DVD Review: Route Irish

Route Irish
Directed by: Ken Loach
Written By: Paul Laverty.
Starring: Mark Womack (Fergus), Andrea Lowe (Rachel), John Bishop (Frankie), Geoff Bell (Walker), Jack Fortune (Haynes), Talib Rasool (Harim), Craig Lundberg (Craig), Trevor Williams (Nelson), Russel Anderson (Tommy), Jamie Michie (Jamie), Stephen Lord (Steve), Najwa Nimri (Marisol).

Note: This review was written within days of my seeing Route Irish at TIFF in 2010. As far as I know, the film was never released in North America - and yes, there is a reason why-, and is just now getting a DVD release - so I thought I'd post this.

There are few directors as socially conscious as Ken Loach. For the past 40 plus years, Loach has been making films, and all of them have a political bent to them – for him politics and cinemas are forever entwined. It was only a matter of time before Loach turned his camera onto the Iraq war – in fact I am amazed it took him this long to finally do a film on it. I am also surprised that Loach decided that this was the story about Iraq he wanted to tell – a Death Wish type thriller.

The movie opens with Fergus (Mark Womack) at the funeral of his best friend Frankie (John Bishop), who was killed along “Route Irish”, a highway leading to the Baghdad airport in Iraq. Frankie worked for one of those “private security firms” operating in Iraq, and was only there because Fergus had convinced him to sign up and come with him. But while Fergus was safely back in Ireland, Frankie was still there when the jeep he was riding in explodes, and he gets killed. From the eye witness reports, Frankie was just “in the wrong place at the wrong time”.

Fergus refuses to accept this line of reasoning though, and wants to know everything about what happened to his friend. His interest becomes more intense when get a cell phone delivered to him that Frankie wanted him to have. On that cell phone is a video in which an innocent Iraqi family is gunned down by someone else working for the security firm, as Frankie tries, and fails, to stop it. Does this video have anything to do with Frankie’s death? Is there some great conspiracy within the security firm that wanted Frankie dead so he couldn’t tell what he knows? What do you think?

It takes Fergus about half the movie to unravel the plot and swear vengeance. The film then devolves into a series of scenes in which Fergus tracks down the people responsible for Frankie’s death and makes them pay for it – including one memorable scene where he water boards someone (which apparently they really did to poor actor Trevor Williams when they realized that simulating water boarding didn’t look real enough).

I’m not sure what it was about this story that Loach felt that he needed to make. He has made thrillers before sure, but this one seems a little too rudimentary for his tastes. Yes, he gets to get his political points in – making the corporate war machines the bad guys – but that’s a little too obvious isn’t it? He doesn’t really dissect either the war, or these corporations, in any meaningful way.

Yet, once I got past the idea that Loach was going to do something more intelligent, and simply gave in to the Death Wish like theatrics of the film, I did find myself enjoying it a little more. Mark Womack may give a one note performance in the film – all righteous anger – but he holds the screen with a commanding presence. The film has many memorable images – not just the water boarding, but other acts of violence as well.

It’s just that I expect more than this from Loach. I expect something more intelligent, a movie that actually has something to say, and I don’t think in Route Irish that he really has anything. It’s like he felt he had to make a movie on the Iraq war – everyone expected him to do it years ago – and jumped onto the first project that allowed him to do so. Route Irish certainly is a horrible film, but it’s not all that good either.

DVD Review: Essential Killing

Essential Killing ***

Directed by: Jerzy Skolimowski.

Written by: Jerzy Skolimowski and Ewa Piaskowska.

Starring: Vincent Gallo (Mohammed), Emmanuelle Seigner (Margaret).

Vincent Gallo is one of the great actors out there right now. That he rarely works – and always do so in strange, small movies, sometimes from the most unlikely sources, is our loss because in films like Buffalo 66 (which he also directed), Francis Ford Coppola’s strange Tetro, and yes even the infamously bad The Brown Bunny, Gallo as an actor makes choices that no other actor would make. The most daring choice he makes in Jerzy Skolimowski’s Essential Killing was perhaps to even agree to do the film itself. He plays a Taliban fighter, identified on some sights as Mohammed, but if his name is mentioned in the movie, I didn’t hear it. During the course of this movie, Gallo will not utter a single line of dialogue – he grunts and cries out in pain and terror, but he doesn’t talk. Some of those he comes across do talk, but none of it is particularly meaningful – you don’t even need the subtitles for the dialogue not spoken in English, because it doesn’t matter. Essential Killing is an example of pure visual storytelling, and is a triumph for Skolimowski and Gallo.

