Kidnap

Tags

2010's, Chris McGinn, Halle Berry, Kidnap, Lew Temple, Luis Prieto, Sage Correa, Thriller

An intense but often ridiculous thriller about a mother attempting to get her son back after he is taken, Kidnap at least has Halle Berry doing her best with what she’s given and some good action

Karla Dyson(Halle Berry) is a hard-working single mother who makes ends meet by working as a waitress in a New Orleans diner. She deeply cares for her young son Frankie( Sage Correa) , but is currently going through a custody battle with her soon to be ex husband. One day after finishing a shift, she takes Frankie to the park. After taking a call from solicitors speaking about her estranged husband wanting custody, she can’t find Frankie anywhere. Scared out of her mind, she begins frantically searching for him. Then she sees a man and woman( Lew Temple and Chris McGinn)bundling her son into their car. She attempts to stop the car but falls and loses her phone. With adrenaline kicking in as well as panic, Karla jumps in her Minivan and tails the kidnappers across the highway. Without access to a phone, Karla attempts to get the attention of people passing by, but this doesn’t register much so she’s seemingly in a desperate chase on her own. After an altercation with the kidnappers who try to mislead her and them switching cars, Karla attempts to get some help from authorities that she finally passes. But when this takes too long and seems fruitless, she gets back in her minivan and vows to get her son back, no matter how long or how desperate her search could be. Because Karla’s not giving up on her mission and nothing is going to stand in her way as the determination and fire within her starts to rise.

Director Luis Prieto starts well enough with brief exposition before going headlong into the action, which is done rather effectively. It all just falls apart afterwards as it tries to be and surely knows that it can’t be that, stranding Kidnap as not exactly stellar work from Luis Prieto. There are some intense sequences to be found in Kidnap amid the often boneheaded events happening(such as Karla causing just as much destruction as she can in her chase to find her son and the fact that we have no real mystery of who the kidnappers are). The short running time at least makes things move along quickly and a little tension can be gleaned in fast moving sequences of pursuit that have something to praise. It’s the execution that renders quite a lot of Kidnap to be incomprehensible and laughable. The camerawork and visuals try to be arty but it comes off as headache inducing and jarring. I’m all for quick cuts and some polish, but not when it happens all the time and at the expense of my eyes. Kidnap is definitely a B-movie/exploitation movie on the road with the attempted gloss of a higher effort. It could have been a trashy little schlock fest of the guilty pleasure kind, but it can’t even sustain or manage that as it aims for status of an unreachable kind. The music score is all over the place which seems in keeping with the diminishing results of the movie.

The main thing that Kidnap has going for it is Halle Berry. She turns in a committed turn with force and verve . The character she plays makes some bad decisions, but Berry makes the part still have its moments of greatness as she plays both the terror and the sheer will to continue of the part. Berry previously starred in another film about a kidnapping , The Call, which while nothing brand spanking new, was miles better than this. Still Halle Berry throws herself into the part and at least remains watchable as a crusading mother discovering her inner fury and maternal strength. It’s not her finest work, but her star quality and acting chops sure elevate a pretty lacklustre movie. It’s just sad to see someone of her talent in such a bad movie but at least she represent some of the glue that holds it precariously together. Lew Temple and Chris McGinn don’t fare especially well as the kidnappers, primarily because they don’t have anything to work with. There’s no sense of depth, or suspense with either because the characterisation is so lazy. Sage Correa plays the kidnapped son and is mainly required to be scared, which he does as effectively as he can. 

Preposterous and as it may be as a thriller, Kidnap has Halle Berry at the centre that counts for something and makes Kidnap watchable.

The Call

Tags

2010's, Abigail Breslin, Brad Anderson, Halle Berry, Michael Eklund, Michael Imperioli, Morris Chestnut, The Call, Thriller

The Call may not be original and while predictable, it’s a tense, high concept thriller from the get go. For a nail-biting time that incorporates action and a game cast, The Call is just the ticket.

Jordan Turner( Halle Berry) is a seasoned 9-1-1 operator working for the Los Angeles Police Department. She’s very good at her job, until she is left shaken by one particular night. A terrified young girl by the name of Leah calls telling Jordan that there is someone breaking into her house. Jordan advises the girl to hide from the intruder but keep the phone on so she can help. Unfortunately, interference causes the call to end. Scared of what might have happened, Jordan calls back the number. By calling back, the madman is alerted to Leah’s whereabouts. He snatches the girl and her body is found a day later. Jordan is left suffering nightmares of immense guilt as she tries to cope with feelings of culpability and a sense of responsibility that won’t let her rest.  Months later and Jordan no longer works an an operator following the botched operation, instead she trains those going into the job. She is still traumatised by what happened but is going to be brought back into the fold once more. Teenager Casey Welson( Abigail Breslin) is kidnapped while in the parking lot of a mall. She manages to contact emergency services which puts her onto Jordan. The problem is that Casey is using a disposable phone that belongs to a friend who left it when they were out shopping. With it being very difficult to decipher the whereabouts of Casey, Jordan has to keep her on the line and hopefully alive long enough for help to get to her. The man who snatched Casey has dark motives for doing so and as we see throughout, is not above committing more murder to cover up his plans. We discover his name is Michael Foster(Michael Eklund) and that he’s been kidnapping blonde girls in particular to murder over the past few months. With this knowledge, Jordan summons all of her wits to help Casey as best she can. The question is can Jordan save from an almost certain death against the odds and finally have some closure?

