Movie Review Sunday

Mission: Impossible - Ghost Protocol – 2011 (PG-13)

Netflix says: Super-agent Ethan Hunt dangles from skyscrapers and otherwise takes daring to new heights on another operation from the Impossible Missions Force. Helping Hunt get the job done is droll fellow IMF agent Luther Stickel.

Matt says: MI:GP is the forth entry into the Mission Impossible movies and, while I’ve seen all three, it was the only one I actually paid full attention to since the first (I had the others on as background noise while doing something else). Just like from what I saw of the other three, it’s a typical spy actioner with tense spy moments, chase scenes, outrageous stunts, and lots of guns a-blazing. Everything is tightly made and it definitely has its thrills. Most impressively is Cruise, who again does all of his own stunts (including hanging outside of the tallest building in the world in Dubai). MI:GP keeps its end of the summer blockbuster bargain, offing an engineered script straight from “How to write and action movie”. The only thing that was missing was the romantic/sexual tension aspect, but they replaced it with a tough-as-nails female, so it doesn’t feel all that lacking. It’s a very generic experience, but a fun one. 3 1/2 stars.

Red State – 2011 (R)

Netflix says: Director Kevin Smith puts a unique spin on the horror genre in this tale of hormonal urges gone awry. Three high school boys answer an online ad from a woman seeking wild sex and soon find themselves in the hands of some dangerous religious zealots.

Matt says: Kevin Smith hates the Westboro Baptists (yeup, that’s “God Hates Fags dot com”). In this, he takes the idea of them and turns it into a teenage hormonal “going to get laid gone wrong” horror movie (think “Hostel” meets “Jesus Camp”… “Jesus Camp” being the most terrifying of the two). I guess he’s making a statement about how those very people are also in reality godless, life ruining sadists, but it comes off extremely heavy handed. I guess distributors thought the same thing, as he had to eventually release it on his own. Smith is never subtle in his comedies, what with having necrophilia, bestiality, and feces tainted chocolate covered pretzels featured prominently, so why should he start with subtlety now? Smith also lets the “fucks” fly in this as much as his other films, which always bothers me. “Fuck” can be a useful word and add intensity to a scene when used in moderation. When every third word is “fuck”, it makes a film look immature and it loses credibility. Smith preaches to the collective “we hate the Westboro Baptists” choir just as Rush Limbaugh preaches to conservatives and Bill Marr preaches to liberals. The effect is always less than stimulating. The horror aspects in “Red State” are stupid, the stab at an already joke of a church is redundant, the long speeches and even longer shoot-outs are boring, and the “fucks” are just plain annoying. I like Smith and his comedies and think he should just stick to what he knows; “Red State” failed to do anything but irritate me. No wonder it started his plan to “quit directing”. 2 stars.

Trespass – 2011 (R)

Netflix says: A husband and wife find themselves pushed to their absolute limit when they're held for ransom by brutal thugs who invade their home. As tensions escalate and shocking revelations emerge, the couple is forced to take ever-more desperate measures.

Matt says: The Netflix description makes this Joel Schumacher directed thriller sounds like it’d be pretty good. You’ve got Cage and Kidman, “brutal thugs”, “tensions”, “shocking revelations”, and being “pushed to their absolute limit”. Too bad it’s all a bunch of forced modern thriller clichés. Cage and Kidman both seem to sleepwalk through their roles, the revelations are weak at best, and the ending feels unrealistic and unsatisfying. It’s a shame because if Cage gave this as much gusto as his “Wicker Man” performance, and they gave it a darker edge, it could’ve been a pretty good cult flick. But, as is, it’s just blah. At least Schumacher left nipple suits out of this one. 2 stars.

Blood Simple – 1984 (R)

Netflix says: In a jealous rage, Texas tavern owner Julian Marty (Dan Hedaya) hires unscrupulous private detective Loren Visser (M. Emmet Walsh) to not only tail Marty's two-timing spouse, Abby (Frances McDormand, in her big-screen debut), but also murder her and her bar-keeping paramour (John Getz). Events take a surprising turn, however, when the gumshoe double-crosses his client. Joel Coen directs this stylish shocker co-written with brother Ethan Coen.