The film opens with three American military men walking through the desert and caves of Afghanistan. We know before they do that there is a Taliban fighter (Gallo) hiding in one of those caves, with a rocket launcher waiting to strike. He does so, and takes off through the desert, but the area is covered by a helicopter, so he is quickly captured, and taken into custody. The American soldiers yell at him, although he cannot hear them because his ears are ringing from an explosion, and probably doesn’t understand English anyway. He just looks at them blankly. They take to a back room and water board him, but still, he doesn’t utter a word. He is put on a plane, and taken to Poland, presumably for more questioning, but the van he is in crashes, and he escapes. Thus begins the main thrust of the movie, which involves Gallo running through the frozen Polish landscape, pursued by his captors, and doing what he needs to do to survive.

Given that the movie is about a Taliban fighter being pursued by Americans in a foreign country, you could be forgiven for thinking that this is a political film. It really isn’t. Gallo is no more or less demonized or lauded as the American army is. There are no speeches, no real talk about freedom or religion or belief or anything else for that matter. This is just a story of a man, on his own in the Polish wilderness trying to survive.

That Gallo is good enough in the film that he won the Best Actor prize at last year’s Berlin Film Festival is remarkable, considering he never utters a word, and of course, that he really isn’t Arab. But Gallo convinces you that he is a Taliban fighter, and further convinces you that the pain he is going through is real. His journey through Poland is one painful episode after another, as he first must get clothing to avoid freezing to death, than evade capture by men with much more technology and knowledge of the area than he does, and even has to deal with getting his foot caught in a bear trap with his pursuers following close behind. That he survives so long is perhaps a little unbelievable, and yet each of his escapes seem at least somewhat plausible in the time they are happening. Gallo carries the movie with his physicality, and of course, the most expressive eyes of any actor currently out there. It is a masterful performance.

And it is a triumph for Skolimowski as well, who manages to make a movie with no meaningful dialogue, that is still remarkably engaging. This is pure cinema, and Skolimowski pulls it off. I’m sure there will be some who criticize the film for being a sympathetic portrait of a Taliban fighter, or simply for its name, which implies that what he does is “essential”. But for Gallo’s character in this movie, all the killing he does – whether or Americans or animals – is essential to him. He views killing as essential to his survival. We may disagree with him, but he doesn’t.

DVD Review: Cropsey

Cropsey ***

Directed by: Joshua Zeman & Barbara Brancaccio.

Every town has a bogeyman - a legend that makes the rounds through the kids and teenagers of a place generation after generation. Sometimes these legends have a basis in fact and have simply been exaggerated over the years, and sometimes they are completely made up. On Long Island, the name of the murderer that everyone knows is Cropsey. Where that name came from, no one seems exactly sure, and when filmmakers Joshua Zeman and Barbara Brancaccio interview fellow residents of Long Island about Cropsey, they get any number of different stories about who Cropsey is and what he did. But the basis of that story may well by Andre Rand, who was linked to numerous missing children from the 1970s through the 1980s - eventually being convicted of one murder of a child found a few hundred yards from his campsite in the woods. When his parole approaches, Long Island is outraged, and the prosecutors go back and try to find evidence to convict Rand of another murder. In neither case do they have any physical or forensic evidence to link Rand to the dead child. But they have eye witness testimony - not of him killing the children, but just with them or near where they were when they were last seen. Rand has always maintained his innocence, but his case is complicated by several factors. For one thing, the whole town is convinced of his guilt. For another, Rand has obvious mental problems, and his paranoid ramblings stretch credibility. The filmmakers try repeatedly to get an interview with Rand, but have to settle for some of his journals - which are evidence of nothing except a mind riddled by mental disease.

What makes Cropsey so fascinating is the interviews Zeman and Brancaccio get with the residents of Long Island. It’s quite clear that there really isn’t any evidence against Rand, and what little there is cannot be trusted. When put on trial the second time, the prosecutors rely on evidence from former alcoholics and drug addicts whose minds have mysteriously cleared since they became clean. That doesn’t make much sense to me, but it’s good enough for the prosecutors.

And yet, everyone they talk to are convinced of Rand’s guilt, and their own testimony. From the cop who goes on about the Satanic rituals that Rand was involved in with his group of friends (none of whom can seemingly be found), to the girl who waited decades to reveal that she saw Rand kidnap one of the girls - even though she admits she could see his face because it was covered. The stories told about Rand rival Rand’s own paranoid ramblings.

There is no doubt that there were multiple missing children in Long Island during the time period. But with only one body, and no evidence, whether or not Rand was responsible cannot really be known. The area was full of strange people who flocked to the area where Rand was camping out, because there was once a mental hospital there (where Rand was once employed), and when it was closed, many of the patients were just put out on the street. Rand is certainly a suspicious guy, but you do get the feeling that perhaps he was railroaded.