Brad Anderson, who I know from directing the much underrated and sinister Session 9, is on fine fettle with his efficient touches to this fast moving thriller. It ratchets up the suspense early on and doesn’t really let up, thanks to Anderson’s exciting and crisp direction which mainly takes place in claustrophobic spaces. Most effective are the scenes of Jordan guiding Casey through attempts of escaping the car she’s been locked in the boot of. The final half is somewhat flawed and isn’t quite in keeping with the rest of the film, but The Call by that point has generated a lot in the way of suspense and action that it’s foibles can be forgiven. proves to be quite a nail-biting film. While it’s hardly reaching for anything deep, The Call does what it says on the tin and thrills. Fast cuts, intense close us and occasional freeze frames heighten a adrenaline induced atmosphere. This is most effective in the opening of tracking shots and overlapping voices displaying the tough work done by operators on a daily basis and later as Jordan keeps a trapped Casey talking  in what escalates into a nerve wracking game of potential discovery and terror. It’s a predictable film but one that still has you on edge with unease and tension. A pulsing score is a good little element that accretes this movie as atmosphere increases as the search goes on.

The reasonably small cast is something that lifts The Call higher than it would be otherwise. Halle Berry heads things with a good mix of grit and vulnerability that makes her sympathetic to the audience. We feel for her and it’s a good showcase for Berry, who has been in some bad movies and who I’d love to see get more roles to show off her skills. Thankfully, The Call provides her with a good role and she more than rises to the occasion with a strong performance that adds a certain weight to proceedings. Abigail Breslin does very well too, even if her main function is too panic and look terrified as the kidnapping victim. What makes her stand out is her rapport with Berry, even though they aren’t actually together for a lot of the film. Her resilience begins to build and Breslin really shows that. Both ladies compliment the other and it proves mutually beneficial in the long run. As the main antagonist, Michael Eklund really stands out by making the part so eerily creepy and repellant. He has this intense state going and the kind of look that sets your nerves on edge, crafting a palpable sense of menace that goes a long way. In short, Eklund was perfect casting for the role of serial killer with a deeply twisted modus operandi. Morris Chestnut appears as Jordan’s boyfriend and cop, though he’s not really given much material to work with. Standing out in a supporting turn as a rather unlucky passer by who attempts to help Casey and soon gets into an ill-fated situation, Michael Imperioli makes his mark here.  

So it has its flaws and is not going to be seen as some masterwork of the thriller genre, The Call has its great moments that make it a sinister and effective movie. Add in skilled direction and Halle Berry once more showing off her talent and The Call is definitely entertaining viewing for an audience looking for a tense time. 

Perfect Stranger

Tags

2000's, Bruce Willis, Giovanni Ribisi, Halle Berry, James Foley, Perfect Stranger, Thriller

Film Title

Perfect Stranger

Director

James Foley

Starring

• Halle Berry as Rowena Price
• Bruce Willis as Harrison Hill
• Giovanni Ribisi as Miles Haley

A frankly boring, ridiculous and not at all intriguing techno thriller, Perfect Stranger is a film best described as a real mess, despite having the talents of Halle Berry and Bruce Willis.

Rowena Price is a hard-nosed reporter, writing under a pseudonym, who knows how to get a story. With the help of her technologically skilled friend Miles Haley, she is currently on to a major scoop on a senator. Yet her tireless investigation is quashed by her editor after it turns out he is good friends with the senator in question. The end to her investigation makes Rowena angry and she quits her job. Not long after she runs into Grace, a childhood friend who has a potentially damning story to spill. She has been conducting an affair with prominent advertisement businessman Harrison Hill, who has subsequently broke it off after Grace threatened to expose him. She asks Rowena to look into it and see whether it could make a story, yet Rowena dismisses it at first, still angry about her scoop that she had and lost. A few days later, Grace is founded murdered which propels Rowena into finally looking into Hill. Employing her talents for discretion and enlisting Miles, she goes undercover in Hill’s workplace to see if she can find out whether Hill was responsible for Grace’s murder. As well as this, she tracks Hill on-line to a communications site, and subsequently lures him in under a false name. She hopes to trap him in both capacities. But soon enough, Rowena finds herself in over her head and with identities changing like rapid fire, who can she trust in a dangerous game of cat and mouse?

Now I must say that as a director James Foley is very talented, but even his expertise can’t save this shipwreck of a movie. It’s what you would call a losing battle, no director could bring such a film credibility or thrills. A convoluted and frankly nonsensical script is the main thing to blame for the failures of Perfect Stranger. Littered with embarrassingly bad dialogue and too many twists, it is a real car crash. And when everything leads up to the twist ending, it just becomes worse because none of it makes a lot if sense and emerges as just a complete waste of time. A glossy visual style can’t even compensate for these flaws because mostly it resembles so many other films and the technological approach has been done to death on CSI. There is also copious product placement here that just becomes boring and not at all useful with trying to bring at least something of worth from such a bad film as Perfect Stranger. The provided score aims for thrills and tension, yet can’t muster up either of them.

The talented cast assembled for Perfect Stranger can’t even make the movie worth watching. Halle Berry and Bruce Willis are talented stars, but even their best efforts are ruined by the abysmal plotting and execution. The same goes Giovanni Ribisi who provides crazy off the wall mannerisms to his character but because of the film he’s trapped in make it at all memorable. It is always a shame to see talented actors wasted in a movie like this that gives them frankly nothing to do and no decipherable characters to play.

