Archive: 'Jumper'

Movie Review
Jumper (2008)


For a minute there, I actually thought that "Jumper" could've been good. I mean, hey, the trailers looked pretty explosive, fun, and action-packed. Well, it turns out that this is a movie where you might as well watch the trailers over and over again because they're about a billion times better than the real thing. Just imagine the movie you would want to see with this premise, and then don't go see the movie. Let's just say this: After about 30 minutes, I was ready to pack up my stuff and leave. The only thing this movie doesn't suffer from is a lack of attractive leads. Yeah, that's right.

Director Doug Liman has gone downhill since "The Bourne Identity" with the star-studded but hollow "Mr. and Mrs. Smith" and has officially fallen flat on his face with this terrible sci-fi piece of schlock. The idea was adapted from Steven Gould's novel about a group of people called Jumpers who are pursued by another group called Paladins. The Jumpers have the ability to, let's say, teleport from Ann Arbor to Japan instantaneously. And these Paladins want them dead. Why? No explanation. Are you lost yet? Yeah, me too. With so many plot holes to keep up with, by the middle of it all, you may find yourself wishing you could teleport, too, only to get as far away from the screen in front of you as possible.

David (Hayden Christensen) discovers his ability to "jump" when he needs to escape his home in Ann Arbor. Yes, that's right, our Ann Arbor. Mentions of Plymouth and Detroit were on the top of the list of entertaining moments in the film. Anyway, David needs to escape, so he does and officially puts his teleporting skill to use. He robs banks without opening any doors, sunbathes on top of the Sphinx, hangs out on the minute hand of Big Ben, picks up women, sleeps with them, and literally disappears, and all does so without any consequences. That is, until Mace Windu, or, excuse me, Roland (Samuel L. Jackson) shows up with his electricity light stick thing wanting to murder yet another Jumper who somehow irritates him to no end because he's pretending to be God, or something. Nobody messes with Sammy L's religion.

Hayden Christensen hasn't been able to act since Star Wars: Episode III, and everybody knows this. He's as stale as ever here, and you actually begin hating his character quite quickly. I mean, this guy is self-centered, wears annoying V-neck shirts, and expects everybody to love him. I'm sorry, but I got tired of being forced to root for this unlikeable jerk. His girlfriend, Millie (Rachel Bison), who David drags around with him, screws, and then inevitably saves, is understandably frustrated and conveys perfectly how the audience is most likely feeling. I knew at least I was relating well with her exasperated tones. And Samuel Jackson yet again plays his bad ass self and looks ridiculous with his stupid white hair. And he doesn't even drop an f-bomb like he usually does. The actual f-bomb dropper turns out to be the movie's only saving grace; that is, a fellow Jumper, Griffin (Jamie Bell), who tries to save David. The charismatic Jamie Bell provides a much-needed burst of life.

Even Diane Lane uselessly shows up every now and then as David's mother who is, wait for it, a Paladin! Oh, my. Between this and "Untraceable," poor Diane Lane isn't making intelligent choices. Anyway, within periods of inane dialogue, there are hyper active action sequences that are dizzying to watch thanks to surprisingly cheesy special effects and a laughably absurd chase sequence near the movie's climax. "Jumper" certainly takes its viewers to many locations but goes absolutely nowhere while doing so. And at an incomprehensible 88-minutes, the ridiculous punishment couldn't be over soon enough.

Close to the end of the movie, there's a scene of Samuel Jackson peering off the edge of a cliff where David just teleported to escape. Jackson has a sly smirk on his face that says basically two things: "Thank God filming for this movie is finally over with" and "Oh, Hayden, I'll get you next time...in the sequel!" I think the emphasis, however, is on the latter statement because, supposedly, this installment is just the beginning as "Jumper" is slated to be some sort of trilogy. I honestly cannot imagine one more catastrophe like this to be created, let alone two.

Archive: 'In Bruges'

Movie Review
In Bruges (2008)


Going into this movie, I didn't know where Bruges (pronounced "broozh") is located, and apparently, neither do many people within the movie. Well, Bruges is a so-called "shithole" city in Belgium where the two main characters, who are both hitmen, are sent to hide-out after a certain hit goes terribly wrong in London. "In Bruges" is a twisted pleasure, a movie that is at times bizarre and comic while at other times dark and touching.

The two hitmen are the hot-headed Ray (Colin Farrell) and the older, gentler Ken (Brendan Gleeson). Ray openly cannot stand the idea of having to stay in Bruges for a projected two weeks. He rolls his eyes at Ken's desire to sightsee and would rather get drunk at the pubs. The movie does an interesting thing with Bruges, which is a beautiful medieval city with museums, canals, and buildings from the 12th century. It uses the city to aid in the storytelling and the development of its two central characters without appearing to be merely a tour of the place.

