Showing posts with label action. Show all posts
Showing posts with label action. Show all posts

Bleach, Volume 1: The Substitute (Episodes 1-4) (2006) Review

Bleach, Volume 1: The Substitute (Episodes 1-4) (2006)
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Yet another juggernaut has made its way across the Pacific - and this time, it has attitude. Another mega-hit manga adapted into a mega-hit Anime series, Bleach brings a whole new definition to the word "Action-Adventure" - and does it with style.
Young Anime artist Kubo Noriaki's (also known as "Kubotite") "Bleach" is the story of 15-year old Ichigo Kurosaki, who is ANYTHING but an ordinary high-school student. Possessing superhuman "Reiatsu" (loosely translated as "spirit force/ability"), he has the ability to see and communicate with Spirits of the recently deceased. However, Ichigo's life is changed forever when an evil-spirit, a "Hollow" threatens his family and friends. In the process, he encounters a young Soul Reaper named Rukia, who after being gravely wounded, entrusts Ichigo with her powers. Becoming a "substitute", Ichigo unwittingly receives the task of performing Rukia's duties on Earth, which include vanquishing Hollows, and "burying" good spirits by sending them to "Soul Society" (a kind of Japanese "Heaven"). And so begins the saga of Ichigo Kurosaki, Substitute Soul Reaper.
Considering the immense fan-base in the US, as well as Japan, it seemed as though it was only a matter of time that "Bleach" The Anime made it overseas. Already a major hit with internet viewers, as well as a best-selling translated-English manga, Bleach takes traditional Japanese culture and heritage and sends it smashing into bold, hip, modern style - and with surprisingly fantastic results. Almost every character in Bleach is interesting, developed, and well-defined. Writing is top-notch, and viewers will certainly find themselves gasping in awe one moment, and breaking out laughing the next.
Refreshing, original, and genre-defining, Bleach is a gem among 21st century Anime. Although a uniquely Japanese anime, this show should prove to win over even the most skeptical viewers in the States - as long as you remember not to judge a book by its bleached cover.

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Taking On the Afterlife, One Soul at a Time! Fifteen-year-old Ichigo Kurosaki never asked for the ability to see ghosts-he was born with the gift. When his family is attacked by a Hollow-a malevolent lost soul-Ichigo encounters a Soul Reaper and absorbs her powers. Now, he’s dedicating his life to protecting the innocent and helping tortured souls find peace. Bleach anime premiers on the Cartoon Network’s Adult Swim time block September 9th! Bleach Manga also available from Amazon and Viz Media.

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Confessions of a Call Girl Review

Confessions of a Call Girl
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The poor, poor actors! This utter dog of a movie isn't held back by the acting, it's the dreadful script, low budget & lackluster direction that really hold it back. Of course, it could have surmounted even these obstacles if it at least presented copious amounts of gratuitous T&A as might be expected from the title, but regrettably, even that minor sop to the viewer was completely denied.
Run, do not walk, RUN away from this pitiful waste of time & money! Free is too high a price to pay for this dog, because you'll never get back the time wasted on watching this cinematic excrement!
& BTW, the ending not only doesn't make much sense, it sux on multiple levels. So you sit thru an excruciatingly bad flick hoping for a good wrapup, and are left staring at the screen when it's over, watching the credits wondering "WHY? WHY WOULD ANYONE LET THEIR NAME BE ATTACHED TO THIS?"
In short, I dislike this film intensely. Hopefully, having taken part in it won't ruin the careers of the actors, some of whom were quite decent, despite the dreadful material they had to work with.

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CONFESSIONS OF A CALL GIRL - DVD Movie

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The Machine Girl (2007) Review

The Machine Girl (2007)
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MACHINE GIRL (aka. One-Armed Machine Girl) is an over-the-top, campy, ultra-violent action film by Iguchi Noboru (Sukeban Boy). The film is definitely NOT for everyone but will appeal to fans of Japanese cult films with a touch of dark comedy and unrealistic ultra-bloody violence made popular by Ichi the Killer and even Tarantino's magnificent "Kill Bill". Folks will either applaud or be repulsed by this film's execution, but it is a wickedly twisted, darkly-toned entertainment that knows exactly what it's going for. The film features well-known Japanese bikini model Minase Yashiro in her first feature role, ex-AV star Asami and the beautiful Honoka as the Yakuza boss' twisted wife. Do I have your attention yet?
Plot synopsis partly derived from the back cover:
Ami (Minase Yashiro) is a tough but otherwise average high school girl, trying to lead a normal life with her younger brother. Her whole world comes crushing down when her brother and his friend are killed by ruthless bullies led by a Yakuza Boss' son. When she goes to find those responsible, she finds herself in over her head and minus her left arm. Barely surviving, Ami escapes and finds shelter from a kindly mechanic and his wife Miki (Asami) who also happen to be the parents of her brother`s friend. They take pity on Ami's plight, helping her heal, training her and fitting her with a powerful machine gun where her left arm used to be. She then teams up with the tough mother to seek vengeance and together they unleash an unholy, non-stop, over the top kill fest against the equally creative machinery of their ruthless Ninja-Yakuza enemies.
The film is a wild blend of 70's "pink violence" and 80's super-violent splatter horror that doesn't take itself seriously. The film is full of bloody sequences and oddball weird humor that will undoubtedly garner a cult following. It was quite inventive of the filmmakers to rely on "old-school" style violence to conduct the visual blood and gore. Whether this decision was made because of budget constraints or some other factor, it made the film work; from an entertainment standpoint kind of way. The exaggerated gallons of blood complements the film's action sequences; chainsaw-fu, machine gun-fu, swordplay and brassiere-fu are the film's many unorthodox style of brutality. The film is an example of an adult-Tokusatsu (Kid's TV show)with the wild blend of action, camp, humor, sci-fi and even horror that plays like a stunt/Gore show.
The film also has some campy ideas that will make you say; "What the heck" as the film makes fun of certain anime-inspired names such as "Super Mourner Gang" and "Junior high Shuriken gang" seem attempts to somewhat tone down all the violence and brutality displayed. There are also twisted touches of oddball humor with the "sushi fingers" and "tempura arm". I've always wondered how Hellraiser's "Pinhead" got that look; Miki and Ami were very obliged to demonstrate how that sinister look can come about in a human being.
Sexy Minase Yashiro plays the lead, I'm a little undecided as to how well her first starring performance is. She has the right school girl look and she has a lot of charisma, but at times she looks a little awkward with the action sequences. Asami plays Miki and she looks a little young and definitely too cool to be the mother of a teenager. Nude model Honoka adds a lot of eye-candy as the wife of Yakuza boss Kimura. The woman is twisted in her own way, she has that no-nonsense appeal further accentuated by Honoka's sheer sexiness. She is seductively, yet creepily appealing as she displays her "Drill Brassiere" as an added campy display of villainy. Shimazu Kentaro is the Yakuza Boss who seemed to have been based on "Heihachi Yashima" from the "tekken" video game. The whirling and hurling flying razor sharp "bucket" adds more to the film's twistedly, campy appeal. Boss Kimura an intimidating villain although he isn't an originally fresh concept.
With Ami's Sailor Moon-inspired outfit, sentai/tokusatsu heroism, references to ninja and Yakuza elements, the film is definitely aimed at anime fan boys and those very initiated with Japanese cinema. The film's enjoyment requires a very large suspension of disbelief for its entirety. Take two cups of "Shoot `Em Up", three tablespoons of "Darkman" and even "Planet Terror" to two gallons of "Ichi The Killer" and stir vigorously, then you will have an accurate idea just how this film plays out. The film doesn't take itself seriously and if "Machine Girl" is any indication of the filmmakers take on twisted entertainment, then I'm sold to see "Tokyo Gore Police".
Recommended for fans of J-cinema and Pink violence [3 ½ ++ Stars]

