The Mule

Tags

2010's, Alison Eastwood, Andy Garcia, Based on a true story, Bradley Cooper, Clint Eastwood, Crime, Dianne Wiest, Drama, Laurence Fishburne, Michael Peña, Taissa Farmiga, The Mule

Director

Clint Eastwood

Starring

• Clint Eastwood as Earl Stone
• Dianne Wiest as Mary
• Bradley Cooper as Colin Bates
• Michael Peña as Trevino
• Laurence Fishburne as Head of DEA
• Taissa Farmiga as Ginny
• Alison Eastwood as Iris
• Andy Garcia as Laton

Clint Eastwood directs and steps in front of the camera once more with The Mule, which takes basis from a true story of an elderly man who was an unlikely drugs mule for a cartel. With it being Eastwood there is undoubtedly talent here and good spots. The trouble is The Mule stumbles in the mid section and I can’t help but feel it could have been better than it was.

Earl Stone is a 90-year-old horticulturist who has seen better days. He’s become bitter and out of sync with society. His business is approaching foreclosure and after being so neglectful of his family, most of them have shunned him and his wife Mary has divorced him. His granddaughter Ginny hasn’t turned her back on him and invites him to her engagement party. It’s at the party that someone gives Earl a tip-off of a job where all he needs to do is drive. Desperate, Earl accepts, little realising that he’s becoming a drugs mule. Even when he does discover what he’s transporting, he asks no questions as he is so in need of the cash. With the money he gets from each job, he tries to make amends with people he’s wronged in the past and attempts to build more bridges with his estranged family. This goes very well and his efficiency in the job earns him some respect in the cartel community, particularly the head honcho. But the DEA is trying to crack down on drug smuggling and a transportation in Illinois and as headed by the purposeful Colin Bates, they aren’t going to stop until they reach the source of the illegal acts. Earl keeps going with the job, slowly coming to see the darkness he has put himself in. Yet as the DEA closes in and the cartel start to fight amongst each other, Earl is stuck firmly in the middle of what could be a very dangerous situation.

Clint Eastwood brings his usual professional sheen to the film and focuses on characters, primarily Earl. Character development of the titular mule is what this film does well. I especially though there was poignancy to the fact that Earl feels so out-of-place in a technical, modern world that he doesn’t understand. That was one thing that came through loud and clear when watching The Mule. Not all of Eastwood’s decision behind the camera pay off, for starters the film runs too long and falters in the middle part. But his sophistication and handling of the main narrative is excellent and provides at least some emotional tie. If anything’s to blame for The Mule not being an overall excellent movie, it’s the script. Although it does bring out moments of dramatic worth, I need felt it all came together clearly or pleasingly enough. Having the other story of the DEA dragged a lot and didn’t feel not nearly as compelling as watching Earl slowly make attempts at redemption while he goes along on this dangerous ride . And though The Mule has its share of humour and lightness, the middle part where Earl sees the corrupt but intriguing wealth of drug dealers doesn’t quite sit right with the rest of the film. It only is really there to show what while he’s old, he’s still got some rascal about him with the ladies and can still have a good time. This isn’t to say that The Mule is a terrible movie( it’s actually quite good but flawed in execution), I just expected a bit more from it. I’m firmly on the fence with this offering from Eastwood, but his undeniable talent is still alive which I’m grateful for. Once seriousness kicks in, the last half of The Mule redeems quite a number of the foibles that so ruined the earlier parts. It’s here when we get the weight and emotional heft of a man coming to terms with what he’s done and these are the best moments. Eastwood’s love of jazz is prevalent too, using any opportunity he can to indulge us with melodies.