Through hints in the dialogue, there is a lot suggested about each of these killer's backgrounds. And there couldn't be any two better actors to present such complicated comic performances with an underlying conscious and soul. Gleeson brings a sense of sad humanity to Ken who obviously made some mistake in his past that still clings to him. Farrell, especially, is excellent as the tormented Ray who has undeniably good instincts but makes irrationally poor choices. With this, Farrell shows that these are the types of movies he belongs in because he's superb here. Maybe it's simply because he's able to be his Irish self.

Ken and Ray work for for a man named Harry (Ralph Fiennes) who we at first only hear through conversations over the phone. It's only much later in the film when Harry turns up in Bruges, played by a humorously ferocious Ralph Fiennes who is extremely agitated. Ray's conscious is getting eaten away by his first hit when he took out a priest in a confessional and tragically killed an innocent little boy in the process. It's an accident that constantly haunts Ray and also the reason Harry wants him to be disposed of for good. Killing a priest is simply business but killing the little boy crosses a line.

While Ken goes sightseeing, Ray becomes distracted by a film set where he meets a midget, Jimmy (Jordan Prentice), who prefers to be called a dwarf and is playing in a dream sequence of the movie being shot. Ray also meets a pretty young blond named Chloe (Clemence Poesy) who allows him to forget about all his troubles. These are only two of the colorful characters you'll meet throughout the course of "In Brudges," all of whom play a pivotal role when the sharp screenplay eventually brings everybody's destinies together in the end. The movie toys with the cliche of its own genre while, at the same time, transcends its own limitations completely.

Half the fun of this movie is just seeing how everything unfolds throughout the strange stay in Bruges, which is why there is little to explain without giving away too many twists and surprises. What's best is that these turns are brought about by the characters themselves and not by mere plot progression requirements. And the movie knows which moments of dialogue to stay with and which scenes to linger on. One scene in particular involves Ray and Ken doing cocaine with Jimmy and some prostitute he picked up. The conversation they all have is absurd and goofy, as are other moments in the film. The movie's comedy comes from simple observations in surroundings and characters, which allows for the laughs to be genuine and savored rather than small and frequent. And then the movie surprises with its times of shocking poignancy and sadness.

If "In Bruges" succeeds at anything, it's in showing that hitmen can have hearts. It's also a remarkable first outing for writer and director Martin McDonagh. His other film is a short named "Six Shooter," which won an Oscar in 2006. While there are some flaws, they can be easily overlooked thanks to strong performances and a sharp story in a unique setting. It's an excellent debut film from this playwright-turned-filmmaker and a promising start to a new career.

Archive: '4 Months, 3 Weeks And 2 Days'

Movie Review
4 Months, 3 Weeks and 2 Days (2008)


How is it possible the Academy overlooked this heart-wrenching masterpiece from Romania? It's no surprise that a movie like this didn't come from Hollywood as it touches on a subject that filmmakers around here wouldn't dare to approach with such searing realism. If you want to see a feel-good movie about pregnancy, go see "Juno" because this sure isn't it. "4 Months, 3 Weeks, and 2 Days" is the horrifying story of a college woman helping her roommate obtain an illegal abortion in Communist Romania. It's devastating and yet no lover of great filmmaking will be able to turn away.

Set in 1987 Romania near the end of Nicolae Ceausescu's dictatorship, the movie recreates the feel of being forced to live under totalitarianism by simply following the characters as they move about their world. Cigarettes, among other simple things, must be purchased from the black market, and abortion was illegal not for any moral reasons but, instead, just because Ceausescu wanted more people to control. We first meet Gabita (Laura Vasiliu) as she and her roommate, Otilia (Anamaria Marinca), are packing up to leave for a few days, and neither of them seem happy about it. Even in the first couple of minutes, we begin to not only understand but truly get the feeling of what it must've been like to survive the tired, soul-destroying monotony of living under oppression.

Gabita is the one in need of the abortion, and she doesn't feel any need to take any responsibility for her actions. It's Otilia who ends up doing all the work. She has to raise money for the whole operation and goes to meet the abortionist herself. Gabita nearly botches the whole meeting by not correctly making reservations at the hotel the abortionist specifically requested. This abortionist is named Mr. Bebe (Vlad Ivanov) and he's just as shady as the situation itself. The movie's title refers to the exact amount of time Gabita has been pregnant, and she even lies to Mr. Bebe about that fearing that she may be too far along. Her continuous lying only makes matters worse, and this scene in the hotel room with the insidious Mr. Bebe is as heartless and unpleasant as you could possibly imagine. It's nerve-shattering and something you have to see for yourself.

Otilia is understandably reluctant and frustrated but continues to help her friend in need even if she has problems of her own. These include her boyfriend, Adi (Alex Potocean), who she goes to see, leaving Gabita to wait in bed where any slight movement could wreck her life. Even when Otilia persistently tells Adi that she has to attend personal business with Gabita, he insists that she comes to a dinner party with his family. What follows is an extendedly claustrophobic scene shot up-close of Otilia sitting at the end of an overcrowded table caught in a sea of pointless conversation. Otilia just sits there nervously tensing up and not responding to anything. We've all had similar moments where older adults' conversations seem so far off from anything that's remotely important, but never before like this have I seen it conveyed in a movie. We feel what Otilia feels, and our blood runs cold when the phone rings because, just like her, we know that it could very well be Gabita calling. We wait in agony to know if something went wrong.