Matt says: The Coen brothers are one of my favorites. Each movie they do is unique in its own way. Yet, there’s always their love of flawed, human small town characters peppered within each film. This is their first flick, and although it’s nothing too remarkable, many of their signatures are there (violence begets violence, the violence is performed with no musical soundtrack which makes it feel more realistic, slow scenery shots, the aforementioned realistic characters, etc). It’s also Frances McDormand’s first film and she shows her future star power with a very solid performance. It’s gritty, but a bit contrived… there’s no mystery to the mystery; it’s just bad people doing bad things to each other. This is also one of their purely serious movies, which I find to be their weakest genre. The Coens are their best when they toss symbolism and absurdity in to their films. In this, there is no dark humor to lighten the violence like in “Fargo” or “Burn After Reading” and everything is at a surface level. It’s a gripping film for what it is, and I’m glad I finally watched it, but they’ve grown much better since this. 3 1/2 stars.

Unknown – 2011 (PG-13)

Netflix says: Liam Neeson stars in this taut thriller as a man who regains consciousness after an auto accident only to discover that another man is impersonating him, and that no one -- not even his wife (January Jones) -- recognizes his identity as the real Dr. Martin Harris. Finding himself with an unexpected ally (Diane Kruger), Harris struggles to solve the mystery and hang onto his own wits, while also being stalked by anonymous killers.

Matt says: Neeson has been making a name for himself as the “aging man pushed to action” star of late (a role previously held by Harrison Ford, Charles Bronson, et al) and he’s been doing a damn fine job with it. “Unknown” is a typical modern thriller, with a nice amount of action and enough twists to keep you engaged. I felt they could’ve done a little better with the paranoia/conspiracy/questioning sanity portion of the plot. The trailer (if you saw it) gave a little away, but even if you didn’t see the trailer, it’s not as effective as it could’ve been. Still, everyone fits well in their roles and I enjoy seeing Neeson kick ass. It’s not “Taken 2” (which I’m still waiting for, Hollywood), but it does the job for now. 3 1/2 stars.

Fargo – 1996 (R)

Netflix says: Police chief Marge Gunderson -- a serious sleuth who's sharper than her folksy accent suggests -- is hot on the trail of a Minneapolis car dealer who conspires with two kidnappers to snatch his wife so he can pocket part of the hefty ransom.

Matt says: The Coen Brothers have a unique way of looking at the world. They see humor in stereotypes and (lovingly) exploit them for their films. In “Fargo”, the victims are North Dakota and Minnesota's northern sensibilities. The Coens open the movie with a statement that it is based on a true story; that’s horseshit. Yet, the characters are so dynamic, and the way they react to their situations are so realistic, that it very well could be a true story. The Coens know northern America and the characters they depict are exactly the type of people you would find in small towns in the north. The accents and ways of speaking are so dead-on that they transcend parody, being as humorous as they are true. “Fargo” is an excellent example of how to make a movie right. Get a central plot, build three-dimensional characters to participate, and back it all up with stunning cinematography. Love or hate the Coens, “Fargo” is one of their best films. If you’ve seen their other “caper” thrillers, you know what to expect. If not, this is a good entry to get started. 4 1/2 stars.

Drive – 2011 (R)

Netflix says: In this thriller, Driver, a Hollywood stuntman who moonlights as a getaway driver, is lured from his isolated life by a lovely neighbor and her young son. His newfound peace is shattered, however, when her violent husband is released from prison.

Matt says: The distributers dropped the ball big time on this one. I’m sure many of you have seen the ad billing this as a “The Transporter” or other Jason Statham adrenaline thrill-ride. Well, the movie is nothing like that. What it really is is a gripping drama that slowly builds characterizations and unfolds into a stimulating violent thriller. Much like “Taxi Driver”,“A History of Violence”, “The Professional”, and “Manhunter”, “Drive” is a slow burner. Also like those films, it’s necessary for its slowness in order raise the impact of the violence when it happens… and it does happen, in realistic and often extreme ways. This is a film for cinephiles; it’s an homage to the drama/thrillers of the 70s and 80s that used subtlety and viewers’ imaginations to put the pieces together. The cast is quite good, with Gosling saying more with a look than with dialog… and that is more often than not (he’s practically mute throughout most of the movie). If you want an artistic thriller, go see “Drive”, preferably in the theater so filmmakers know to make more films like this. It’s not the popcorn chase movie you were expecting, but it pays off big if you have patience. I wouldn’t be surprised to see this get a “best screenplay”, “best cinematography”, or “best supporting actor” Oscar nod. 4 stars.