Clint Eastwood can do the grumpy, old guy act in his sleep and he portrays something akin to that here. But being Eastwood, it’s not just cut and dry. He inserts charm, humour and sadness into the character often with just a look or movement of eyes. The character is morally complex and flawed, which Eastwood is adept at bringing forth here and throughout his career. And credit to the guy, he’s 88 and still going strong, even if he’s made to look more frail and weathered here than he actually is. He’s one of the biggest assets going in The Mule and of the best things in it. In yer,s of acting, Eastwood is given the most to do. Dianne Wiest makes the most of her role as the ex-wife who still can’t shake him, despite vehement arguments that she is fine alone. Her scenes with Eastwood really have an emotional hook to them that both play beautifully. On the other hand Bradley Cooper, Michael Peña and Laurence Fishburne are all underused as DEA agents closing on the cartel. All three are great actors, but they aren’t provided with sufficient meat to savour on and make them memorable in this flick. Taissa Farmiga does what she can with her role as the only person who seems to see the good in her flawed Grandfather, while Alison Eastwood(Clint’s actual daughter) has her moments reconnecting with her estranged father that hit hard. In a brief part, Andy Garcia is highly entertaining as the cartel boss with flamboyant style.

Immensely uneven but definitely watchable, The Mule is a mixed offering from Clint Eastwood. I’m firmly in the middle in my opinion, but I can’t deny that Eastwood’s still got it, even when the work is minor and not quite a pitch on his more successful films.

Smokin Aces

Tags

2000's, Action, Alicia Keys, Andy Garcia, Ben Affleck, Chris Pine, Common, Crime, Jason Bateman, Jeremy Piven, Joe Carnahan, Kevin Durand, Martin Henderson, Maury Sterling, Nestor Carbonell, Peter Berg, Ray Liotta, Ryan Reynolds, Smokin Aces, Taraji P. Henson, Tommy Flanagan

Film Title

Smokin Aces

Director

Joe Carnahan

Starring

• Jeremy Piven as Buddy ‘Aces’ Israel
• Ray Liotta as Carruthers
• Ryan Reynolds as Messner
• Alicia Keys as Georgia Sykes
• Taraji P. Henson as Sharice Watters
• Tommy Flanagan as Lazlo Soot
• Nestor Carbonell as Pasquale Acosta
• Chris Pine as Darwin Tremor
• Kevin Durand as Jeeves Tremor
• Maury Sterling as Lester Tremor
• Andy Garcia as Deputy Director Locke
• Common as Ivy
• Ben Affleck as Jack Dupree
• Martin Henderson as Hollis Elmore
• Peter Berg as Pete Deeks
• Jason Bateman as Rupert Reed

An all out violent spectacle of crime, action and weirdness, Smokin Aces is best enjoyed as a brainless action flick. Though saying this, the film attempts to get more serious which doesn’t exactly sit well with the rest of the piece. Smokin Aces still keeps you entertained throughout with the ensemble cast and shocking events, but it is a bit of a mess.

Las Vegas magician and gangster wannabe Buddy ‘Aces’ Israel is involved with the Mob( who have helped his growing success) as he wants a piece of the action. Like all wannabes, he has messed up a lot and knowing this, he has now become a turncoat. He promises the FBI crucial information on the Mob, in exchange for his safety. Yet the Mob already knows of Buddy’s traitorous behaviour and the head of the crime family places a $1 million bounty on his head. Meanwhile the FBI, under the command of Deputy Director Locke has ordered two of his agents, Carruthers and Messner to go to a hotel in Lake Tahoe where Buddy is holed up in the penthouse suite. They are to make sure nothing happens to him, as his testimony is extremely valuable for the FBI. As the bounty on the weasel that is Buddy is so high, all sorts of criminals and mercenaries come out of the woodwork for a piece of the action. These include sexy contract killers Georgia Sykes and Sharice Watters, torture expert Pasquale Acosta, bail bondsman Jack Dupree and his two fellows friends, a man who specialises in disguise Lazlo Soot and three crazed Neo-Nazi siblings, The Tremor Brothers. Yet events change for the FBI’s plans regarding the washed-up Israel and something sinister is definitely a miss, which puts Carruthers and Messner in very real danger. As the parties of assassins and contract killers reach the hotel, all matter of hell is going to break out. Everyone converges in bloody fashion as they attempt to either kill, capture or save Israel who is a much wanted man, dead or alive.