Poorly scripted, mind-numbingly dull and with no life whatsoever, Perfect Stranger is a film to avoid with a capital A.

Die Another Day

Tags

007, 2000's, Colin Salmon, Die Another Day, Halle Berry, James Bond, John Cleese, Judi Dench, Lee Tamahori, Pierce Brosnan, Rick Yune, Rosamund Pike, Samantha Bond, Spy, Toby Stephens

Film Title

Die Another Day

Director

Lee Tamahori

Starring

• Pierce Brosnan as James Bond
• Halle Berry as Jinx
• Toby Stephens as Gustav Graves
• Rosamund Pike as Miranda Frost
• Rick Yune as Zao
• Judi Dench as M
• John Cleese as Q
• Samantha Bond as Moneypenny
• Colin Salmon as Robinson

Just like Roger Moore did in A View to a Kill, Pierce Brosnan signed off as 007 in a film that wasn’t his best. That film is Die Another Day, which ranks as my least favourite Bond film. It is a shame that Brosnan should sign off in such a bad way, especially after the brilliance of GoldenEye and his other ventures as Bond. People may say that Tomorrow Never Dies and The World Is Not Enough are nothing special, but in comparison to the barely tolerable Die Another Day, they’re masterpieces. Anyway, back to my eventful review.

We start out with Bond in North Korea, infiltrating a military base run by the renegade Colonel Moon and his loyal friend Zao, who has been trading mass arms for conflict diamonds. Unfortunately for Bond, his cover is blown by someone in the West and he has to engage in an explosive battle with Colonel Moon, which presumably leads to his death. Bond is then captured and tortured for fourteen months. After his time in captivity, Bond is eventually swapped in a prison exchange for Zao. Bond knows that someone within his government betrayed him and is determined to find out. M, on the other hand, revokes his licence to kill for fear of political ramifications and that Bond has cracked and given away potentially dangerous information. 007 has different ideas and escapes from MI6 custody on a mission to track down the enemy and Zao, who has also escaped his imprisonment. Travelling to Cuba, he meets the seductive Jinx, an American agent who can ably handle herself and is also after the escaped Zao. Their trail leads to a nefarious gene therapy clinic, that can alter a person’s entire DNA. Bond surmises that Colonel Moon is in fact not dead and has taken on a new identity. That identity is one Gustav Graves, a playboy, entrepreneur and philanthropist. Supposedly a respectable businessman, his real plans are far from good as Bond soon discovers. Always with Graves is his aloof publicist Miranda Frost, who is an undercover British agent. From sunny Cuba to the cold of Iceland, Bond uncovers the full extent of Graves and his plan. With a specially designed satellite, he will cut through the border between North and South Korea, so that the North can invade. Yet Graves isn’t alone in his plan as the mysterious Miranda is in fact on his side and double-crossing Bond at every turn. With the sultry Jinx in toe, Bond must derail this plan before full on war erupts.

Now the main problem with Die Another Day is that it is far too focused on the action and not enough on the story. The opening is promising, but the rest of the film descends into mindless chaos and shoot them up action that is really out-of-place within the Bond formula. Yes, some of the action is good, with a fencing duel that soon turns nasty quite thrilling, but non-stop becomes too much and just not that enjoyable in the end. Lee Tamahori in the directing seat doesn’t help as he can’t bring anything new to the film and give the story anything of worth. He relies on too much slow motion and rapid cuts that start out as alright, but become monotonous in the long run. There is not sense of balance to the story and no amount of endless action can make up for that. Also, I don’t mind it when Bond films have references to the older films of the series, but Die Another Day goes overboard with this tactic and the end result is needless. There are some positives, albeit only some that give Die Another Day some value. The locations are pretty spectacular, with the Ice Palace owned by Graves a particular highlight of production design. David Arnold once again provides a classy score that gives Die Another Day some sophistication, interspersed with the non-stop action and some dodgy CGI( need I mention that wretched invisible car)? The less said about Madonna’s title song the better. Anyone who follows this blog will know I’m a fan of Madonna, but her contribution the series is one of the worst. It detracts from the brutal title sequence of fire and ice girls inter cut with Bond’s torture in North Korea and for that alone it is unforgivable.

It is such a shame that Pierce Brosnan signed off from the franchise with Die Another Day as his swan song. He really brought something good to the role and managed to balance the physical challenge and the wit. His performance here may not be his best, but we still buy him as Bond and still watch as he attempts to save the world again during his mission. Halle Berry is sexy and feisty as fellow agent Jinx, who is nifty in a fight and more than a match for Bond in terms of the innuendo stakes. She has great chemistry with Brosnan and their passionate as well as thrillingly dangerous encounters are well-executed to say the least. Toby Stephens may nail the smarmy and power-crazed personality of Gustav Graves, but as a villain he just isn’t that interesting to watch and he doesn’t join the gallery of iconic foes for 007. Thankfully the talented and stunning Rosamund Pike is on hand to give the role of the icy Miranda some dimension, as we watch her play Bond effortlessly because of her glacial beauty, icy demeanor and taciturn deception. Rick Yune is not used well enough as henchman Zao, who has diamonds embedded in his face after the opening encounter with Bond. He may have an interesting look as Zao, but he just doesn’t cut it because of the poor development of his character. At least we have Judi Dench who magnificently portrays M with authority, grave knowledge and a hint of pride for her top agent. John Cleese on the other hand is not that convincing as gadget master Q. No one was ever going to replicate the success of the late Desmond Llewelyn, but I just can’t take Cleese seriously in the role of Q. Samantha Bond and Colin Salmon are seen too infrequently to really register this time around as Moneypenny and Robinson.