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Ami (Minase Yashiro, in her film debut) is a tough but otherwise average high school girl, trying to lead a normal life.Her world comes crashing down when her brother and his friendare killed by ruthless bullies.As Ami tracks down the ringleader, sheis surprised to discover the bullies' association with a sinister ninja yakuza family. When she goes afterher revenge, she soon finds herself in over her head and minus her left arm.Barely surviving, Amiescapes and seeks out shelter fromtwo kindly garage mechanics. They take pity on her, fitting her with a high-powered machine gun where her arm used to be. She then teams up with the chainsaw-wielding mother (Asami) of her brother's slain friend and together they unleash an unholy, non-stop, over-the-top kill fest against the equally creative machinery (drill bra, flying guillotine) of their relentless ninja enemies.

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The Naked Prey - (The Criterion Collection) (1966) Review

The Naked Prey -  (The Criterion Collection) (1966)
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Most films which have the basic premise of a white man battling native Africans somewhere in the Dark Continent usually portray these natives as nameless, unmotivated ugga-mugga tribesmen whose only purpose in life seems to be able to toss missionaries into a round cooking pot. Thankfully, Cornel Wilde acts in and directs himself in THE NAKED PREY, a movie that is as astoundingly gripping as any film whose plot revolves around the hero's struggle for survival in a savage environment.
Wilde is a guide whose safari of foolish white hunters antagonizes some ferocious natives, who proceed to kill the hunters in a variety of graphically nasty ways. The natives allow Wilde a head start, then chase him. It is this chase that forms the bulk of the movie. Along the way, Wilde shows the natives (and the audience) that a near naked white man can still be a formidable foe. The pursuing natives, led by Ken Gampu, are a diverse lot, not all of whom are as dedicated to the chase as he is. They have numbers, food, knives. Wilde has only his fierce determination to live. What starts out as a standard chase movie, morphs quickly enough into another sort of chase. This time, though, it is Wilde who starts calling the shots about who is chasing whom. THE NAKED PREY is full of magnificent vignettes of survival on the African plain. This is no jungle movie. It is an engrossing film that allows the camera frequent panoramic sweeps over vast desert plains that are quite capable of supporting life if one only knows how. The natives are astonished that Wilde's knowledge is at least as full as theirs. Along the way, Wilde befriends a very young boy whose family was captured by Arabic slavers, and it is this boy whose very initial helplessness reminds Wilde that vulnerability is a trait that has the practical value of reminding one that arrogance on the plain is a negative survival characteristic. The latter half of the movie is a continuing series of confrontations between Wilde and Gampu. By the end, both the pursued and the pursuer recognize that sometimes the distinction between the two is a muddied affair at best, and the winner is not necessarily the one with a trophy, but with a recognition that all life, even the life of your enemy, has some value during a deadly game of chase.

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Glamorous leading man turned idiosyncratic auteur Cornel Wilde created a handful of gritty, violent explorations of the nature of man in the sixties and seventies, none more memorable than The Naked Prey. In the late nineteenth century, after an ivory-hunting safari offends an African tribe, the colonialists are captured and hideously tortured. Only Wilde s marksman is released, without clothes or weapons, to be hunted for sport, and he embarks on a harrowing journey through savanna and jungle and back to a primitive state. Distinguished by widescreen camerawork and unflinching savagery, The Naked Prey is both a propulsive, stripped-to-the-bone narrative and a meditation on the notion of civilization.
SPECIAL EDITION FEATURES:

New, restored high-definition digital transfer
Audio commentary by film scholar Stephen Prince
John Colter s Escape, a 1913 written record of the trapper s flight from Blackfoot Indians which was the inspiration for The Naked Prey read by actor Paul Giamatti
Original soundtrack cues created by director Cornel Wilde and ethnomusicologist Andrew Tracey, along with a written statement by Tracey on the score
Theatrical trailer
PLUS: A booklet featuring a new essay by film critic Michael Atkinson and a 1970 interview with Wilde

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Cowboy Bebop - The Movie (2001) Review

Cowboy Bebop - The Movie (2001)
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Based on the very popular and successful TV series, "Cowboy Bebop: The Movie" is one entertaining thrill ride that really shows how effective anime can really be when it is done correctly. It's hard to think of a cartoon being so action-packed and involving, but this movie does a splendid job of doing just that. You're plunged right into the nail-biting action that will have you glued to your seat until it is well over.
The movie revolves around a bunch of outlaw bounty hunters. In Mars, there's a suspected terrorist running around with a virus that could very well wipe out the existence of human beings. Spike and company decide to take the case, as there is a large reward that will be given to the person or persons who catches the madman. The only trouble is that Spike and the gang have stumbled onto something that is much more than a simple bounty and end up discovering a big conspiracy that will throw their lives into ultimate danger. The action and excitement never ends until the shocking finale.
I watched the movie TWICE in one day. Right after I had seen it for the first time, I had to immediately watch it again. You know a movie is powerful when it has that kind of effect on you. Very rarely do I run into movies that make me want to watch it again right then and there. When you're watching "Cowboy Bebop," you really don't view it as an animated feature, but as a real living and breathing film. It is done that well. And, the great thing about this movie is that you do not have to have seen the show before. I watched this without seeing any of the shows and was able to follow it without any problems. Of course, chances are that you will want to watch the series after viewing the movie. The story is well thought out and appropriately structured. There isn't a single dull moment in the entire movie.
A little warning; although this is an animated feature, the movie is rated R. While it is certainly more mild than most anime, the movie does contain violence and language. I don't think this is anything for very young children, but I don't see a reason why older teens shouldn't be able to enjoy it.
The DVD has some nifty features to offer. First off, the picture quality is GORGEOUS. Even though it is an animated movie, the picture quality is fantastic and it really shows if you have great home theater system. The sound is also very good. Extras included are featurettes, music videos, storyboard comparisons, trailers and more. You can also watch it in the original Japanese audio track or the dubbed English one. I have to say, they do a great job of dubbing it in English. If you're not a fan of subtitles, then check it out in English. Overall, a very cool DVD package.
If you're looking for a wild and exciting trip filled with humor and thrills, "Cowboy Bebop: The Movie" is just for you. Again, you do not have to have seen the actual TV series to understand the characters or the story. The movie does a fine job of standing on its own. This is truly a great movie that shows you just how exciting anime can be. Definitely a favorite. -Michael Crane

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Studio: Sony Pictures Home EntRelease Date: 09/25/2007Run time: 114 minutesRating: R

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The New Centurions Review

The New Centurions
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This movie inspired me to a law enforcement career that lasted 28 years. George C. Scott (Officer Kilvinsky) delivers one of his best performances as a veteran patrolman of the L.A.P.D. He teaches a rookie cop "Stacy Keach" how to survive on the streets of L.A. Erik Estrada plays a former gang banger that turned cop, only to find himself working patrol in his old stomping grounds. The realism was great. No doubt they used police advisors when making the film. A sad movie that will make you realize that cops are human. Kilvinsky the cynical cop, shows compassion in dealing with illegal Mexican immigrants that are being taken advantage of by a money grubbing landlord. Stacy Keach suffers a failed marriage and gets involved in an interracial relationship. Truly a gut wrenching movie that shows the brutality of police work, both mentally and physically. I'd pay a hundred dollars if I could get the movie on DVD.

