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Labels: Amy Brenneman, Annette Bening, Brittany Robertson, Carla Gallo, David Morse, film, movie trailer, Naomi Watts, Samuel L. Jackson

Screenwriter: Rawson Marshall Thurber
Director: Rawson Marshall Thurber
Actors: Omid Abtahi, Sienna Miller (Layer Cake), Nick Nolte (The Thin Red Line), David Morse (12 Monkeys) and Peter Sarsgaard (Rendition)

Labels: David Morse, film, movie trailer, Nick Nolte, Peter Sarsgaard, Sienna Miller

If it steers clear of the cheap shots at our troops, this could be great. I love the look of it and the dialog sounds sharp.







Screenwriter: Mark Boal (In the Valley of Elah)
Director: Kathryn Bigelow (Mission Zero)
Actors: Jeremy Renner (28 Weeks Later), Anthony Mackie (Eagle Eye), Brian Geraghty (We Are Marshall), Guy Pearce (Memento), Ralph Fiennes (The Reader), David Morse (12 Monkeys) and Evangeline Lilly (Lost)

Labels: David Morse, Evangeline Lilly, film, Guy Pearce, Jeremy Renner, movie trailer, Ralph Fiennes

Good trailer. Lukewarm movie.

Probably the reason the trailer works is because it avoids letting the viewer in on the fact that the final act is a black hole.

Labels: adaptation, David Morse, film, James Woods, Jodie Foster, John Hurt, Matthew McConaughey, movie trailer, William Fichtner

Short Review: It's like everyone made this film while waiting to make something better.


It certainly seems like Bruce Willis sometimes makes movies just to be in movies. He has makes blockbuster Hollywood films (Die Hard, Armageddon,) and fields more high-concept fare (Pulp Fiction, The Sixth Sense, Sin City, 12 Monkeys.) Then there is a third pillar of work that acts career filler, a line of tin eared guy movies with a heart of gold (Hostage, Tears of The Sun, Hart’s War) that are neither dreadful or successful. It is as if Willis wants to be seen as sensitive while he kills people. This third type of film tries to have a message but isn’t cooked enough to be served that hot. In most cases, these films are bland, wishy-washy pieces without the potency of neither a message nor the attraction of lots of explosions. Most actors of Willis’ drawing power would probably pass on such projects and keep to making the big-ticket, sure-fire productions. Perhaps he signs on to these projects because he can’t stand the idea of Michael Chiklis getting more roles. Obviously, I have gone down this road because this film is one of Willis’ empty-calorie efforts.

This film has some moments to save it from wasting all of your time but not enough to make you want to see it twice. The film tells the story of weary, drunk cop Jack Mosley (Willis) who runs into a spot of trouble while trying to get witness Eddie Bunker (Mos Def) to court. A collection of corrupt cops need to have Bunker killed and proceed to shoot up sixteen, well populated, urban blocks in their effort. This is the kind of plot that works great during fanciful talks over drinks but falls apart when it meets the paper. Since cops aren’t given to starting running gun battles in busy city streets, even to save their own hides, the story never gets beyond feeling like a cheap movie. With a better-developed script and a more realistic path for the plot to expand, this could have been a far better movie. Then again, with better grammar, more patience and better connections, I’d be a better reviewer so I guess life ain’t fair.

Willis gives a stock performance. He replays his role from Hostage but with different clothes. Tired old cop with a history and a failed personal life gets a final chance at redemption. Yawn. He’s involved to pick up a paycheck, not explore the depths of the art of acting. He there’s to be Bruce Willis and little else and in that role he succeeds. His supporting cast is built with two very good actors who don’t do much. Mos Def is the most vibrant person in the film but is also the most annoying. Mos Def is a fine actor who still needs his big break, so he really pulls out the stops, too bad his voice is so irritating in this piece you’ll just ask for him to stop. Doing his best impression of Flavor Flav, Mos Def gives a great performance that is nearly unbearable to listen to. His high-pitched and garbled dialog is not terribly different than listening to a cat being tortured for ninety minutes. The other heavy hitter in the film is David Morse who pulls out his usual tough-guy character. Morse is a talented actor deserving of respect, but there are some films where he seems to know no one will be seeing his performance and just glides through the piece.

The film itself is not visually interesting. The script is in need of a rewrite. The acting meets the requirements of the production. If your settling down an evening of doing nothing, this film will consume your time. If you’re looking for good entertainment or something of value, this will waste your time. Your circumstances should determine your choice to see the film. It's not terrible but it's not that good either.


Related Reviews:
Other Bruce Willis Films
The Sixth Sense (1999)
Hostage (2005)


Other Critic's Reviews:
FilmCritic.com
eFilmCritic

Labels: Bruce Willis, David Morse, film, Mos Def, movie review

It's Hitchcock for the Moron Generation. While not an admitted remake of Rear Window, this film certainly borrows liberally from the classic thriller. Shia LaBeouf (Transformers) plays Kale, a depressed wealthy suburban kid who is under house arrest after he punches his Spanish teacher. Kale, bored out of his mind, begins to live vicariously through his neighbors by spying on them from his bedroom window. He makes two discoveries of note with his spying, the new stock hot chick next door Ashley (Sarah Roemer - a poor man's Jessica Biel) and the creepy Mr. Turner (David Morse) who just so happens to be a murderer.

The plot is derivative of a classic and screenwriters Christopher B. Landon (Blood & Chocolate) and Carl Ellsworth (Red Eye) have to shuffle so many elements around to make this story plausable that the whole piece feels slapped together. None of the characters are likable or have any real depth. The tension of the film exhausts itself early on and we're left with a predictable movie without any real point. When the final climax finally rolls around, what should be the grandest moment of the film is little more than a disappointing and confused whimper. All of this wasted effort and the film also displays one of the more grating performances in years. Aaron Yoo (Nick and Norah's Infinite Playlist) is galling in a supporting role as Kale's buddy. Yoo squeals and nancies around in what appears to be an attempt to be humorous and zany. This guy is annoying - very annoying - we're talking going on a road trip in a Ford Festiva with Tom Green, Rip Taylor and Rosie O'Donnell annoying. He offers one of those performances that is so uniquely irritating that he should be forced to give back his paycheck, make a public apology and then be forced to clean the backyards of everyone who's seen the movie.

On the positive side, this film does sport a brilliant car crash early on. The accident is handled wonderfully and sets up some strong expectations for the rest of the film. LaBeouf easily handles his role and excels during the few moments he's allowed put himself behind his work. For the most part he's sleepwalking through the movie obviously stuck in a role and production well below his talents.


Related Reviews:
Shia LaBeouf movies
The Greatest Game Ever Played (2005)
I, Robot (2004)


Other Critic's Reviews:
Film School Rejects
Cinematical

Labels: Carrie-Anne Moss, David Morse, film, movie review, Sarah Roemer, Shia LaBeouf