horrorboy

Although TAKERS can be potentially one-dimensional with it's main cast of characters and clichÃd in it's own story, climatic actions scenes and decent acting help bring some some momentum to the table. TAKERS stars a whole list of popular hip-hop artists, a few talented actors, and Hayden Christensen, blends them all into one film in hopes of producing a movie that will attract the modern film audience. While it eventually does just that, other types of individuals may be able to discover it's flaws without much trouble. The buildup in TAKERS is like any typical heist movie. It opens with a bank heist, the robbers make out with the money, and then they decide to perform another heist soon thereafter. The main group of five is approached by an older comrade of theirs named 'Ghost' (T.I.) who was released on probation for good behavior on a sentence from robbery 5 years previously. He suggests the 5 perform a heist differently this time; steal $20 million from a pair of armored vans via 'Italian Job' style. What follows is the usual build-up of the heist and the problems of the people involved, which is the real problem. The term 'forced character buildup' comes in clearly at this point. I really never cared for any of the main central characters due to their single dimensional personalities. While there is the drug stricken sister of Elba and the awkward father-daughter relationship of Dillon, that pair of backstories is really the only ones the audience is presented to throughout the film. In a film so titled 'TAKERS', the audience isn't taken it, persay, by the characters. You really don't get to know them, and its hard to find sympathy when negative things happen to each of them. TAKERS does house some great action scenes at times, and climatic shootouts that kept me suspended on who was going to get out alive. I was also fond of the Chris Brown chase later on in the film, and his broad range of acrobatic skills kept me entertained until it's end. The acting, at least from a few actors, is decent. Dillon is great as always, and Walker and Ealy prove to show that they have decent acting skills. Chris Brown was decent as well as T.I. Hayden Christensen still needs some more time in acting school. Although TAKERS is a clichÃd and unoriginal heist film, it's many action scenes held my attention throughout, and the acting from the more veteran actors was a relieve. TAKERS never brings anything new to the table in any means, but it does bring some variety and excitement for the more modern viewers.

Natural Born Killers will be one of the toughest movies to watch, one of the toughest movies to think about, and one of the toughest movies to digest. Its involvement of Mickey and Mallory Knox (Woody Harrelson and Juliette Lewis, respectively) investing their time and their life on a cross country killing spree is completely and utterly iconic. As ironic as this idea sounds, their whole spree pertains to the media and the whole worldwide culture as in a way I have never seen in a film. That saying, the plot is basically the Knoxes on a killing spree throughout states in America. As straightforward as that sounds, it really isn't. After being followed continuously by a tabloid reporter named Wayne Gale (Robert Downey, Jr.) in hopes of receiving high rates for his tracking and reporting of the duo, the Knoxes eventually become superstars all in thanks to the media. During a few of their crimes portrayed on the screen, they tend to leave one person left alive in each of their sprees that reports to the media who really committed the crime. Throughout the film, Oliver Stone, the director, presents us to bizarre and strange scenes and images that signify how the Knoxes really came to be. An example of this is a 'Married...With Children' like-parody show named 'I Love Mallory' where it pictures Mallory's wretched life in the hands of her father who is sexually attracted to her, and her unusual mother. In scenes where her father makes a funny remark or touches her inappropriately there is a canned-laughter track in the background. It's a bizarre feeling but then again it presents Mallory's life through an outsider's eyes laughing at everything that's happening since it's not actually happening to them. These scenes, in my opinion, despite their rawness are actually beautiful in a way. Stone presents them in vivid colors and streams that exhibit fine art. A scene that really fascinated me is when Mallory and Mickey are together in a hotel room. They're embracing each other and there is a picture window facing the outside. Instead of seeing the night sky, we're shown to different pictures of Mickey's earlier life, and other random images that pertain to the scene as if they were projected off of a movie reel. Images and scenes like this help show the life that truly exists in Natural Born Killers, and not just what people see on the outside. What people really see on the outside though is the constant amount of violence that people expect to be in a movie dubbed 'Natural Born Killers'. What's so great about the violence is that it never really seems as bad as it really does. Stone makes us feel the need to imagine the violence to be extreme as it really is to leave more of a distinct nature in our minds instead of the constant spewing of gore and blood that many audience members expect to see, but are instead disappointed to witness something different entirely. While at times it does succeed to do that, the film never really focuses on the violence as much as it does with its characters. Mickey and Mallory Knox are completely insane, mad, blood driven, and all the synonyms that apply. They will literally kill anyone in their way as a simple man riding on a bike on the side of the road to innocent bystanders in a diner. They're completely scary and menacing, though they think that they personally aren't in many forms. They think that the true monsters are the rest of the majority, the ones that don't kill, such as the media and the liking. The great acting by Harrelson and Lewis is simply phenomenal. Their portrayal of 2 mass murderers is so spot on that they all just seem too real. At times during the film, we're able to see the crimes, etc. committed through the eyes of the Knoxes in a different approach. At times when they look at their victims, the screen is seen in black and white but when it goes back to facing the Knoxes the screen goes back to color. What I can think of this whole approach and aspect is that the Knoxes only see the world as black and white, the only colors that show their true lifestyle. Downey as the reporter, and Tommy Lee Jones as a prison warden are exceptionally great roles, both are hilarious at times and I caught myself off guard on several occasions laughing away at the dark comedic dialogue that each delivers. Natural Born Killers leaves an imprint in my mind, as I'm sure as it has done with so many others. It states in most parts that the actual killers aren't the worst part of the moral, it's actually the ones who present it, the ones in the media that help make the monsters who they really are, driving their bloodthirsty motives farther than ever. While not focusing on violence that seems overly abundant, Oliver Stone truly delivers a tour de force that delves into the deep dark roots of man. The roots that cause an impulse for us to kill whoever stand in our way at anytime. Really in some form or another, we are all Natural Born Killers.