Just about every scene in "4 Months, 3 Weeks, and 2 Days" has a significance to it such as the one described above. Director Cristian Mungiu uses mostly static shots, allowing viewers to hunker down and watch the dynamic of the human drama unfold, which makes each and every camera placement crucial. It's an unflinching gaze at the characters, and it allows their emotions to ignite the screen. The starkly beautiful visuals of the movie carry a heavy importance due to an entire lack of any music. The mood is set and sustained through exchanged words, glances, and moments of silence.

Marinca gives a performance that's worthy of awards consideration, simply playing a desperate woman trying to live her life and be a good friend while the government and even her friend make it quite difficult for her. Her character is the center of the action and a lot of meaning is told just through her expressions. Vasiliu, as the helpless best friend, is much different, presenting a woman of self-pity without shining any negative light on her character. No single person is trying to gain the audience's sympathy as we're just there to observe.

This is a rough and complex movie that succeeds in not taking sides. Instead, Mungiu confronts the issue with an unsentimental and honest eye that sheds light and leaves judgment to the viewer. There's an obvious tension on the subject; just look in Marinca's eyes, and you'll see how it's such a readable tension. The movie is grueling and very hard to watch at times but ultimately affecting. The ending scene takes place in the hotel restaurant with Otilia and Gabita sitting across from each other agreeing never to talk about this night again. It gives us a moment to let the resonance of everything to settle in. I was shaken, and there was a point when I was even literally shaking from the intensity. It's rare to come across a film with that sort of power.

A 'No Country' Night Among Bleak Contenders

The 80th Annual Academy Awards provided no real shockers as everybody had already predicted the outcomes going in. As expected, the Coen brothers came out on top with four wins (for Best Picture, Best Director, Best Adapted Screenplay, and Best Supporting Actor) for their highly-acclaimed "No Country for Old Men." It was an interesting finish to a long night with Joel and Ethan lacking any eloquence in their final speech. And yet, by then, they had already been up there twice, and there was nothing left to add.

Even though "No Country for Old Men" was the front-runner of the night, it wasn't a true sweep. The Academy decided to spread the wealth as each Best Picture nominee went home with at least one win. And the movie with the second-highest total of three wins was none other than "The Bourne Ultimatum" for Best Sound Editing, Best Sound Mixing, and Best Film Editing. Who saw that coming?

The first big award of the night went to Javier Bardem for Best Supporting Actor, which was memorable in that halfway through his speech, he launched into Spanish addressing his mother in the audience. While all of the Best Picture nominees were distinctly American, it was the foreigners who prevailed in terms of acting. Alongside Bardem, who was the first Spanish actor ever to win, was British actor Daniel Day-Lewis for "There Will Be Blood," French actress Marion Cotillard for "La Vie En Rose," and British supporting actress Tilda Swinton for "Michael Clayton."

Tilda Swinton's acceptance speech, as well, was particularly memorable through her poking fun at George Clooney who she claims to not find charming at all. It was also a delight to see the surprise on her face when her name was read, beating out projected winners Amy Ryan for "Gone Baby Gone" and Cate Blanchett for "I'm Not There."

As expected, Diablo Cody nabbed her win for Best Original Screenplay, and she sent her love out to the writers. Jon Stewart, too, brought up the writer's strike and was overall enjoyable a second time around as host. Also commenting on the darkness of the nominees, Stewart exclaimed, "Thank God for teen pregnancy!" About two hours into the night, it was bizarrely enough "The Bourne Ultimatum" in the lead with a third win for its rapid-fire editing, and as Stewart noted, somebody somewhere just took the lead in the Oscar pool based on a guess.

Cody's win was "Juno"'s only triumph last night, which is actually somewhat of a relief after its whirlwind of popularity. "There Will Be Blood" won its two for Robert Elswit's cinematography along with Day-Lewis. "Atonement" picked its one up for Best Original Score, and Swinton nabbing Best Supporting Actress was "Michael Clayton"'s singular win. "Ratatouille" rightfully received its win last night, as well, over "Persepolis" and "Surf's Up."

The crowd's warmest recognition went to Glen Hansard and Marketa Irglova for their Best Original Song win for "Falling Slowly" from "Once." And bravo to Stewart again for bringing Irglova back out on stage to give her acceptance speech as she had earlier been cut off before she even began to speak.

While the Oscars were rather widespread, there were no surprises as to what everybody considered to be the evening's big film, and it was the Coen brothers who were the clear winners of the entire night.

Also interesting to note is that this 80th telecast of the Academy Awards was one of the least watched ever. Is it because of the movies being rewarded? It very well could be. People may have simply lost interest as the only Best Picture nominee to cross the $100 million mark at the box office was Juno. So, I guess not only was the Best Picture winner bleak, but so was the turnout.