ROLE MODELS

“If you’re white, then you Ben Affleck”

I was happy to go see this movie because I knew it was going to require little thought, I love Paul Rudd, and I really dig Sean William Scott even though lately he’s fell victim to some shit (Mr. Woodcock, Dukes of…). Role Models has some cast members that are comedically hot right now, Rudd, Mintz-Plasse (Nerd guy), Lynch, and Banks. And what up with Elizabeth Banks being in everything right now? It’s like Jude Law a fews years back when he was in every freaking movie. Except with Banks you don’t want to pull out that gigantic hook and try to pull her off screen like you did with Law. Sorry Law, your acting’s great but you’re a good looking dude and that shit don’t last for anyone except Clooney and Pitt. Banks, I could watch you forever. Ok, where am I’m I? Role Models. My initial thoughts after seeing are: Funny, really well written, but not hilarious. And here’s the thing, I have to be careful here or I’ll sound bitter but what I really think kept this movie from being hilarious was the directing and editing. There were a handful of jokes that suffered from bad timing. I couldn’t hear a few, or they played too quick, or the timing wasn’t AS funny as it could have been. And if I could criticize Rudd, it’s hard to, but Rudd plays this cynical guy that’s in a rut and he almost stays in it too long. I was almost to the point where I was like, “Come on dude, life isn’t that bad.” But he turns it around. And Bobb’e J. Thompson, Sean William Scott’s “Little” is hilarious. Role Model is a pretty hard R and it’s really easy to watch. Actually, it’s really hard to muster the brain power to criticize it because I liked it. I laughed, they managed to get a message out, and the ending surprised me. And don’t give up on the Medieval shit they have in there. It grows on you and eventually it’s really funny. I was quoting that shit when I left. Oh shit, one more thing. Watch Sean William Scott’s subtle dance is his Menatar (sp wrong) get up. It’s funny.

W.

What do you think Rummy?

Alright here we go. Stone always jacks me up a little. It’s tough to criticize a filmmaker that you know is smarter than you. Because I know this I always make an excuse why Stone chose to do something. If I say W. seems poorly made at times then Stone chose to do it that way. If I say it was shallow then Stone intended just that. Here’s what I’ve concluded since last night when I saw it. W. is flimsy. You know how JFK and Born on the Fourth, and Platoon are such heavy films. They’re like shot puts. W. is like a badminton birdie. But it wasn’t hit because it has no arch whatsoever. I felt like I was just watching a timeline of W’s life. It was almost like a documentary without voiceover. But then I started thinking about Stone’s Nixon. Snorefest 95′. Long and slow. But hell that’s pretty much how I see the real Nixon. SO that puts me back to Stone’s intention’s. I think this film really reflects his feelings on George W. Bush and his administration. Stone doesn’t trash everyone in this film including W. He gives credit to Colin Powell and even manages to make W. a likable guy. The cast portrays their characters in a very comedic way. Almost skit like, which is what I think Stone was going for. W. does get into some heavy shit. 9/11, the war, torture, etc. but because W. is never taken serious these issues don’t seem to hold the weight they do in real life. It’s like watching a lovable buffoon for 2 hours. I think Stone believes W. had good intentions and is all heart. But he’s too irresponsible to realize what the hell he got himself into and the consequences his decisions would have. Brolin rules as George W. Bush and I have to think Stone made a film that matched it’s subject. At the end of the day it’s like your favorite drinking buddy getting to be president. President for 8 years and he really fucked some shit up.

RELIGULOUS

Bill Maher has always been a a little too cynical for me. I mean come on Bill is the glass ever half full? No, he would say, especially when it comes to religion. This is tough to review because I don’t exactly have my ducks in a row when it comes to religion. I did enjoy some of this documentary and for the most part I enjoy Bill Maher’s rhetoric. Religulous is funny and at the expense of the lazy minded. I think that’s what bugs Maher about religious folk. It’s all about faith and not a whole lot of people question it. They are very quick to follow and listen to any ole Matthew, Mark, Luke or John who speaks. And yes that is annoying and it’s humorous to question people about their strong beliefs when they really haven’t thought it through. Therefore they come off like assholes when they try to debate why it’s true to an intelligent and witty guy that’s out to discredit them. And that’s what I was missing from Religulous. For me, who has a lot of hope for the bigger picture I was waiting for someone to really challenge Bill. There were one or two people that made it interesting for a minute. But when Religulous came to the fork in the road where it could have taken a road of religious debate depth it chose to skew down a dirt road way off the map to all the subcultures of religion who sound completely insane. It may say something about religion. Maybe the convincing road doesn’t exist. Or maybe Maher just didn’t want to find it and didn’t bother to search for it.

THE EXPRESS

Alright, I’m a sports movie whore. I’m so easy. But I have my sluts, I have my Saturday night hook ups, my midweek nooners, and I have the ones I’m in love with. You make a movie with any element of sport I’m going to like it. But where does The Express rate is the question. I’ve thought about this a lot because lately I’ve seen a lot of movies I’ve wanted to love so much but just couldn’t commit. For me the Express is like one of those girls you break up with but then you keep getting back together with. There are three ingredients in sports movie that make the perfect treat. “Based on/or a true story,” is the most important. If this shit really happened or some of it did then it magnifies each scene by ten in my book. “Breaking the Barrier.” Was there an achievement that progressed life. Something that has never been done before I think speaks for itself. Finally, heart. If great things are achieved on heart instead of talent…well then damn you have a winner. Subjects that overcome adversity with their will and determination instead of there natural talent is always more interesting. The honorable mention ingredient is music. The Express had all of these elements however, some of them were the cheap brand. You know like if you go to the grocery store and you get an item that was made my the stores name. The cheap shit. SO the Express had it all but somebody scrimped on a few of these ingedients. The true story, the race barrier being broken, the will and the determination COMBINED with great talent. I truly enjoyed this film. Did I cry you ask? Did I get chills? Yes and no. This film consist of a grade A story carried out by a few grade A leads. There were some supporting elements that take you out of it. Jim Brown comes off like McConaughey in Contact. His portion was filmed awkwardly at times which pulled me out of it. And he’s always waiting in the wings like an angel or something. He’s like freakin Val Kilmer in True Romance but not as cool. It’s like, “What are you doing here Jim, go away!” Still, I would jump on this train any day of the week. It’s a must see simply to know a story that amazingly not a lot of people know.