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Experiences of modern-day Los Angeles policemen portraying their hazards, adventures and rewards, starring George C. Scott as Sgt. Kilvinski and Stacy Keach as Roy Fehler. New Centurions is based on the novel by Joseph Wambaugh.

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The Stepfather (2009) Review

The Stepfather (2009)
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Having always been a fan of the original film, I was curious to see this remake, even though I expected the worst. While this is an OK watch for thriller fans, it is inferior to the original in every way. In fact the original is more intense, more graphic and just more fun! This film looked and felt like a Lifetime TV movie especially with Ward playing the new wife in this tame and pointless remake.
If you looking to watch a film about a psychotic Stepfather, skip the watered down remake and look for the original, which has finally gotten a long over due DVD release this past year, no doubt because of the remake, so I guess the remake did serve a purpose after all.

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When Michael Harding (Penn Badgley, TV\'s Gossip Girl) returns home from military school, he finds his mom is madly in love with her charming live-in boyfriend David (Dylan Walsh, TV\'s Nip/Tuck). At first, David appears to be the ultimate nice guy and an ideal future husband and stepfather. But when Michael and his girlfriend (Amber Heard, Zombieland) start delving into David\'s past, they begin to discover a dark and dangerous side to Michael\'s new "daddy" in this riveting, chilling thriller.

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Repo Man (Collector's Edition) (1984) Review

Repo Man (Collector's Edition) (1984)
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Repo Man is completely unclassifiable. Funny, dark, biting, thrilling, confusing, action, adventure, it's all there. Emilio Estevez plays Otto, a "white suburban punk" living in LA's sprawl, with a nowhere job that he loses in the film's second scene. When his hippie parents admit they sent his college fund to a TV preacher (We're sending Bibles to El Salvador!), Otto meets Bud (Harry Dean Stanton), a cocaine-driven Repo Man who needs an extra driver. Otto joins the firm and soon learns the Repo Code; Bud's version (You see, a Repo Man gets himself INTO tense situations), and the other regulars at Helping Hand Auto share their philosophies too. Light finds Bud's view tedious but is willing to handle shoot-outs when he's not reading parodies of Scientology (Diuretix), Miller seems completely neuron-fried (The more you drive, the less intelligent you are), and Oly is along to make a four-pack. (Did you notice the four experienced Repo Men are named after beers?) Let's go get a drink, kid!
Multiple plot strands at first seem unrelated, but bind together closer and tighter as the film moves along. Otto and the other Repo Men are on the lookout for a 1964 Chevy Malibu, with a $25,000 bounty. So are some creepy FBI agents, who stalk and kidnap Otto. And so are Helping Hand's arch-rivals, who careen into the plot whenever things are getting dull. The car's driven by a nuclear physicist in from Los Alamos, who warned a CHP officer not to look in the trunk (with deadly results). Otto's punk friends find the car while breaking into a pharmaceutical factory, but they're too stupid to keep it. (These three are some of the dumbest criminals ever shown in film, including Kevin Kline's Otto in _A Fish Called Wanda_) Otto finds love, after a fashion, but since this is Reaganesque LA, even his girlfriend has her own motives. ("Otto! What about our relationship?" Otto's reply is a brilliant retort to Cary Grant's last line in Gone with the Wind.)
The film abounds with hilarious throw-away lines, signs, and labels. Several scenes take place in food stores, and all the food is generically labeled. Multiple viewings are required to catch them all; be sure to read all the signs in the windows. Even the TV preacher shows up on several television sets. Repo Man takes its structure from Miller's bizarre rant about the cosmic latticework of interconnectedness, because everything is interconnected, and Miller turns out to be right about all of it by the end. "And flying saucers are... You got it. Time Machines."
Top it off with a TERRIFIC sound track by Iggy Pop, Black Flag, The Circle Jerks, and a host of others from the punk scene and this is one of the best movies ever made.

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REPO MAN SE - DVD Movie

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The Punisher (1990) Review

The Punisher (1990)
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Let's face it, before Blade (1998), X-Men (2000) and Spider-Man (2002), Marvel Comics really didn't have much luck in getting successful films made based on their characters. The reason? Because they would often sell the movie rights to anyone who had two coins to rub together, releasing cinematic flops like Dr. Strange (1978), Howard the Duck (1986), Captain America (1989), and even a Fantastic Four movie that was so bad it never saw the light of day, as it was too bad to even release on video. And then there was The Punisher (1989), a character introduced in the 70's within the pages of The Amazing Spider-Man, issue 129, circa February 1974, a former police detective, now vigilante, taking revenge on criminals, motivated by the death of his family. Most people I know who've seen the film have pretty distinctive feelings about it, ranging from dislike to severe hate, but I always thought it was pretty good, considering...
The film, directed by Mark Goldblatt, whose primary credits include editing films like The Howling (1981), The Terminator (1984), and True Lies (1994), stars Dolph Lundgren, Louis Gossett, Jr., and Jerome Krabbé. Yeah, I know what you're thinking...Dolph Lundgren? I think a number of people had instant reservations when hearing Dolph, certainly an interminable dweller of the B movie circuit, pre-judging the film unfairly. Lou Gossett, Jr. brings a little star power to the table, but he also is no stranger to B movie fans appearing in films like Jaws 3-D (1983), Firewalker (1986), and any of the four or so Iron Eagle films.
The film opens with a television news report, giving us some expository background with regards to a mafia type recently acquitted of the crime of killing detective Frank Castle (Lungren) and his family five years prior. The report also speaks of an elusive character named the Punisher, who has been busy killing members of the mafia over the last five years, racking up an impressive body count. Any connection? Probably...anyway, the mafia guy, returns home to celebrate, and guess who crashes the party? Killing and explosions ensue. Enter Detective Jake Berkowitz (Gossett). Seems Detective Berkowitz has been leading the investigation of the Punisher for the last five years, and believes the Punisher is actually Frank Castle, despite his superior's beliefs that Castle is dead, as the thought of a rogue cop going around killing people would be unpopular. With the recent death of this mafia boss, there's a void of real leadership in the organization, one filled with the return of Gianni Franco (Krabbé) from Europe, who intends to unite the remains of the various mob families whose ranks have been severely depleted by you know who...
Turns out the decimation of the mafia families hasn't gone unnoticed, as the Yakuza (Japanese mafia) has decided to move in and take a controlling interest in criminal activities within the city, a hostile takeover, to say the least. Sounds pretty to the Punisher, as if the criminals are killing themselves off, less work for him...until the Yakuza kidnaps children of the remaining mafia families in an effort to extort control and pressure them under the Yakuza's thumb. So Castle, feeling somewhat responsible as his five-year vendetta has left the families unable to protect even their own children, begins dealing with the Yakuza, which eventually leads to an unlikely alliance with Franco, who's son is one of the kidnapped children.
Guns, knives, throwing stars, explosions, it's all here (well, as far as the explosions, at one point the Punisher is firing a grenade launcher, and the explosions seem less than spectacular, more flashy than boom boomy). Not only that but there's a good amount of karate. Lundgren, a former karate champion himself, performs most all of his own stunts, and there is almost no choreography within the marital arts scenes, as real artists were used, and training in stunt techniques. Does the film stay true to the original character portrayed in the comics? For the most part...some minor changes, along with a few major ones (he never dons a shirt emblazoned with a white skull on it). I think one of the main reasons this film was ill received is because comic fans are a particular picky lot, as they spend a lot of time getting to know these characters, and tend to have high expectations when someone adapts one of their favorite characters to the silver screen. I read comics from the age of 9 until I was 23, so I have intimate knowledge, or at least I did, of many characters, and I thought this particular rendition of this character retained most of the important elements. The main element I didn't care for was his living in the sewers. I brought to mind teenage mutant ninja turtles, which is an altogether different film. I did think Lundgren face makeup was overdone. I understand why it was done the way it was, to present the visage of a skull when the light hit his face just right, and it succeeded, but other times he sort of looked like a drag queen. The most painful element of the film was the dialog. I rolled my eyes more than a few times as the delineation between Frank Castle and the Punisher was examined, unsuccessfully. Some of it was extremely corny, more so combined with Lundgren's deadpan delivery. The direction was pretty good in most areas, given that this was Goldblatt's second film, his first being the Joe Piscopo/Treat Williams cop flick Dead Heat (1988). Goldblatt has since returned to editing, which seems a much better fit for him. Gossett is fun to watch, but again, given the dialog, he is given some completely rotten lines, but he does seem to try to make the best of it, earning whatever he got for appearing in this film.
A nice wide screen anamorphic print here and good audio, with special features including production notes and a theatrical trailer.
Cookieman108

