Lucy

Tags

2010's, Action, Amr Waked, Choi Min-Sik, Luc Besson, Lucy, Morgan Freeman, Scarlett Johansson, Science Fiction

Film Title

Lucy

Director

Luc Besson

Starring

• Scarlett Johansson as Lucy
• Morgan Freeman as Professor Norman
• Choi Min-Sik as Mr. Jang
• Amr Waked as Pierre Del Rio

Lucy comes courtesy of director Luc Besson and emerges as a wholly ludicrous but enjoyable action/science fiction film. It’s big ideas and imaginings get a bit over the top and out of control, but some curious theories, bright visual palette and Scarlett Johansson as the eponymous character, more than engage with you, even when the overall film itself gets wildly uneven.

Lucy is an American woman, studying in Taipei. The film starts as her latest boyfriend and slime ball coerces her into delivering a mysterious case to a shady man named Mr. Jang. Lucy doesn’t want to do it, but her beau handcuffs her to the case leaving her with little choice. After this, Lucy is kidnapped by Jang’s associates, who it transpires are all in the Mob. Along with a few other men and through force, a bag of drugs is sewn into her system, and she must act as a drugs mule, otherwise those closest to her will be killed. During a torturous isolation, Lucy is severely beaten by the guards. One of these moments has big consequences, as the drugs that were implanted in her for trafficking burst and leak into her bloodstream. Quickly, Lucy grows incredibly powerful and escapes. From this moment on, her abilities advance alarmingly with her being able to not feel pain, manipulate objects and people and become almost impervious to harm. As she unlocks more of her brain power, the dangers arise as no one is sure just what will occur when she hits the highest level of brain activity. Professor Norman, a respected scientist who has studied topics relating to the powers of the cerebrum, becomes fascinated and curious of this young woman and just what she is capable of. On top of this, the mobsters are on her tail, which combines with her attempting to discover more about her accelerating powers. The main question is, just what will transpire and how dangerous will it be when Lucy reaches 100%?

Luc Besson has always been a stylish director, which he shows off again generously  here. Yet while his direction is far from his best as it leaves things a little too ambiguous, his penchant for strong female warriors remains in a great quantity. The presence of the what if possibilities of the human brain(taking cues from the myth referred to in the film that humans use just 10% of their brain functions) act as both a string to the film’s bow and something that drags it down. It’s hard to explain as it ends up a bit of a mixed exercise in storytelling and ideas it brings into play. Lucy excels the most when delivering action and thrills, of which many can be gleaned. Also when it poses some philosophical questions regarding existence and time, the film shines. A great example is a scene near the end that is visually arresting and compelling to watch, but I won’t spoil it in case anyone hasn’t seen it. The film as a whole is more than a bit messy, but that scene is ace. Yet for all the probing of matter that goes on, the science and events grow absurd and a little repetitive, mainly in the mid-section. Still, somehow I couldn’t divert my eyes from Lucy, which suggests that it at least made some impact on my viewing experience. The most arresting and attention grabbing element of Lucy was the general unpredictability arising from what Lucy’s powers and capacities would reach too, and how many were exhibited with science fiction flair. These moments were resplendent with verve and sparks of imagination, that rose above the jumbled science and lack of real logic. The visual side of Lucy is superbly designed and detailed, particularly the shots of Lucy’s body on the inside as power and acceleration take their place in her blood through rapidly speeding shocks of light that keep going and increasing. A pounding soundtrack hits just the right feelings of something mysterious and dangerous about to hit.

Scarlett Johansson is one of the best things in Lucy. As the title character, she has enough charisma and presence to make the part memorable. The luscious Johansson is most adept at displaying Lucy’s shift from waif like innocent to omnipotent being with a detached confidence; as Lucy’s emotions thaw and all that makes her human is replaced by knowledge and steel. Some will say that she is a blank slate, but her intense eyes and focused demeanor boost the character to something else that other actresses would not have been able to do. Morgan Freeman is given scant material in a pretty thankless role, but in a style typical of him, he makes what he has good and filled with the intelligence we have come to associate with the great man. Choi Min-Sik is effectively used as the nasty mob boss who tangles with Lucy, while Amr Waked suffers from a badly written part of a police captain caught up in everything, yet at least attempts to ring something true out of it.