RIGHTOUS KILL

Ok if you walk into this movie with Heat on your mind you’re going to screw yourself out of a descent movie. It’s like a poorman’s Heat combined with The Score. Remember when they tried to match that Primal Fear moment in The Score with Norton. Come on Oz, we all saw that shit coming. But Righteous kill is a solid shootem up cop movie. Granted I was coming off Burn After Reading and if you read that review you know where I was at but really, I honestly enjoyed this one. Solid acting with above average action and when its time for the twist it’s tolerable. AND, after this one I await the rubber match from Pacino and Deniro…it’s 1 to 1.

BURN AFTER READING

Burn after seeing.

It’s nice to know even the Coen brothers can fuck up a film that seems to have everything going for it. An All-star cast, and I mean ALL-star. Everyone in this movie has proven themselves over and over again to be capable of greatness. And the Coen brothers are one of, if not the greatest directing duo of all time. The Burn After Reading concept seemed funny to me, a plot-full fiasco with idiots in it. I mean it was Babe Ruth walking to the plate with me pitching. Well folks, Babe swung and fucking missed. I was in the hell twenty minutes into this movie. This makes the Brothers Grimm experience look like a day at Six Flags. Everyone of these great actors over acted to try and be what each of them are not, detached and birdbrained. Joel, Ethan, what the fuck!? I know you guys watch dailies. How did you let this pass for funny and good? You made Raising Arizona for christ sakes. This movie needed much more H.I. McDunnough cause that shits funny. I remain a fan.

NIGHTS IN RODANTHE

George C. Wolfe what the hell man! I was worried about this movie the minute each opening credit disappeared like sand blowing in the wind. All the potential in this movie made it a heartbreak to watch. Where the hell was Nick Cassavetes when this project began. Nights of Rodanthe was an over directed let down that had moments of great acting and emotion that were interrupted by poor decision making by Wolfe and crummy editing. I’d rather watch Pay it Forward in German than this jalopy again.

PINEAPPLE EXPRESS

Thug Life.

Seth Rogen is becoming one of my favorite actors these days. He’s in all these movies lately and I’m not getting sick of him. I think because he plays things straight. He doesn’t over act and try to be funny. I believe his reactions (Which is what he does best in my opinion) in situations. Whether he’s disgusted, frightened, angry, or sad I believe and can relate to him. I need to stop kissing Seth’s ass because in Pineapple Express James Franco is the man. I know it’s bold but put his performance up there with Penn’s in Fast Times…I know I know. But come on Franco has double the screen time here and many more emotions he has to play. I didn’t tear up laughing in this movie like I did in Step Brothers but I was pleased throughout. This is a funny movie with a pretty compelling story. I do wish Gary Cole was funnier. He and Rosie Perez’s character didn’t really develop for me. I like both if these guys and wanted a little more screen time for both. And Danny McBride rules. Oh, and I don’t smoke weed so maybe it’s really funny to all the people that do.

MAMMA MIA

Mama freakin Mia…

ALRIGHT, I was tricked into seeing this but….off the record I enjoyed it.

STEP BROTHERS

Fucking Catalina wine mixer!

“Robert better not get in my face…cause I’ll drop that motherfucker!” Step brothers for me was hilarious all the way through. The sense of entitlement John C. Reilley has in this movie is enough for me. I could watch him act like he’s this or that all day long. And Will Ferrell just fuels this. We saw it in Talladega Nights with these two and it’s probably the reason we’re watching it here. This movie is just plain silly and i love it. Great one liners, ridiculous humor, and an alright storyline. AND great supporting cast. Steenburgen and Jenkins were PERFECT parents and Adam Scott was fucking hilarious. I mentioned him for shits and gigs. This reminds me of “Career Opportunities” at the max. There’s nothing funnier than watching someone who really thinks there someone important when their just not.

OH, and I know it’s potty humor and all but the scene with Seth Rogen was so funny I couldn’t laugh as hard as I wanted to. My body just wouldn’t register the magnitude.

THE HAPPENING

“What’s Happening?”

Look Sixth Sense was perfect. We all know it. And there was little room to rise for Shyamalan following that film but the inevitable decline has collapsed into a shallow pit of imitations. I’m a fan of Unbreakable, I am proud to say so you know I’m no hater. And the one alien shot in Signs was enough to keep me in it. And the Village pissed me off but Shyamalan fooled me so I appreciated it. Then there’s Lady in the Water. The one positive thing we can say about the Happening is that after Lady in the Water Shayamalan seems to have begun his climb back to par. Although this would also hold true if after Lady in the Water he grabbed a Hi 8 video camera and filmed a turd in a commode.  In the world of serious, I appreciate M. Night Shymalan’s filmmaking. His style is consistent in all his films and whether or not I am crazy about the story there is usually something up his sleeve. Unfortunately, The Happening set out for a long journey with very little in it’s canteen (Dumb). I was confused by the decision making of everyone involved and by the end when I awaited for something more Shymalan stepped out of the Village wearing a green tank top that read “Save the planet or the plants will kill you.”

IRON MAN

I am Iron Man!!

Robert Downey Jr. was Ian in Weird Science, Derek in Back to School, and Julian in Less Than Zero. Oh yeah and Leo in Johnny Be Good. Now he’s Iron Man. Really? Oh yeah, he’s good. And Favreau…the first movie I watched of his was Made. Then his break thru with Elf. Ok…then that one that started with a Z…ummmm, shit I forget. Anyway he wrote Swingers so he can do no wrong in my book. The two guys that you wouldn’t think would rock a 104 million dollar grossing Summer Blockbuster did just that! Iron Man is what it should be, not just a big movie. It’s impressive visually, and it doesn’t go overboard. It’s not a video game. And I give Downey and Favreau credit for giving it cinematic personality these big Kahuna’s need. Freaking Transformers was a bunch of metal fighting. Ok those fights ruled, but you know what i mean…some heart! Some flavor ya know. And nice call with Paltrow! Her role could have been a throw away pretty girl  role BUT NO, they give her Batman/Michael Caine quality in turn giving the whole Iron Man operation some clout. Bravo. And Daniels look ruuuuules! SO its a fun movie. It’s always fun to see terrorist lose. Go see it. And show some respect for the below the line  and you’ll see an additional scene.

FORGETTING SARAH MARSHALL

“Cohaagen givem the air!”