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"The Punisher" details the abuse of the comic book antihero in his first and only screen outing. After the mafia murders his wife and children, New York cop Frank Castle disappears into the bowels of the city sewer system, planning his revenge. He spends the next couple of years stepping out of and back into the urban shadows as he picks off Gotham's big-shot Italian gangsters. Then Lady Tanaka, a fiery Japanese crime-lord, enters this grim scene and heads begin to roll. Castle initially gets a kick out of her bloody antics and the newly cannibalistic underworld. But when Tanaka and her cronies kidnap a rival's kids, Castle decides to intercede and show her exactly how killing is done in the Big Apple.

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The Outsiders: The Complete Novel (1983) Review

The Outsiders: The Complete Novel (1983)
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Coppola's original version was quite faithful to Hinton's book and this new edit is even more so. He has put back in 22 more minutes, most noticeably at the beginning and end of the movie. This new footage opens up the film more. We are introduced to the greasers much earlier on now that Coppola isn't reigned in by the dictates of test screenings. He is able to take the time to immerse the audience in this richly textured world shot in glorious widescreen by Stephen Burum who adopts a look that evokes another epic about troubled youth, Rebel Without A Cause (1955). The film is drenched in the golden hues of warm sunrises and sunsets like something right out of Gone with the Wind (1939).
Another significant change has Coppola replacing all of his father's beautiful, classical score in favour of period rock `n' roll music. In some cases, like the opening scene where Ponyboy is jumped by some Socs, it works and in others, like the whimsical surf music that plays over the scene where the Socs jump Johnny and Ponyboy, it feels awkward and out of place. Part of the film's original charm was its moments of `50s style melodrama, as epitomized by the film's orchestral soundtrack, and this diminished by the newly inserted period music that could be right out of an episode of Crime Story. Hinton's books are timeless with their universal themes and the original music reflected that. This new music, while accurate for its time period, contributes to a loss of some of the timeless feel.
On the first DVD is an audio commentary with director Francis Ford Coppola. He addresses the changes in the soundtrack by saying that after all these years he wanted to move away from a score that commented on what was happening to music that the characters would actually be listening to. The filmmaker delivers another top notch commentary full of smart observations and talks at length about why he prefers this cut.
There is an additional commentary featuring Diane Lane, Ralph Macchio, Patrick Swayze, C. Thomas Howell, Rob Lowe and Matt Dillon. Coppola invited all of them back to see this new cut of the film with Lowe and Dillon recorded separately. This is an entertaining track that fans will love. It's great to hear these actors talk about this movie after all these years.
The second disc kicks things off with a retrospective look at the movie, entitled, "Stay Gold: A Look Back at The Outsiders." In a nice touch, we see Lane, Macchio, Swayze and Howell being reunited with Coppola at his ranch where they recorded their commentary. This is an excellent look at the movie with all kinds of good, on set footage.
"S.E. Hinton on Location in Tulsa" features the publicity-shy author revisiting the locations that Coppola used in the movie, including the drive-in which still exists. She talks about how Coppola worked closely with her on the set to make sure that the script was true to her book.
"The Casting of The Outsiders" has casting director now producer Fred Roos take us through the casting process with audition footage from back in the day. People like Kate Capshaw and Adam Baldwin tried out for the film. Anthony Michael Hall even read for the role of Ponyboy!
A nice addition is "Readings," with some of the cast who came back for these featurettes reading their character descriptions from Hinton's novel.
"NBC News Today Segment: The Outsiders Started by School Petition." This is a new story done during the film's original release about how a class of California school kids wrote a letter to Coppola asking him to make Hinton's book into a movie.
There are six "Additional Scenes" with more footage from the opening that is even more faithful to the book but the rest of the scenes amount to extensions of existing ones.
Finally, there is a theatrical trailer.

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In 1983, Francis Ford Coppola's film of S.E. Hinton's novel struck a powerful chord with audiences, capturing the intense feelings of being caught between childhood and adulthood, and not belonging anywhere. Decades later, Coppola has revisited the film and reintegrated 22 minutes of character-enriching footage, including a new beginnning and ending more true to the book. A rousing new rock-n-roll soundtrack featuring six songs from Elvis Presley and other music greats make this new version of The Outsiders one of movie history's great rediscoveries.