It’s completely barmy and preposterous, which both helps and weakens the film, but there is enough action and points of interest to be found in Lucy. Plus, the allure of Scarlett Johansson in the title role bolsters it significantly. It’s messy and scattershot, but I found myself largely entertained throughout this outrageous venture.

Seven

Tags

1990's, Brad Pitt, David Fincher, Gwyneth Paltrow, Kevin Spacey, Morgan Freeman, Psychological Thriller, Seven

Film Title

Seven

Director

David Fincher

Starring

• Morgan Freeman as Detective William Somerset
• Brad Pitt as Detective David Mills
• Gwyneth Paltrow as Tracy Mills
• Kevin Spacey as John Doe

A deeply unsettling psychological thriller that plumbs the depths of horror and depravity, Seven is a masterpiece of mounting tension and nerve jangling suspense right up to the shocking climax.

In a bleak, constantly rain-soaked city, William Somerset is a soon to be retiring detective who has seven days left on the job. Somerset has become disillusioned with the abject horror of the world around him and just wants to be done with it. For his last case he is partnered with young and slightly cocky David Mills, who has just moved to the city with his pretty wife Tracy. The two don’t exactly hit it off right away, as Mills is there as a replacement for Somerset and the actions of the two are very different. But gradually, the two reach a level of respect for the other. They are first called in to investigate the murder of an obese man who was force-fed spaghetti until he literally imploded. Then a second murder occurs, this time of a wealthy defense attorney, whose blood was drained to write the word greed next to his body. The cerebral and sharp Somerset deduces a link between the two murders; they are enactments of the Seven Deadly Sins. Gluttony and greed have been accomplished, so there are five left to commit. Somerset and Mills find themselves in a most twisted investigation as the killer is always one step ahead of them and appears to delight in tormenting the two. As more bodies drop and the twisted logic of the killer gains momentum, both men are not prepared for what will eventually greet them as each sin is revealed in petrifying detail.

David Fincher casts a tightly wound and creepy spell here, with all his directing skills on show. His command over the camera is an art form, conjuring up the horrifying events that transpire with a building of assured suspense. The atmosphere of sinister mystery Seven drips from every frame, revealing a world of decrepit morals and nastiness that holds on to you tightly and refuses to let go. A lot of this is down to the absolutely masterful cinematography of Darius Khondji. Through the colour scheme that is largely grey or brown, the nightmarish investigation of Mills and Somerset comes to horrible life. The city they inhabit is never given a name, but Hell Town would be a good one. It’s a city that is decaying in every sense of the word and through the cinematography, it becomes something dark and acrid. The visuals are just spectacular(check the jittery title sequence for a better understanding) at conjuring up a grotesque yet intriguing spectacle as each murder gets progressively more alarming and horrifying. It is hard to recall a film that got the feel of a setting quite like how Seven does it; you are literally placed in the squalor of this unnamed city and there is no escape. The screenplay is also a key element that holds everything together, giving us a creepy inside look at deducing the reasons behind such despicable acts of murder and staging of the sins. While Seven has grisly moments, it gets most of the impact from not showing the murders being committed. Instead we, like Somerset and Mills, glimpse the slayings after the event and it is our imagination of what transpired that gives everything a chilling meaning and core. And talking of surprises, Seven boasts a most chilling and horrifying ending that knows how to catch you off guard. Howard Shore’s eerie score of dark ambience and riveting menace plays out like the film with the shocks and discoveries perfectly matched by the music.