The line from Total Recall was the first time I noticed Jason Segel. He played this mature acting guy in Knocked Up and I didn’t recognize him right away when Forgetting Sarah Marshall came out. He went from Mature, confident, creepy guy to the guy that gets the steel toe from Kristen Bell. Hats off to him for shifting the gears. Forgetting Sarah Marshall took me back to 7th grade when I was handed my walking papers, reminding me what its like to get dumped. You know it immediately when a girl is about to dump you. Sarah Marshall delivers what this group has delivered in the past and that is solid funny characters handling situations that would ordinarily not be so funny. We laugh at their expense. They hack on each other and ultimately give us a sense of perspective that allows us not to worry so much. Rudd, always solid. Jonah Hill annoyed me a little in Super Bad but in Marshall he gives my favorite performance. Hilarious as a struggling musician/host that is obsessed with Aldous Snow. And snow! Freaking really funny! “I was going listen to it (Referring to J. Hills Demo) but I just went on living my life.” This cast just works perfectly together. And Davon Mcdonald loves puppets! They fuck his shit up! Lil Fragle Rock…And there is so much to say about hot girls that actually bring more to the table than being hot. And i have to figure out the background function Bill Hader uses to cheer up Segel, funny shit. Alright enough And’s. Jason Segel delivers here with his script and Team Apatow has once again given me a satisfaction about going to the movies. I even felt guilty for sneaking in candy.

EVAN ALMIGHTY

Pretty much like Bode Miller’s down hill last Olympics, disappointing. I should have gone to Ocean’s.

A MIGHTY HEART

I’m not sure what to say about this film. It’s a no win situation and at the end of the day it’s a horrific recap of a despicable situation so why would you bother? A Mighty Heart is a brutal reminder of the fallen. One of the first well known isolated cases of terror post 9/11, Daniel Pearl’s death set the stage for what was ahead. It’s a trip back to when the beheadings actually shocked us and how the worlds extreme continues to improve for the worse. As nauseating as it sounds A Mighty Heart remembers. The reason to see this movie is to remember those who cared and put forth effort to better the tragedies of today. People like Daniel Pearl’s ambition that far out exceded his fears. A super cast lead by Angelina Jolie grapples with a true story that nobody cares to remember but will never forget. After seeing a series of post 9/11 inspired films A Mighty Heart stands out as one of the hardest to swallow. It’s heartwrenching and real. I quickly remembered that there are people out there doing more and risking what they have in attempt to make some kind of impact during this horrific time.

KNOCKED UP

Judd Apatow and his cronies have reached the comical summit with Knocked Up. For anyone who is struggling with the responsiblities of life this movie provides a quick timeline from adolescence to early adulthood. Seth Rogan is forced to adapt to fatherhood after he impregnates Katherine Heigl. Knocked up does a terrific job in reaching out to the youth and revealing the beast ahead. And a beast it is. Paul Rudd and Leslie Mann steal the show in my opinion as a seasoned married couple that are grappling with the fact that their youth is long gone. The filth and honest truth of Knocked up makes for a hilarious movie. Down the stretch Apatow out sprints 40 Year Old Virgin and reaches out to a wider audience than Talladega Nights. A no brainer for those in their twenties and thirties. A guaranteed laugh with the look at the miserable future ahead and how inevitable it is. The film is much wittier and a hundred times funnier than this review.

Spider Man 3 (2007)

After a mediocre Spider Man 2 I wasn’t sure I even wanted to see Spider Man 3. Then I read that the Arc Light here in LA was showing it around the clock opening weekend. For some reason waking up at 3am to get to a 3:20am show sounded much more exciting. The only snag in the plan was Starbucks wasn’t open that early so I had to settle for the substandard home brew. So we went, PJ’s and all. I freaking loved this movie. Maybe I had to much coffee. Maybe I was excited to break my routine or maybe I was just excited I lived in a town that showed a movie at 3am without it being a guy ramming his 40 foot cock into another guy. I mean they show those too but this was legit. Regardless of my excitement and why this movie really worked for me. I didn’t expect much after seeing 2. I felt 2 had an identity crisis. It wandered from the adapted comic book story that makes fun of itself. It tried to be a Die Hard (Stretch, I know) and you can’t have that while some guy in tights is getting chased by another guy in tights. Spider Man 3 embraces itself. The action is as expected but this one brings back the humor. Entirely to long as expected but entertaining as hell with tons of action along side a parade of laughs generated by a great ensembled cast. “How’s the pie” you ask, “Really good.”

GRINDHOUSE

Alright. I saw this awhile back but good lord am I missing out on some fun. After seeing the credits it seems to me that Tarantino and Rodriegez gathered a small cast and crew and went and shot two movies along with a handful of decoy trailors and a hilarious restaurant commercial. Grindhouse is the type of movie you want to see when you need to awaken your creative side. It’s so stylized and unique it forces you out of the box. I’d expect nothing less from these two directors and I was very well satisfied when I finally left the theater.

The Departed

10/24/2006

It’s been awhile since I have left the movies these days after being out thirty dollars and feeling satisfied. Today’s movie going experience has a small window for satisfaction after the increased cost from tickets to large corn. It has also been awhile since Martin Scorsese had made a stamp on a movie as deep as he made on Raging Bull or Goodfellas. I believe the Departed falls somewhere in between Casino and Goodfellas (Assuming you know the order). It’s a remake of 2002 movie (Infernal Affairs) which made me question it AND I thought the trailer didn’t do it justice. So going in I expected another Gangs of New York, which I liked but I squinted to find Scorsese. I was pleasantly surprised after the long intro ended and the Drop Kick Murphy’s, I’m shipping off to Boston (Great workout song) starts and The Departed title slides across screen. I knew then this movie was different. “Scorsese’s Back,” I said. He’s actually never left but when you throw out some of the films he’s doneits hard not to want more of them.

DiCaprio, Nicolson, Damon, Sheen and Wahlberg in a cat and mouse action film directed by Martin Scorsese. Its as good as it sounds. The acting is ridiculously good and the experience involved in this movie really shows, throughout. Two things I loved the most: the pacing, steady and strong and freaking Alec Baldwin! The character he brings…he gives you the old veteran working for the FBI that’s pretty good at counteracting Nicholson’s character AND he’s a comic relief in some respect. Everything just mixes well in this film and it’s carried out to a tee. Love it!