One Hour Photo – 2002 (R)

Netflix says: Robin Williams reveals his darker side in this taut psychological thriller, starring as Sy Parrish, a mentally unbalanced photo development clerk who becomes obsessed with a picture-perfect suburban family. Sy has watched Nina (Connie Nielsen) and Will Yorkin (Michael Vartan) celebrate happy occasions through their snapshots for years. But when the flawless façade he's created for himself starts to crumble, he takes matters into his own hands.

Matt says: It’s funny… 10 years ago, this movie was possible. Now, it would have to be about a Facebook stalker or something because no one uses conventional cameras any more. Even then, it would lose much of it’s “shocking” moments because they all center around physical, printed photographs. This was released the same year as “Insomnia” and Williams basically plays the same character in this as he did in that. It makes you wonder what happened at that time in his life that drove him to these creepy roles. And, it is a creepy movie, it’s just not a very effective one. Williams’ obsession with the family is more pathetic than nerve racking and he never feels like a threat, even in the climax. I would say to rent “Insomnia” instead if you want to see Williams as an effectively scary character as “One Hour Photo” fell flat for me. 2 1/2 stars.

Vacancy – 2007 (R)

Netflix says: A young couple (Kate Beckinsale and Luke Wilson) stranded at an isolated hotel with a lone desk clerk (Frank Whaley) are shocked to find that their room is wired with video equipment -- but their anger turns to terror when they realize that they could become the star attractions in a snuff film. As the two struggle to escape, they find evidence that the murderous filmmakers have been producing these twisted movies for years.

Matt says: I believe I’ve had this in my Netflix queue since its initial release on DVD, or at least close to it. I was a little excited to get it now, until I realized it’s not “Identity”. For some reason when I thought of “Vacancy” I thought, “Oh, the thriller with a twist with John Cusack that takes place in a motel”. Nope… this isn’t that. I guess when you watch as many movies as I do, it’s easy to get them mixed up occasionally. Anyway, on to “Vacancy”… I like Luke Wilson. When given the right role (usually comedic) he can do a great job. It’s too bad he plays such a dull “every man” in this. In fact, John Cusack should’ve been in this role; he would’ve been better cast. But, it really doesn’t matter in the long run… “Vacancy” is a generic thriller that’s predictable and boring. I kept losing interest and browsing the internet or playing games through out it. Each time I would start watching, I’d groan to myself as it was at another typical “thriller” moment (i.e.: quick scares, impossible escapes, chases, etc.). It’s the same shit you’ve seen 100 times. It’s probably a good flick to get your weak-nerved significant other to cling to you… but, for a solo watch as a jaded reviewer, it wasn’t worth my time. 2 stars.

The Hidden – 1987 (R)

Netflix says: A string of cold-blooded murders puzzles diligent Los Angeles detective Tom Beck (Michael Nouri), who can't figure out why regular people keep turning into merciless killers. When mysterious FBI agent Lloyd arrives (Kyle MacLachlan), Beck learns his problem is from another world. Soon, Beck is the human caught in the middle of an extraterrestrial showdown that's playing out on the streets of Los Angeles. Jack Sholder directs this sci-fi cult classic.

Matt says: “The Hidden” is a cheap little Sci-Fi thriller that never fully explores its cool premise. Maybe it was the lack of budget or the “fish out of water” comic relief, but it was too light as a movie to be a solid actioner. Sure, there’s a lot of gun fire, but that was about it for the violence; by today’s standards it would be rated PG-13. Still, MacLachlan steals the show as an FBI agent that doesn’t seem to have all his marbles together, the overall idea is a neat one, and there are some impressive stunts. Overall a fun time, but it can’t help but feel lacking. Those who have nostalgic memories may rate this higher, but I found it only deserving 3 stars.

The Case of the Bloody Iris aka What Are Those Strange Drops of Blood Doing on Jennifer's Body? – 1971 (NR)

Netflix says: Giallo refers to the controversial series of Italian suspense thrillers that shocked worldwide audiences in the 1960s and '70s. In this genre standout from director Giuliano Carnimeo, a model (Edwige Fenech) finds out her new apartment was the scene of a murder. Soon realizing that the killer is stalking her, she begins to suspect everyone -- including her roommate (Paola Quattrini) and new beau Andrea Barto (George Hilton).

