacking the patience and depth that Japanese auteurs like Kurosawa, Suzuki, Fukasuku, or Miike would instill. The characters are barely developed before they start dropping like flies, giving you no opportunity to connect with any of the participants. And while there’s plenty of action to be seen, it’s rather uninventive and hampered by an over-reliance on CG (not-so-good-CG at that). SHINOBI is billed as a cross between X-MEN and ROMEO & JULIET, but unfortunately it’s neither as tragic nor as fantastical as either. As for the Blu-Ray disc, the picture is obviously amazing, although there are scenes where film grain is really evident and a bit obtrusive. The extras are where I’m really disappointed, with the disc offering only info on the film’s lackluster visual effects. No background is offered on either the development of the film, or any insight regarding the original source material. So to sum it up; if you’re fan of Ninjas and you dug Anime like NINJA SCROLL or BASILISK, I’d say give SHINOBI a shot. The rest of ya’ll should probably steer clear.
Bobert’s Rating: – RENT IT!

That’s all for now folks. Until next time, keep those Blu-Rays spinning!

Hey folks, Bobert here with another edition of the Box-Office Space! So was it a return to the Big Willie Weekend this year? It looks like it, but who were the other big winners and losers this past weekend? Let’s find out below!

Will Smith vowed July 4th weekend would once again be seen as “Big Willie Weekend”, and it certainly did that despite a beat-down from critics. But he didn’t really have any competition to contend with, aside from the Family Period Piece KIT KITTREDGE: AN AMERICAN GIRL getting a wider release. So how impressive is HANCOCK’s attainment of the #1 spot really? Another damper on the Big Willie Parade is this week’s overall Box Office performance for the film industry fell short of last year’s record high gains. Guess a Big Willie Weekend means bad news for everyone but Smith this time out.

WALL-E dropped to second place and looks to be on track to outperforming Pixar’s last film, RATATOUILLE. The computer animated Sci-Fi Comedy about a waste removal robot with a personality may even have a chance at meeting or possibly exceeding CARS, Pixar’s last film to near $250 Million. WANTED slid to third as it approaches the $100 Million mark in only 10 days, pretty good for a generic-looking Action movie based on a comic book mini-series no one has ever heard of. The rest of the Top Five featured GET SMART at number four and KUNG FU PANDA hanging in there and securing fifth place.

Well that’s it for last week’s box office brawl. Stay tuned for next week when Guillermo Del Toro returns to the comic book world with HELLBOY II: THE GOLDEN ARMY and is pitted against Eddie Murphy in MEET DAVE and Brendan Fraser’s JOURNEY TO THE CENTER OF THE EARTH adaptation. Until then, see you at the movies!

The Official Studio Line:

25-year-old Wes was the most disaffected, cube-dwelling drone the planet had ever known. His boss chewed him out hourly, his girlfriend ignored him routinely and his life plodded on interminably. Everyone was certain this disengaged slacker would amount to nothing. There was little else for Wes to do but wile away the days and die in his slow, clock-punching rut. Until he met a woman named Fox. After his estranged father is murdered, the deadly sexy Fox recruits Wes into the Fraternity, a secret society that trains Wes to avenge his dad’s death by unlocking his dormant powers. As she teaches him how to develop lightning-quick reflexes and phenomenal agility, Wes discovers this team lives by an ancient, unbreakable code: carry out the death orders given by fate itself. With wickedly brilliant tutors–including the Fraternity’s enigmatic leader, Sloan–Wes grows to enjoy all the strength he ever wanted. But, slowly, he begins to realize there is more to his dangerous associates than meets the eye. And as he wavers between newfound heroism and vengeance, Wes will come to learn what no one could ever teach him: he alone controls his destiny.