A perfectly cast group of actors give their very best to this unnerving movie. Morgan Freeman shines as the older detective on his way out, but assigned this haunting last case. With deep knowledge and a world-weary look at things, Freeman make a compelling character both engaging and owlish. Just as good is Brad Pitt as the new detective, whose hot-headed approach clashes with Freeman’s calm but later moves along with it. Pitt plays the role in a way that allows Mills to be idealistic but also hampered at times by his go for action approach to the investigation. The work of the actors combined is a strength of Seven, particularly the chemistry of them as they come to a sense of understanding about the other. Gwyneth Paltrow is a lone female presence in the film, portraying the sweet but frustrated wife of Mills. Paltrow is very good with what she is given, projecting warmth and sadness in good measure. And last but not least is Kevin Spacey as the killer, who reveals himself in the latter stages of the story. It is a credit to his abilities that he is only in the film for around half an hour at most and still makes a startling impact. He plays John Doe as a twisted man of significant intellect whose warped view of the world is a driving force in his bloodletting. Spacey unnerves you here, finding the right notes of reptile menace and creepy logic to keep you glued to the screen when he’s around.

An absorbing and disturbing film, Seven succeeds on almost every level in unnerving the audience and providing some very memorable jolts of terror that never leave you.

Along Came a Spider

Tags

2000's, Along Came a Spider, Dylan Baker, Lee Tamahori, Michael Wincott, Monica Potter, Morgan Freeman, Thriller

Film Title

Along Came a Spider

Director

Lee Tamahori

Starring

• Morgan Freeman as Alex Cross
• Monica Potter as Jezzie Flanagan
• Michael Wincott as Gary Soneji
• Dylan Baker as Ollie McArthur

Alex Cross returns to the cinema screen, following his appearance in Kiss the Girls. Yet Along Came a Spider is not the best film as a thriller due to the way it slowly plays out and overload of twists that do it harm. Some shining moments are there, mainly an excellent Morgan Freeman and some good suspense. But sadly these traits are not enough to cover this leaky film that slowly falls apart.

Washington, D.C. Detective and forensic psychologist Alex Cross retires from the force after heading a sting operation that goes terribly wrong when his partner is killed. Feeling guilty for it despite it not being his fault, Alex retreats into himself while trying to come to terms with his emotions. Meanwhile, there is something in the works that will bring Alex back into the police work once more. It all begins with the kidnapping of Megan Rose, the daughter of a senator, from her prestigious school. The man who has kidnapped her is her teacher Gary Soneji, who has complex motives that he slowly teases out. He is the one who brings Alex back into the fold by contacting him and taunting him. Special Agent Jezzie Flanagan is held accountable for the breach in security as she was the one who was keeping watch over young Megan, and she is determined to find Megan out of guilt. Brought on to the case albeit with some reluctance, Alex partnered with Jezzie and with the aid of Detective Ollie McArthur, plunges into the complex case that shows that the kidnapping of Megan was just the tip of the iceberg for Soneji. Alex deduces that wants to be notorious for his crimes, but there are many other unanswered questions at play. A complex game is afoot now and Alex is determined to break it. Along with Jezzie , Alex sets out to uncover the motives and reasons before it is too late. But how can you catch a criminal who seemingly wants to be known but is effortless at being elusive?

The direction is the first part of the film that makes problematic probably the best word befitting of Along Came a Spider. Lee Tamahori doesn’t seem to know a thing about pacing a thriller, although he starts strong he can’t keep any momentum up. The film slowly descends into run of the mill shenanigans and even when it does have good parts, they are sadly overshadowed by the weaknesses of the plot. Like I said, there are some good moments of suspense generated. These consist of the opening in which the partner of Cross is killed after the operation goes awry and a rain-soaked set piece where Alex and Jezzie are confronted with Gary Soneji. These provide two highlights of a picture, that sadly lacks a punch. And with the script, I’m all for a few twists but Along Came a Spider tangles itself into oblivion with its attempts to be clever. I must say that I enjoyed Kiss the Girls better because its story kept you involved, whereas with this film it drifts away and becomes mundane. A score from Jerry Goldsmith, who is one of my favourite film composers, is appropriately suspenseful and imaginative, injecting the film with good helpings of both which the mixed movie requires.