Joe Carnahan writes and directs Smokin Aces as a shoot em up slice of carnage and chaos. I did think he got for the most post the right vibe for this film, with strange and darkly comedic undertones thrown into the blender. He has a sure hand on the action that implodes from all angles once everyone reaches the hotel and is more than adept with style. His visual eye can best be described as frenetic and adrenaline infused, as he barely pauses for a breath and bombards you with quick flashes galore. It’s all very unusual but fits the absolute crazy tone of the film. It’s when he tries to deepen Smokin Aces that the cracks begin to appear significantly. Granted, some of the depth pays off but it is largely superfluous and grows to be very strung out as the film reaches the climax. If he had just left the film as it was with the outrageous and ridiculous abundance of fighting and bullet play, it might have been a bit more substantial. Instead, Smokin Aces reaches too high and shoots itself in the foot by attempting to be something more than it is. It is a ridiculous and wild film but that is what sells it well during most of it, only to be let down by a plot that gets way to convoluted for its own good. Anyhow, there is still enough bloodshed and flashy style to keep you watching Smokin Aces. A slashing and breakneck soundtrack accompanies the film to a successful degree of pulse-pounding violence and brutality.

With any film that boasts an ensemble cast, you are going to get people who stand out more than others. Smokin Aces is no exception to that rule, with some giving it their all as a rogues gallery and others left with only small and nondescript parts. Jeremy Piven plays the part of Buddy, who the whole plot centres on as he is the one who everyone wants to either kill or harm. Piven sells the part pretty effectively; displaying the drugged-up and altogether pathetic man who wanted to play gangster but whose obnoxious attitude and poor decisions led to him turning snitch. The character isn’t really likable, but Piven gives it his best to invest something into him. Two of the best roles in the film belong to Ray Liotta and Ryan Reynolds, with Liotta quite good as the seasoned and professional agent. Ryan Reynolds in particular stood out to me as the straight arrow agent learning of betrayal and his performance was pretty spot on in displaying a mature and sombre change in character. Singer Alicia Keys, in her first movie role, sizzles as the sexy part of a two woman squad of deadly contract killers. With her low voice and sultry attitude, Keys displays a lot of potential as an actress here which is refreshing as most singers who attempt acting fail. Backing her up is the feisty personality of Taraji. P Henson as the outspoken but highly skilled shooter. Tommy Flanagan bristles with uneasy menace as a master of disguise, but Nestor Carbonell is sadly underused as the creepy torture guy.

Stealing most of Smokin Aces however is the trio consisting of Chris Pine, Kevin Durand and Maury Sterling portraying the absolutely off-the-wall Tremor Brothers. They liven up the already bouncing movie with crazy antics and nasty glee, chewing their parts to bits as they wipe out hundred with there precious and strange artillery.  Trust me, these guys are just some of the craziest things you will witness in a movie chock full of perversity and what the hell trips. Andy Garcia, who is for me a lot of the time very reliable, is given scant to do which is a definite shame as he could have really been a force of nature.Rapper Common is well employed as Buddy’s bodyguard, who sees that he has been lied to by his employer as part of his pardon agreement. Ben Affleck appears in what amounts to a limited part, but when he is there I liked the cynical attitude of him. The other two men who feature in his part of the story, Peter Berg and Martin Henderson are unfortunately stranded without a lifeline. Far more successful in a small part is Jason Bateman, who in two scenes owns it as the disheveled and uncouth attorney involved in Buddy’s case.

I have been left with somewhat mixed thoughts about Smokin Aces. While I like the outrageous nature and blood-soaked action, I didn’t take too kindly to the fact that it tried to be something more thoughtful. Action movies by definition are ones that you switch the brain off for. Though I did lean more towards the enjoyment factor in this balls out action venture, despite my grievances.