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Wonder Woman (2009) Review

Wonder Woman (2009)
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Warner Bros. Premiere have been putting out DC Universe animated features revolving around the Detective Comics characters. First came Superman: Doomsday based on the record selling comic book story in which Superman is actually killed, second came Justice League: The New Frontier based on award winning graphic novel's about the earliest beginnings of the Justice League, then Batman: Gotham Knight was animated with strong anime influence and told several stories set between the two latest live action films (Batman Begins and The Dark Knight). Now we can finally experience the animated DC Universe depiction of Wonder Woman's origin.
The plot is about the amazon princess Diana, on the secluded Island Themyscira, first meeting Steve Trevor, a pilot who crash lands on the island of no men. After fighting in a tournament against fellow competing amazons for the right to escort Trevor back to 'man's world' Diana dons the Wonder Woman outfit for her first time and heads on her first outing. As she tries to understand the world of man Diana must deal with the threat of God Of War Ares, who has escaped from a centuries long imprisonment and is looking to start trouble.
Voice casting includes Keri Russell (Famous for Felicity, and more recently Waitress, August Rush and Bedtime Stories) as the young Wonder Woman. Nathan Fillion (co-starred with Russell in Waitress) as Steve Trevor. Alfred Molina (Doc Oc in Spider-man 2) as God Of War Ares, Virigina Madsen (Co-star of Jim Carrey in Number 23) as Diana's mother Queen Hippolyta and Rosario Dawson (Seven Pounds with Will Smith) as Dianna's rival amazon Artemis.
There are three versions released. The Blu-Ray, the Two-Disc Special Edition DVD (with Digital Copy) and the Single Edition DVD. Features included with the Two-Disc DVD and Blu-Ray will be:
Disc 1- Commentary by the creative team, also as is customary with these releases a first look at DC/Warner's next animated feature project 'Green Lantern'.
Disc 2- 2 Documentaries- Wonder Woman: A Subversive Dream, and Wonder Woman Daughter of Myth: Historical Amazon Lore and it's Evolution into the Modern Day Wonder Woman Character. Also as usual with these releases two episodes selected from the Justice League series are included as Bruce Timm's favorite picks: To Another Shore and Hawk And Dove.
The feature itself has a running time of 74 min. and is presented like the other features in widescreen format. These features are PG-13 and this one works hard to earn that rating. There are nods to adult situations (often occuring in brief passing or to provide humor) as well as alot of action scenes and killing but only a few specific uses of blood. This is not something recommended for children but is perfect for preteens and teenagers. Still parent's are capable of using their own discretion.
About the quality you can expect if you haven't seen the other recent features, DC/Warner have been delivering top notch animation on these features rivaling that of Disney's straight to DVD releases and I think this one has the best animation yet. The stories are always well written and stay true to source materials that the characters are taken from. Another thing these new features have done well is providing alot of well staged action scenes and still delivering fine moments of character development/exploration that I haven't seen since Batman The Animated Series.
This is the first solo animated feature for Wonder Woman and I feel it portrays her with the dignity DC's third biggest icon deserves and the same respect she was granted in the Justice League series, which to me is the most believably she has been depicted thus far (if only because of her lack of exposure in this medium to date). I hope there will be some sort of sequels developed for this film as it was such a good starting point for the character that it seems a shame to leave off here when she has really only just begun her role as Wonder Woman as the feature reaches it's end.
Overall the animation was spectacular, the best Warner Premiere has done yet. The story while suffering some pacing issues (to be expected in a 74 min. feature trying to tell such an epic story), was true to the character and is overall well done and enjoyable. The score was worthy of a summer blockbuster and perfectly matched the epic tone. The voice actor's were for the most part spot on and made me believe the character's and think of them as seperate entities from the actor's voicing them. There is even a fair amount of humor and a bit of a love story mixed into the plot that only adds to the viewer's enjoyment. As well the DVD has a fair amount of special features that I found enjoyable to watch. I definitely give it 5 stars on blue spandex, especially for anyone who is a fan of well depicted heroines or Wonder Woman herself. Thanks For Your Time.


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On the mystical island of Themyscira, a proud and fierce warrior race of Amazons have raised a daughter of untold beauty, grace and strength Princess Diana. When an Army fighter pilot, Steve Trevor, crash-lands on the island, the rebellious and headstrong Diana defies Amazonian law by accompanying Trevor back to civilization. Meanwhile, Ares (the god of War) has escaped his imprisonment at the hands of the Amazonians and has decided to exact his revenge - intending to start a world war that will not only last for centuries but will wipe out every living being on the planet, starting with the Amazons! It is up to Princess Diana to save her people and the world by using her gifts and becoming the ultimate Wonder Woman!

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Bitch Slap (Unrated) (2009) Review

Bitch Slap (Unrated) (2009)
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Oh yes, "Bitch Slap" is everything you think it is. Girls. Guns. Catfights. Explosions. Lesbian romances. A story of bad guys, booty, alliances, betrayals, and secrets. It's being billed as, "a post-modern, thinking man's throwback to the B movie/exploitation films of the 1950s - 70s," but the truth is it gives us little to think about, and I'm hard pressed to say that it reexamines modern assumptions of culture, identity, and language. It does, however, open with a Joseph Conrad quote: "The belief in a supernatural source of evil is not necessary; men alone are quite capable of every wickedness." We see the word "men" and automatically think it's a blatant anti-male message. But by the end of the film, it's made abundantly clear that women are just capable of being wicked. Equality through evil. Funny.
This movie is irredeemably enjoyable, preposterous in both its story and its characters yet magnetic as a satire disguised as a schlocky male fantasy. It tells the story of three bad girls, all smoking hot, who find themselves in a plot to extort diamonds and weapons from an underworld kingpin, whose identity is a secret. The redhead is Hel, presumably short for Helen (Erin Cummings); she seems to be the leader of the group, tough but levelheaded, able to see the big picture and plan accordingly. The blonde is Camero (America Olivo), an oversexed hothead who's on medication. She's one of those people that hates everyone and is mad about everything, and has the dialogue to prove it. The brunette is a stripper named Trixie (Julia Voth), always upset, always overwhelmed, always wanting to play by the rules.
Every opportunity is taken to flaunt their feminine assets, and boy, do they have them - a basic shot is a slow-motion close-up of heaving breasts and deep cleavage, although some time is set aside for bare legs. There's never a moment when they aren't wearing high heels or don't have makeup painted on their faces. And then there are times when they pause to do a little manual labor, such as digging in the middle of the desert. My, but it's burning hot, and ... is that a bucket of water sitting there? Maybe they should splash each other playfully in order to stay cool. Things will heat back up later on, when Trixie and Hel discover that their feelings for one another are deeper than they first imagined. That's about when the situation goes completely out of control. Loyalties change. Identities are revealed. People get shot. Things blow up. And did I mention the catfights?
Intertwined with this is a ridiculous but somehow appropriate subplot about a notorious criminal known only as Pinky, never dealt with directly and never seen but fabled to be the most dangerous criminal mastermind who ever lived. When Trixie innocently brings up the subject, Hel and Camero speak in the same tones as someone telling a ghost story around a campfire. "Many believe Pinky's a phantom," says Camero. "Others think he sold his soul to the devil. I think he IS the devil." Maybe so; a flashback sequence shows a silhouetted figure going nuts with what appear to be samurai swords, used to decapitate people left and right. Do we ever discover what Pinky looks like? With such gorgeous women displayed on the big screen, can you honestly say that you care?
When this movie is not going out of its way to be sexy, then it's being incredibly goofy. Take Olivo, for example; the angrier she gets, the funnier she becomes, not only because she spews unbelievably inane profanity, but also because her character is the most aggressive. And just wait until you hear of her tryst with a sideshow contortionist. Let's also consider the director, Rick Jacobson; he's currently at work on the new "Spartacus: Blood and Sand" television series and has been involved with "She Spies," "Cleopatra 2525," "Batwatch," "La Femme Nikita," "Hercules: The Legendary Journeys," and "Xena: Warrior Princess." The last two are noteworthy because Kevin Sorbo, Lucy Lawless, and Renée O'Connor all have cameos in "Bitch Slap." Or maybe they aren't noteworthy at all. Whatever.
This movie is, essentially, a cross between an erotic photo shoot and a silly crime caper, one that has been fed into a low-tech special effects mill. And I suppose that's why I had fun watching it. While I ultimately have no good reason for recommending it, you have to admit, there is something infectious about a movie that actively tries to be bad. I'm reminded of an often repeated Pauline Kael quote: "Movies are so rarely great art that if we cannot appreciate great trash, we have very little reason to be interested in them." "Bitch Slap" is, indeed, great trash, projected up on the screen in all its violent, foulmouthed, double-D glory. Fellas, this is your lucky day.