Blue Velvet is a tough film to approach. Its surrealism aspects may swiftly guide some away, but the others that stay are truly in for a surprising film. The plot focuses on Jeffrey Beaumont (Kyle McLachlan) a young man that ventures down to his hometown of Lumberton after his father suffers a severe stroke. After visiting him in the hospital he ventures his way home, taking a shortcut through an abandoned field. There he finds the remains of a human ear and takes it to the police. After some investigating, Jeffrey finds his way into the grasp of a strange woman named Dorothy Vallens (Isabella Rossellini) who develops an unusual attraction towards Jeffrey. He then begins to stalk her a little, and the story kicks off from there. Jeffrey comes to a close encounter with the main antagonist of the story, Frank Booth (Dennis Hopper). He is a violent sociopath that snorts amyl nitrite through a gas mask, which triggers him to experience constant amounts of pleasure and rage and inflict mass amounts of sexual anger towards Dorothy. Frank has kidnapped Dorothy's son and husband in exchange for her to be his sexual servant. Jeffrey discovers this and tries to help her get them back. While this plot sounds strange and complex, it's actually supposed to be. That's what makes this film so brilliant. It's emotionally charged atmosphere and characters pulls you in to experience the surrealism that is inflicted upon these characters. Directed by David Lynch, who is a master himself at surrealism, presents the film in such a strange and bizarre film that it's completely hard to imagine what's going on. The film itself is beautiful because of this as I have truly never seen a movie as original and as creative as this. While Blue Velvet is criticized due to the fact of the sexual aspects of Rossellini and how awful she's treated during the span of the film, it actually shows how broken she is and the amount of pain and suffering she would go through in order to maintain her peace and to make her way back to her son and husband. A lot of people tend to spew hate on the film because they tend to think that it's trying to go for a realistic approach. In any means it is NOT. The acting is great from the 3 main leads and the strongest role definitely goes to Hopper. Frank Booth is indeed a creepy, creepy villain. It's one of the late Dennis Hopper's best performances in a film as he is both haunting and hilarious. All in all Blue Velvet is a tough film to swallow, its contents are both graphic and surreal. Its a brilliant film that makes you think of the inevitable, that makes you think of what is real, and what is the surreal.