Too much action and not enough plot scupper Die Another Day and this makes it one of the worst movies in the Bond series, my least favourite as well as a poor final outing for Pierce Brosnan after the potential of his previous movies.

 

 

Things We Lost in the Fire

Tags

2000's, Alison Lohman, Benicio Del Toro, David Duchovny, Drama, Halle Berry, John Carroll Lynch, Susanne Bier, Things We Lost in the Fire

Film Title

Things We Lost in the Fire

Director

Susanne Bier

Starring

• Halle Berry as Audrey Burke
• Benicio Del Toro as Jerry Sunborne
• David Duchovny as Brian Burke
• John Carroll Lynch as Howard
• Alison Lohman as Kelly

Susanne Bier’s first foray into American film is an intimate study of grief and addiction. Bolstered by two restrained and very powerful performances by Halle Berry and Benicio Del Toro, Things We Lost in the Fire is a hopeful film showing the connection between two wounded characters as they attempt to stay afloat in a sea of grief.

Audrey Burke is a mother mourning the death of her husband Brian, who was killed whilst trying to defend a woman from her abusive partner. She shuts down emotionally and forms a protective shell around herself to protect her young children, Harper and Dory  from her own grief. At Brian’s funeral, Jerry Sunborne, Brian’s friend who he attempted to help through his intense heroin addiction, turns up to pay his condolences. Audrey has never liked Jerry and believed Brian was wasting his time in his attempt to help his friend kick his habit. But after seeing how caring he is with her children, she asks him to move into her garage. Her invitation is not a romantic gesture, it is far from that. She just wants someone to be there as she tries to readjust to life after her shocking loss. Audrey and Jerry both have an impact on the other as they connect through grief, heartbreak and addiction. Examined in non-linear fashion, Susanne Bier crafts a moving movie about the need to connect , how powerful an emotion grief is and how we all deal differently we deal with it.

Refreshingly in Things We Lost in the Fire, Audrey and Jerry don’t fall in love as is the case with other movies. They connect after initial reluctance and see how much the other meant to the deceased Brian.  The intimate screenplay delves deeply into the emotions of grief and anger with moving results. There are occasional times in which the movie lapses into melodrama, but Susanne Bier manages to create a deeply human movie despite the contrivances. Her camerawork is a marvel to watch as it zeroes on the tiniest emotional nuances between Audrey and Jerry. Her use of close-ups of eyes may put some off, but I personally thought it added a personal and subtle impact to the emotions displayed through the eyes. What I admired the most about Susanne Bier’s direction is her scenes of silence in which body language provide us with a heart of the story. The evocative score, mostly composed of an acoustic guitar, is organic and gets to the heart of the subtle emotions on display.

Susanne Bier draws two emotionally subtle performances from Halle Berry and Benicio Del Toro. Halle Berry plays Audrey with a subtle emotional core, we watch as she shuts down and keeps her emotions bottled up in order to survive her pain. She doesn’t come across as cold, but rather shielding herself from having to deal with what has happened. When she does let her emotions out, we see all of the anger and suffering she has endured since her husband’s death. It is a moving and convincing performance by Halle Berry. Benicio Del Toro is amazing as Jerry, the drug addicted friend of Brian who is actually a decent man caught in difficult circumstances and attempting to stop his habit. He is by turns caring, frightening but above all sympathetic as we see how Brian never gave up faith on his best friend. As the deceased Brian seen in flashback, David Duchovny is reliably warm-hearted as the good guy whose life ended tragically. In small but effective roles, John Carroll Lynch and Alison Lohman play an unhappy neighbour and a recovering addict.

Hopeful, filled with deep emotion and two stunning lead performances, Susanne Bier’s Things We Lost in the Fire is a drama of emotion and recovery that is moving and movingly observed.

Gothika

Tags

2000's, Charles S. Dutton, Gothika, Halle Berry, Horror, John Carroll Lynch, Mathieu Kassovitz, Penélope Cruz, Robert Downey Jr, Supernatural Thriller

Film Title

Gothika

Director

Mathieu Kassovitz

Starring

• Halle Berry as Dr. Miranda Grey
• Robert Downey, Jr. as Dr. Pete Graham
• Charles S. Dutton as Dr. Doug Grey
• Penélope Cruz as Chloe Sava
• John Carroll Lynch as Sheriff Ryan

Yes the plot may be preposterous and the final act may fly off the rails, but for the  first hour or so Gothika does keep you entertained and evokes some genuinely scary moments.  It is very much a film of two halves, but if you go into it without questioning logic and reason, you might just enjoy this horror/ supernatural thriller.