A GUIDE TO RECOGNIZING YOUR SAINTS

10/30/2006

Ok I hated this title and I was coming off The Departed going into this movie. But I rarely hate a Robert Downey Jr. movie and I feel cool watching movies that are about New York for some reason. This movie reminds me of a Larry Clark movie because of how well the cast of kids are. They ARE the movie. And Robert Downey Jr. and Rosario Dawson kind of play second fiddle to them. It’s based on true events and if I’m not mistaken the lead kid, Dito is based on the Writer/Director Dito Montiel’s life. It shows in the filmmaking. There are films when you feel like the camera is just capturing everything that takes place and you as an audience member are just watching. Here it’s different, the filmmaking is much more involved in what goes on and you definitely get a sense that someone involved actually lived these moments. Its worth checking out for that.

BORAT!: Cultural Learnings of America for make Benefit Glorious Nation of Kazakhstan

11/5/2006

Good God this movie. In a world where shock usually only comes via terrorist and rarely in comedy. Borat! achieves this scene after scene AND he succeeds in making an ass out of America while he does it. Yeah I’m sure most was manipulated but because I was too busy laughing and knew such nouns existed I didn’t care to think about it too much. A wizard’s sleave! This sums this whole movie up. Go with or without your brain.

INVINCIBLE

8/28/2006

“You don’t live out your dreams from the sidelines.”

Was it the wide angle shot of a Roger Stabauch standing at shotgun, the Dallas Cowboys rising front line, or the fact that I spent 5 years in Philadelphia wishing I qualified to be an Eagles fan that gave me constant chills watching Invincible. I’m pretty sure it was all of the above along with the fact that Invincible was based on a true story. And these days, being 31 and a dreamer myself, “Based” is just fine with me. Mark Wahlberg plays Vincent Papoli (Yeah I spelled it wrong but at the end of all this does it really matter), who pulls the trigger on a long shot by trying out for the Philadelphia Eagles in 1977 if I’m not mistaken. Just so you know Rocky came out in 1976 so he had to pull some inspiration from the inspirational fountain of youth that keeps on giving. The fact that this true story may have been molded into blockbuster form or that our star only reaches the level of special teams this film is packed full of pride and heart. We witness a bartender from South Phili that walks into Veteran Stadium and runs a 4.5 40 at age 30. AND he overcomes the pessimistic and brutal acceptance of the Philadelphia fan. Not to mention he avenges the bitch that leaves him with an empty house and a note that pretty much says, “You’re nothing.” In a day in age that has almost lost all of it’s heart and soul for about two hours Invincible takes you back to the days of character. Vincent Paple’s story is a true inspiration for all.

SUPERMAN RETURNS

6/30/2006

“You know Richard takes me flying all the time? Not like this”

It’s been close to thirty years since any Superman has made an impact on the big Screen. The stage has been set for Superman Returns. This film has been in limbo for awhile trying to get made. There’s been talks from Nick Cage to star as Superman to Brett Ratner directing. It was always frustrating to see Spider Man and Batman films rocking and rolling yet the main super hero, Superman, couldn’t find a way back to the big screen. In Bryan Singers quest to make a grandstand entrance he accomplished a couple of things; He succeeded the return with a chilling, almost tear jerking (I know I’m such a loser) opening sequence that lands in the middle of a stadium full of people. Brilliant. Superman is back! I even sat there for a minute saying, “Where have you been?” And look Bryan Singer is riding on his back! The Singer stamp is all over this film, especially the return. The first time I got a good look at Brandon Routh as Superman I felt like I was looking at a Greek God that flew through a glitter storm to get here. Wait. That’s ridiculous. However, after sitting here for a minute pondering a comparison it doesn’t seem that far off. However, the return reminded me how much I missed Superman and exciting he can be.

Look in the sky, it’s a bird, no it’s a plane, no it’s 2 more hours of freaking Superman. The length and pace of this film is completely unacceptable. If the rest of the film played at the level of the opening action sequence I would have been exhausted at the end of 2 and a half hours but I would have felt a sense of satisfaction. For example, King Kong was entirely too long but the pace was on point enough to avoid huge gaps of down time. Superman returns has such distinct changes in pace I felt like I was looking at an annual bar graph of beach ball sells. The footage that needs to be cut is so obvious, I thought I was watching dailies. I don’t know how the filmmakers even made it out of dailies. I want to blame Singer but unfortunately I am aware of the other parties involved in a film like this so I can’t hold him accountable. BUT, how I can admit that running time plays a huge role in the overall opinions it is the only flaw I see here. Superman Returns is very well directed and acted. Routh proves he can pick up where Reeves left off by honoring him in a way through his performance, yet slowly taking the torch for himself. Singer loads this film with symbolism and comic book topic that could be discussed and debated until the sequel. I only hope that the filmmakers realize the caliber of their Superhero and the need to make a film that he deserves.

MISSION IMPOSSIBLE 3

5/12/2006

“He made it…he made it! I knew he’d make it.”

Cruise is always solid as an actor. People feel he’s fucking up is career with his headlines today but in my opinion those are irrelevant here. And can we take a minute to give him credit for his career choices. The last movie I can think Cruise made that I actually disliked (without going on IMDB) was Legend. And that was a Ridley Scott miss so who do you really blame? I like movies and Tom Cruise has been apart of some of the best so I don’t care where he dances or who he calls glib. By the way, Ron Hubbard made me write this. Moving on.

J.J. Abrams. Am I really going to make it in this town with people like this running around? The creator of Alias & Lost and I don’t watch either but the other 99% of the world does. And he’s about to make another Star Trek. I rather watch Carl Segan for 20 years than that but the guy is a genius and I will acknowledge that. Oh yeah, he wrote Armageddon and I liked it! To continue, with no credibility what so ever after that statement, MI3 was enjoyable to watch. It’s becoming battle of the Superstars. Phillip Seymour Hoffman is obviously the shit this year after bringing home the Oscar for his brilliance in Capote and Cruise is Cruise. Where the hell was Reese?!

I love how the Hollywood Maestro’s see this shit coming from galaxies far far away. The package is this: The actors I just mentioned as well as new comers to MI Laurence Fishburne & Billy Crudup (Who I was worried wasn’t going to be convincing after Almost Famous & Big Fish, antonyms of MI3) teaming up with Keri Russell (She looked great)and some other striking actresses, all under the guidence of one J.J. Abrams. Thats a package with a lot of potential. BUT THEN the package is shipped to you by VIC ARMSTRONG, who is a maniac wizard (Please give me a job)with action. You can’t really lose here. And you don’t unless you were foolish. The only risk is falling short of your high expectations because of the talent that is involved and the neverending marketing and publicity.

It’s Mission Impossible 3.