If I hear one more person say that WANTED is a badass summer movie, I’m gonna curve a gundam bullet through their effin’ skull. This is easily one of the worst films of the year, and critics and moviegoers alike are giving it a pass because they’re excusing it as a “Summer Movie”. It’s the TRANSFORMERS phenomenon all over again. Release a dreadful movie of r-tard strength proportions during the summer, and its suddenly ok for a movie to be completely unintelligible, possess a horribly generic and clichéd non-story, suffer from mind-achingly idiotic plot devices (“Loom of Fate”? WTF?!), unlikable and uninteresting characters, and be absolutely bereft of any sort of soul. I’m not even going to mention what an ass of a Comic Book adaptation WANTED is, because obviously the original comic book’s own creator doesn’t even give a flying-F about it. Otherwise, he wouldn’t have gone on to endorse and even praise the flick. What a total whore writer Mark Millar must be…

Director Timur Bekmambetov is an amazing visualist, as evidenced in his Russian Sci-Fi Actioners NIGHT WATCH and DAY WATCH. But as also demonstrated in those earlier efforts, he has no idea how to tell a coherent story. Everything for him is a money-shot, montage, music video, and/or iconic visage. He never pulls himself back and says, “Waitaminute, what I am trying to say or get across here? Is all of this optical and auditory nonsense servicing the story?” But I guess it’s tough to direct a movie where the story is as lame as it is in WANTED. The original comic book is definitely another one of Millar’s “high-concept” ideas, but he eventual supports it with a solid story and uncompromising characters. The movie’s writers apparently just wanted to take some of the cool bits from the comic book, mix it in with scenes from the top Action movies of the past decade, and make a bloody R-Rated but essentially cowardly Action movie. It’s like a bunch of prepubescent 13-year-olds got together and thought it would be really cool idea to write a summer blockbuster movie. With the premise changed to that of a Centuries-old “Fraternity” of benevolent assassins, the whole thing smells more of HITMAN than WANTED. The brutal comic book version is brave and smart enough to make the protagonists immoral and blood-thirty killers that we’re fooled into liking (saying something pretty disturbing about our innate and intrinsic connection to violence), but the movie falls back on the conventions of a horribly unadventurous Hollywood machine. So what we get is a movie that simply feeds that hunger for violence as opposed to one that also sheds a light on our unhealthy obsession with it. And to top it all off WANTED comes complete with Pop Music intrusions, making Danny Elfman’s music completely inert or non-existent.

And what the hell happened to Angelina Jolie? At one time, she was arguably the hottest and most desirable actress working in Hollywood. In WANTED, however, she looks horribly haggard, tired, and boney. Maybe she’s just trying to look more like the residents of the 3rd World Countries she’s been visiting lately. Easier to steal their kids that way I guess. Whatever the reason, she has never looked as unattractive as she does in this flick. And while her character is probably the closest to genuine in the entire mess, her climatic sacrifice makes her appear more like a sheepish lemming than an assassin-with-honor. James McAvoy is terribly wasted in this movie. Not only does he have to contend with a pretty piss poor American accent, he’s saddled with a whiney and insipid character that feels completely artificial the moment you hear his shrill narration. And what an ass of a character, so self-absorbed he doesn’t even notice he’s partly responsible for the deaths of at least three train cars worth of innocent bystanders. Then he self-righteously returns spouting about this and that about right and wrong — it’s enough for me to shoot the a-hole myself. Other supporters of this crap are inexplicably praising Morgan Freeman’s by-the-numbers bad guy performance, saying he pulls a “Sam Jackson” on audiences. Puh-lease! If you want to see Morgan Freeman play a real badass watch LUCKY NUMBER SLEVIN, he is far more menacing in that. And poor Terrence Stamp, seemingly relegated to the subpar summer movies of 2008 (he was in GET SMART also). At least his contribution in this whole sordid affair is so small that he might get away with nobody even remembering he was in it.

I know I’m probably coming off like a pretentious prick, declaring this movie a cinematic abortion and accusing its fans of being braindead hicks. But the truth is most of the film’s apologists claim that WANTED is a movie where you have to check your brain at the door. It’s supposed to be mindless entertainment after all. It would be incredibly hard for me to respect the cinematic tastes of anyone who thinks WANTED is a form of passable entertainment. Even if you’re only in it for the action, all Bekmambetov and Co. do is steal the best bits from EQUILIBRIUM, THE MATRIX, FIGHT CLUB and DAY WATCH and make them louder and more obnoxious. The rest is boring and derivative. Honestly, haven’t we come farther than this? Haven’t we grown out of these kinds of grotesquely sophomoric and inane Action movies? I guess not, ‘cause folks are eating this shit up and wearing those turd-brown smiles of theirs with pride. I implore you ladies and gentlemen, don’t be one of them. For the love of the Cinema Gods, skip it! Until next time, see you at the movies!
Bobert’s Rating: – SKIP IT!