What keeps Cropsey from being a better movie - a more complete movie - is that the facts of the case remain mysterious. The filmmakers do not seem to get interviews with the key players in the court cases - often they are seen only in TV interviews. A movie like Capturing the Friedmans was able to capture the paranoia of the town, the personal story of the accused, and the details of the case presented. Cropsey focuses on exclusively on the paranoia of the town. That still makes for a fascinating documentary, but also certainly a lesser one.

DVD Review: Outside the Law

Outside the Law ***

Directed by: Rachid Bouchareb.

Written by: Rachid Bouchareb.

Starring: Jamel Debbouze (Saïd), Roschdy Zem (Messaoud), Sami Bouajila (Abdelkader), Chafia Boudraa (La mere), Bernard Blancan (Colonel Faivre), Sabrina Seyvecou (Hélène), Assaad Bouab (Ali), Thibault de Montalembert (Morvan), Samir Guesmi (Otmani), Jean-Pierre Lorit (Picot).

Rachid Bouchareb’s 2006 film, Days of Glory, looked at what happened to Algerians who fought for the French during WWII. Despite sacrificing as much as anyone else, they had to wait decades (well after many were dead) to get full pensions for their service. Now, he’s back with Outside the Law, that takes a look at what happened to Algerians after the war - right up until the their fight for independence in the 1960s. The film focuses on three brothers, and it’s quite clear that Bouchareb has in many ways modeled his film off of The Godfather - or at least was inspired by it.

In the years after WWII, three brothers take different paths. Abdelkader (Sami Bouajila) becomes a protestor who wants freedom for Algeria. At a peaceful protest, that turns violent only when the French military shows up, he gets arrested and thrown into a French jail for a decade for his beliefs. Messaoud (Roschdy Zem) joins the French army, and spends years fighting in Vietnam, comes back scarred by his experience both emotionally and physically. With one brother in jail, and the other in the army, the youngest Said (Jamel Debbouze), moves his mother to France, and in order to support her, turns to crime - first running a few prostitutes, and then slowly expanding. He brings shame on his mother, but he has no other way to make money - and he dreams of going straight. When Abdelkader gets out of jail, he immediately joins to the Revolutionary movement, and becomes one of its leaders. He wants to draft his brothers into the ranks, and although he is tired of violence, Messaoud agrees, and becomes the muscle. Said just wants to continue to make money - to him money is power, and so he is fighting in his own way. He certainly gives a lot of money to the movement that it needs to carry out its missions.

Days of Glory is one of the best war films in recent memories. Yes, it used war movie clichés - especially in terms of its characters - but that was somewhat the point of the film - to show that these Algerian soldiers were just like everyone else who fought for the Allies. That film used Saving Private Ryan as its blueprint in many ways, and this one seems inspired, as mentioned above, by The Godfather. There are scenes that deliberately call to mind Francis Ford Coppola’s masterpiece, and of course, that film also had three brothers - who were very different - at its core. Bouchareb’s filmmaking is visually striking with its dark tones, and shocking violence. He also gets good performances from his actors.

And yet, I do not think Outside the Law is nearly as accomplished as Days of Glory was. The main reason, I think, is that Bouchareb tries to cover too much ground. From it’s opening scene, set in 1916, to the end, well over 40 years is covered, and for the first half of the movie, the film seems to jump ahead two, three sometimes even five years every five minutes or so. After spending so much time with Said in the first part of the movie, he is pretty much abandoned once Abdelkader gets out of jail, and Messaoud comes back from Vietnam. For the rest of the film, he shows up periodically simply to argue about money and ideals. And by focusing on three characters, and trying to develop them all equally over the course of a movie just over two hours in length, none of them truly get the attention they deserve.

And yet the movie remains fascinating and involving from beginning to end. Whatever flaws the film has, they are outweighed by its virtues. The film was nominated for the Best Foreign Language film Oscar last year, and while I certainly don’t think it was quite good enough to deserve such recognition, it is still a fine film.