Ocean’s Thirteen

Tags

2000's, Al Pacino, Andy Garcia, Bernie Mac, Brad Pitt, Caper, Carl Reiner, Casey Affleck, Comedy, Crime, Don Cheadle, Eddie Jemison, Ellen Barkin, Elliott Gould, George Clooney, Matt Damon, Ocean's Thirteen, Scott Caan, Shaobo Qin, Steven Soderbergh

Film Title

Ocean’s Thirteen

Director

Steven Soderbergh

Starring

• George Clooney as Danny Ocean
• Brad Pitt as Rusty Ryan
• Matt Damon as Linus Caldwell
• Al Pacino as Willy Bank
• Ellen Barkin as Abigail Sponder
• Andy Garcia as Terry Benedict
• Don Cheadle as Basher Tarr
• Elliott Gould as Reuben Tishkoff
• Casey Affleck as Virgil Malloy
• Scott Caan as Turk Malloy
• Eddie Jemison as Livingston Dell
• Carl Reiner as Saul Bloom
• Shaobo Qin as Yen
• Bernie Mac as Frank Catton

The concluding movie in the classy and cool caper series, Ocean’s Thirteen thankfully returns to the vein of the first movie after going off the boil with Ocean’s Twelve. And thank goodness Thirteen delivers the goods as I was a bit apprehensive of which way this movie could go. I’m happy to report it went in a very slick direction and was an enjoyably breezy affair.

Thirteen begins with flamboyant but lovable businessman Reuben Tishkoff being tricked into signing over his share of a new casino to egotistical Willy Bank. Reeling from the shock, Reuben suffers a heart attack and remains bedridden from the experience. Angered, suave Danny Ocean reconnects the old team; slick Rusty, thief Linus, outrageous Basher, the amusingly feuding Malloy brothers Virgil and Turk, witty Frank, technology guy Livingston, old con man Saul and acrobatic Yen. As revenge on the traitorous Bank, Danny wants to humiliate him on the opening night of his new casino. Formulating a plan to rig the games by infiltrating suppliers so that Bank will be cleared out of money, tarnish his sterling reputation and just about anything else to ruin him, the gang knows that if it is successful justice for Reuben will be done. Yet one part of the plan requires a powerful underground drill to simulate an earthquake and after one attempt, the drill breaks forcing them to rethink. Eventually, though they’re all reluctant to do so, they acquire the service of former enemy Terry Benedict, who can finance them with a new drill and get his own back on old rival Bank. Benedict also wants to steal an extensive diamond collection belonging to Bank which adds even more danger to the complex plan. It’s getting this elaborate plan to flow smoothly that poses the biggest problem, as well as Bank’s eager to please PA Abigail and whether or not Terry will double cross anyone. So will Danny and his merry band of thieves be able to pull of this vengeance fueled plan?

Once more, Steven Soderbergh shows of his flair for panache with inspired direction that utilizes many of the snappy visual tricks he so often likes to use. His use of split screen and overlapping images creates a jazzy and snazzy effect as the revenge plan playfully begins. Las Vegas looks a million dollars and the characters do too, in a film that thanks to Soderbergh’s great devilish eye flows along nicely as mischievous plans and justice is served to Bank for misdeeds. Whereas Ocean’s Twelve went completely overboard with its twists, Thirteen keeps it a bit more simple and largely benefits from not indulging in show off tactics. The plan that Danny and the crew formulate is essentially a complex revenge game, but for the audience it never becomes too complicated to understand as we’re rooting for their plan to work on the dastardly Bank. A wonderful script, filled with wit and hilarity, brings out the fact that the crew isn’t doing this job for a thrill. The job is for something more personal than just money or wealth, proving that there may in fact be honor among thieves after all. There is the added bonus of the chemistry with the cast again and the fact that almost everyone is given something to do, something which Twelve didn’t do so well. You do get a sense of glee watching the guys wreak havoc on Bank, via tricks and disguises, and hit him where is hurts, his money.  All of this fun and amusing antics are backed up by a sizzling score that reverberates with old-school swing and silky jazz riffs. The only real flaw in Thirteen is that it isn’t as good as Eleven, but has oodles of style and wit that put it very close to it and acres above Twelve.

