movie review

Movie Review: …AND JUSTICE FOR ALL, 1979

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Review for tribute to Jack Warden, born today. Amazing character actor. One of his best works.

AND JUSTICE FOR ALL, MOVIE POSTERAND JUSTICE FOR ALL, 1979
Movie Reviews

Directed by Norman Jewison

Cast; Al Pacino, Jack Warden, John Forsythe, Lee Strasberg, Jeffrey Tambor, Christine Lahti, Dominic Chianese, Craig T Nelson
Review by Surinder Singh

SYNOPSIS:

Ethical Baltimore lawyer Arthur Kirkland (Al Pacino) desperately battles the establishment of law when his case to free the innocent Jeff McCullaugh (Thomas Waites) is thrown out by the furiously unforgiving judge Fleming (John Forsythe) over a technicality. Soon enough the tables are turned and judge Fleming is arrested on a charge of rape and battery. Fleming specifically requests to be represented by Kirkland, which presents the honest lawyer with a conflict of interest…

REVIEW:

…And Justice for All arrived at the tail end of what is in hindsight the decade that Al Pacino did some of his best work. With roles like Michael Corleone, Frank Serpico and Sonny Wortzik already behind him, Pacino had to a lot to live up to! Arthur Kirkland is one the less renowned roles that Pacino has played, even though the movie carries one of the most famous Pacino quotes of all time: “You’re out of order! You’re out of order! The whole trial is out of order!” This is perhaps due to Kirkland not being as visually striking as the stylish Michael Corleone or as outrageously fashioned as Frank Serpico. Either way, Kirkland is a topnotch Pacino performance!

We first see lawyer Kirkland sat in a jail cell amongst the incarcerated. Having thrown a punch at judge Fleming, Kirkland’s “passion” has isolated him from other lawyers safely in their apartments. Kirkland in many respects is much like Serpico in that he’s a man who is standing up against what he believes is wrong in his own institution. Kirkland faces a minefield of moral dilemma everyday of his life, luckily he has at least one escape: his grandfather Sam (Lee Strasberg). It’s worth noting that Strasberg was Pacino’s real-life acting coach/mentor during his days at the Actor’s Studio and the relationship certainly shows on screen.

What is so striking about this low-key movie is how strong the script is, thus completely understandable why Pacino signed on. Even though the film takes place in a world of suited-and-booted lawyers, there is never a dull moment or a shortage of interesting characters in Kirkland’s life. When Kirkland is invited by his friend and colleague the unconventional judge Rayford (Jack Warden) on a helicopter ride, it ends in a near-death landing! The scene is wonderfully comical with Warden as a man who has a playful relationship with fate; he shows the terrified Kirkland the importance of being courageous and taking risks.

Being true to himself is certainly a risk Kirkland will have to face in the challenge ahead of him. When Kirkland’s colleagues tell him Fleming has been arrested and wants to be defended by him the sheer absurdity causes the men laugh hysterically! The scene shows a great understanding of humor and director Jewison handles the scene with skill. Pacino makes you laugh out loud (despite the seriousness of the case) you have to stand back and laugh at his character’s circumstance. Fleming is largely responsible for Kirkland’s innocent, young client being sat in a jail with dangerous criminals. What makes things worse is when Fleming confesses to Kirkland he is in fact guilty of the rape.

As the film progresses, the moral questions begin to press heavily upon Kirkland. Pacino revels in this opportunity to do one of the things he does best: portraying someone with deep inner conflicts. Pacino pushed this skill to the limit in the famous “Sollozo Scene” in The Godfather (1972). With his dark eyes Pacino gazes out at others but draws you into his character’s mind and emotions. The camera loves Pacino’s long, staring pose and when it’s on him you cannot watch anyone else in frame. Pacino displays this skillfully in the scene where his colleague Porter (Jeffery Tambor) reveals that his guilty client (that he cleared) has now murdered again. The guilt is eating away at Porter and we see in Pacino’s eyes the conversation Kirkland is having with himself.

Kirkland has to ask himself the question: “should I defend my guilty client because it’s my job to do so?” Kirkland is compelled to take the case or be disbarred from the practice of law (such is the influence of judge Fleming) Kirkland cannot evade the question. The filmmakers ensure we see a very bleak vision of the law; every excuse is given to Kirkland to lose faith in the justice system. When Kirkland makes demands of his client Fleming it’s clear that the judge has no intention of following orders and seems to be using his lawyer for political reasons. In this scene we are made aware that Kirkland is a puppet on a string and that he’s within a system attempting to control him.