[5.00/10] The Warrior's Way (2010)

The Warrior's Way (2010)

Brief review: Although in itself "Warrior's Way" is an Eastern movie made for Western tastes, first-time Korean director Sngmoo Lee struggles to find the balance between those two cultures, and as a result, his martial arts/western/fantasy hybrid fails to deliver a satisfying story. Also, for a film called "Warrior's Way", the movie doesn't provide enough action to justify its title. With the exception of the fast-paced opening sequence and the action-heavy final act, "Warrior's Way" is more of a romantic movie rather than a true martial arts flick. The fights themselves are nicely-choreographed and the wire-work is passable, but the action scenes are either shot in slow-motion or too fast to follow. However, in terms of visuals the film succeeds vastly, despite some cheesy CGI work, as it has some truly spectacular settings, and a vivid, almost artsy cinematography that pleases the eye. Korean star Jang Dong-gun plays the lead character Yang, and although his martial arts skills are undoubtedly impressive, he turns in an unbelievably dull and uncharismatic performance. Kate Bosworth definitely has the looks, but her acting abilities are rather questionable. Unsurprisingly, the great Geoffrey Rush steals the show as the cool drunkard, Ron.

Overall summary: Aside from some truly gorgeous settings, colorful cinematography and a few thrillingly-choreographed and nicely-shot action sequences, "Warrior's Way" is a poorly-acted, joyless misfire, that barely lives up to its promising title. Nice try, Sngmoo Lee!

Numerous QuickRatings PART 8: Foreign Horror Movies

Captifs a.k.a. Caged (2010)

QuickRating: This French torture porn flick may be brutally realistic, extremely graphic, violently gory and nicely-acted, but it suffers from a cliched premise, unimaginative execution, and lack of actual thrills and chills, plus it often feels like a rip-off of another French gorefest, "Frontier(s)".

My Rating: 5.50/10



Zwart Water a.k.a. Two Eyes Staring (2010)

QuickRating: Moody, monotonous and unnecessarily overlong, yet gripping, enigmatic, incredibly atmospheric and beautifully shot, "Zwart Water" proves that Dutch horror film makers are also capable of delivering decent horror movies, despite their lack of experience in this area.

My Rating: 5.75/10



Die Tür a.k.a. The Door (2009)

QuickRating: More of a mystery thriller rather than a horror, "The Door" is a one-of-a-kind experience about parallel realities in life, that dazzles with its uniqueness and unpredictability, and drives a plot that delivers suspense and intrigue, but unfortunately, it falls apart in its final act and quickly loses its efficiency.

My Rating: 6.75/10

Numerous QuickRatings PART 7: 2010 Movies - the 6.50's

Fair Game (2010)

QuickRating: Although it suffers from Doug Liman's unfocused direction and an inappropriate jerky camera work, and it's often hard to follow, at the end of the day "Fair Game" is an unpredictable, finely-crafted, intriguing and incredibly gripping political thriller, acted marvellously by its top-notch cast.

My Rating: 6.50/10





I Am Love (2010)

QuickRating: Set in different stunning locations, "I Am Love" is a beautifully-shot and solidly-acted drama about doomed lovers, that dazzles with its exquisite settings, stylish direction and rich, deeply saturated color scheme, but it never fully delivers, because of its sluggishness and tedious narration.

My Rating: 6.50/10




Of Gods and Man (2010)

QuickRating: Subtle, honest, gorgeously photographed and smartly-written, if quite monotonous and often boring to watch, "Of Gods and Men" fails to deliver any emotional impact at all, despite its deep, thought-provoking premise, Beauvois' skillful direction, and the great performances by the actors involved.

My Rating: 6.50/10

[6.00/10] Paranormal Activity 2: Tokyo Night (2010)

Paranormal Activity 2:
Tokyo Night (2010)

Brief review: Apparently planned before the American "Paranormal Activity" sequel, this Japanese version tells a similar story to the original movie, but this time around, the demon terrorizes an undeniably cute brother and sister in their home in Tokyo. Although, basically, this version is more-of-the-same, it still manages to deliver some good scares, and plenty of shocks and suspense. Just like its predecessors, the film does not rely on cheap scares and loud noises, nor is heavy on special effects and lots of scary images. But as may you know, sometimes less is more, and "Tokyo Night" succeeds in its simplicity, and it's its subtleness that makes itfrightengly realistic. Yes, it hardly brings anything new to the table, but the fact that it's Asian, makes it even creepier. The film gets more and more tense as the story progresses, but it's the characters that draw you into the story, and make you feel connected with them. from the very beginning. Both protagonists are extremely likable and believably-acted by Aoi Nakamura and Noriko Aoyama. Though the terrifying image in the final scene is obviously borrowed from another Japanese horror flick ("Ringu" anyone?), it's still effective enough, and is sure to give you the creeps.

Overall summary: Though hardly as effective as its two American predecessors, "Tokyo Night" features likable characters, plenty of spooky visuals, and a couple of truly chilling scenes of terror, that make it a decent entry into the "Paranormal Activity" franchise.