As flawed and up and down as Along Came a Spider proves to be, Morgan Freeman portraying Alex Cross is simply brilliant. Freeman once more plays his part with a great deal of respect and shrewd intellect, as Alex is reluctantly drawn back into his job as detective by the quite baffling and twisting case presented to him. His gravity, quietly unassuming personality and keen insight of the character is what really keeps this movie going, even when it slips into contrivance and ridiculousness. Although I’ve seen Monica Potter in other good parts, her role as Jezzie Flanagan here is not one of them. The character is meant to be conflicted and guilt ridden, but she comes off as emotionless. Now I don’t know whether this is the fault of the script of Potter or the script, but the role just is not a good one. Even when later on they expand on her character, it’s too little too late. Michael Wincott is a lot more successful in his portrayal of the kidnapper Gary Soneji, who has motives that are hard to figure out. He isn’t an over the top villain, instead a quietly intelligent and often pitiful man with a warped world view. All of that is made clear and interesting due to Michael Wincott and his good work. In the main supporting part of the detective assigned to the case, Dylan Baker is given scant to do but remains quite memorable.

While the music, some tension and a reliable Morgan Freeman performance can be gleaned from Along Came a Spider, it is not enough to create something that will linger in the mind.

An Unfinished Life

Tags

2000's, An Unfinished Life, Becca Gardner, Damian Lewis, Drama, Jennifer Lopez, Josh Lucas, Lasse Hallstrom, Morgan Freeman, Robert Redford

Film Title

An Unfinished Life

Director

Lasse Hallstrom

Starring

• Robert Redford as Einar Gilkyson
• Morgan Freeman as Mitch Bradley
• Jennifer Lopez as Jean Gilkyson
• Josh Lucas as Sheriff Crane Curtis
• Becca Gardner as Griff Gilkyson
• Damian Lewis as Gary

As well trodden and predictable the story may become, An Unfinished Life gains points and clarity from the uniformly excellent cast and depth from direction that give it something extra. This movie was quickly dismissed upon release, but although more than a little formulaic, it is worth a watch for emotion and heart.

Einar Gilkyson is a Wyoming rancher whose business has gone downhill ever since he lost his son in a car accident and he ended up hitting the bottle. He still has some work to do, but these experiences have made him shut off and become bitter. Living with Einar is his best friend and former rancher Mitch, who a year prior was mauled by a bear and has still not fully recovered from his deep wounds that have left him with difficulty walking. Einar takes care of Mitch, yet when it comes to everything else he is gruff and distant. The two live their lives on the ranch with differing perspectives; Einar is angry at the death of his son and has never really dealt with it properly, while Mitch is genial and with regards to his encounter with the bear has moved on and is trying to live what is left of his life happy. Things change when Einar’s daughter in law Jean arrives with her daughter Griff, that Einar had no idea existed. There is bad blood between Einar and Jean as Einar blames Jean for surviving the accident that claimed his son, whilst Jean has tried to remain strong but has now fled from her abusive latest boyfriend Gary. Needing a place to stay, Einar reluctantly allows them to live with him. Although awkward at first, through the kindness of Mitch towards Griff, Jean’s numerous tries to reconcile and the little Griff’s attempts to break through to Einar, wounds that have festered begin to wane between Jean and Einar as they finally have to confront their fears and grief. Einar soon begins to open up more, but danger could very well be on the horizon with the bear that mauled Mitch back and the psychopathic Gary looking for Jean.