Matt says: Continuing my “Summer of Suggestions”: “The Case of the Bloody Iris aka What Are Those Strange Drops of Blood Doing on Jennifer's Body?” suggested by Lorelei Beatrix:

So apparently there’s a genre of Italian 1960s and 1970s mystery/thriller fiction known as “Giallo”. I won’t go into great detail as you can read the Wikipedia entry for a comprehensive explanation. Since I’m new to it, I can’t comment on the genre itself. But, I am an old hat at the Italian horror and zombie flicks of the 70s, so I at least knew what I was getting in to in renting this. Many of the Italian horror directors you’ve heard of (Bava, Fulci, Argento) have tried their hands at Giallo, but “The Case of the Bloody Iris” by Giuliano Carnimeo was suggested to me as a gateway to the genre. However, in reading the list of films on Wikipedia, it seems I had already seen a few without knowing  the term “Giallo” and had just lumped them in the “horror” category. Regardless, it seems the fruit doesn’t fall far from the tree as everything that makes Italian 70s horror unique is present in a 70s Giallo flick: the same “Red #5” colored fake blood, copious amounts of boobies, a fully dubbed cast, groovy soundtrack, unique camera angles, laughable dialog, and plenty of “what the fuck?” moments. “Bloody Iris” was a lot of fun to watch and, surprisingly, a half-way decent thriller. In typical Italian film fashion, it’s easy to get lost in the unnecessary exposition, but the core mystery brings an underlying tension… even with lines like: ""But how did your hands get to be burned like that? Can that be the reason you're hiding your face?" and “Jennifer, did you have a nightmare, why did you open the window?!” Even though, it still all culminates to a satisfying thriller/mystery ending. It’s also light on gore and shock, so those who may be turned off by those aspects of Italian horror/Giallo won’t have to worry about seeing any eyes getting gouged out. Yet, keep in mind that every excuse in the book to have the actresses topless was used, so it still strays into the adolescent male fantasy area. I had no complaints. 4 stars.

Source Code – 2011 (PG-13)

Netflix says: Jake Gyllenhaal portrays a soldier recruited for a time-bending government investigation that places him in another man's mind and body, reliving the same traumatic event repeatedly in an effort to identify the perpetrators of a terrorist bombing. Vera Farmiga plays a communications specialist who provides the vital link to the soldier's primary reality as he searches for critical clues within a recurring nightmare.

Matt says: Duncan Jones’ previous movie, “Moon”, was an original and entertaining “hard” science fiction movie. I got excited when I found out “Source Code” was also directed by Jones. First, after seeing the trailer, I was a little put off as it appeared to be another “Paycheck” type of movie. Still, the pull of Jones led me to see it. It proved to be not quite as good as “Moon”, but still a fine movie. It opens up a somewhat original take on time travel (influenced by another movie, which can’t be mentioned due to it being a big plot spoiler) and leaves the viewer with some nice discussion material at the end. The “thriller” portion of the movie allows for all of this to reveal itself naturally as the audience learns along with Gyllenhaal’s character. Granted, there are a few holes in the logic, but I honestly think it was the best they could do to present their ideas and keep the movie palatable to people who aren’t “hard” Sci-Fi minded. I recommend this, but with a bit of advice… give it a chance. It may not seem like it’s going anywhere, there is much thrown in to make it mass-marketable, and it’s a little far fetched in theory, but it does pay off at the end. 4 stars.

Buried – 2010 (R)

Netflix says: While on a job in Iraq, civilian contractor Paul Conroy (Ryan Reynolds) is attacked and kidnapped, then awakens to find himself buried alive in the middle of the desert with nothing but a lighter, a candle, a cell phone and a knife. Does Paul have the instincts he'll need to save himself? Director Rodrigo Cortés crafts a tense psychological thriller with sociopolitical undertones that doubles as an exercise in claustrophobic terror.

Matt says: When I first heard this was coming out, I had two thoughts. The first was: “How can you make an hour and a half long movie about someone being buried alive interesting and maintain that interest for the whole movie?”. The second was: “Hollywood is reading my mind and stealing my ideas!” As for the later, I can’t really do anything about it now because people will say I ripped off the movie. I guess I will have to be content with just watching Ryan Reynolds be buried alive on film (you were lucky this time, Reynolds…). On to Miley Cyrus and the alligator pit, then. Sorry, I digress. Back to the review… So, it appears you actually can make a movie that takes place in a box pretty interesting. As the beginning credits roll, allusions to Hitchcock are more than obvious (sweeping score, 70s style credit graphics). It’s a rather bold statement to make as, although the movie is kind of Hitchcockian, it’s only as good as some of his lesser quality films. The movie then opens right to Reynolds in the box. The entire movie takes place there as Reynolds not only tries to get out of the box, but also deals with bureaucratic and family matters (via a cell phone). While somewhat implausible, it’s still an interesting idea that does cause feelings of claustrophobia and some nail-biting moments. Not a bad little thriller, even if lacking in some places. 3 1/2 stars.