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A modern throwback to the "B" movie exploitation films of the 50's-70's, mixing beautiful women, fast cars, big guns, nasty tongues, outrageous action, and jaw-dropping eye candy. The movie follows three bad girls, a down-and-out stripper, a drug running killer, and a corporate power broker as they arrive at a remote desert hideaway to extort massive booty from an underworld kingpin.

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Charlie's Angels (Special Edition) (2000) Review

Charlie's Angels (Special Edition) (2000)
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As much a tribute to pop culture as a big-screen version of the '70s
series, 'Charlie's Angels' has so much energy and tongue-in-cheek
charm that it DARES you NOT to root for its three young stars! And
while the film won't erase the images of Farrah Fawcett in a thin
tanktop on a very cold day, there is a wholesome sexiness and
accessiblity in Barrymore, Diaz, and Liu that none of the various
teamings of TV 'Angels' ever achieved!
The pre-title sequence is
outrageous, and fabulous! ...
Each Angel has a unique
backstory...Natalie (Diaz) is an ditzy, upbeat 'Soul Train'-dancing
wannabe who 'shakes her booty' at home in Spider-Man undies, looks for
'Mr. Right', and is a crack driver; Alex (Liu) is a 'leg waxer'/extra
on an action movie set, who is a lousy cook, sleeps with the film's
star (Matt LeBlanc, in a funny cameo), and is an expert in technology
and martial arts; Dylan (Barrymore) is an ex-high school 'bad
girl'/free spirit involved with a seedy, insecure hippie living in a
tugboat (humorously portrayed by Tom Green, Barrymore's real-life
boyfriend), is a master of disguise, and leads the trio.
As in the
TV series, the Angels work out of the Townsend Detective Agency (still
located in the famous colonial brick building), and communicate with
the never-seen Charlie (voiced, as always, by John Forsythe) via the
telephone. As the trio's liason, Bosley, Bill Murray is simply
perfect, hilarious in his patented 'smarmy but lovable' persona!

The plot revolves around the kidnapping of a Bill Gates-type
computer genius (Sam Rockwell, 'The Green Mile'), and a technology
that can pinpoint any person's location, anywhere in the world. The
prime suspects are competitor Roger Corwin (Tim Curry, in a
delightfully wicked turn!), and his hitman, portrayed with kinky
relish by Crispin Glover. Hired by Kelly Lynch (who has a ball in the
role of Rockwell's partner!), the Angels embark on a case with all the
twists, betrayals, action, humor, and mayhem that a fan could ask for!

Loud, good-natured, and pulsating with a soundtrack of '70s-'80s
Top Ten songs, the film combines 'Matrix'-style freeze-frames and
slow-motion FX with a ton of Pop Culture references and a
swashbuckling sense of derring-do! The film literally rocks, and never
lets up!
Is this 'Great Cinema'? Certainly not! But in its sheer
audacity, and sense of fun, no recent film can match it! And while the
original series teased with a visual sex appeal that was was largely
ignored in the storylines, the big-screen version has a 'if you got
it, flaunt it' attitude that is both refreshing and empowering! This
is a 'Girl Power' movie, in the BEST sense of the word!
I HIGHLY
recommend it!


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Adventure has never been more beautiful than Charlie's Angels! Cameron Diaz, Drew Barrymore and Lucy Liu star as the captivating crime-fighting trio who are masters of disguise, espionage and martial arts. When a devious mastermind embroils them in a plot to destroy individual privacy, the Angels are on the spot with their brains, brawn and high-tech toys. Aided by their loyal sidekick Bosley (Bill Murray), the girls are about to bring down the bad guys when a terrible secret is revealed that makes the Angels a target of assassination. Now, it's a matter of life or death as the stunningly smart detectives use their state-of-the-art skills to kick evil's butt in this sexy, high-octane comedy!

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Conan - The Complete Quest (1982) Review