The ensemble cast are clearly having a blast that radiates off the screen with energy and verve. George Clooney is on fine form as the urbane Danny, doing his own brand of justice and revenge with panache and humour. Backing him up is the charms of Brad Pitt as Rusty, who is one of the main brains in the plan to humiliate Bank for crossing the line with Reuben. Matt Damon shows a flair for comedic antics as Linus, who is finally given some credit that he’s fought for so long to get. Watching as he is disguised with a bulbous nose and Bond villain hair and having to woo the efficient Abigail is a real hoot and Damon sells it all the way with hilarious enthusiasm. Sporting a dodgy spray tan and larger than life ego, Al Pacino is at home essaying the persona of the arrogant and morally corrupt Willy Bank, who is going to be hit for all that he is worth by the suave crew. As the lone female in the movie, Ellen Barkin is hugely amusing as the perfectionist PA Abigail, who unwittingly helps the crew in their daring plan after being charmed by a disguised and pheromone infused Linus. Sporting ruthless and oily tics, Andy Garcia is deceptive as the former enemy brought in to help, who may or may not be trustworthy. Don Cheadle exudes an over zealous and flamboyant antics, while Elliott Gould puts his heart into Reuben, whose heart attack puts in motion the revenge for Bank. Casey Affleck and Scott Caan are wonderfully comical as the Malloy twins, particularly in their stint undercover at a Mexican plastics facility where they unintentionally cause the workers to rise up against woeful underpayment. Nervous energy comes courtesy of Eddie Jemison, while sophistication is given by veteran Carl Reiner and athletic prowess from the lithe Shaobo Qin. Out of all the cast, Bernie Mac is unfortunately not given a lot to do which is a shame as his character of Frank is usually a comic highlight and the fact that this was one of Mac’s last film roles before his early death.

So while the first Ocean’s is my favourite, Thirteen manages to capture some of the witty and flashy charm of it and more than make up for the debacle of Twelve. If it’s enjoyment you require, Ocean’s Thirteen more than does the job with sizzling sophistication and proves that thirteen isn’t always an unlucky number.

Ocean’s Twelve

Tags

2000's, Andy Garcia, Bernie Mac, Brad Pitt, Caper, Carl Reiner, Casey Affleck, Catherine Zeta-Jones, Comedy, Crime, Don Cheadle, Eddie Jemison, Elliott Gould, George Clooney, Julia Roberts, Matt Damon, Ocean's Twelve, Scott Caan, Shaobo Qin, Steven Soderbergh, Vincent Cassel

Film Title

Ocean’s Twelve

Director

Steven Soderbergh

Starring

• George Clooney as Danny Ocean
• Brad Pitt as Rusty Ryan
• Matt Damon as Linus Caldwell
• Catherine Zeta-Jones as Isabel Lahiri
• Julia Roberts as Tess Ocean
• Andy Garcia as Terry Benedict
• Don Cheadle as Basher Tarr
• Bernie Mac as Frank Catton
• Casey Affleck as Virgil Malloy
• Scott Caan as Turk Malloy
• Vincent Cassel as Francois Toulour/ The Night Fox
• Eddie Jemison as Livingston Dell
• Carl Reiner as Saul  Bloom
• Elliott Gould as Reuben Tishkoff
• Shaobo Qin as Yen

As a follow-up to the successful Ocean’s Eleven, Twelve is still entertaining in its own way. It just happens to fall short by becoming overly complex and not using the ensemble cast as well as it could. It’s not a complete mess, but it could have been better.

Ever since pulling off their audacious major heist on casino owner Terry Benedict, Danny Ocean and the rest of his crew have been living apart and quietly with their takings. Unfortunately, this state of anonymous bliss is broken( which for smooth talking Danny has included reconciling with his wife Tess) when the angry and well-connected Benedict locates all of them and demands that they pay back the large sum they stole from him plus interest. Assembling the group, who are short of paying their halves of the money, they head to Amsterdam where they are told of a potential heist could take place. The crew has two weeks to repay the ruthless Terry or else things could be fatal for all involved. The hitch of the plan is that there is a gifted, arrogant cat burglar known as the Night Fox who beats them to it, forcing the crew to reconsider something else to steal. Striking an uneasy deal with the slimy Night Fox whose real name is Francois Toulour and a very rich man, the group plans to steal a Fabergé egg that should cover their debt to the vengeful Terry. Another obstacle comes in the shapely and sharp form of Isabel Lahiri, an extremely determined Europol detective who is put on the case and discovers that her former lover Rusty is part of the crew, causing various complications with putting the plan in motion and finally executing it. The question is will Danny and his cohorts be able to successfully do this heist and get the money before it is their necks on the chopping block?