THEM begins as any modern horror flick, a pair of women manage to find their way into car trouble. They seem to be stranded on a road in the middle of the boondocks somewhere very far from civilization. The mother of the two pops the hood and gets out to check if everything seems to be in shape. The daughter, who is a sitting duck in the car, waits patiently for her mother to return around the side so she can see that she's okay. Unfortunately the mother never does and the daughter leaves the car to investigate. She hears strange noises and mishaps in the forest, like the sounds of twigs snapping and leaves rustling. Knowing that this seems to be too much for the young girl, she retreats back into the car and locks all doors and rolls up all windows. Then it starts to rain, then dirt clods smash against the windows obstructing the view to the outside, then the streetlamp above goes out and all is dark, then the final act is carried out by Them. This 5 or so minute intro sets the tone perfectly for the rest of the film. As clichÃd as the idea of two women getting butchered out in the middle of the woods is, this actually works. Now the main plotline that continues for the remainder of the film settles on a young couple, Clementine (Olivia Bonamy) a schoolteacher and Lucas (Michael Cohen) who is an author. They live together out in the middle of the same boondocks as the previous mentioned murders, who knew!? A scene I greatly enjoyed though was when Clementine was driving from her school to her large house in the woods. The scene was set up so greatly that it seemed to be the same intro scene from The Shining where Jack Torrance took the long winding drive to the Overlook Hotel. While it isn't that long of a journey of course, it builds up the feeling that this couple may soon be in a nightmare they can't escape from. Upon returning to the home, Clementine and Lucas spend a night together eating dinner, watching television, and just having a good time with each other. After Lucas falls asleep, Clementine continues to stay up and receives a strange call with nobody answering on the other side. She continues to finish her work and goes to bed. She later wakes to a strange noise somewhere in the house, she awakens Lucas and they go to investigate the strange developments. This is where THEM begins to kick into high gear. The following scenes are pulse pounding and scary. While other might not think so, the buildup of the first 20 or so minutes helps build the suspense and anticipation of a scare enough to create a true thrill ride. THEM isn't housed to a whole lot of the infamous jump scares, it instead focuses on an unseen force that tends to haunt your every move. Wherever you are, THEY are there close by watching your every move, your every breath. This sort of terror I find intriguing. It keeps up the suspense and the momentum so greatly that you're in anticipation **** scare, it doesn't happen, and then the film pulls the rug out from under you and delivers a great scare. The few great chases throughout the catacombs of the countryhouse and elsewhere truly defined what a great horror chase scene really is. The slow quiet steps of a person walking down a flickering hallway filled with many doors and hallways has never felt so haunting and thrilling to watch. While the last 15 minutes are quite angering to some moviegoers due to the twist it exhibits, this very twist worked well in my opinion, and I really didn't see it coming until those final minutes. While viewing THEM I noticed that it was very reminiscent to the 2008 horror film of the same aspects called 'The Strangers'. The Strangers would be mediocre in comparison to THEM because it didn't portray the horror aspects as much as it had and it felt more as a slasher flick than an actual suspenseful film. While THEM may not be a horror film for everyone out there, it is a film you'll either love or hate. Its suspenseful chases are some of the best I've seen in a horror film and the characters aren't stupid while participating in them for once! The twist may either upset or shock you and the finishing image may print a vivid and haunting image in your mind, it all depends on the viewer. If you're in the mood for a building horror film that offers many great surprises, you won't be disappointed. Note that the most ideal way to view this film is in a pitch black room with the volume cranked all the way up, its a true experience.

[SPOILER ALERT: This review contains spoilers.]