Miranda Grey is a gifted psychiatrist working at a mental hospital for women. Married to the director Doug and very rational when it comes to her work, Miranda’s life is ordinary enough. Until, one stormy night after her session with a patient named Chloe, Miranda is driving home when she has to take a detour after a closure of a number of roads. Whilst driving, she crashes her car after swerving from a young girl standing in the road. Upon exiting her car, she comes face to face with the girl who suddenly bursts into flames. The next thing Miranda knows she is back in the mental hospital, only this time she is one of the patients. She has been asleep for three days and to make matters worse, she is being accused of murdering her husband. Confused and deeply horrified, Miranda attempts to fathom the events that occurred that fateful night as those around her, including a good friend Dr. Pete Graham, begin to doubt Miranda’s story. The girl who she saw before she blacked out keeps appearing, is she real or just a figment of Miranda’s imagination? Delving deep into her mind, Miranda begins to slowly recover her memory and is pushed to the edge of her sanity as her world falls apart and the events around her become darker. Although full of schlock and a certain unevenness to its tone, Gothika at least succeeds in part due to its stylish direction from Mathieu Kassovitz.

For the good first hour or so, Mathieu Kassovitz keeps Gothika ticking over with frightening imagery, moody lighting and kinetic camera angles that capture Miranda’s life being turned upside down. If anything, the overall visual look and chilling sets keep Gothika rising above the by the numbers script.The atmosphere created is very spooky indeed as we are thrown into Miranda’s tailspin of emotions as she questions what really happened and how she ended up on the other side of the glass. The music provided is suitably eerie and frequently utilised to great effect. Unfortunately, the film as a whole does not feel even enough, as plot holes begin to appear during the last act. It does have its share of scary moments, but many of these feel repetitive and clichéd to say the least. The supernatural element is handled in an ok fashion in the beginning but soon descends into hokey elements. What does keep Gothika from being all bad is the performances. Halle Berry rises above the scripts flaws and excellently portrays Miranda as she is thrown into a nightmare and attempts a way out of the bizarre case. She evokes a sense of confusion and shock that does make you feel for her. Robert Downey Jr. is great as the psychiatrist who is forced to leave his personal feelings at the door when it comes to analysing what Miranda remembers and whether or not she is mentally unstable or indeed innocent of the crime of which she stands accused. In supporting roles, Charles S. Dutton and John Carroll Lynch are fine as the murdered man and his lifelong best friend and sheriff attached to the murder case. Penélope Cruz creates an interesting character in Chloe, injecting menace and a certain vulnerability, as we watch her and Miranda go from patient and psychiatrist relationship to trusting one another.

So all in all, Gothika is flawed and full of plot holes. But if you don’t question this you may enjoy the scary atmosphere, Kassovitz’s visual style and some good performances.

X-Men: The Last Stand

Tags

2000's, Aaron Stanford, Action, Anna Paquin, Ben Foster, Brett Ratner, Daniel Cudmore, Ellen Page, Famke Janssen, Fantasy, Halle Berry, Hugh Jackman, Ian McKellen, James Marsden, Kelsey Grammer, Patrick Stewart, Rebecca Romijn, Shawn Ashmore, Vinnie Jones, X-Men: The Last Stand

Film Title

X-Men: The Last Stand

Director

Brett Ratner

Starring

• Hugh Jackman as Logan/Wolverine
• Halle Berry as Ororo Munroe/Storm
• Ian McKellen as Erik Lehnsherr/Magneto
• Patrick Stewart as Professor X
• Famke Janssen as Jean Grey/Phoenix
• Anna Paquin as Marie/Rogue
• Kelsey Grammer as Hank McCoy/Beast
• James Marsden as Scott Summers/Cyclops
• Rebecca Romijn as Mystique
• Shawn Ashmore as Bobby Drake/Iceman
• Aaron Stanford as John Allerdyce/Pyro
• Ellen Page as Kitty Pryde/Shadowcat
• Vinnie Jones as Cain Marko/Juggernaut
• Daniel Cudmore as Peter Rasputin/Colossus
• Ben Foster as Warren Worthington III/Angel

Taking over the reins of directing from Bryan Singer, Brett Ratner directs this third entry in the X-Men series. X-Men: The Last Stand is by the weakest in the series, though it still delivers in some departments. It may focus too much on the action side of the film rather than the deep themes of Singer’s ventures, but many members of the cast more than make up for this quibble in this flawed but still watchable entry into the series.

When a pharmaceutical company called Worthington Labs announces it has developed a cure for mutants that will permanently erase their powers, anarchy and much discussion ensues.  Professor X still speaks of tolerance between mutants and humans, but there are many who disagree. Magneto on the other hand takes it upon himself to wage a war against humans after hearing of the cure. He raises an army of renegade mutants to assist him in his quest. The X-Men become involved in this ultimate power struggle, but find that a former ally has awakened. Jean Grey, who sacrificed her life  for the team in the last movie, has risen from her watery grave, but not as she once was. Professor X informs Wolverine and Storm that he visited Jean as a child and saw the immense power she had and how it could be used for evil. He formed boundaries for Jean to suppress this, thereby creating a split personality known as ‘The Phoenix’, which has now almost completely taken over Jean. With anger rising and the threat of war brewing, the X-Men, including new recruits Kitty Pryde/Shadowcat and Peter Rasputin/Colossus, attempt to stop this impending war before tragedy strikes as Jean joins forces with Magneto’s army. With the battle lines drawn, who will prosper and who will perish as war draws closer?

Whilst the first two movies balanced action with the deep dramatic themes, The Last Stand stumbles on this front by focusing on the action too much. Yes, the plot revolving around the cure is interesting in the beginning, but it soon becomes just another strand of the story. Ratner tries his best, but can’t quite keep the multiple storylines all ticking over with the skill of Bryan Singer. Some of the action scenes are very good by the way, but not backed up enough in terms of plot development.