Blood Diamond – 2006 (R)

Netflix says: In war-ravaged Sierra Leone, diamond smuggler Danny Archer (Leonardo DiCaprio) learns that a local fisherman (Djimon Hounsou) has stumbled upon a gigantic gem, and he offers to reunite the man with his family in exchange for the diamond. When Archer befriends a journalist (Jennifer Connelly) tracing "blood diamonds" that finance terrorist groups, he's faced with a choice between riches and humanity. DiCaprio and Hounsou each earned Oscar nods.

Marc says: DiCaprio turns in a decent performance, with just enough idiosyncratic character quirks to make you forget his movie star persona and take him at face value as a troubled soldier of fortune who smuggles conflict diamonds out of warzones in Africa. Relentlessly turns on the preach-o-matic moralizing, especially with the woefully miscast Jennifer Connelly, who acts as a mouthpiece for the inane viewpoint that if Americans just stopped buying diamond engagement rings, civil war in African countries would all go away. As a result of the heavy-handed message and an obvious shoehorned romantic subplot (I mean, you just don’t put DiCaprio in a movie and them have him go stag, do you?), Blood Diamond meanders and loses much of its focus over 150 minutes of runtime. The bloated ending sequence is especially guilty of this, as it practically forces several contrived feel good scenes of justice on the viewer, long after the main story has been wrapped up. Ultimately, I would genuinely recommend Lord of War over this any day, as LOW made many similar points about African brushfire wars, the involvement of foreign elements, and the role of conflict diamonds in same in a far more succinct and sophisticated manner. Blood Diamond is content to pretend that “evil prevails only when good men fail to act.” Let’s drop the pretense here... evil prevails. C-.

Vanishing Point – 1971 (R)

Netflix says: In this classic among "car chase" movies, notable for its on-location shots filmed in the American Southwest, James Kowalski (Barry Newman) works for a car delivery service and agrees to motor a supercharged 1970 Dodge Challenger from Colorado to San Francisco. For grins and giggles, he bets that he can deposit the car in California in less than 15 hours, setting the stage for an uproarious high-speed adventure.

Marc says: Super cool Barry Newman, spun to the gills on amphetamines, fights The Man by engaging in a lengthy, multi-state car chase with various law enforcement agencies in the Southwest. Why? Because, man! Because, the squares don’t own me, man! True to the time, Vanishing Point contains any number of counter-culture overtones and a dreamlike ambiguity as to most major plot points. It’s a testament to the overall quality of the film that the pacing and tension continues to hold up today, even in spite of its heavily dated sentiments about how we’re taking the power back, man. 4 stars.

Deathtrap – 1982 (PG)

Netflix says: Sidney Lumet directs this twisting adaptation of Ira Levin's play about older, washed-up playwright Sidney (Michael Caine), who arranges to meet with younger writer Clifford (Christopher Reeve) at Sidney's remote cabin to discuss Clifford's first attempt at authoring a play. Sidney clearly covets the play, which casts doubt as to whether Clifford will leave the cabin alive. Dyan Cannon plays Sidney's ailing wife.

Marc says: Tightly plotted thriller blurs the line between fact and fiction pretty convincingly, with several stunning reversals layered in sharp dialogue and given an ominous feeling of impending doom through Lumet’s quiet, understated direction. Stagebound it must be, given its roots as a play, but when the acting and story are this good, it doesn’t matter one bit. Michael Caine disappears into his role and is utterly believable. Same with Christopher Reeve, who demonstrates some real range and talent that modern viewers will find surprising, given his typecasting legacy as the boy in blue. There are some Network type digs here at the then emerging trend of talk-show / reality television celebritisim, which oddly feel just as timely (if not more so) today. Upon reflection, it’s perhaps not all that it could be, particularly if one has reservations about the psychic character who pops up about halfway in, but during the runtime, one is hard pressed to reject the premises of the film outright. Well worth a watch in my book. 4 stars.