Numerous QuickRatings PART 6: 2010 Foreign Horror Thrillers

Agnosia (2010)

QuickRating: Though this Spanish supernatural thriller has a truly original premise, gorgeously authentic production design, and an exquisite cinematography, the film itself suffers form 'agnosia' - it struggles in its attempt to bring plot, acting , directing and visuals together, and as a result, its execution seems as 'blurry' as its main character's eyesight.

My Rating: 5.25/10

Spiderhole (2010)

QuickRating: Often creepy and utterly claustrophobic, yet hardly scary or suspenseful, this Irish slasher boasts some eerie and chilling settings, a good twist in the end, and a couple of good death scenes, but its lack of originality, so-so direction, and stupid characters reduce the film to the 'common' level of mediocre horror film-making.

My Rating: 5.50/10


We Are What We Are

(2010)

QuickRating: Intentionally cheap-looking and lacking in production values, "We Are What We Are" is a gruesome and disturbing story about modern day cannibalism, that shocks the viewer with its uncompromising harshness and extreme violence, but as a whole, the film is not nearly as effective and frightening as it thinks it is.

My Rating: 5.50/10


La Meute a.k.a.
The Pack (2010)

QuickRating: This old-school French horror flick may not have the most unique plot ever or a first-rate execution, but it's a twisted, atmospheric and bizarre experience, that compensates with buckets of gore, some truly creepy looking creatures, a couple of really good scares and plenty of murky visuals. Its oddness is its strength.

My Rating: 6.00/10

[8.50/10] Los ojos de Julia a.k.a. Julia's Eyes (2010)

Los ojos de Julia

a.k.a.

Julia's Eyes (2010)

Brief review: With Guillermo del Toro attached as a producer, you could always expect something original and different, and "Los Ojos de Julia" is no exception. Guillem Morales' second full-length feature is a prime example of the mystery/thriller done right - an unpredictable film full of countless twists and turns, that will astound you with its cleverness, keep you guessing throughout along with the main character, and have you on the edge of your seat from the very beginning to the very end. Yes, it's that good. "Julia's Eyes" not only dazzles with its intriguing plot and the highly effective build of suspense, but it's also a technically brilliant movie. The film's flawless pacing is nicely accompanied by Vilaseca's smooth editing, and as a result, it never feels tedious or too long, despite its 112 min running time. Morales' direction is surprisingly slick and precise, the visuals are stylish, and the sharp, yet dim cinematography is as atmospheric, as it's eye-candy. Belén Rueda, known for her role in "The Orphanage" delivers yet another bravura performance as Julia - a beautiful middle-aged woman, determined to unveil the mystery behind the death of her twin sister, despite she's starting to lose her eyesight because of a terrible inherited disease.

Overall summary: Consistently tense, refreshingly unpredictable and utterly engrossing, "Julia's Eyes" certainly ranks as one of the most polished and skillfully-executed horror thrillers in recent history. Definitely one of 2010's most pleasant cinematic surprises!

[8.25/10] Made In Dagenham (2010)

Made In Dagenham (2010)

Brief review: Dealing with sexual discrimination under the slogan “Equal pay! Equal rights!”, "Made In Dagenham" is an incredibly uplifting experience, that inspires and informs, as well as entertains. The fantastic Sally Hawkins gives another tour-de-force performance as the sassy, temperamental Rita. Her quirky charm is so captivating, it's hard to take your eyes off of her. Jaime Winstone and Rosamund Pike both deliver outstanding supporting performances, and the lovely Miranda Richardson totally steals every scene she appears in. Nigel Cole, the creator of the wonderful "Calendar Girls" does an amazing job behind the camera - his direction is extremely focused and spot-on, and complimented nicely by Parker's flawless editing and David Arnold's joyous music score. "Dagenham" also succeeds visually. The retro production design is as authentic as it gets, and it represents the 60's era quite perfectly. John de Borman uses some warm color filters to achieve this slightly fuzzy, yet beautiful type of cinematography, and the yellow tint lighting gives an appropriately dated look to the film, which is very also appealing. Not to mention the chic costumes and the fancy hairstyles, that also add to the beauty of the movie.

Overall summary: Thoroughly inspiring, gorgeously-photographed, brilliantly-acted, and delightfully enjoyable and easy to watch, Nigel Cole's "Made In Dagenham" is truly a hidden cinematic gem, waiting to be discovered by all movie connoisseurs out there.

Numerous QuickRatings PART 5: 2010 Movies [3]

Primal (2010)

QuickRating: Although the Australian bush provides a beautiful backdrop for this oddly intriguing story, and the acting from the young Aussie cast is decent at best, the film itself is almost ruined by an incompetent execution, so-so directing and weak script, and though it succeeds in the gore department, "Primal" fails to deliver genuine scares.