On the more positive side, many of the cast members turn in great performances. Hugh Jackman still rocks as Wolverine, we also get to see him grapple with his personal feelings as he comes to realise that Jean, the woman he has always loved, is no longer the same. Halle Berry turns in her best performance of the series as we witness Storm’s anger at the supposed cure, her fierce and protective side emerges as a result of this and she most certainly kicks ass when she needs to. Ian McKellen and Patrick Stewart are suitably stately as the former allies, who still respect one another despite their differences on the subject of mutant acceptance. Famke Janssen is terrifyingly good as the resurrected Jean, her many instances of her personality and powers switching is exceptionally done. Anna Paquin is unfortunately not given a big role and is only really there as one of the only mutants who wants to remove their power. Kelsey Grammer is great as Hank/Beast, a former student of Professor X who resembles a blue creature ,is super strong  and also has a place within the political realm of mutants. Grammer adds some much-needed humour into the narrative with his role. On the woefully underused side are James Marsden and Rebecca Romijn as Cyclops and Mystique; Cyclops only functions to meet an ambiguous fate at the hands of Jean and Mystique is only used as a mutant who sacrifices her powers and pays the consequences for her actions. Shawn Ashmore and Aaron Stanford continue to impress as opposing forces Iceman and Pyro who used to be good friends. Their battle with each other adds a personal quality to the story. Ellen Page is suitably spunky and quick-witted as Kitty, who has the ability to phase through objects. Vinnie Jones contributes his usual tough guy act as the hulking Juggernaut. Daniel Cudmore plays the super strong metal man Colossus who comes in pretty handy in combat and Ben Foster is great as Angel, a young man who has a giant wingspan and whose father created the cure.

Many of the effects are very well done and the score is evocative as well as thrilling. All of this adds up to a flawed but still watchable experience.

X2: X-Men United

Tags

2000's, Aaron Stanford, Action, Alan Cumming, Anna Paquin, Brian Cox, Bryan Singer, Famke Janssen, Fantasy, Halle Berry, Hugh Jackman, Ian McKellen, James Marsden, Kelly Hu, Patrick Stewart, Rebecca Romijn-Stamos, Shawn Ashmore, X2: X-Men United

Film Title

X2: X-Men United

Director

Bryan Singer

Starring

• Patrick Stewart as Professor X
• Hugh Jackman as Logan/Wolverine
• Ian McKellen as Erik Lehnsherr/Magneto
• Halle Berry as Ororo Munroe/Storm
• Famke Janssen as Jean Grey
• James Marsden as Scott Summers/Cyclops
• Anna Paquin as Marie/Rogue
• Rebecca Romijn-Stamos as Mystique
• Brian Cox as Colonel William Stryker
• Alan Cumming as Kurt Wagner/Nightcrawler
• Aaron Stanford as John Allerdyce/Pyro
• Shawn Ashmore as Bobby Drake/Iceman
• Kelly Hu as Lady Deathstrike

Following on from the groundwork of the first movie, X2: X-Men United is to many including me, a better film than the first. We get more action, character development and an exciting storyline. The first one is a great movie, but for me X2 is a film I hold in higher regard because of its breathless action, special effects and high calibre cast.

After an attempt on the president’s life by a mutant, the prejudice between humans and mutants continues to grow. Professor X initially wonders whether his old friend and now adversary Magneto had anything to do with it. Meanwhile, Wolverine is trying to piece together the pieces of his past but finding it increasingly hard to find answers. Professor X and Cyclops visit Magneto in his prison to find out what he knows, while Jean Grey and Storm track down the mutant who made an attempt on the president’s life. Wolverine is left to watch over the students whilst all of this is going on. The intelligent Professor X soon discovers that it wasn’t Magneto who orchestrated the attack, but the mysterious and sadistic Colonel Stryker, who later captures the Professor and Cyclops and holds the key to Wolverine’s past. Stryker plans to use him to locate the powerful Cerebro, which will enable him to find every mutant in the world and kill them. He sends his forces to Xavier’s academy where they capture several students, many of the others including Rogue, her new boyfriend Bobby/Iceman and John/Pyro manage to escape with Wolverine. After discovering the mutant who attempted to kill the president, his name is Nightcrawler and he can teleport, Storm and Jean realise he was brainwashed to do it by Stryker. The X-Men reluctantly team up with Magneto and his partner the shapeshifter Mystique to bring down Stryker’s plan of mutant extermination.

Whereas in the first movie, Bryan Singer established the characters, certain ones were not given enough screen time. He more than makes up for this with X2, by expanding character arcs and introducing new characters. One thing that is enjoyable about the film is the way it manages to keep our interest by cross-cutting between the different factions of the team as they discover Stryker’s nefarious plan. This clearly shows the breathless scope of Singer’s film as he manages to balance this character development with stunning set pieces and revelations. The script is excellent again, this time focusing on the theme of mutant acceptance into the world and how Professor X peacefully yet forcefully tries to push this idea. It is also interesting to watch Magneto and his band of mutants join forces with the X-Men, as the goals for both are different but in this time of uncertainty they are very much united in bringing the sadistic Stryker down.