From the very beginning we know that Kirkland is the outsider and so if anyone is going to rage against the machine it will be him! The final courtroom scene is a real treat for Al Pacino fans as it allows him a platform for one of his classic speeches! Pacino takes hold of everyone’s attention and destroys Fleming’s plea of innocence in a show-stopping rant: “And ladies and gentlemen of the jury, the prosecution is not going to get that man today, no, because I’m gonna get him! My client, the Honorable Henry T. Fleming, should go right to fucking jail! The son of a bitch is guilty!”

Pacino’s Kirkland finishes the movie with his principles intact and the crowd cheering. …And Justice for All is a simple morality tale about he importance of doing what you believe is right and just. What makes it great viewing is the acting and non-fussy direction that shows you what’s possible with the basics of narrative cinema: story and character.

 

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Movie Review: THE MISSION, 1986

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Tribute review for Jeremy Irons who was born today. One of his best films.

THE MISSION MOVIE POSTER
THE MISSION, 1986
Movie Reviews

Directed by Roland Joffe
Starring: Robert DeNiro and Jeremy Irons
Review by Jeremy Richards

In 18th century South America Jesuit Father Gabriel (Irons) has come to set up a mission for the Native Guarani Indians. However, other more unscrupulous men like Rodrigo Mendoza (De Niro) are reaping the rewards of the slave trade. Enter Altamirano (Ray McAnally) a man who must decide whether the Jesuit missions will be left in safety or shut down for good. The final decision will pit men against each other as they hold steadfast for their beliefs and the rights of the Guarani.SYNOPSIS:

Review

The Mission is an immense film. It comes from director Roland Joffe who strived to elaborate on the viewer’s experience. The Mission has a documentary feel in its vast ambition of recapturing the lives of the Guarani Indians and Spanish settlers in 18th century South America.

In an inspired move Joffe decided to cast actual South American native peoples in a bid to bring more realism to the story. And as art mirrors reality, this film too had oppressed Native Americans playing the role of their oppressed forefathers adding to the films timeless appeal.

The 1980s ushered in a time when films seemed to have the most realistic quality. In the past film technology and special effects were probably considered too cheesy, and nowadays technology interferes so much that the viewer knows the film isn’t real. But films like The Mission hold a physical quality which allows you to feel as if you are a present in the action.

To help lose yourself within the film Joffe hired Robert De Niro and Jeremy Irons at the height of their careers to bring their commanding presence forward. But more impressive than the Hollywood stars are their actual feats on camera. We tend to forget that what we see in a movie has to be filmed in real life. This means setting up a camera, setting up lights, and having extras act in the background. All this prep makes filming a scene in an empty street difficult, so to watch Robert De Niro carrying a heavy bundle through the Amazon makes you appreciate the film that much more.

The Guarani natives were unfamiliar with modern technology and in fact didn’t even understand cameras. Obviously they never had any modern acting training like Robert De Niro, but this also means their reactions would be true to themselves. The Mission is the kind of film you have to watch twice. Once to see the story unfold and twice to see the scope what you have just watched.

The subject matter is filmed delicately by Joffe to convey the scope and grandeur of what is being shot. The film takes you through dirty Spanish streets, beautiful Jesuit Missions, and into the luscious heart of the Amazon jungle. The sets and lighting further add texture and beauty to the scenes.

The films score also deserves mentioning as it has been listed by the AFI as the 23rd greatest score ever. And it is quite a good score with deep drenching emotion. It would almost be too sappy if it weren’t for the gravity of the films subject.

In the end one of the best points about this film is that it has a great subjective feel. You are not going to see a film about villains chasing jewels, there is no big heist, and not a single mythical creature. You are going to watch peoples emotions unravel as they travel through harrowing events.

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Movie Review: TIME SMASH (2016)

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MOVIE POSTERTIME SMASH, 2min., USA, Animation/Sci-Fi
Directed by Benjamin Reicher

A time traveler goes back 2 weeks to stop himself from going to Cynthia’s new years party. Unfortunately, he brings his cat along and forgets to let him back into the machine when he returns to the present. The cat grabs onto the machine last second, becomes radioactive, and ends up in ancient Egypt. What the time traveler finds when he returns to the present is pretty messed up….