A complex and labyrinthine plot is what makes Ocean’s Twelve a step down as it becomes overly clever and twists too much. And while Steven Soderbergh once again contributes his stylish sense of film making to the proceedings, he can’t make it flow together because of how convoluted the script becomes. Saying that, there are still some killer one-liners and hilarity, but in terms of pacing Twelve drags in comparison with its quick-footed predecessor. I have to compliment the visuals in Twelve which can’t be faulted and put the glamorous locales in glorious colours and mood, not to mention some slick costumes. There is something almost tired about Twelve, like because the first one did well they should make it a bit more complicated, yet this idea doesn’t work that well in theory. This is most apparent in the non-linear structure which works in the very beginning as the story is set up, but then descends into over confidence and confusion. And unlike the first movie that had quite a good bit of tension going on as the merry band of thieves were slipping past danger and averting trouble, Twelve is strangely devoid of the suspenseful heist we witnessed first time around. It is still an audacious heist that they must take part in, but the handling of it feels clumsy at best. A suitably cool score, accented with lively jazz and Rat Pack attitude at least gives Ocean’s Twelve hints of classy caper and adventure.

The starry cast is back with some new additions this time and while many are excellent, the way the script is done leaves many on the sidelines and doesn’t give some characters enough time to make an impression. As always, George Clooney is suave and devilish as main man Danny, who knows that the stakes are high in this heist and how the lives of everyone he cares about are on the line. The same goes for Brad Pitt as the lovable Rusty, whose relationship with Isabel begins to complicate matters that are already mounting. Matt Damon is a hoot as the overly eager and slightly naive Linus, who wants a central role this time and does show his skills to everyone when they get in a jam. Among the newer cast members, the beautiful Catherine Zeta-Jones makes the biggest splash as detective Isabel. Somewhat icy and passionate in her dedication, her resolve gets tested by former lover Rusty coming into the case. Jones makes Isabel a really intelligent character who shares many sparks with Pitt’s Rusty as she tries to anticipate what he and the gang are up to. Julia Roberts has a smaller role as Tess this time around, but has some real humour especially when she is drawn in to help by taking on a disguise that is knowing and a funny in-joke. The rest of supporting cast in Twelve, although talented are given less to do in terms of material, which is very unfortunate because they all added something to the past film with their individual idiosyncrasies and tics. It’s only really Vincent Cassel as the supremely arrogant Night Fox that makes any real impression on the story out of the underused supporting cast.

So while there is obvious style and camaraderie with members of the cast, Ocean’s Twelve falls more than a little flat despite potential.

Ocean’s Eleven

Tags

2000's, Andy Garcia, Bernie Mac, Brad Pitt, Caper, Carl Reiner, Casey Affleck, Comedy, Crime, Don Cheadle, Eddie Jemison, Elliott Gould, George Clooney, Julia Roberts, Matt Damon, Ocean's Eleven, Scott Caan, Shaobo Qin, Steven Soderbergh

Film Title

Ocean’s Eleven

Director

Steven Soderbergh

Starring

• George Clooney as Danny Ocean
• Brad Pitt as Rusty Ryan
• Matt Damon as Linus Caldwell
• Andy Garcia as Terry Benedict
• Julia Roberts as Tess Ocean
• Don Cheadle as Basher Tarr
• Bernie Mac as Frank Catton
• Scott Caan as Turk Malloy
• Casey Affleck as Virgil Malloy
• Carl Reiner as Saul Bloom
• Elliott Gould as Reuben Tishkoff
• Eddie Jemison as Livingston Dell
• Shaobo Qin as Yen

A witty, breezy and thoroughly enjoyable caper movie, Ocean’s Eleven is a joy to watch and you’ll be sure as hell smiling by the end of it because of its charm. Loosely based on a 60’s Rat Pack movie, Eleven, as directed by the highly talented Steven Soderbergh mixes an old-fashioned glamour with a contemporary edge to craft a wholly amusing, well-crafted and undeniably slick heist flick.