My Rating: 5.00/10

Jackass 3D (2010)

QuickRating: Featuring the best slow-mo sequences since "Zombieland"'s opening scene, and numerous incredible stunts, as well as some gross and even scary ones, "Jackass 3D" is three times crazier than its predecessors, and just as funny and entertaining, even though it's hardly watchable at times. Just see it.. if you dare.

My Rating: 5.75/10

Welcome to the Rileys (2010)

QuickRating: Grim, yet somewhat uplifting, "Welcome to the Rileys", can't boast with excellent production values or skillful direction, but it offers and original and emotionally-gripping story, and it features Kristen Stewart's best performance to date, a great turn by James Gandolfini, and an absolutely amazing supporting performance from Melissa Leo.

My Rating: 6.50/10

Another Year (2010)

QuickRating: Thoughtful, poignant and astoundingly acted, if rather slow-moving and overly simplistic, "Another Year" may not be everyone's cup of tea, but it offers a realistic glimpse of everyday life with its ups and lows, and shows how you can easily create your own happiness, if you believe in yourself, and if you're dedicated to the people you love.

My Rating: 7.25/10

[5.50/10] TRON: Legacy (2010)

TRON: Legacy (2010)

Brief review: First-time director, Joseph Kosinski, brings this unnecessary sequel to the 1982 'cult classic', "Tron", and despite its stylized update and the supposed-to-be-impressive visuals, "TRON: Legacy" fails to live up to the hype. "Legacy" suffers from the exact same problems as its predecessor - the more you speculate about the film's concept, the more ridiculous it becomes, plus, it takes itself way too seriously, which makes it even more ludicrous. The film lacks wit and humor completely, and it's joyless contains one the most lame dialogues I've ever heard in my life, poorly-delivered by the actors involved. Garrett Hedlund reminds me a lot of Hayden Christensen - he's just as handsome... and just as stiff. Jeff Bridges does a typically good jobs as Sam's father, Kevin Flynn, but he often feels out-of-place and not very interested in what he's doing. Olivia Wilde has a strong on-screen presence and she delivers an above average performance as the stunning Quorra. Michael Sheen is, well, miscast. Believe it or not, "TRON: Legacy" is just okay, visually. "The Games" scenes are the only highlight of this movie, as they're thrilling, startlingly action-packed and brilliantly-executed. However, the lackluster 'neon' visuals fails to represent the so-called digital world, as instead they give a rather gloomy and depressing feel to the movie. The CGI work is skillful, but not exactly groundbreaking. Not to mention the silly costumes and the overly stylish interior, which doesn't seem very appropriate for the world of Tron. At all. Daft Punk's original music score works in the film's favor, but unfortunately, their expertly-crafted, dark and exciting electronic music is not enough to save this lackluster effort from mediocrity.

Overall summary: Dull, poorly-written, badly-acted and surprisingly unspectacular, Joseph Kosinski's "TRON: Legacy" is like a bad club experience - it offers plenty of fancy neon lights, intended pomposity and loudness, but not enough fun and enjoyment.

Numerous QuickRatings PART 4: 2010 Movies [2]

Blue Valentine (2010)

QuickRating: Although Derek Cianfrance's debut feature "Blue Valentine" is a bit too depressing, moody and melancholic at times, it's still an emotionally involving, subtly-crafted, outstandingly-performed, and also a very daring film, that unveils the the inconvenient truth about never-lasting love, exploring an unfortunate love-turned-hate relationship.

My Rating: 7.50/10


Tucker & Dale vs. Evil (2010)

QuickRating: As silly as it sounds, yet thoroughly hilarious, "Tucker & Dale vs. Evil" could be considered as both a ridiculous mess, and an incredibly original horror comedy, injected with a huge dose of wit and humor, that shows how misunderstandings can lead to fatal consequences, in the funniest, goriest and bloodiest possible way.

My Rating: 6.25/10


Djinns (2010)

QuickRating: "Djinns"'s cast does an excellent job in their roles, its settings are incredibly atmospheric, it features some truly spooky images, and the grotesque violence doubles the horror, but sadly, the film never reaches its potential, and it's neither scary nor suspenseful enough to be considered a great horror movie, despite its flawless execution.

My Rating: 5.75/10


L'arnacoeur a.k.a.

Heartbreaker (2010)

QuickRating: The American rom-com filmmakers should learn some tricks from their French fellas, as "Heartbreaker" is so enjoyable, charming and fantastically-executed, it manages to deliver on many levels, despite its slightly cliched script, and it features a wonderfully-charismatic turn from Johnny Depp's beloved, the gorgeous Vanessa Paradis.