Now while some of his directorial flourishes go a bit mawkish, Lasse Hallstrom at least invests An Unfinished Life with a moving centre, offset by the occasional bit of humour as the souls of the character slowly heal. I liked the sense of immediacy and closeness that Hallstrom gave the film and the brisk pace he employed, that let events unfold with a quickness that never gets rushed. It must be said that a lot of the story is nothing particular groundbreaking in terms of drama and more than a little it can get a bit overly sentimental and the script gets clunky. Yet somehow the film works and while not particularly original, it tells the story in an efficient way that doesn’t squander any of the emotions within it. This story is of healing and learning to let go and its observations of these key themes is well orchestrated and directed. There are some lovely bits of scenery to be found too, with the trees and winding roads of rural Wyoming being lushly photographed and lensed with skilled assurance. A country influenced score charts the gradual emergence of Einar coming into a sense of acceptance and brings a wealth of emotion to An Unfinished Life.

A talented cast brings a poignant sense of emotion, soaring above the sometimes formulaic story. Robert Redford reveals a gruff and cantankerous exterior for Einar as someone who doesn’t want to open up but really should. There’s a sadness to Redford’s delivery that is clouded with anger and the actor really shows off his talent here as Einar is forced to finally comes to terms with the events that he couldn’t deal with before. Morgan Freeman is dignity and quiet strength personified playing the injured Mitch, who refuses to let pain get in his way of being positive and supporting Einar. With gravitas and an amiable smile, Freeman is reliably brilliant in this touching role. Jennifer Lopez is natural and stoic as Jean, who is both afraid and determined to remain strong and find some common ground with Einar. It is her role that forces the shift from Einar’s grief to recovery and Lopez plays it very well. Josh Lucas is the weakest of the cast as he is saddled with the rather uninteresting role of the sheriff who takes a liking to Jean. The role is one that doesn’t give him a lot to work with and it suffers from a lack of scope. The young Becca Gardner has the right amounts of charm and resonance for the part of Griff, who wears down her grandfather’s tough shell and lets him live again. And exuding menace and relish for possession is Damian Lewis, as the controlling and abusive ex boyfriend of Jean’s that can’t let her go.

It stumbles into schmaltz at times and is never going to be the most inventive film put out there, but with what it has, An Unfinished Life is a moving story of learning to let bygones be bygones and begin to live once more.

High Crimes

Tags

2000's, Adam Scott, Amanda Peet, Ashley Judd, Bruce Davison, Carl Franklin, High Crimes, Jim Caviezel, Juan Carlos Hernandez, Legal Thriller, Morgan Freeman, Thriller

Film Title

High Crimes

Director

Carl Franklin

Starring

• Ashley Judd as Claire Kubick
• Morgan Freeman as Charlie Grimes
• Jim Caviezel as Tom Kubick/Ronald Chapman
• Adam Scott as First Lieutenant Terence Embry
• Amanda Peet as Jackie
• Juan Carlos Hernandez as Major James Hernandez
• Bruce Davison as Brigadier General Bill Marks

A legal thriller that was somewhat underrated and written off upon release, High Crimes is actually an efficiently made movie. It ain’t going to win any Oscars for originality or fresh ideas, but it more than does the job of being a gripping thriller nonetheless.

Claire Kubick is a successful attorney in a loving marriage with her woodworker husband Tom. The great life they live together in California is shattered when Tom is captured by the FBI while the two are out Christmas shopping and charged with the murder of nine peasants in an El Salvador village years before. It transpires that Tom is not who he says he is; his real name is Ronald Chapman and he was part of a secret Marine Corps operation. He has been on the run for over twelve years and is now being accused of the savage murders. Claire is shocked by the revelation that her husband has hidden from her, but because she loves him so much deals with the emotions that come her way by suppressing them. Her husband tells her that he was present in El Salvador, but strongly denies any involvement. He says that he has been set up for the crimes by his Major James Hernandez, who is now working highly with a brigadier general. Trusting her husband and wanting to help, Claire decides to defend her husband during the military trial, as the man appointed to represent him , First Lieutenant Terence Embry, is impressionable and new on the job. Yet when the trial begins, Claire realises that none of the rules that she usually abides to and works with apply in a military court. She then seeks out someone who knows their way around the court and comes across Charlie Grimes; a former military lawyer who is now retired and prone to drinking a lot. The tenacious Claire manages to get Charlie on side and help her husband in the trial; Charlie displays an aptitude for not playing by the rules and cutting through lies given by supposed witnesses. Yet twists and turns abound as evidence of a possible military cover up come to Claire’s knowledge and as she edges towards answers, risks her life in the process. Aided by the brilliant but not by the book Charlie, Claire is determined to get to the bottom of this no matter what happens. But is everything as it seems or very different to what meets the eye?