Narrow Margin – 1990 (R)

Netflix says: In this loose remake of a 1952 noir classic, Carol Hunnicut (Anne Archer) experiences the worst blind date imaginable when mob thugs slay her companion. Realizing she's the lone witness to the crime, Carol flees to a remote mountain home to hide. District Attorney Robert Caulfield (Gene Hackman) wants her to testify and follows her, but he's not the only one determined to track her down -- the mobsters are hot on her trail, too.

Marc says: A good 90% of the movie takes place on a passenger train, wherein Hackman attempts to protect his reluctant witness against mob hitmen until he can get her to LA to testify in a murder trial against Mr. Bigtime Crimeboss. Hackman brings instant credibility to his role, even as Anne Archer generally undermines the pace with her whining and theatrics (but, I don’t wanna testify, wahhh). Runtime could have been a bit tighter, especially considering that the movie starts to run out of excuses as to why the protagonists can’t get off the damn train already. By the end, the concept has definitely worn out its welcome. Decent as far as thriller potboilers go, but certainly no better than 2.5 stars, despite Hyams’ steady hand behind the camera.

Insomnia – 2002 (R)

Netflix says: Sent to investigate the murder of a teenage girl in a small Alaska town, police detective Will Dormer (Al Pacino) accidentally shoots his partner, Hap (Martin Donovan), while trying to apprehend a suspect (Robin Williams). But in spite of his guilt, he's still determined to solve the case. Hilary Swank co-stars as a local detective who hampers Dormer's efforts based on her suspicions about the circumstances of Hap's death.

Matt says: In keeping with my Nolan kick of late, I decided to rent one of his lesser rated movies. I had seen the original Norwegian version (though years ago), and therefore skipped this in its initial heyday. I also couldn’t wrap my brain around Williams being cast as a child murderer. Pacino is at his Pacino-iest self in this: full of gruff and vinegar. It’s not his best performance, but he’s a great actor, so it’s still above par. Williams does a decent job going against typecasting by being genuinely creepy. Nolan’s direction is good, albeit a bit plain. It’s a low simmer of a movie; much too long for such slow pacing. There are some excellent scenes that are beautifully filmed and those that bring a tight level of tension, but you need to have patience. 3 1/2 stars.

House of 9 – 2005 (R)

Netflix says: Borrowing from Agatha Christie and the plots of Saw and Saw II, director Steven R. Monroe's twisted tale takes nine unsuspecting victims (including Dennis Hopper, who portrays an Irish priest), traps them in a mansion and films their every move. Promising $5 million to the player who emerges victorious, their unseen captor uses them as pawns in a demented, live-action "game," concocting horrible scenarios that force his captives to participate.

Marc says: Derivative of both Agatha Christie and Saw (to some extent), as mentioned above, but certainly bears more than just a passing similarity to Cube as well. Most of the cast act their hearts out, as befits their amateur / unknown status. The weakest link is, surprisingly, top-billed Dennis Hopper, who seems content to pick up his paycheck and never puts any energy at all into his role as a Catholic priest(!) Direction is a little better than average for a DTV movie, but weak script and the high rip-off factor drag this down. One bright spot is the unexpected ending, which in the final analysis pushes this up to Grade C.

Man Bites Dog – 1992 (UR)

Netflix says: A satirical look at how the media affects and promotes violence in modern society. Spoofing reality television, a fascinated documentary crew follows a charismatic yet unrepentant serial killer on his murder sprees. The crew attempts to objectively document the horror, but as the violence escalates, they ultimately get sucked into participating. Man Bites Dog won the International Critics' Prize at the 1992 Cannes Film Festival.

Marc says: Truly ahead of its time, Man Bites Dog satirizes the very premise of reality television with a bleak and unflinching look at a murderous sociopath who indiscriminately preys on any target of opportunity including the old, children, and mailmen! Graphic acts of violence and murder are portrayed as matter of factly as sweeping out the garage. All in all, pretty disturbing stuff, and the imagery and message hasn’t lost its power even almost 20 years later. Unfortunately, the ending comes off as a little weak and contrived, which is a shame because a “No Exit” finale was really what was needed. Special mention must be made of the awesome performance by Benoit Polevoorde as the charismatic predator, without whom the film would have been much less. B+

The Cooler – 2003 (R)

Netflix says: The unluckiest man in Las Vegas, Bernie Lootz (William H. Macy), is employed by a casino as a "cooler" to defuse winning streaks. But when Lootz falls in love with a cocktail waitress (Maria Bello), she becomes his "lady luck" -- to the chagrin of the casino's crooked director (Alec Baldwin). Baldwin was nominated for a Best Supporting Actor Oscar for his turn as Shelly Kaplow, the old-school casino boss who will do anything to keep Lootz down.