Seen at the August 2016 ANIMATION FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

Time Smash by USA director Benjamin Reicher, is frankly, hilarious. This is due to simple cinematic mathematics. The plot is clear, simple and concise, the visuals are strong and punchy, the story is strong and the punchline is fantastic.

The result is quick, effective comedy.

Our story opens on a young man bent on time traveling into the past by two weeks to tell his past self to avoid going to a party. Yet on his way back he has an unexpected guest in his travel machine his pet cat.

The cat stumbles out of the craft halfway through the journey getting hurled somewhere into the depths of space and time. When our hero returns to the present the future has been utterly altered.

It’s “an Oldie but a Goodie” plot line that nevertheless relies on a killer pay off to make the story really sing. And Oh Boy, does Time Smash deliver. The only line in the entire film, is well worth the wait.

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Movie Review: SEA OF INK (2016)

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MOVIE POSTERSEA OF INK, 3min, USA, Animation/Drama
Directed by Chenxin Yang

Sea of Ink is a two-minute animation about an artist struggling with his creative block and his journey under the sea.

Seen at the August 2016 ANIMATION FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

Engaging and visually lush Sea Of Ink directed by Chenxin Yang is a stunning visual adventure.

High concept and open for interpretation, it seems to display one artist’s struggles to find the creative inspiration in his work. As he tries to make his hands do what his heart feels he finds himself sucked deep down into the bottom of a creative ocean.

Full of fantastic imagery and beautifully composed animation, this piece could be about a creative struggling with mental illness, creative writers’ block, or some sort of emotional turmoil.

It could be the artist falling deeper into their own mind or retreating into their own creative world. As the viewer, we may place onto the film whatever lenses we like regardless, enjoy the ride that is Sea of Ink it
will take your breath away.

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Movie Review: SPARROW DUET (2016)

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MOVIE POSTERSPARROW DUET, 4min, USA, Animation/Experimental
Directed by Steve Socki

Animated abstract shapes and gestures dance together playfully with bird-like motion. The original music score was composed and performed by Gary Chang .

Seen at the August 2016 SCI-FI/FANTASY FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

This disarmingly simple and yet stunningly beautiful avantgarde
film comes to us from the USA by director Steve Stock. It tells no clear story, has no clear characters, makes no clear message and yet its’ composition is so well put together, and it’s facets so richly tuned that it cannot help but engage and delight its’ viewers.

Set against a black void, whimsical bright geometric colors move, flow, and intertwine themselves in an unearthly dance to music. The concept seems very simple but is also incredibly hard to execute well.

Sparrow Duet however, creates something wonderful in its’ style, as its’ lack of form creates endless abilities for interpretation. Instead of the director pressing their story onto the viewer, the viewer projects their version of the story onto what they are experiencing. The result? A film of cinematic pleasure that can be exactly what you want it to be. Are these colors the personification of humans? Of emotions? Of animals? Of life itself?

The viewer gets’ to choose.

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Movie Review: 5476 MILES (2016)

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MOVIE POSTER5476 Miles, 4min, UK, Animation/Music Video
Directed by Terry Thomas

A handmade paper stop motion music video that tells the story of a lonely starling waiting for love.

Seen at the August 2016 SCI-FI/FANTASY FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

This UK music video directed by Terry Thomas is a reflective, pensive and poetic tribute to both the visual and auditory art forms. Done completely by hand, this paper cutout stop-motion art style is hauntingly beautiful.

The piece is layered with strong symbolism, and rich with poetic and visual undertones. Visual motifs and colour palettes are harmonic with the music and lyrics. As with any form of art, it is open to interpretation: a debate exists as to what the intent of the piece is.

However, whether the music makes you wistful, sorrowful, remensianct or peaceful, it will certainly make you feel something. In this way, 5476 Miles is a beautiful work of art.

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TIFF 2016 Movie Review: SNOWDEN (USA/Germany 2015) ***1/2

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snowden_poster.jpg
SNOWDEN (USA/Germany 2015) ***1/2
Directed by Oliver Stone

Starring: Joseph Gordon-Levitt, Shailene Woodley, Melissa Leo

Review by Gilbert Seah

Renegade filmmaker Oliver Stone knows how to get the blood of an audience flowing. He demonstrated this ability in the Oscar Winning PLATOON, political JFK and the controversial NATURAL BORN KILLERS. One can expect the same from his new film about whistleblower, Edward SNOWDEN (Joseph Gordon-Levitt).