UNITED 93

4/25/2006

“Let’s Roll With This”

This film stirs a lot of emotions throughout. Before the film I was anxious but excited to see the events play out. I hoped to learn and maybe understand a little more about a day that changed the world I live in forever. I understand this was a film speculating about actual events using whatever available information that exist from that day. It’s one man’s vision. Actually, it’s a damn good filmmaker interpreting every bit of knowledge he learned about the horrific event and then applying it artistically. Here is my experience.

Like I said I was anxious about going into this movie. Like riding by a car crash on the highway I turned to see how much I could see. I wanted to know, even if it was speculation based on limited facts, more about what took place on 9/11. This film doesn’t begin until the victims are in the air. The film begins with some bad acting but it’s irrelevant because the stage has already been set. You sit there waiting. You know what’s ahead but you just wait to see how Greengrass interprets it. The emotions begin when the film is joined with actual footage that has been seen time and time again but has never really lost its shock value. It’s hard to swallow the fact that America was caught so off guard. We were on the canvas before we even knew the bell rang. It’s tough to see our leaders scramble.

Inside United 93 brings out the individuals reactions. I think everyone will react in his or her own way. Paul Greengrass shoots in a documentary style and once the conclusion begins on United 93 you’re on the plane and the only way off is to walk out of the theater. One thing I would have done different is to lose the subtitles once the conclusion began. They were irrelevant to me. Obviously the fate of United 93 was already known but to experience the reenactment left me in a state of anger and sadness, which overcomes the heroic attack by the passenger’s that band together. My hat’s are off to the filmmakers and my heart out to the victims and their families.

BENCHWARMERS

4/18/2006

Terrible.

V for VENDETTA

4/2/2006

“Remember, remember, the fifth of November

V for Vendetta is unique. That should be a complete review these days because the films that have been released lately “Unique” is not how I would describe them. In a time period when the imagination has become almost extinct V for Vendetta shows promise. These days, films that are not a remake, prequel, or sequel usually stand alone. V for Vendetta was brought to us from the Wachowski Brothers. And even though Vendetta will not make the impact that The Matrix did in 1999 it’s a solid film with a breath of fresh air in a stale time of Hollywood. It’s cool.

Hugo Weaving is remarkable and he’s behind a mask the entire film. I want him to read my Eulogy because he speaks so smoothly no matter how difficult the dialogue is. He could read some ancient dwellings and probably compile a segment about the native tribes and all there beliefs via cave wall. There is so much literature in this film I was overwhelmed and almost embarrassed of my lack of knowledge throughout. Natalie Portman. Here is an actress that has been great all her life. I mean throw me some talent Natalie. So young and not even close to her potential. I think she may be a closet sadist or something because she seems to good to be true. She’s magnificent in this. I mean Carrie-Anne Moss was hot but Natalie’s hot simply by acting.

The Wachowski Brothers didn’t direct this. Instead they through one of their Assistant directors a bone by letting him direct this one. I love to see this because it gives us wannabes hope for someone to gives us a chance. However, I can’t help think what it would have been if they were at the helm. V for Vendetta is worth the overpriced ticket.

ALPHA DOG

2/28/2006

“I think it’s time we stop shooting music videos”

Alpha Dog. Johnny Truelove. This is such a disgusting story. I personally think it should be shown in all high schools for all the followers. Moving off the soapbox and past the fact that Alpha Dog is a true story and onto the film.

Walking into a film knowing the Cassavettes name is attached is like walking into battle with William Wallace or into the streets with Dirty Harry. I felt at ease knowing Nick was at the helm. I’m a big fan of She so Lovely. What I was worried about was Emile Hirsch, who I had seen in Girl Next Door (I obviously watched that movie for Elisha Cuthbert) and Lords of Dogtown, were he was able to portray the “bad boy.” But I was pretty sure he would fall short of the Alpha Dog. Justin Timberlake stepped out of Tower Records to play a tender foot gangbanger. AND Fernando Vargas steps out of the ring (Not really, I saw him fight last weekend) to play the muscle of the gang. The casting was suspect. I was so wrong. I’ve rarely had enough knowledge to applaud the entire casting of a film. Usually I’m like, “Yeah great cast, Cruise is so good in everything.” The cast was so precise in my opinion and every doubt I had was off. It has been such a longtime where I have seen a film and felt like I truly knew every character.

I never doubted Cassavettes. He’s such a story and actor driven director but damn if he didn’t woo me with some shot choices. He kept it subtle though. He let the story unfold and allowed the actors to run with it. Ands that exactly what they did. Ben foster, who I had only seen in Hostage, broke the looney scale. At times I thought he pushed to hard but not enough to sabotage his performance. I mean what do I know about drug attic gang bangers? Bruce Willis plays Sonny Truelove, the instigator to this whole mess. Maybe not intentionally but he’s the only reason his son had any street credit. In a turn of events the Alpha Dog, on a three day binge of bad decisions, turns a petty kidnapping into a whack, ending in the desert. Alpha Dog is a bittersweet film to watch with its heartbreaking true story and Cassavettes brilliant telling of it.

THE NEW WORLD

1/29/2006

“Whip the slackers”

I will not lie. I was up until 4am the night before I saw The New World. But I saw it at 4pm and I slept fairly late. I recommend an 8ball or building a Starbucks in the seat next to you.

The New World is brilliant for the first hour. It’s beautiful and poetic with it’s images and mystical vibe. But then something happens. Time. I mean the Getty even gets boring after two hours and at least they have the little cafe that serves wine for a quick escape. There is no escape in The New World. The story is a bulimic beast that swallows you whole and then spits you back into your seat. I was so taken by the John Smith and Pocahontas thing. Colin Farrell and Q’Orianka Kilcher were great together and very convincing. I wasn’t even bothered that the relationship was at a fifth grade level. But then it ends and like clock work Terrance Malick is there to drag it out. And then we have to watch it all over again with Christain Bale. I can fall for one sappy love story montage but two? AND, Pocahontas is out of her Indian getup and into some frumpy dress.

Here’s the thing.Everything about this movie is great. The acting, cinematography, set design, and the editing really stand out. I even remember being impressed by some of the props I saw. And the look of the Indians was amazing. But for some reason Malick felt compelled to make it over two hours. And that’s great Terrance but do you want to maybe throw in a few more action scenes and/or dialogue if you plan to keep us that long. He did it in the Thin Red Line and he didn’t again here. I felt like I had been on the boat ride over to the New World after this movie. My advice, go and watch the first hour and if you start to feel antsy just know that it only gets worse.