Cool cat Danny Ocean is released from prison after serving time for theft. Being the suave man of action that he is, he has no desire to becoming a moral citizen. Instead, he has already formulated a crafty plan of his own and soon sets about assembling a team to help him with a heist. But this is no ordinary and simple heist, this is a complex maze that is highly dangerous. Danny wants to hit an underground vault that holds the money from three prominent casinos in Las Vegas, which is heavily guarded and nearly impossible to penetrate. With the help of best friend and card shark Rusty Ryan, the team is recruited for their various skills; Linus Caldwell is a somewhat naive thief who wants to be like his infamous parents, theatrical explosives expert Basher Tarr, inside man Frank Catton, the Malloy twins Turk and Virgil who are expert mechanics, aged but still hanging in there con man Saul Bloom, bankroll Reuben Tishkoff, neurotic technology wizard Livingston Dell and lithe Chinese gymnast Yen. Through careful studying, methodical planning and determination, the plan swings into motion and the stakes are indeed high with $150 million if they can accomplish the audacious heist. Making matters dangerous for the rag-tag group is the casino’s owner Terry Benedict who is a really dangerous guy. There is also the matter of Terry dating Danny’s ex-wife Tess, and Danny still obviously carrying a torch for her that could complicate everything. Can Danny and the rest of the team pull off possibly the most dangerous heist known to man?

Straight off the bat, Steven Soderbergh showcases his talent as a visual director. With stylized cuts as the heist is going on at various parts of the casino and the magic of the bright lights Las Vegas setting, Soderbergh’s direction exudes confidence and slick tactics. He crafts scenes of hilarity that are matched by nail-biting suspense as the plan is executed with danger at every turn for the misfit group. The pacing is stunningly executed and moves along at a briskly which takes you from the opening frame and pulls you into the caper of it all. And while the heist is a huge part of the film, the planning of it is just as much fun to watch, as it is seen from what the group wants to happen and then shown what does actually happen. A whip-smart script brims with amusing one-liners and banter between the characters, particularly Danny and Rusty who make a good double act during parts of Ocean’s Eleven. The script creates such likable characters in the main gang that you want them to succeed in this daring scam of theirs. And as I said earlier, the harking back to old-fashioned capers makes Ocean’s Eleven a cool and witty yarn that is impossible to resist. A smooth score of jazz is the perfect backdrop for the story as motives are planned and hiccups arise, challenging what could be a heist worth millions. To say this movie was enjoyable is to do it a disservice as it is a rollicking good time.

A huge draw for Ocean’s Eleven is the star-studded ensemble cast that have fun with their roles and each shine in their own way, particularly the main team who have superb chemistry with one another. Heading the way is the debonair performance from George Clooney who is the personification of charm and style. With a glint in his eye, suave delivery of lines and a fox-like smile, Clooney is clearly having a blast as the mastermind behind the heist and is perfectly cast in the part. On equally slick form is Brad Pitt, who offers irresistible wit and smarts as card shark Rusty who is the second in command. Matt Damon plays the role of thief Linus very well, constantly capturing his eagerness to prove himself and make the audience relate to him. Andy Garcia nails the part of the slimy and very dangerous Terry, who becomes increasingly angered as he realises that his casino and money is being targeted. Julia Roberts as the main woman in the film shows that it isn’t just the boys having fun, as she plays the suspicious and glamorous Tess, who can’t deny that she is in love with Danny despite the pain he’s caused her. Despite the dodgy attempt at a cockney accent, Don Cheadle is a hoot as the sometimes crazy Basher who specialises in explosive devices and is prone to exaggeration, while Bernie Mac is a blast as the inside man on the case. Scott Caan and Casey Affleck have fun portraying the Malloy twins, who are in almost constant arguments and scrapes with one another. Carl Reiner as the still determined but aging con man and Elliott Gould as the financier of the mission both provide their sterling credentials to Ocean’s Eleven. As computer whiz and panicky guy Livingston, humour comes from Eddie Jemison and then there is the acrobatic frame and grace provided by Shaobo Qin as the flexible Yen.