The ads for the film goes… Patriot, dissident, or traitor? But director Stone portrays him as none of the three. At the film’s start, there is a scene that shows Snowden saying that he believes that America is the best country in the world. As the film goes along, he ends up wrestling with his conscience on what is right thing to do. In Stone’s film, the right thing to do is to expose NSA (National Security of America) for violating the rights of not only the Americans but of the citizens of every other country in the world by lying to their Governments. Yes, the NSA can track every single person in the world – the only lame excuse given is the need for prevention of terrorism. To those who actually believe Snowden to be a traitor, Stone’s film will either infuriate you or convert you. Stone lays out the facts, but in a prejudiced way, just as in PLATOON.

But Stone makes Snowden’s story more human by concentrating on his human side – and his love with his wife (Shailene Woodley). The most emotionally charged scenes are the fights he has with his wife. Stone also invokes the audience’s sympathy by showing Snowden’s illness – his proneness to epilepsy.

But the film’s most effective scene is the climax. If Stone knows how to manipulate the audience, this scene shows it. After Snowden’s live speech on the Internet, the live audience gives him a standing ovation. At the same time the image of actor Gordon-Levitt metamorphosizes into the face of the actual Edward Snowden.

The story of SNOWDEN is old news by now and unless one has not been reading he news, one knows that Snowden is presently living in Russia, not coming back to the U.S. as he believes, which is true, that he would not be given a free trail. This is how the film ends, so as to be accurate.

This is not the first film made about Snowden. Documentary filmmaker Laura Poitras made CITIZEN FOUR as she was called by Snowden himself when he was blowing the whistle. Poitras is portrayed by Melissa Leo in this film. CITIZENFOUR lays the facts out straight. The titles at the start of SNOWDEN declares that the film is a dramatization of true events. And that the film is, entertaining as it might be.

Trailer: https://www.youtube.com/watch?v=QlSAiI3xMh4

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Film Review: BRIDGET JONES’S BABY (UK/USA/France 2016) ***

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bridget_joness_baby.jpgBRIDGET JONES’S BABY (UK/USA/France 2016) ***
Directed by Sharon Maguire

Starring: Renée Zellweger, Gemma Jones, Jim Broadbent, Patrick Dempsey, Emma Thompson, Colin Firth

Review by Gilbert Seah

It’s been a while (15 years when DIARY was made in 2001) since Bridget Jones had a fling with her two boyfriends played by Colin Firth and Hugh Grant, with her having to decide the one to pick. The latest BRIDGET JONES’S BABY has Bridget aged from her 20’s to the ripe and mature age of 43 where it is time to have a baby or never. And maybe even get wed in the process. The film is faithful to the first film while the first film was faithful to a sort of modern version of PRIDE AND PREJUDICE. Hugh Grant is out, but his character still makes an impact on Bridget’s life. He is conveniently put out of the picture by having his death occur and Bridget meeting Firth’s character, Mark Darcy once again at the funeral.

Sharon Maguire returns as director and most of the cast including Renée Zellweger as Bridget, Colin Firth as Mark Darcy and Jim Broadbent and Gemma Jones as the parents.

In the true tradition of Bridget Jones’s first film, she has to have two beaus. The second one is provided by her chance meeting, with sex of course with American dating guru, Jack played by hottie Patrick Dempsey.
The film has a nice surprise cameo by no other than a well known celebrity (not revealed here) who Bridget thinks is the Starbucks guy. The cameo character gets to perform as well. Emma Thompson (who co-wrote the script) shows how to be funny by keeping playing it completely straight as Bridget’s doctor. One of the other co-writers is Helen Fielding who also wrote both the book and the script for the first film.
The guys roles are well written with the guys being level headed. If a wrong decision is made, (like Jack’s) a reason is given and he seeks forgiveness. Most female flicks have the male characters portrayed as idiots.

The film is updated with current issues like same-sex marriage, overhaul of newsroom presentations, freedom of speech and comfort of bearing bare breasts among other things. The two competing beaus do not fight and smash through a window like the first film, but they indulge in verbal arguments instead. But it is those stares they have for one another that kill.