GLORY ROAD

1/22/2006

“Welcome to the Back of the Bus White Boy”

In 1966 Coach Don Haskins lead the Texas Western Minors to college basketball’s National championship starting the first ever all black line up.

I love movies like this because it gives me another slice of history that I didn’t know. I’m not a huge basketball fan and I had no clue this season ever existed. BUT, it’s a Disney movie.

Glory Road suffers from the Disney stamp of generic. I can’t put my finger on it. They did it with Miracle, starring Kurt Russell, (a fantastic performance overlooked) which was the hockey movie about the USA defeating the Russians in the 1980 Olympics. The movie was great but it suffered from hints of weakness brought on by the Disney way. Old Yeller and Swiss Family Robinson, great freakin’ movies but these are G rated baby sitting movies. Disney has always delivered conservative films and they should stick with it. Glory Road is a film that wants to be Friday Night Lights but isn’t. Josh Lucas was great, but so was Kurt Russell and it falls short of greatness.

BUT it’s also produced by Jerry Bruckheimer, who has the resume of three Hollywood producer’s. However, a little too much Con Air in Glory Road. It’s hard to talk specifics about the Disney stamp. What is it? I ask. As a filmmaker I want to know what makes a movie mediocre. The writing was the biggest weakness. I remember some lines that stuck out as cheesy resulting in poor delivery.

In the end it’s a feel good movie and worth seeing for the history lesson. But it’s no Old Yeller and no Friday Night Lights. It falls short somewhere in the middle.

MUNICH

12/27/2005

“Why cut your finger nails when all they’re going to do is grow back?”

I feel like I just ate a roll of cookie dough and now it’s all expanding in my stomach. Except Munich is the dough and the stomach is my brain.

If you’ve actually kept reading after that ridiculous analogy then I must tell you Munich was a very powerful film for me. To witness a recreation of a feud that continues with no end that’s comprehensible and then to think that it’s based on reality that’s past AND continues has perplexed the hell out of me. Obviously Spielberg’s Munich works. The story is so powerful it seems trivial to discuss technicalities of the film. Why bother it’s Spielberg anyway. BUT, I will say Eric Bana is so perfect for this role. His mother tells him in the film that she knows everything he’s doing by simply looking at his face. The look of vengeance and regret Bana has throughout Munich and then experiencing the different degrees of both was enough to upset me for an evening, which is hard because I have the week off. I could not begin to understand this conflict. It’s like the Hatfield and McCoy’s times infinity. Spielberg has some great shots in Munich and his use of film stocks were subtle but enough to effect only the mood. Something rare these days where film stocks are used like lenses.

Munich was sparked by the kidnapping and murdering of 11 Israeli athletes by Palestinian terrorists at the 1972 Olympics in Munich. It’s the story of what happens next. But really, it’s a never ending story that started long before the 1972 Olympics. It’s upsetting to wonder about the realities and how it seems to get closer and closer to home. At the end of the day how may sides are there? I’ll understand Portuguese before I understand the mess that Munich only touches on.

KING KONG

12/15/2005

“Fucking Kong”

I remember reading in the trades that Universal was going to release Peter Jackson’s 187 minute version of King Kong. I remember thinking, I rather roll around in some barb wire then watch that. I have to admit a few things. First, I work at New Line Cinema and I cannot get through the Lord of the Rings trilogy (Also directed by Peter Jackson, for those of you that live under a rock). Sad I know. I haven’t given up. Next, I must come clean and say I got caught up in the reviews from my friends and from the usual critics I never listen to. Bottom line about King Kong, go see it.

Much like George Lucas I have always assumed Peter Jackson was the same breed. A pantry full of technical smarts but no finesse when it comes to directing. I stand corrected after Kong. I’ll immediately say Jackson could have cut down a few sequences but I can appreciate why he didn’t. There is a scene in Kong that makes the Running with the Bulls look like a small game of Duck Duck Goose. The scene is long and exhausting. It almost challenges you and at the end you feel relieved to get through it. Kong is a whole lot of movie so prepare yourself. Peter Jackson has created a character with King Kong that you can’t help loving. The beast is fucking cute at times! Sad! Jealous! And sometimes he’s fanatical over Ann (Naomi Watts). The moment I fell in love with the beast I fell in love with Jackson just for the fact he made it possible to fall in love with a fake ape. Or is he a gorilla? You get the point.

Here’s the thing, Kong rules. Huge symbolism when Kong is brought back to New York City. (By the way Jackson, How the fuck was that done)? When the crew had arrived on Skull Island a sacrifice took place. Ann was given to the beast by a Clan that made the Lord of the Flies guys look like the Kappa Sigs at the University of Georgia (Go Dawgs). After the beast was captured he was given to the people. I love it when we are reminded how shallow and animalistic our society is here in America. But it showed that some thought went into the story. My heart breaks for Kong. The poor bastard is harassed and tormented the entire movie. But that’s the greatness of King Kong, there’s more to it than the technical brilliance, there’s a little Ryan O’Neal and Ali MacGraw happening. And he fucks some shit up as well.

SYRIANA

11/27/2005

“Corruption is why we win!”

I did my usual ritual of popcorn and candy while watching this movie the day after Thanksgiving. I should have had coffee. You have to be on your toes during Syriana because there is a lot information, there are quite a bit of subtitles, and there are a lot of pieces you have to put together by the end. I think Syriana may cause a tiny stir among the political enthusiast but not much. It simply gives the audience a possible scenario regarding the oil industry and the Middle East. I don’t think it demands you to think it’s politically accurate but it does suggest a few interesting things. Especially the ending. I thought to myself, “We’re fucked.”

As he did in Traffic, Stephen Gaghan takes us on a journey through different parts of the world that in some way or another are all connected. This time he’s wearing the directing cap as well as the writing cap. I couldn’t help to think what the film would have been if Steven Soderbergh would have directed it, however I like some of the things Gaghan did. The acting is always solid with anything George Clooney has his hands in BUT when you are in the Persian Gulf and there are all these players, these unknowns that are so believable it’s a little distracting to throw someone as big as Matt Damon in the mix. As good as he is, he sticks out like a sore thumb. I think you go with someone else for his role. I can’t believe I’m saying that about Damon because I’m a huge fan and he’s not bad in Syriana but he seemed miscast to me. Christopher Plummer on the other hand was magnificent. I really enjoyed him in this movie. Jeffrey Wright has a strong performance as well.