Conan - The Complete Quest (1982)
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First, for those that are just looking for this answer, this Conan the Barbarian is The Director's Cut with its alternate ending, which John Milius intended to have. Nowhere on this DVD will you find the original ending in the DVD extras, etc., but I do want to say that this ending is not much different from the original, so if you have not seen the original ending, you will not be missing much at all. It also has an additional scene with Subotai and Conan dialoging. That's all that I remember being different from the original version. As for Conan the Destroyer, I don't recall any difference.
FOR THOSE WHO ARE NEW TO THE CONAN CHARACTER:
Conan is the barbarian/warrior character created by writer Robert E. Howard (1906-1936). His stories take place in the Hyborian Age (a mystical age between the sinking of Atlantis and the beginning of civilization, which was created by Howard as well). Much of the Conan artwork was painted by artist Frank Frazetta (1928-), which is probably Frazetta's better-known work.
John Milus' own liberal interpretation found on his Director's Commentary of Conan the Barbarian says how he thinks Howard created the Conan character and the warrior's many tales, that he conjured in his mind, a dead warrior king bearing an axe, and soon felt as if his character actually oppressed his very thoughts, forcing him to tell the tales of Conan, a king long forgotten by mankind and that he feared that if he did not write as the warrior commanded, the warrior king would strike him down with his axe.
The real story on how Howard came up with the character can be found on The Official Robert E. Howard Website at [...], where they quote Glenn Lord's The Last Celt: A Bio-Bibliography of Robert Ervin Howard
The Last Celt: A Bio-Bibliography of Robert Ervin Howard
FOR THOSE WHO ARE NEW TO THE CONAN MOVIES:
Only two movies have been made up till now on Howard's character, Conan the Barbarian (1982) and Conan the Destroyer (1984). Most people (as I am) are fans of the first, and not the second, though the second was entertaining in its on ways.
No joke, Conan the Barbarian is my All-Time favorite movie. I first saw this film when I was young, and remember that back in those days this movie was "the movie to see", with its action packed storyline, wonderful cinematography, and its beautifully composed musical score. Not to mention, starring Mr. Olympia himself, Arnold Schwarzenegger, who starred in both films. Conan was Arnold's first big-time role after winning his last Mr. Olympia in 1980, so Arnold was still gee-golly-huge and ideal for the part. Nevertheless, this first movie also starred renowned actor, James Earl Jones, who plays the very charismatic cult leader, Thulsa Doom, and with a voice like his, who can deny that he's the perfect fit for that role.
Oliver Stone (a fan of the Conan novels) co-wrote the first screenplay of Conan the Barbarian. He actually had an entire screenplay for the movie, which was quickly bought out by producer Dino DeLaurentis and modified by writer/director, John Milius, who also co-wrote and directed Red Dawn. John envisioned on making Conan a trilogy, while assistant producer, Edward Summer, intended the Conan films to be a huge series, much like the 007 series. Either of which would have been nice for us fans, but neither person played any part in the creation of our only sequel. Instead, two writers from Marvel Comics were brought onboard, Roy Thomas and Gerry Conway, who wrote the initial screenplay for the sequel, which was drastically changed by writer Stanley Mann. Director Richard Fleischer, who also directed Tora! Tora! Tora! in 1970 and Red Sonja in 1985, directed Conan the Destroyer. I think the only thing the two movies shared in common were Arnold and producer Dino DeLaurentis; this is why you find extreme differences between the two finished works.
On another note, many celebrities co-stared in these movies, like NBA star Wilt Chamberlain, and model Grace Jones. But one person out of the rest, whom I would like to point out, is Hawaiian Gerry Lopez, who plays Subotai in the first film. Gerry is actually a world-renowned champion surfer, and from an early age in his life, he read many of the Conan novels. With Gerry's features and his great appreciation of Howard's work, it was difficult for old friend John Milius to find anyone else as a better fit for the role of Subotai. Gerry Lopez also co-stars in Big Wednesday (another work of John Milius) and North Shore, which are both classic surfer movies, next to the Endless Summer films.
MY ALL-TIME FAVORITE CONAN DIALOG:
To bring you up to speed, early on in the movie Conan was enslaved and bought to be a Pit Fighter. After countless victories, his master takes him to the Far East for breeding (yes, I said breeding). As a reward for his success, Conan was given an education in eastern philosophies and was taught the art of swordsmanship from the eastern masters.
And so, in the next scene you see some sort of general talking to his men. He says to them, "We have won again. That is good! But what is best in life?"
One of his men replies, "The open steppe, fleet horse, falcon on your wrist, wind in your hair!"
"Wrong!" replies the general, and then asks, "Conan, what is best in life?"
Which Conan replies, "To crush your enemies, see them driven before you, and to hear the lamentation of their women!"
... that's just wicked man.
WHAT'S IN THIS SPECIAL RELEASE:
One DVD Disc
SIDE ONE: Conan the Barbarian
Widescreen version (2 Hrs, 11 Min) in Dolby Digital 2.0 Mono
Bonus Materials:
Commentary with Director John Milius and with Arnold Schwarzenegger
Deleted Scenes
Theatrical Trailers
The Making of Conan
Special Effects
Archives
SIDE TWO: Conan the Destroyer
Widescreen version (1 Hr, 42 Min) in Dolby Digital 2.0 Mono
Bonus Materials:
Theatrical Trailer

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CONAN:COMPLETE QUEST - DVD Movie

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Spawn - The Director's Cut (New Line Platinum Series) (1997) Review

Spawn - The Director's Cut (New Line Platinum Series) (1997)
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As far as comic heroes made into movies go, Spawn is better than some transitions. Good acting, screenplay, special effects, and music make it above average. I have seen many movies converted from comics and Spawn was passed over by many. The clown and heavy metal music in some places may be a little abrasive to some, but the overall premise and delivery is not flawed. It may not be the caliber of Spiderman, but it certainly is a far cry from being a B movie. This is one definitely for fans of movies like "Hellboy" and "The League of Extraordinary Gentleman". I like Superman, Batman, and Spiderman, but it is a refreshing change to see something that is not your mainstream comic book hero from time to time.
Spawn is based on a human man who works as a soldier that assassinates people for the government. When he realizes they are being used and wants to leave they decide his usefulness is ended. Meanwhile Satan is in the background waiting for this all to happen and when he is killed by his boss, he of course goes to hell and is made into a super powered spawn of the devil, hence Spawn. Spawn wants revenge on his boss and will do anything to get back to his wife and little girl. A pact with the devil gets him his wish, but not the way he thought. When he finds out his best friend married his wife after his death, he adds him to his list to kill. While all this is going on he meets a soldier of God and a demon who acts like a clown. The way he handles all this may be somewhat predictable, but still fun to watch.

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SPAWN - DVD Movie

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Black Dynamite (2009) Review

Black Dynamite (2009)
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I saw this during its world premiere at the Sundance Film Festival - and was lucky enough to run into the director, Scott Sanders and the incredibly talented composer and editor Adrian Younge in line at another screening. This video combines moments from the trailer with bits from my conversation with the filmmakers - all captured on a handy Flip Mino Camcorder.
Back in the day, films like Shaft, Foxy Brown and Sweet Sweetback's Baadasssss Song styled funkalicious jazzy soundtracks, tough black heroes and heroines and corrupt white cops and politicians. A new genre was born, both celebrating and exploiting black culture, targeting urban African-American audiences with its style and subject matter. Some of the best of these films have become cult favorites, and have influenced new filmmakers such as Quentin Tarantino, whose Jackie Brown paid explicit homage to the genre he'd grown up on and loved. Shaft was recently remade in slick Hollywood style by John Singleton; but for the original low budget style and campy flair you had to go to the bargain bin dvd versions, until now.
Created by Scott Sanders and Michael Jai White, Black Dynamite tells the tale of a righteous brother, who's got kung fu skills and knows just how to please the ladies. What he can't do is what he promised his mother on her death bed: protect his brother from the drug lords that are destroying the inner city. Upon hearing that his brother was killed, he swears revenge and sets out on a quest to discover those responsible. It turns out this was no simple hit - his brother's assassination was part of a vast conspiracy to disempower blacks by hitting them where it hurts the worst, and the conspiracy goes all the way to the top: President Richard Nixon himself, who, it turns out, has some sweet kung fu moves all his own.
The film is hilarious, taking all of the absurd, campy, raunchy and cool elements of traditional 70's blaxploitation films like Superfly and Dolemite, and tying them together into an absurdly funny epic revenge and save-the-world flick.
Part of the appeal is that the film mimics the on-the-fly imperfection of the old B-movie style Blaxploitation. Boom mikes occasionally appear in the shot, distracting the actor; obvious continuity problems (a woman whose tear of sadness appears and then disappears and reappears as the camera cuts back and forth between her and the big BD; an actor is suddenly replaced by a stand-in mid-scuffle, after he is obviously injured by a punch) add to the overall lightheartedness of the endeavor.
What impressed me, though, was that the film was not mocking blaxploitation, but rather paying homage. The filmmakers clearly know and love these films. Best of all, though, is Michael Jai White's absolute immersion in character as a tough-as-nails crusader whose soft heart and shy demeanor only occasionally surfaces. I haven't laughed out loud this much during a film in a very long time. Highly recommended, but not for the timid.