Carl Franklin’s direction of High Crimes is crisp and very well done. It’s not the best directing I’ve ever seen, but it does the job with a sense of urgency and commitment to the material in hand. Tossing in red herrings throughout the movie, Franklin knows how to keep a thriller entertaining and engaging. Granted some of the twists are a bit drawn out and overly complex, High Crimes manages to retain interest due to some sharp writing and thrills. I’ve read some reviews of High Crimes that say it becomes incomprehensible and predictable throughout. I wouldn’t agree with the first part because the film is supposed to be shrouded in mystery and wrong foot the audience occasionally. A few parts of High Crimes are predictable, but its a hell of a lot better than some of the other thrillers to be found out there due to the way it keeps you on edge trying to distinguish the truth. Some of the courtroom scenes are very well-played with lies spilling out and questions going back and forth creating a lot of tension. A technique that was utilized excellently was the presence of flashbacks from differing points of view, designed to spin a web of doubt and accountability. It’s only employed in a few scenes during the film, but it is effectively used and not overly relied upon. The musical score is a little generic in parts, but a competent enough one to go with the tense material on display here.

Ashley Judd turns in a typically strong performance as the determined Claire, who stifles her shock to defend her husband and unearth the possible cover up of events. Judd makes the character tenacious, unwavering and natural as she navigates through dangerous waters. She shares a great chemistry with Morgan Freeman, as both worked well together in Kiss the Girls. Morgan Freeman displays a dry sense of humour and serious undertones as the rebellious Charlie, who loves anything to get one up on the military and can run rings around them with his silver-tongued responses. With a glint in his eye and a sense of morality, despite his unorthodox ways of getting information, the character of Charlie is brought to life by the talents of Morgan Freeman. Jim Caviezel displays a sensitivity but an enigmatic presence as the man on trial, its credit to him that we are constantly on a seesaw about whether he is lying or telling the truth. Adam Scott impresses as the green lieutenant assigned to defend the man on trial and has some amusing moments due to the character’s lack of experience and sometimes naive tendencies. The same can be said of Amanda Peet who is delightfully irresponsible as Claire’s slobby sister who comes to stay and delights in being outrageous. Juan Carlos Hernandez, armed with a sinister smile and battle-ruined eye, is well cast as the menacing Major who may have been the perpetrator of the massacre in El Salvador. There is a small appearance from Bruce Davison as a smarmy brigadier, but I would have liked to have seen more of his character if I’m honest.

It doesn’t break any new ground and may get a little convoluted, but for a slick and entertaining thriller, High Crimes more than does the job.

Kiss the Girls

Tags

1990's, Alex McArthur, Ashley Judd, Bill Nunn, Cary Elwes, Gary Fleder, Kiss the Girls, Morgan Freeman, Thriller

Film Title

Kiss the Girls

Director

Gary Fleder

Starring

• Morgan Freeman as Alex Cross
• Ashley Judd as Kate McTiernan
• Cary Elwes as Detective Nick Ruskin
• Alex McArthur as Detective Davey Sikes
• Bill Nunn as Detective John Sampson

Although it may be a somewhat by the numbers thriller that many will say doesn’t have a lot to set it apart from all the other thrillers churned out, Kiss the Girls at least benefits highly from atmosphere and credible work from Morgan Freeman and Ashley Judd that elevates it a compelling and creepy watch.