127 Hours is a fantastically flawless film. Director Danny Boyle has brought us from the zombie infested streets of London to the slum-filled streets of Mumbai, combining stellar acting and outstanding stories to create a unique experience with each. With 127 Hours, he uses those same aspects but in turn creates an absolutely cherishable film that manages to stick with you long after the first viewing. The plot involves the true story of Aron Ralston (James Franco) who, while hiking solo in the deserts of Utah, managed to find his way into a crevice where his arm became pinned against a rock wall by a large boulder. 5 days after the incident, he manages to finally amputate his arm with a dull knife and tries to find a way to escape the hellish conditions of the desert. During that 5 day period, Aron manages to scramble through his bad past memories with his father, mother, sister, and his girlfriend and he tries to figure out what problems occurred with each of them, and if he was able to fix them at the time. He also tries to stay alive as best as possible through various events that test his remaining strength. The climax which is both shocking and upsetting, truly resembles what a man would put himself through in order to survive the inevitable. The finished product is so relentlessly breathtaking that you're literally at a loss of words when the credits roll by. Danny Boyle's directing is top-notch that include scenes of the beautiful Utahan deserts to the jaw dropping visuals of the graphic amputation scene that combines itself with ear piercing music that signifies that pain and agony of the whole act. Boyle makes it feel as if the audience is also trapped with Ralston, helping him fight as a means of survival and feeling each emotion he experiences. The film takes the majority of its time in the crevice with the boulder, but it releases the tension of the aspect by showing the flashbacks with Ralston's loved ones, which are actually always welcomed to help steer away from the incoming doom that Ralston will likely have to face. James Franco is simply phenomenal. Never have I ever witnessed an actor portray a character as broken, emotional, and as hurt as James Franco has. His flawless and beautiful performance is definitely Oscar worthy, if that. The story flows quickly and steadily, never jumping ahead or back at a pace that's difficult to follow. Its climax is a hard one to come by and you'll be able to tell of Ralston's coming doom as he takes his first steps into the deep crevice. 127 Hours is a incredibly flawless film. Its location is beautiful to the occasion of Ralston's predicament, ironically. Its directing is superb with its lingering camera angles and fast paced cuts. Finally, James Franco's performance is indeed one for the books and you'll become more and more attached to the character of Aron Ralston over time. 127 Hours is a beautifully written and beautifully shot film that pushes the limits and delivers one tour de force that's unlikely to be forgotten.

True Grit is the first western based film presented to us by the Coen brothers. The Coens combine their original and witty dialogue with incredible performances by top notch actors to create a film thats so engrossing that you're taken on a ride back in time with true outlaws. The plot centers on Mattie Ross (Hailee Steinfeld) whose father was shot and killed by a loner named Tom Chaney (Josh Brolin), who also made off with the father's 2 gold pieces. Mattie is determined at all costs to find her father's killer, and hires U.S. Marshal Rooster Cogburn (Jeff Bridges) to do the job. A Texas Ranger named La Boeuf (Matt Damon) arrives on the scene already hot on Chaney's trail over a murder he committed in Texas. The trio set off together in hopes of finding Tom Chaney before anyone else does. The plot delves in deeper than that of course, and it emerges as a true Western flick that actually works. While it doesn't involved all that heavily on action (minus a few great scenes), it's involved mostly on the characters and the experiences that they must face. With the Coen's classic dialogue (equivalent to Fargo) the slower paced scenes are genuinely enjoyable because the most random of conversations will occur and the outcome is either hilarious or heartwarming. Jeff Bridges is flawless and Oscar worthy portraying a Rooster Cogburn so exceptionally well that he completely overshadows John Wayne's portrayal multiple times over. Matt Damon is unrecognizable at first as a desperate Ranger though his times on the big screen are enjoyable especially the many quarrels with Bridges such as arguments on who is the better shot. Hailee Steinfeld is completely flawless as well. Her portrayal of a headstrong 14 year old determined to track one man down is so spot on that I actually tricked myself into thinking I was watching an adult in the same role. The supporting roles of Josh Brolin and Berry Pepper were great as always, although their screen time was dwindled down to only a small percentage, but both of their roles are great. The many different camera angles the Coens use really outlay a vast and open landscape to the many different types of crimes committed there. The pacing is slick and perfect. The many action scenes are great and house outstanding shootouts and they aren't as heavy on the violence as the earlier Coen brothers films. In between the few key action scenes, there are the funny and enjoyable dialogue moments that keep the momentum in place and this style never falls flat. All in all True Grit really delivers a stellar experience that zooms through quick from beginning to end thanks in part to the great action scenes, and the truly flawless characters and dialogue. If you're in to look for a great Western film, this is the one true and great modern experience.