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An all-star cast led by Michael Jai White is featured in this 1970's-style blaxploitation action fiilm about the legendary super crime fighter "Black Dynamite." The Man killed his brother, pumped heroin into local orphanages, and flooded the ghetto with adulterated malt liquor. Black Dynamite was the one hero willing to fight The Man all the way from the blood-soaked city streets to the hallowed halls of the Honky House

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Shooter (Widescreen Edition) (2007) Review

Shooter (Widescreen Edition) (2007)
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Sometimes I wonder why I wait so long before watching a certain movie, especially one that has received praise from essentially everyone I know that has ever seen it. Such is the case with the military-themed/conspiracy thriller "Shooter" starring Mark Wahlberg ("Four Brothers") and Danny Glover (`Lethal Weapon' series). I was told from so many sources that "Shooter" is a definite must-see of a movie, yet for some unknown reason I never did get around to watching it, until recently that is. Of course, I had plenty of opportunities to watch the movie, due to the fact that I had purchased it several months back even though I hadn't seen it yet (a concept which may seem strange to some of you). Who knows why it took me so long, maybe I need to get my head examined (one of my friends sure thought so when I told him I had yet to see this movie). Whatever the case may be, when all was said and done now that I've finally taken an opportunity to sit down and watch the movie, I enjoyed every single minute of it and wished I would have gotten around to seeing it much sooner.
"Shooter" is the story of former Marine sniper Bob Lee Swagger (Mark Wahlberg), who after being betrayed by his superiors, has left the service and is leading a quiet, peaceful existence in a remote cabin somewhere in the mountains. However, as much as Bob Lee has tried to remove himself from the outside world, there are those that still possess the means to find him; led by a high ranking Colonel (Danny Glover), a mysterious group within the U.S. government believes that Bob Lee may be the one person on the planet to help them in preventing an impending assassination attempt on the current President of the United States. Feeling the pressure to once again serve his country, Bob Lee reluctantly agrees to lend his expertise; however, all is not as it seems. On the day of the attempt, Bob Lee is betrayed and wrongfully identified as the shooter by the very people he agreed to help. Now, he's on the run from virtually every government agency in the United States, and as if that weren't enough to contend with, the group that hired him is tracking him across the country to silence the one loose end that could expose their far-reaching conspiracy to the entire nation.
I've got to say that I am becoming more and more impressed by Mark Wahlberg's acting ability with each movie he makes. Not only are his skills as an actor becoming more refined, but his movies just seem to get better and better as well. Mark's performance as Bob Lee Swagger was perfect, he was full of confidence without being arrogant, appeared to be an honorable man who seemed to go out of his way to save lives at all cost, and despite being betrayed by his superiors, he still maintained a strong sense of pride for his country and the military; which was a welcome change in character traits from most of the leading roles featured in today's movies dealing with any facet of the military and/or its soldiers. Michael Pena ("World Trade Center") was solid in his portrayal of an FBI agent that becomes Bob's reluctant partner, and one of the few members of any government agency that believes that he may just be innocent after all, despite all the evidence to the contrary. Kate Mara ("We Are Marshall") plays a widow of one of Bob's military buddies from his time in the service, and becomes an ally and eventual love interest for him, serving as a means for allowing Bob to open up once more to another human being and to begin to heal from the wounds that his life and career have left upon him. Kate wasn't given as much to do in this film dramatically as she had been in "We Are Marshall", but what time she did have on the screen she made the best of, and managed to show that her character was emotionally vulnerable, yet strong enough to stand up for herself if the moment arose; instead of just being the typical damsel in distress that would generally be the female role in a film such as this. Granted she eventually becomes `in distress' so to speak, but not until she's proven to the audience that she has the means with which to protect herself under normal circumstances. Rounding out the cast are veteran actors Danny Glover and Ned Beatty as members of a secret group within the U.S. government that sets Bob up for the assassination attempt. Danny Glover has played villains a few times throughout his rather lengthy career, and each time he brings a depth and realism to each character, never allowing them to be even remotely the same in their presentation. For his character in "Shooter", Danny added a slight lisp to his character's vocal performance, and played him as someone who had at one time possibly been an honorable soldier, but life and/or experiences have jaded him so much that he is essentially nothing more than a soldier for hire to the highest bidder. Portraying the man currently financing Glover's most recent mission is Ned Beatty, in a surprisingly sinister turn as a corrupt U.S. Senator who feels he has the nation's best interests at heart, no matter how misguided he may be, and is willing to do anything to see his goals accomplished.
Critically acclaimed director Antoine Fuqua ("Training Day") delivers movie audiences yet another solid film following up his previous successes, the historical epic "King Arthur", the military thriller "Tears of the Sun", and the film that garnered Denzel Washington his first Best Actor Oscar nod "Training Day". Fuqua deftly captures the frantic action and fast-paced action sequences with the ease of an accomplished action director, utilizing quick edits that have become synonymous with today's action films; yet Fuqua thankfully avoids overusing the hand-held camera approach that has permeated most of the popular action movies of recent years (a technique that was made popular by director Paul Greengrass' massive box office success with "The Bourne Supremacy"). For a director whose early successes were found in music videos, Antoine Fuqua has definitely come a long way in the last ten years since he made his theatrical directorial debut with "The Replacement Killers", and has become yet another one of those directors whose films I greatly anticipate whenever I hear of an impending release, though I don't always rush out to see them as was the case here.
The plot for "Shooter" was surprisingly more involved and complex than one would expect from most Hollywood action films. The screenplay, written by Jonathan Lemkin ("Lethal Weapon 4") and based on a novel by Stephen Hunter titled "Point of Impact", featured plenty of little twists and turns along the way to keep the suspense ratcheted up, and the audience wondering just what exactly was going to happen next. I really appreciated how the script spent time focusing on each of the main characters to flesh them out a bit more than your standard one-dimensional action film characters generally would be; it was this type of work in a screenplay that propelled "Shooter" far above the average action movie that most action buffs love to see. Truthfully, "Shooter" could almost be considered a "thinking man's action film" so to speak. Who knows, with the success of "Shooter" maybe Hollywood will take notice and begin making more action films with this kind of attention to detail, featuring smart, well-written dialogue, surprising twists (that make sense and don't appear convoluted and convenient), and plenty of suspense and thrills without resorting to excessive violence as their only means of conveyance. If we begin to see this kind of action movie taking place more and more, maybe the action genre could gain a little bit more respect from the critics; instead, of being looked upon as films for the mindless masses that can't stand to see any kind of drama being played out, only guns blazing, fists flying, and mayhem galore, maybe there's hope in the eyes of critics for the action junkies yet.
Every single aspect of "Shooter" was perfectly mixed together, from the acting to the directing to the story; nothing was out of place or off-beat in the least; delivering audiences an incredibly solid action film that boasted plenty of pulse-pounding action, along with a hefty dose of drama, intrigue, and depth to make for a thoroughly entertaining movie experience.
"Shooter" is rated R for violence and language.

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Bob Lee Swagger (Mark Wahlberg), a former Marine Corps sniper who leaves the military after a mission goes bad. After he is reluctantly pressed back into service, Swagger is double-crossed again. With two bullets in him and the subject of a nationwide manhunt, Swagger begins his revenge, which will take down the most powerful people in the country.

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