The cast of the film is high calibre to say the least. Patrick Stewart and Ian McKellen both shine as the strong adversary’s with wit and intelligence. Hugh Jackman continues his role of Wolverine with charm and aggression.  Halle Berry is given a lot more to do as Storm and nails the role with a determination and sexy kick ass attitude. Famke Janssen grows in power as Jean, making her a character you really don’t want to mess with. Unfortunately, James Marsden is given little to do as Cyclops in this movie. On the other hand, Anna Paquin continues to impress as Rogue, portraying her angst and frustration as she begins a relationship but can’t physically connect. Brian Cox is a splendidly evil villain in this and is relishes the despicable nature of his character with glee. Rebecca Romijn-Stamos continues to slink across the screen with a sexy yet dangerous appeal as Mystique. Alan Cumming manages to elicit sympathy for the character of Nightcrawler, showing how he isn’t as bad as people have made him out to be and how he is a god-fearing person. New to the X-Men universe are Aaron Stanford as the fire controlling Pyro and Shawn Ashmore as the Iceman. The two are excellently cast, with Iceman’s revelation to his parents that he is a mutant a particularly moving moment and Pyro considering defecting Magneto’s band of mutants an interesting choice.  Rounding out the cast is Kelly Hu, who provides silent but lethal menace as the claw wielding Lady Deathstrike. Her battle with Wolverine is an action-packed set piece that barely pauses for breath.

Directed with precision by Bryan Singer, X2 emerges as an action-packed follow-up to X-Men that more than capably stands on its own two feet as a great movie.

X-Men

Tags

2000's, Action, Anna Paquin, Bruce Davison, Bryan Singer, Famke Janssen, Fantasy, Halle Berry, Hugh Jackman, Ian McKellen, James Marsden, Patrick Stewart, Ray Park, Rebecca Romijn-Stamos, Tyler Mane, X-Men

Film Title

X-Men

Director

Bryan Singer

Starring

• Patrick Stewart as Professor X
• Hugh Jackman as Logan/Wolverine
• Ian McKellen as Erik Lehnsherr/Magneto
• Famke Janssen as Jean Grey
• James Marsden as Scott Summers/Cyclops
• Halle Berry as Ororo Munroe/Storm
• Anna Paquin as Marie/Rogue
• Rebecca Romijn-Stamos as Mystique
• Tyler Mane as Sabretooth
• Bruce Davison as Senator Kelly
• Ray Park as Toad

Based on the iconic comics and boasting some stunning effects, X-Men is often considered the film that helped reboot the superhero film genre in 2000 after a number of underwhelming efforts in the 90’s. Strong on both characters and action, X-Men is that rare thing: an action movie with an intelligent and interesting subtext of intolerance.

In the not too distant future, many humans have evolved into mutants, who possess unique powers. In a world of prejudice and fear, many of these mutants have been met with hostility by others. The film begins at a summit in which political figures are discussing the possibility of a “Mutant Registration Act” which would make all mutant declare their powers publicly. The leader of this is Senator Kelly, who has a deep fear of mutants. Present at the summit are Professor Charles Xavier, a highly powerful telepathic mutant and his old friend and now enemy, Magneto, who has the power to control electromagnetic fields to dangerous effects. Although enemies, they still have a certain amount of respect for one another. They discuss the idea of mutant co-existing with humans, but Magneto warns of the danger and hints at how he will take his plans into action.  Meanwhile, a young girl known as Rogue has run away from home after discovering she has the power to drain others of their energy, thus rendering physical contact almost impossible. Along the way she meets Logan, also known as Wolverine, who has rapid healing power and has claws that emerge from his knuckles when he is angry. After giving her a ride, they are attacked by one of Magneto’s henchman Sabretooth. Lucky for them, they are rescued by Storm and Cyclops. Taken to Xavier’s school for the gifted, they are provided with a safe haven from the prejudice of the outside world. Professor X watches over the school and attempts to educate the children who come there that they are gifted rather than evil or sick as the outside world has branded them. Other mutants include Jean Gray, a doctor with telekinesis; Cyclops who emits a strong force from his eyes and Storm, who can manipulate the weather.  Professor X is worried about what Magneto will do because of his attitude towards humans; X believes in living harmoniously with humans whereas Magneto believes mutants have a greater power. Joining the X-Men team, Wolverine and Rogue along with the others attempt to find out what Magneto plans to do before the power struggle swings into motion. Magneto is not alone, however and is aided by a group of dangerous mutants. This includes Mystique, a highly skilled shapeshifter; Sabretooth; blessed with menacing strength and senses, and Toad, who is a menacing and slimy presence.

The first thing to notice about Bryan Singer’s movie is the screenplay. It excellently balances some excellent fight scenes with the presence of mutants becoming a metaphor for people suffering prejudice because they are deemed different by society. This makes the film relatable as well as immensely enjoyable. Many of the effects are stunning to witness, especially when it comes to showcasing each of the characters powers. Unusually for an action/fantasy, the characters are expanded and we get a genuine idea of what they go through as the narrative progresses. The music also adds to the action-packed atmosphere that pervades X-Men. One flaw could be that the pacing goes a little off in the later half of the film, but for the main part, X-Men certainly delivers the action/fantasy goods with more intelligence than most.