My Rating: 6.50/10

Numerous QuickRatings PART 3: 2010 Movies [1]

Hereafter (2010)

QuickRating: It may not be one of Clint Eastwood's strongest efforts, but "Hereafter" offers a thoroughly compelling and thought-provoking story that deals with the intriguing subject matter of 'after life', and it's elevated by its talented cast, Eastwood's smooth direction, the moody cinematography, and some truly impressive visual effects.

My Rating: 7.25/10



The Clinic (2010)

QuickRating: Slightly original and thoroughly disturbing, yet hardly credible and lacking in genuine suspense, "The Clinic" is a low-budget Australian horror flick, that may suffer from mediocre execution and sub-par directing, but it compensates with an efficient acting, plenty of mystery and intrigue, and enough shocks and gore to keep genre addicts contented.

My Rating: 6.50/10

Morning Glory (2010)

QuickRating: Far from great and often uneven, yet refreshingly sweet, charming and enjoyable, "Morning Glory" is a 'behind-the-scenes TV' comedy, that delivers both the laughs and the drama, led entirely by McAdams' captivating performance as the determined and ambitious Becky, and Ford's charismatic turn as the grumpy Mike Pomeroy.

My Rating: 6.50/10

Due Date (2010)

QuickRating: Just like Todd Phillips' previous effort "The Hangover", "Due Date" is just an overhyped comedy, that is neither as entertaining, nor as amusing as it thinks it is, and despite its two leads share a good chemistry on screen, the movie fails to impress, or to evoke any laughter, due to its painfully unfunny script and lackluster execution.

My Rating: 4.50/10

[4.50/10] Le Poil de la Bete a.k.a. The Hair of the Beast (2010)

Le Poil de la Bete

a.k.a.

The Hair of the Beast (2010)

Brief review: This Canadian period-piece werewolf flick takes place in 1665 in New France. Our protagonist, Joseph Cote, escapes from prison to avoid death by hanging. As colonial soldiers chase him, Joseph takes on the identity of a Jesuit and hides in Beaufort, where he soon discovers werewolves are terrorizing the village. "Le Poil de la Bete"'s biggest problem is not the lack of originality, but the lack of actual thrills and chills - there's not a single truly intense or scary scene in the entire movie.. and not even a funny one. It's doesn't even fall into the 'so bad it's good' category. In fact, this completely plot-less Canadian werewolf flick is so sterile and unsubstantial, it makes "The Wolfman" seem like a masterpiece. The visuals are the only area where the film really succeeds. The production design is excellent, and represents the era accurately and quite beautifully, and the fantastically gloomy cinematography fits the tone of the movie really well. Having said that, the practical effects are cheesy at best, as the the werewolves themselves look quite unpolished, and more ridiculous rather than scary. The acting is sub-par from everyone involved, without any particular standout performances, or at least a decent one.

Overall summary: Nicely-shot and visually-atmospheric, yet completely pointless and overstuffed with werewolf clichés, "The Hair of the Beast" is a classic example of 'style over substance'.

[6.25/10] Fritt Vilt III a.k.a. Cold Prey 3 (2010)

Fritt Vilt III

a.k.a.

Cold Prey 3 (2010)

Brief review: With such cinematic winners as "Dead Snow" and the more recent "The Troll Hunter", Norwegian filmmakers have proven themselves to be quite capable of doing good horror films, and this prequel-type-of-sequel to the popular slasher franchise, "Cold Prey", is yet another example. Yes, "Fritt Vilt 3" is basically 'more of the same' and utterly predictable, but its absolutely spot-on execution compensates for the lack of originality and fresh ideas. The cast of largely unknown young actors also deliver. Though inexperienced, they all do a great job in portraying believable characters, who react naturally under a variety of circumstances and situations. Ida Marie Bakkerud in particular, delivers a fierce performance as the lead character, Hedda. Although "Cold Prey 3" is hardly groundbreaking story-wise, it boasts technical excellence! The Norwegian mountain scenery is nothing short of stunning, and beautifully captured by Mikkel Sandemose's camera. He provide us with many spectacular panoramic landscape shots, some wonderful sunrise and sunset shots, and plenty of intensely-filmed and sinister night scenes. And all this is accompanied by Ari Willey's atmospheric cinematography, and Rønseth's sharp editing.

Overall summary: As stylishly-shot and well-acted as its predecessors, if slightly less chilling and effective, "Cold Prey 3" is a worthy prequel, that still manages to stand out on its own, despite its unoriginality.