Executed with wit and vigour, Ocean’s Eleven is engaging from start to finish due to awesome direction, humorous script and cool work from the cast.

 

The Godfather Part III

Tags

1990's, Al Pacino, Andy Garcia, Crime, Diane Keaton, Eli Wallach, Francis Ford Coppola, Joe Mantegna, Sofia Coppola, Talia Shire, The Godfather Part III, The Godfather Trilogy

Film Title

The Godfather Part III

Director

Francis Ford Coppola

Starring:

• Al Pacino as Michael Corleone
• Diane Keaton as Kay Adams
• Andy Garcia as Vincent Mancini-Corleone
• Talia Shire as Connie Corleone
• Eli Wallach as Don Altobello
• Joe Mantegna as Joey Zasa
• Sofia Coppola as Mary Corleone

The third and final entry into the epic Godfather Saga, Part III is commonly seen as the weakest. It is true that it doesn’t live up to the incredibly high standard of the two films before it, but taken as a film by itself and as the conclusion of the saga it isn’t as bad as some make it out to be.

The year is 1979 , Michael Corleone is ageing and a shadow of his former self. He is haunted by decisions he has made in the past, most prominently ordering the death of his brother Fredo, and has been trying to make family as legit as possible as a way of redemption. But no matter how hard he tries to distance himself from the business, the more it keeps coming back to him. The first instance of this is the presence of Mafia boss Joey Zasa, a cunning, double-crossing man who has a bone to pick with a member of Michael’s family. The family member is Vincent, the illegitimate son of the late Sonny, whose temper and volatile actions are clearly are inherited from his father. Michael takes Vincent under his wing and sees potential in his young nephew to inherit the position as Don. The other instance that pulls Michael back into the crime game, is a deal with the Vatican Bank, that is in actual fact a concealed swindle of Michael’s money. Whilst having to cope with all of these events, the guilt-ridden Michael tries to patch up old wounds with his ex-wife Kay, and is further troubled by Vincent’s relationship with his naive, young daughter Mary.

As I’ve mentioned earlier there are flaws within the last part of Francis Ford Coppola’s film. For one, the plot involving the Vatican Bank Scandal is sometimes to hard to follow and certainly outlandish. Also, although I respect Sofia Coppola as a director, she is unfortunately miscast in the role of Mary, a  fact that many critics pointed out at the time. Sofia Coppola, despite this criticism has established herself as a respected director since this and good for her. Now I’ve spoken about the negatives, I will proceed to the positives.

Al Pacino effectively conveys Michael’s remorse for his past misdeeds and his reluctance to get involved in any further crime. His scene with Diane Keaton as the long-suffering Kay, in which both characters admit that the still care for each other is certainly a touching moment. Admirably supporting him is Andy Garcia, who is frequently electrifying as Vincent, capturing the violent nature of him but showing an undying loyalty and humanity when it comes to protecting his uncle from opposition. Talia Shire is equally as good, showing Connie’s metamorphosis from downtrodden, abused wife to master manipulator and right hand woman to her reluctant older brother. It is Shire’s best performance in the series in my opinion. As always, the music and stunning cinematography are up to an impeccable standard, showing the nostalgic glow of family ties and the savage brutality of the crime lifestyle. All of this builds up to a bullet-ridden and devastating climax to Coppola’s unbeatable trilogy.

This may be one of my most controversial reviews, but I personally think the film, because of the reputation of the other’s has been neglected to the sidelines.