Marc says: Macy plays the same role he has perfected since Fargo: the down-on-his-luck-in-over-his-head-schmuck. Here, he stars as a guy whose luck is so bad, his very presence causes people to start losing at casino games, thus making him the most valuable employee at the fictional Shangri-La Vegas Casino (I’m pretty sure the Golden Nugget in disguise). The real reason to watch is Alec Baldwin’s scenery chewing portrayal of the heartless casino boss, who ruthlessly manipulates people’s lives old-school style. Accurately captures the worn-out feeling of “Vegas fatigue,” which anyone who has walked out of a casino at 3 AM after a 12 hour degenerate gambling run can describe in great detail. Ending was all set-up to make this into a 3.5 / 4 star picture, but chickened out at the very last second. C+

The Client – 1994 (PG-13)

Netflix says: After witnessing the suicide of a lawyer whose client is in the mob, 11-year-old Mark Sway (Brad Renfro) seeks the aid and protection of lawyer Reggie Love (Susan Sarandon), while federal prosecutor Roy Foltrigg (Tommy Lee Jones) hopes to use the boy to bring down a mob family. Sarandon earned a Best Actress Oscar nomination for her performance in this tense legal thriller based on the best seller by John Grisham.

Marc says: The inevitable film adaption of the mega-bestselling Grisham book hits most of the high points from the novel and squeaks some good performances out of the lead actors. Poor Brad Renfro does an especially nice job as the adolescent shit-head that started all this trouble in the first place. It’s hard to believe Sarandon got an Oscar nod for her female Atticus Finch impersonation, but I suppose everybody loves an underdog southern lawyer givin’ the guvment the ol’ what-for. However, as the plot progresses, the paper-thin characterizations of the mob enforcer antagonists start to get old and the complications rather too ridiculous to believe. C+.

In Bruges – 2008 (R)

Netflix says: After killing an innocent boy in London, hit men Ray (Colin Farrell, in a Golden Globe–winning role) and Ken (Brendan Gleeson) are ordered to lay low at a bed and breakfast in Bruges, Belgium, until their boss (Ralph Fiennes) phones with further instructions. But when he calls, Ken doesn't like the assignment. Written and directed by Martin McDonagh, this dark comedy earned a BAFTA for Best Original Screenplay.

Marc says: Well written script has many good moments of dry, dark comedy. Characters are unique, multi-dimensional, and generally avoid the clichés they could have easily become. Colin Farrell turns in an especially good performance against type, considering his usual “super cool guy leading man” persona in forgettable Hollywood action flick after action flick. Knocking off some points for the open-ended coda which undermines the otherwise satisfactory ending, though. 3.5 stars.

Breakdown – 1997 (R)

Netflix says: When his SUV breaks down on a remote Southwestern road, Jeff Taylor (Kurt Russell) lets his wife, Amy (Kathleen Quinlan), hitch a ride with a trucker (J.T. Walsh) to get help. When she doesn't return, Jeff fixes his SUV and tracks down the trucker -- who tells the police he's never seen Amy. Johnathan Mostow's tense thriller then follows Jeff's desperate search for his wife, which eventually uncovers a small town's murderous secret.

Marc says: Kurt Russell turns in a very nice performance, acting against type as a soft-bellied yuppie who gets put through the wringer by some not-very-nice locals. The first 30 minutes are especially good, as the suspense and uncertainty of the situation are played out to towards a natural conclusion. Thereafter, the proceedings move into a more conventional mode and the tension subsides. The screenplay had an opportunity to take some real chances towards the end, but chickened out with a more formulaic conclusion. Still, not too shabby overall. 3.5 stars.

Black Book - (R) 2006

Netflix says: Based on true events, this epic drama from writer-director Paul Verhoeven stars Carice van Houten as Rachel Stein, a beautiful Jewish woman who averts Nazi capture, then assumes a new Aryan identity and joins the Dutch resistance movement. A local leader persuades her to seduce a Nazi commander and take down the enemy from within. But leading a double life takes its toll -- especially when both sides turn against her.