[5.50/10] La Casa Muda a.k.a. The Silent House (2010)

La Casa Muda

a.k.a.

The Silent House (2010)

Brief review: Coming from Uruguay, "La Casa Muda" revolves around a father and daughter team, who settle down in a cottage in the middle of nowhere, in order to start repairs on the following morning... but their first night there turns into a nightmare. Thankfully, "The Silent House" avoids most of the cliches used in the currently popular POV horror genre, such as 'found footage' gimmicks and jerky camera movements, as instead it tries a new formula: no cuts & edits! Made for roughly $6,000, and shot in one long continuous 72-minute take using a Canon Mark II DSLR, "La Casa Muda" is arguably the first horror of it kind, shot in just one take, which allows the viewer to share each one of the experiences of the characters. However, the experiences themselves are rather uninvolving. Though the characters are barely introduced to the audience, Florencia Colucci manages to stand out as Laura, as she's portrays panic and fear in a very believable way. Gustavo Hernandez does a competent job behind the camera, and he handles the 'one take' challenge quite well, and the cottage itself is a truly creepy setting, but the film is not half as effective as it thinks it is, despite it contains a few good scares, and some suspenseful moments.

Overall summary: Although "The Silent House" intrigues with its unique execution and interesting premise, it barely lives up to its potential due to the lack of thrills, genuine scares and relevant conclusion.

[9.25/10] Trolljegeren a.k.a. Trollhunter (2010)

Trolljegeren

a.k.a.

TrollHunter (2010)

Brief review: Written and directed by, André Øvredal, "The Troll Hunter" is a mockumentary that explores the real existence of trolls in a remote regions of Norway. Presented as a rough-cut footage, retrieved from a missing student camera crew and kept 'in secret' by the Norwegian government, "The Troll Hunter" is a breath of fresh air in the mock-doc horror genre, as it offers an incredibly original story, inspired by an old Scandinavian legend, presented in a somewhat believable way, and executed to perfection. Not only "Trolljegeren" is authentic, but also consistently tense, suspenseful and utterly terrifying in moments, plus, its script includes a medical explanation about the trolls and their physiology, which is probably the most curious and interesting part of the story. Visuals-wise, "Trolljegeren" never fails to impress. Thanks to the competent and absolutely flawless CGI work, every single troll is spectacularly-designed, and has its own unique look and feel - they all are formidably huge, ominous and downright mean. Not to speak of the stunningly beautiful forests and mountains of Western Norway, where all the action takes place in. The scenery is as sublimely-imposing as it's creepy, especially during the night sequences, and all this is captured entirely in glorious HD, in order to add even more depth and detail to the already striking visuals. The cast also deliver. Otto Jespersen is tough, yet likable as the Troll hunter himself. He's so composed, confident and fearless, you'll believe every ounce of his performance. Glenn Erland Tosterud delivers the second-best performance in the movie as the enthusiastic Thomas. Tomas Alf Larsen as the cameraman and Johanna Mørck as Johanna, both known to the audience for their roles in "Cold Prey" and its sequel, also give an extremely convincing performances.

Overall summary: Thanks to its uniqueness, chillingly-original concept, pitch-perfect execution and mind-blowing visuals, "The Troll Hunter" is a breath of fresh air into the genre and ranks right up there with such 'found footage' masterpieces as "[REC]" and "The Blair Witch Project".

[7.75/10] L'illusionniste a.k.a. The The Illusionist (2010)

L'illusionniste

a.k.a.

The Illusionist (2010)

Brief review: Sylvain Chomet, the creator of "The Triplets of Belleville", brings this gem of an animation, that revolves around an aging French illusionist, who finds himself out of work and travels to Scotland, where he meets a young woman. Their ensuing adventure changes both their lives forever. This animated feature certainly deserves its Oscar nomination, as it tells a unique and very unusual story, filled with unpredictability, many heartfelt moments and engaging characters. Plus, it's the perfect example of how a good story can be told with almost no words. Having said that, the film suffers from a downbeat narrative and sluggish pacing, but that's compensated by the many quirky, yet likable characters that appear throughout The relationship between the Illusionist and the little Alice, in particular, is so sincere and heart-warming, it may bring you to tears. Since "The Illusionist" is all about visual storytelling, it relies heavily on its imagery, and in this area, the film is a true work of art. The picturesque hand-drawn animation is nothing short of dazzling and extremely detailed, if quit similar to the director's previous work. The beautiful musical score written by Chomet himself suits the melancholic mood of the film quite perfectly.

Overall summary: With its deeply touching story, charming characters and absolutely breathtaking visuals, "The Illusionist" is, hands down, one of the best animated films of 2011.