In the end Syriana plays second string to Traffic, if you compare them. But it’s a political thriller that’s worth seeing because of the importance of it’s plot, regardless if it’s hogwash or not. What’s scary is that if 20% of Syriana is true we’re fucked. But most of us already knew that anyway.

WALK THE LINE

11/20/2005

“Do you have a hitch in your Getty Up?”

Walk the Line did just what the title says. Watching the life of The Man in Black through the performance of Joaquin Phoenix was unbelievable. The guy disappears into Cash. Reese Witherspoon was great too. Together they lead you on the line and through the ups and downs of both their relationship and their careers. Reese has a line in the movie, “Where did John go? Because I don’t like this new guy Cash.” Their chemistry was near perfect. The downward spiral in these biographies tend to run a little long and Walk the Line was no exception. However, that is my only complaint. James Mangold did what he should had done here and disappeared with Joaquin. He put Johnny and June in the driver seat and he road shotgun only because it was his car. There is a lot of music in this film so if you don’t like Johnny Cash don’t bother. But if you don’t like Johnny Cash, well I can’t imagine you’ve bothered with much of anything. Joaquin and Reese did all the singing themselves which amazes me, especially Joaquin. Who would have pegged the little boy from Space Camp as a perfect Johnny Cash. Not me. It’s an actor’s movie. There isn’t a bad performance in it.

The movie starts with a low rumbling of Cash’s band playing in Folsom Prison where he cut a live album. I can still hear the rumbling. I figure the rumbling of Walk the Line is going to continue at least through the month of March. Oscar nod for both Reese and Joaquin. If anyone says, “Ray was last year. They already did this,” they should be sent to Folsom Prison and electrocuted shortly after.

THE OTHER SIDE

“Fear the Pit”

I didn’t know much about this film. All I knew was I had a friend in it and I had met some of the cast & crew. I attended last night at the Egyptian theater. Don’t use the butter dispenser there. It comes out like the last squeeze of ketchup in a ketchup bottle.

This film entertained me all the way through. I can’t remember the last time I saw a low budget movie I didn’t want to use the bathroom in. I’m not sure of the budget but I didn’t think about it too long. The Other Side starts with a thrilling scene and never really settles down until the end. And it’s fucking campy as all hell, no pun intended. Even when the acting slips the horror genre is there to catch it. Especially Poncho Hodges who played OZ. He had to handle some lines that I felt were in the Swartzenegger/Commando arena, however he pulled them off and made it work with the style of the film. Poncho and Corey Rouse, who played Mally, had good chemistry that brought a lot of laughs my way. As soon as The Other Side started to get too serious it would show you shot’s like the reaper impersonating the Neighborhood Watch guy. Funny stuff. It was well balanced and well paced. That’s the appeal.

The reapers brought a unique element to the film. They reminded me of the villain trio in Superman mixed with the Matrix agents. They’re relentless. And my friend Lori beth is great shooting guns and throwing knives. Oh, and the murders are brutal and the guns are loud!

My hats off to Gregg Bishop and the rest of the cast & crew of The Other Side. They made a campy thriller that is very fun to watch.

JARHEAD

11/7/2005

“Every war is different”

And every war movie is different. Jarhead is an extended version of the first half of Full Metal Jacket. That’s really silly to say but that’s what it reminds me of. There are a lot of war movie clichés in Jarhead and they are executed brilliantly with an incredible cast. Sam Mendes does a great job capturing the mood of boredom while thousands of American Marines wait in the desert to fight. It reminded me of a high school fight when mobs of guys would stand around and revel in the fact that two guys were fighting for no reason. There was very little acknowledgement politically and it was made clear early on that the troops were not to get involved. This puts the troops on stand by with little to think about, other than the infidelity at home and when they get to fire their rifle.

Jake Gyllenhall is outstanding as the lead in Jarhead. You see many emotions from him and he convinces you he is now an A-list actor if he hadn’t already. And he had a lot of help with the supporting cast. Peter Sarsgaard and Jamie Fox are solid as usual. However, Lucas Black I always get a kick out of. The guy is as red as they come and he’s such a good actor. He’s really funny in this.

Jarhead becomes this American bonfire in the desert. Sam Mendes really brought out the true colors of American Suburbia in American Beauty. Unfortunately, I think he has done it here in Jarhead as well. As an American watching this film I felt a little embarrassed at times and proud at times. Proud for the fact that America has individuals that are willing to lay it on the line for the sake of their country. But the shot in the stomach is the irony this film has on what is going on today in Iraq. I couldn’t help to see the parallels. Jarhead represents the beginning of our present situation and in my opinion to see these troops playing football and fucking around in the desert with nobody to fight you can’t help to think to yourself, “Why the fuck were we (Or why are we) over here again?” You can’t help thinking the filmmaker’s were trying to say something here but maybe I’m just trying to start shit.

Aside from that Roger Deakins is a madman with his visuals and this only excites you into wanting to see a fight. But every war is different and what we see here is the emotional result of the anticipation war without war ever happening. Welcome to the suck!

ELIZEBETHTOWN 10/18/2005

“COME ON CROWE! YOU’RE BETTER THAN THIS!”

Cameron Crowe has never let me down. He’s written eight movies, seven classics. One being my favorite comedy of all time, The Wild Life. He directed six of those eight and out of those six, five were classics. Then there is Elizebethtown. I felt like I was watching Evander Holyfield’s first loss to Riddick Bowe back in 1992. I couldn’t believe it and at the end I was like, “What happened?” Since then I have searched for the specifics of why I didn’t like Elizebethtown.

The emotional let down was my biggest problem. I practically brought kleenex into the theater planning on a down pour. The whole dad dying and regret of not putting enough towards the relationship was a dead lock for me. But there was no emotional investment. Every time I climbed aboard ready to ride the emotional bull I was bucked off by pour acting, a fraudulent accent, or directing decisions that worked against the story. I could relate to so much in this film and that’s why I handled it better than some. And John Toll’s cinematography never hurt’s either. Crowe nailed Kentucky. Nailed it! Anyone from the south will appreciate his interpretation in Elizebethtown. After a slow beginning that brought me back. However, the accent on Kirsten Dunst was off (even though I thought she had her moments) and you mix that with Orlando Bloom, who is out of is element here (however he showed he could sell it in certain scenes) you have a difficult task ahead. There is funny stuff in this movie and memorable scenes surrounded by inspirational lines but in the end all these positive elements are standing around not knowing what to do. And this results in an inconsistent film that has slippery fingers when it tries to hold you emotionally. A story cannot be supported by good music alone. AND THATS what I felt diluted this movie. A scene must be strong before a song is added to improve it. You can’t resurrect a scene with a song, especially when the emotional triumph is supposed to be a musical road trip.