The cast assembled is what you could call top draw, with the actors carefully embodying these characters. Hugh Jackman is the standout as the aggressive, laconic and highly charismatic Wolverine, he really gets some great one-liners and his father-daughter relationship with the troubled Rogue manages to show a softer side. Patrick Stewart is exceptional as the wise and very powerful Professor X, who has some excellent some opposite Ian McKellen. Ian McKellen plays Magneto with a villainous glee that masks a past of suffering at the hands of others. The sexy Famke Janssen provides appeal as the telekinetic Jean, who takes a shine to Wolverine. James Marsden is a sullen presence as the second in command Cyclops, who clashes with Wolverine at various times. Halle Berry manages to ooze a quiet intensity as the weather controlling Storm, she may not be given much to do but Halle Berry manages to make Storm memorable. Anna Paquin delves into the alienation of Rogue that makes her a relatable character to audience as we feel her pain at not being able to come into physical contact with anyone without endangering them. Fleshing out the villains are Rebecca Romijn-Stamos as the slinky Mystique, Tyler Mane as the vicious Sabretooth and Ray Park as the creepy Toad. And not forgetting Bruce Davison as the powerful senator, hell-bent on exposing mutants who comes to see what it is really like after an incident with Magneto.

Bryan Singer stunningly combines interesting characters, an allegory on prejudice and some amazing effects to fashion the outstanding X-Men.

Monster’s Ball

Tags

2000's, Billy Bob Thornton, Drama, Halle Berry, Heath Ledger, Marc Forster, Monster's Ball, Peter Boyle, Sean Combs

Film Title

Monster’s Ball

Director

Marc Forster

Starring

• Billy Bob Thornton as Hank Grotowski
• Halle Berry as Leticia Musgrove
• Heath Ledger as Sonny Grotowski
• Peter Boyle as Buck Grotowski
• Sean Combs as Lawrence Musgrove

Monster’s Ball is a compelling story of family, redemption and grief in the South. Anchored by the performances of Billy Bob Thornton and an Oscar-winning Halle Berry, it focuses on the slow personal bond emerges between two very different characters as they navigate their way through tragedy. It may be tough to watch at times, but the performances and the sensitive script make Monster’s Ball worth viewing.

Hank Grotowski is an embittered corrections officer in the Georgia State Prison. Sonny, Hank’s son, also has the same job as his father. Their personal lives are bleak with Hank having a deep hatred of Sonny and living with Hank’s racist father Buck, who although failing in his health, still rules the house with an iron will. At the moment, they are to undersea the execution of Lawrence Musgrove, a convicted murderer with a talent for drawing. Whereas Hank doesn’t get involved personally with Lawrence, the more understanding Sonny sees the good in him. When they are to execute Lawrence, the proceedings really get to Sonny who vomits and can’t go through with it. After Lawrence is electrocuted, Hank berates Sonny for his weakness. Meanwhile, over the years, Lawrence’s wife Leticia has visited with his son. Leticia is tired of coming to the place and is failing to keep her house running, whilst raising her young son all by herself. Later on, when tragedy strikes for both Hank and Leticia, they are suddenly thrust together and slowly form an unlikely but powerful bond with each other as they attempt to heal the deep wounds of loss. Against this backdrop of grief, Hank and Leticia are able to connect with each other and finally open up about their personal demons. Cue for intense acting, high drama and a sensitive relationship that emerges between these two flawed and human characters.

For the first half hour or so, I was initially unsure of Monster’s Ball. The slow pacing felt like it would be an arduous journey, but then I realised the purpose of this was to build on the complexities of these characters and I began to see the good in the picture. Although very bleak at times, there is still that glimmer of hope between the characters that saves Monster’s Ball from sliding into constant misery. Once the film hits its stride, boy does it soar to dramatic heights. The tough but also very sensitive screenplay shows us wounded characters in need of someone to open up to and care for them and manages to tackle issues of racism and bigotry. Although racism does play a part in the film( prominently in the case of Hank’s father), it isn’t the main theme of the piece but the way it is shown is still powerful written. The main theme is the gradual connection of two souls understanding what the other is going through. We subtly gain insights into Hank and Leticia’s characters and how each one of them changes the other in the process of their relationship. At times Marc Forster’s directing style is at odds with the narrative, but for the most part he fashions a powerful film about the complexities of the heart and the way people just need someone to listen to in a time of sorrow.

The biggest asset to Monster’s Ball has definitely got to be the talented cast. As the embittered Hank, Billy Bob Thornton manages to convey a deep sadness and a certain amount of hope as his worldview changes and he resents his father’s opinions. The real standout performance is Halle Berry, who collected a well-deserved Oscar for her role. She conveys so much of Leticia’s emotions, from her grief, vulnerability and tired pain to her gradually deep understanding of Hank. There is one particular moment that I will always remember of Berry’s performance. In it, the camera focuses on her face and you see the various emotions almost simultaneously flash across it. It is an outstanding moment that showcases Halle Berry’s range as an actress. Even though many remember the pivotal love scene between Hank and Leticia, it is not there just to be sexy, it is there to showcase the connection between the two as they open up the deep emotional scars that lie beneath the surface. In the supporting cast, Heath Ledger shines with his brief appearance as the hated Sonny, who desperately wants a connection with his distant father but unfortunately never gets it. Peter Boyle is a surly presence as the ailing but angry racist who begins to push Hank to breaking point as he berates him over his choices. In the role of Lawrence, Sean Combs excellently plays the catalyst of the story with a great amount of sensitivity.

Difficult to watch at times due to some unpleasant violence and the flawed yet very realistic characters, Monster’s Ball is worth watching as a powerful study of grief, human connection and redemption. Aided by two powerful performances, Monster’s Ball is compelling and equally dramatic.