Alex Cross is a brilliant forensic psychologist who also works as a detective in Washington, D.C. He is exceptional at getting inside the heads of serial killers, yet also manages to keep a distance of emotion so as not to be completely taken over by the horrors he uncovers. Yet things get personal when he receives news that his young niece Naomi has been kidnapped from her university campus. Travelling to North Carolina and meeting the detectives on the case, including the cynical Nick Ruskin, he is informed that they believe that Naomi is one of a number of  women who have been kidnapped by a twisted predator known as Casanova. His most recent victim is a beautiful and strong-willed doctor by the name of Kate McTiernan ,who is imprisoned in a subterranean lair along with the other women. The talented Alex determines that the twisted Casanova is not a killer per say; he is a collector of strong-willed women. He only kills the women he captures if they break the rules of subservience that he cruelly enforces on them. This gives Alex and the other detectives hope that there is still time to unearth the location of the missing women. Meanwhile Kate, with her intelligence and physical prowess manages to overpower her captor and escape his lair, surviving by running to a nearby river and jumping in. When she is found, she is traumatised by her ordeal but still determined. Alex talks with her to try to get some picture of Casanova’s motives and whereabouts. In the beginning, Kate’s memory is hazy because of drugs she was injected with, but as her memory comes back, she begins to help Alex with the search to find his niece before it is too late. However, as the investigation continues, links begin to appear between Casanova and another serial killer in Los Angeles. Are the two killers colluding with each other? And can the strong Kate lead Alex in the right direction to discovering Casanova and his niece?

The direction provided by Gary Fleder is confident enough and helps compliment the style and pace of the movie. He may occasionally take a step in the wrong direction, such as when he delves into the possible connection between Casanova and another killer that doesn’t quite hold the impact of the main Casanova story. But his directing is credible and well sustained enough with dark terror and menace to kept you watching. There is some superb editing and cinematography that combine for a ghoulish effect, especially when in Casanova’s depraved and warped world in which he dominates the women he has abducted. With distorted angles and kinetic editing, Kiss the Girls gives a real sense of disorientation and Gothic atmosphere that is incredibly well done. The subterranean structure of Casanova’s lair is a suitably chilling and fear-inducing highlight of set design, rendered with a perverse and creepy impact. There are a few issues with some of the plot directions taken within the movie and a running time that is a bit too long. Some of the script could have done with a bit of tweaking as well, as some scenes go on for longer than required. Yet for all those flaws, Kiss the Girls manages to retain interest from the audience with its thrills and chills. A well-constructed score provides a creepy backdrop to Kiss the Girls and knows exactly when to build the necessary suspense and then ratchet it up a few notches.

In the role of Alex Cross, Morgan Freeman is as reliably excellent as he always is. There is a humility, grace and depth Freeman brings to the part, tempered with a brilliant mind of intelligence, quiet dignity and grave authority. I think it’s safe to say that his authoritative demeanor is perfect for the part and he is the only person I can think of to play the part of Alex Cross so well. Equally as impressive is Ashley Judd as the traumatised but incredibly brave Kate, who refuses to be seen as a victim because of her ordeal. Judd projects a tough steel and inner vulnerability to the character that we can relate to as her toughness acts as the shield to stop her completely going to pieces. Sterling support is provided by Cary Elwes and Alex McArthur as the wry detectives initially reluctant of Cross but needing him to help. Bill Nunn is also well cast as the best friend and confidante on the case.

So all in all, Kiss the Girls is not going to win any awards for inventiveness, but it remains a gripping thriller with spine-chilling visual style, ominous music and typically great performances from the two leads.

Under Suspicion

Tags

2000's, Gene Hackman, Monica Bellucci, Morgan Freeman, Stephen Hopkins, Thomas Jane, Thriller, Under Suspicion

Film Title

Under Suspicion

Director

Stephen Hopkins

• Gene Hackman as Henry Hearst
• Morgan Freeman as Captain Victor Benezet
• Thomas Jane as Detective Felix Owens
• Monica Bellucci as Chantal Hearst

I would hardly describe Under Suspicion as the best thriller I’ve ever seen, but it certainly does the job efficiently with style and a great cast to keep you biting your nails as its mystery is unearthed.