The script knows when to be funny and when to be serious. The serious moment like when Bridget has a heart-to-heart talk with Jack adds meaning to the plot. But the film takes a while to get its footing. Many critics have applauded the hospital revolving door segment as the funniest. The comedy consists of lewd jokes (like children surprisingly uttering the f*** word), slapstick and play of words. The hit and miss ratio is not bad.

BRDGET JONES’S DIARY succeeds as a 40ish romantic comedy and an apt sequel. The film should not disappoint avid fans.

Trailer: https://www.youtube.com/watch?v=mJsvmscPY9w

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FILM REVIEWS: SULLY (USA 2016)

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sully.jpgSULLY (USA 2016) **
Directed by Clint Eastwood

Starring: Tom Hanks, Aaron Eckhart, Laura Linney, Anna Gunn

Review by Gilbert Seah

Director Clint Eastwood follows his high successful AMERICAN SNIPER, a story of an unlikely American hero with SULLY, a story of a likely American hero.

SULLY is the movie based on Chesley “Sully” Sullenberg’s 2010 autobiography, Highest Duty that envisions the American sense of common humanity.

The so-called miracle on the Hudson occurred in 2009. This was the safe landing on the Hudson of a plane that had two of its engines blown. The captain of the flight known fondly as SULLY piloted the plane to safety saving the lives of all 155 passengers and crew. Heralded a hero but not until cleared of accusations that his decisions were not the best, this is the film that praises, or over-praises the deed.

The question is that do we need to re-watch a re-enactment of a story already told and known to most Americans? There is always a need at any time for a story of heroism. In these times of terrorist attacks, Americans need to be reminded of their heroes. SULLY seems a film to do just that.

Eastwood, known to be right-winged, has directed SULLY (Tom Hanks) to show a hero with all the right words to say and a man who can do no harm. He is blessed with a loving family and a wife (Laura Linney) who professes her lover for him constantly.

Eastwood’s film, shot in IMAX shows the plane’s landing on the Hudson in all its glorious images. But there is no suspense or thrills as the audience is well aware of the fact that everyone on board survived. The landing is shown in clumsy flashback, when Sully is having a drink at the bar, again congratulated at very possible moment in the film. Parts of the landing are shown twice as if the audience need be reminded of the heroic deed.

But with the story of SULLY already known, and no real facts provided or insight on the story, Eastwood’s film grows to be quite a bore quite soon, and remains so throughout its full 2 hours and 10 minutes, that seems to be the staple running time for all of his films.

Though Hanks has been praised for his portrayal of SULLY, his performance is nothing new. Like his role in HOLOGRAM, Hanks looks as if he is sleepwalking through his performance. Often sleepless like his character in HOLOGRAM and always thinking of what would have happened or what would have not, Hanks sulks most of the time, looking as if the plane landing was all a dream. Laura Linney who plays Lorraine, Sully’s wife mopes all the time too. The audience gets a glimpse of the real Lorraine Sullenberger, i.e. Sully’s wife at the closing credits.

The audience at the promo screening applauded and seem pleased with the film. Who would not applaud a hero? Still Eastwood’s SULLY is nothing more than a recounting of events, overpraising its hero and lacks any solid thrills or imagination.

Trailer: https://www.youtube.com/watch?v=mjKEXxO2KNE

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TIFF 2016 Movie Review: PRANK (Canada 2016)

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Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2016. Go to TIFF 2016 Movie Reviews and read reviews of films showing at the festival.

prank_poster.jpgPRANK (Canada 2016) *
Directed by Vincent Biron

Starring: Alexandre Auger, Eric K. Boulianne, Normand Daoust

Review by Gilbert Seah

The film PRANK must be a prank of some kind. The no-brainer film is about 3 losers and a loser girl that go about town doing pranks of various kinds. Stefie (Étienne Galloy) is a bored, awkward teenager with giant train tracks, a mouth that’s constantly agape, no apparent friends, and nothing better to do than throw a tennis ball listlessly against a schoolyard wall.

Enter older pranksters Martin (Alexandre Lavigne) and Jean-Se (Simon Pigeon), who con Stefie into collaborating on a YouTube ruse. One might include dancing on a bridge until someone comes long when he will be told to f*** off.

This prank is not at all funny, nor are the other ranks nor the film itself.

This is a small budget Quebec film that serves no purpose. One wonders why it has even been selected as a TIFF film. The film that makes the film JACKASS look like a masterpiece.

(No need to bother with a trailer here!)

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