Marc says: Easily one of Paul Verhoeven’s best movies, this epic WWII espionage thriller remains engaging and tense throughout its two-plus hour runtime. The plot is intricately woven, the action always straight-ahead, and it refreshingly avoids a black-and-white moral message. In fact, every character operates in a moral grey zone, which Verhoeven illustrates in an understated and unflinching fashion. A star-making performance from van Houten and solid characterizations from the supporting cast along with meticulous attention to period detail enhance the authenticity immensely. 5 stars, easy.

Matt says: I have a love/hate relationship with Paul Verhoeven. Some times the scripts he chooses can be exploitative and schlocky, sometimes he makes high art. One thing can be said, though, he has the skill of the craft and always gets what he wants out of his actors. Black Book is one of Verhoeven's best works to date. The movie feels brief, even at 2 1/2+ hours. Sure, it jumps around from scene to scene, is overstuffed, and the betrayals become a little overwhelming, but all fits in the heart of war and knowing human nature. I agree with Marc that no one has a clear agenda. Each character takes full advantage of their positions, some for better, some for worst. This keeps it from feeling like "just another Nazi movie". It's not without its flaws, but a highly enjoyable movie never the less. 4 1/2 stars.

The Devil’s Own - (R) 1997

Netflix says: After seeing British soldiers gun down his father as a child, Frankie McGuire (Brad Pitt) joins the Irish Republican Army, determined to avenge his father's death, and sails to America to buy weapons from an underground arms dealer. Going by the alias of Rory Devaney, Frankie moves into the home of cop Tom O'Meara (Harrison Ford), who, when he learns of Rory's agenda, must choose between his sympathy for a troubled man and his desire for justice.

Marc says: Relentlessly manipulative and sappy film tries to paint with shades of gray, but the ham-fisted direction and characterizations make it clear who the audience is supposed to be rooting for. (Hint: It isn't the terrorist.) Takes no real chances and consequently, makes no real impact, nor does it really have a point. Grade D for cowardice.

Backdraft - (R) 1991

Netflix says: A blast of flames can take a life ... and hide a secret. Fireman brothers William Baldwin and Kurt Russell battle each other over past slights while trying to stop an arsonist from torching Chicago as part of a diabolical agenda. Co-starring Robert De Niro, Jennifer Jason Leigh and Donald Sutherland, director Ron Howard's epic tale will thrill you with incredible effects.

Marc says: Ron Howard creates a number of technically impressive scenes involving backward flowing flames and large sets on fire that must have required enormous practical effect expertise. The rather cornball story and forced mystery sub-plot (or was it the main plot?) unfortunately don't work as well. Kurt Russell seems to have a lot of fun playing a stubborn meathead jerk though. Grade C.

The Black Dahlia - (R) 2008

Netflix says: In this period thriller based on James Ellroy's novel, Los Angeles cops Bucky Bleichert (Josh Hartnett) and Lee Blanchard (Aaron Eckhart) uncover corruption and conspiracy within the force while searching for the killer of Tinseltown hopeful Elizabeth Short (Mia Kirshner). In an effort to crack the high-profile case, Bleichert and Blanchard venture into Hollywood's darker side to piece together Short's secret life.

Marc says: Poor Brian DePalma took alot of heat on this one, and truth be told, it's no L.A. Confidential. Josh Hartnet makes a fine film noir leading man in my opinion (watch the opening of Sin City again if you need further proof), and the visual flair on display is some of DePalma's finest. Unfortunately, it's at least 30 minutes too long and the reveals that spill out, one after another, right at the end, are all curiously lacking in impact. Script probably could have used some additional sharpening, but, at its core, it is still a minor positive to the film noir millieu. Or maybe I'm just a sucker for men in fedoras and sneaky dames who like to push their luck. B-

Suspect Zero - (R) 2004

Netflix says: A killer is on the loose, and FBI agent Thomas Mackelway (Aaron Eckhart) is on the case, sifting through clues to uncover the criminal's identity. But there's one unusual twist: The bloodthirsty felon's victims of choice are other serial killers. As Mackelway works to stop the killer from committing another crime, he suspects there's a compelling -- and personal -- reason for his strange desire to seek vigilante justice.

Marc says: Despite Eckhart's honest effort, it comes off as one of those weaker X-Files episodes where they ripped off Se7en. Really quite bland and poorly paced, with a lackluster script and plodding direction more suited to a television movie of the week than a feature film. Grade D.