In Puerto Rico, Henry Hearst is a powerful and very rich lawyer who is called in police questioning one night, just as he’s about to give an important speech at a charity fundraiser for aid to the island after a devastating hurricane. The previous day he reported finding the body of a young girl while out jogging and Victor Benezet, a police captain and old friend wants to ask him a few questions about it. The murder of the young girl is the second in a string of crimes and Benezet is under pressure to get to the bottom of it. Aided by the eager and cocky young detective Felix Owens, what starts as normal and routine questioning that was promised to take only a small amount of time slowly evolves into something deeper and darker as the various recounting of Henry’s actions begins to change alarmingly and his seedy private life comes into question. Under the grilling of both, Henry’s story begins to slowly unravel as cracks appear left right and centre, which makes the brash Henry look even more guilty as time slowly pushes on. But what is the truth and what is lies? And when Henry’s much younger trophy wife Chantal is interviewed with regards to her husband, things only get a whole lot more mysterious.

Director Stephen Hopkins brings a sense of visual panache with stylish flashbacks that incorporate the conversations of the present in between them blurring the line between truth and falsehood. As lies and deceit come spilling out of what originally appeared to be a simple routine questioning, Hopkins manages to crank the tension up, even when the movie appears to go down the by the numbers thriller route. As the film enters its final third it does become more than a little overly complex and the ultimate outcome undermines the build up a bit, but you can’t help but watch as it does keep you riveted because of the talent behind the camera and in front of it. The fact that Under Suspicion takes place largely in one setting, in this case police headquarters, lends the film a certain claustrophobic impact as Henry attempts to leave but his stories filled with multitudes of holes keep him from doing so and causes him to lock horns with the searching Victor. The intense score, featuring carnival beats of Puerto Rico, gives another layer of mystery to the film as the case is blown wide open. When the plot gets a little sleepy, the score manages to lift it from slumber and give it life.

Gene Hackman and Morgan Freeman are both on cracking form here and there scenes of coming to blows are electric. Hackman possesses that charm and arrogance that belies something darker beneath, and Freeman exudes quiet intelligence and the questioning authority of the police captain. When these two acting greats are on screen, it’s a great thing to behold because of the amount of combined talent between them. Thomas Jane is well cast as the probing and hot-headed detective who from the get go is convinced that Henry is guilty as sin. Like Freeman, Jane’s character clashes with Hackman’s but with more physical force, instead of Freeman’s gradual ways of gaining information. Monica Bellucci is smouldering as the icy trophy wife, who has an air of enigma about her and hides that she’s knows more than she is letting on. For the first half she is largely on the sidelines, but eventually through her subtle face and actions, we see that she plays an important part in this mystery as she comes into her own in the latter part of the movie.

So while sometimes a bit jumbled and overly complex, Under Suspicion is nonetheless an absorbing thriller to watch.

 

Which actors and actresses have the best voices?

Tags

Al Pacino, Bette Davis, James Stewart, Katharine Hepburn, Maggie Smith, Marlon Brando, Morgan Freeman, Susan Sarandon, Tom Hanks

There are many stars who have a distinctive and memorable voice, if I listed them all I would need a book. So the question today is, which actor or actress has the best voice? Which star has a voice that you could listen to without getting bored? It can be someone really famous in the acting business or someone not so well-known. Whatever the answer, please give it and feel free to comment.

Here is a list of actors and actresses I consider to have great voices off the top of my head;

Maggie Smith

Susan Sarandon

 

Tom Hanks

 

Morgan Freeman

James Stewart

 

Katharine Hepburn

Al Pacino

 

Marlon Brando

Bette Davis