And that’s what Elizebethtown is in the end, a road trip. A ride of a few laughs and exciting moments but in the end you just feel like throwing up and you’re glad it’s over.

“Good Night, and Good Luck” 10/12/2005

I walked into “Good Night, and Good Luck” as a spectator to a film depicting some events that took place in the early fifties. I had to rely on the filmmakers resposibility and my own very little knowledge about the events to calculate authenticity. Or at least I prepared myself for that.

“Good Night, and Good Luck” was everything but a simulation. I think the film uses the time period and the events that took place as a vehicle for the message they are offering. And that’s the beauty of this film. It doesn’t accuse. It doesn’t insinuate or speculate. It simply offers you a suggestion regarding the role of television and the responsibilty that comes with it. “Without that it’s just a box with a bunch of flashing lights and wires.”

David Strathairn as Edward R. Murrow delivered the news with an elegance that was to the point leaving only dignity behind after each broadcast. He seemed to explore every possible possiblity that occured or could occur. And he was objective but not selective. I’ve never seen any footage of Edward R. Murrow so for me David Strathairn was playing the idea of Murrow and CBS at that point in time. A belief and responsibility to deliver the news with some integrity and principle. And with good intentions. And that’s the message offered here in a brilliant fashion by George Clooney and the cast & crew of “Good Night, and Good Luck.”

A message that can only be ironic in today’s media clusterfuck.

Movie Candy 10/1902005

I realize it may be a sign of old age to bitch about the old days and what used to be but I have to address what I think is in a serious decline, the candy options at the movies these days. First of all I saw a movie last night for 12.50. For 12.50 I should have Willie Wonka behind the counter ready to give me anything I desire. Today the candy options have dwindled into commercialized crap. There are always at least six SOUR options. When did sourness conquer the candy world? Sour Patch! Sour Patch Spiderman treats. Sour Power Burst. Star Wars Sour Sabers. Last time I had those Sour Patches my tongue felt like someone used it as a dartboard. I’ve never been a chocolate man but I have noticed the window closing on those options as well. Milk Duds and Goobers are the last of a dying bread. After Sugarbabes were no more I had to go to my second string Hot Tomales. Now days I have a better chance of getting a T-Bone than my Hot Tomales.

It’s sad to think that the Jr. Mint may sit in a retiremint home somewhere waiting to finally melt away.

CAPOTE 10/03/2005

My name is Ryan Miningham and I have never read “In Cold Blood.” Yeah, I’ll be the guy at the book store asking for Capote’s “In Cold Blood” like when I was five asking for the Han Solo action figure immediately after I saw “Empire Strikes back.” “Capote” did that to me. After I saw it I wanted to know every little detail about Truman Capote. Prior to the movie all I knew was that he wrote “Breakfast At Tiffany’s” and he was from the south. And these two elements play a big role in how I review this movie and Capote’s experience while writing “In Cold Blood.”

It was 1959 and four people were dead in Kansas. We meet Capote at an upper crusted party in New York City telling a story about a black homosexual that was in love with a Jewish guy. This conversation, the impression it made on me and after seeing the film from beginning to end, I could honestly say I had Truman Capote pegged from the beginning. I just didn’t know it at the time. Which is very ironic because Capote (Phillip Seymour Hoffman) delivers a line to a Kansas girl in the film describing all the mistaken first impressions that are made about him. I think Capote was very comfortable being the center of attention and though there were times when he was compassionate in the end he put himself first and would do almost anything to get what he wanted or needed. The funny thing is he had never had to make that choice in my opinion. He was clearly in over his head when he dove “In(to) Cold Blood.” I talk about Capote like Capote actually played himself. Phillip Seymour Hoffman is invisible in this film. He not only carries the movie with one hand, he attracts you. He captivates you into a constant curiosity about his thought’s and what’s driving him through his experience. And it was imperative! The film is very quiet. I felt guilty for chewing my popcorn. It is when Capote meets Perry played by Clifton Collins Jr. where the bottom falls out of this movie. Remember The Abyss? Ed Harris travels miles below into a mysterious & dark abyss with the help of weights. Capote & Perry (note I used Perry not Clifton) traveled to the same depth and all they needed were some homosexual undertones and each other’s past. Everyone else in this film became a featured extra from the time they met while Capote’s true colors began to shine through.

The long landscaping shots nail the tone of this film while in any other film I would be bitching about the car having to drive all the way through frame. Bennett Miller is to be credited here for setting a difficult pace and sticking with it. I feel like I have learned a lot about committing as an artist and the responsibilities it might involve.

I recommend Bennett Miller’s documentary The Cruise. He screened it at Temple U while I attended and it’s not surprising to see his success here.

HISTORY OF VIOLENCE 9/20/2005

I knew after the first shot Cronenberg was about to sink his teeth into me. It’s not what about this film. It’s why? If I was falling from a tower and I had a quick review to yell before I fell to my death I would scream, “It was so misleading but so damn good!” But I’m not falling. I’m here at my desk asking why this was shot and that was said. Mario Bello, who I knew from Auto Focus and Coyote Ugly threw the first wrench in my brain. Here we have a small town wife married to a mysterious bad ass. But the problem is she’s a bad ass too. A successful lawyer either by small town connections or skill, which insinuates power either way. One that can handle the iron without fear or hesitation and sexual behavior she didn’t learn in smalltown, USA. I couldn’t wait for her to take over the movie. Then there’s Ashton Holmes who is supposed to be a peaceful highschool kid that is a little light in the loafer, which would have worked if he didn’t have “Badass” tattooed on is face. You realize from his first scene that he’s just waiting to fuck shit up. Finally there’s Viggo, knowing he was going to be a bad ass in some way or another because we all know he can portray the calm type and the badass. It wasn’t “if” with him it was when and to what extent. The tail I kept chasing was that I saw a family hiding from a past that they ALL had experienced in some way. Even little Sarah Stall had accepted her way of life by the end of the movie. But like I said, I was chasing my tail, which I don’t have. This is a great movie with great sex, great violence, and great acting. Ed harris is such a treat to watch always and William Hurt, thank god he came out of that “Village” and did something I liked him in. History of Violence as a whole is a film that keeps you guessing and entertained but at the end Cronenberg is there to piss on every expectation you have. However, the slice of mob pie is delicious!