mssandlin Reviews

The Matrix Reloaded (2003)

Like watching someone else play a video game

[3/10 · 27 October 2003]

The Matrix is an incredible movie. The subtle philosophy, the intense but not overstated action, the original ideas: all these were wonderful. So why oh why did they have to ruin them all with a piece of crap sequel that takes everything good about the first Matrix and ruins it by making it obtuse and overblown. It's been said before, but I'll repeat it here: The Matrix Reloaded is like watching someone else play a video game. It doesn't matter how good the game is, it's still boring to sit and watch it.

Now we fight (For 7 & 1/2 minutes against agent Smith and about four hours on the freeway) Now we talk (In convoluted psudophillisophical language that doesn't actually tell us anything.)

The real difference between this movie and the original Matrix is that the original told us something about our world. The movie had a point to make, and it was something deeper and more important than "Hey we have millions of dollars to spend on bullet-time animation scenes and we're not afraid to use them!"

Bottom line: Matrix Reloaded - see it once out of respect for the original and hope for part III, but never see it twice. It sucks.

Hulk (2003)

A great comic book movie, but the ending stunk. (Spoilers)

[8/10 · 26 June 2003]

This movie had a really original feel to it. The acting is pretty good all around, and the fact that they didn't tone down Nolty's mad scientist dialouge is commendable. I love the comic panel scenes, and the CG is great especially during the dog fight. I would have rated this movie a nine or even possibly a ten if it weren't for the ending. Somehow, the same gama ray exposure that made Bruce Banner huge and green made his father, David, into "Absorbing Man" aka God. Then, the army, which up till now has been literally dying to kill Bruce Banner and his father, allow them to have a moment together. Then when they see that Bruce is getting angry, instead of frying him, they twiddle their thumbs and allow his father to bite into a power line (yes that's right, he BIT into a power line). This allowed him to turn into lightning and carry the Hulk around. He wants the Hulk's power (though why a person who can turn into lightning and "absorb all ambiant energy around him" needs to be able to turn big and green is beyond me.

This ending is one of the all time movie blunders, and the problem is that it comes at the end of a really great movie. I'm really upset because when I think about the film I don't remember any of the wonderful scenes (there were tons of them). All I really remember is a big lightning fist carrying the Hulk through the air (I'm still unclear how lightning can grasp a person and carry them through the air)while David Banner's face flashes in the cloud.

I plan on buying the DVD and turning it off after the scene where Hulk reverts into Bruce after the San Francisco rampage. You should do the same.

Full Frontal (2002)

Crap-ola

[1/10 · 12 March 2003]

I picked this one up at the video store because I generally enjoy artistic films and new ways of looking at things. I managed to sit through the entire thing, but just barely. Some parts were funny, sure, you film fifty different actors sitting around making small talk and a few funny things are going to happen. But over all this movie was just boring. I walked away feeling like I'd just seen an imitation modern art painting. It doesn't make any sense, and there's nothing real or original about the fact that it doesn't make any sense. It was a fairly cool idea that just didn't pan out. I give it a 1 out of 10.

Daredevil (2003)

A Near Miss

[7/10 · 19 February 2003]

I'm a big comics fan and a fan of comic book movies. (I even saw The Punisher twice.) So naturally I was excited to see DD. From the opening scenes, I thought that this film would rank right up there with Spiderman and X-Men, both of which I loved. However in the end I was a little disappointed.

The story was good, Affleck was great as Matt Murdock and pretty good as Daredevil. M.C.D. was perfectly cast as the Kingpin, and Colin Farrell, who I usually hate, was the best thing in the movie. I loved the combination of humor (especially the mustard in the coffee bit) and dark imagery (the kid crying while Affleck assures him "I'm not the bad guy"). The struggle at the heart of this movie is real and socially relevant which is more than can be said for lots of comic movies (like the last three Batman flicks). Special effects were subtle and well done for the most part, and each of the characters looked almost perfect for the part. The "radar" scenes were especially good, and M.C.D. was so great that I completely forgot the Kingpin I read in the comics was a different color than him. And possibly my favorite thing about this movie, when Murdock is on the roof with Electra and he hears the crime below, HE DOESN'T GO FIGHT IT!! What a great twist of realism and surprise. What a powerful way to make the characters into real people. All of this brings me to the point where I could almost say that this is a great movie. . . almost.

Visuals, which for the most part are stunning, suddenly fall apart in the big fight scene on top of the pipe organ. This was some of the worst effects work I've seen in recent years. It felt like I was suddenly watching a video game. The love story, while touching with the repeated line "Stay with me", feels a little forced. The movie was 15 min. short of the two hour mark, and a little added footage between the Electra and Murdock would've been a good idea. The Kingpin was another character who would have benefitted from more screen-time. We're intrigued by the character, but we never understand how he runs a criminal organization or even what he really does. His "Nobody is innocent" line is wonderful, but show us why he feels that way. Additionally, we never find out how the cops know that Fisk is the Kingpin. DD just says so and we're stuck taking his word for it. Who told the cops? What proof do they have? This would have been an interesting side story. These were problems, but the lowpoint of this film is the aforementioned fight scene, not only because of its poor visuals, but also because it shouldn't have happened. The man (DD) had lost enough blood to stain half of a Cathedral and could barely move when the priest finds him, and then, ten seconds later, he's flipping through the air and taking punches without missing a beat. This is the classic goof of action/superhero movies. They beat him up to build the tension and then, once they've got you worried about him, "Don't worry folks it's all okay" and he's kicking butt and taking names again. Either don't hurt him in the first place or give him some time to recover. Bullseye is tough enough to have a good fight with an uninjured DD, and so is the Kingpin.

Daredevil is a good movie, it's worth the full price ticket, but it falls short of greatness due to a few bad scenes and fuzzy writing.

7/10

Ben Affleck .... Matt Murdock/Daredevil Jennifer Garner .... Elektra Natchios Michael Clarke Duncan .... The Kingpin/Wilson Fisk Colin Farrell (I) .... Bullseye

American History X (1998)

One of the most powerful films ever made

[8/10 · 3 October 2002]

"American History X" is one of the most challenging and thought provoking movies I have ever seen. I'm not usually big on films and filmmakers that have an ax to grind. I prefer a good story to a good sermon most of the time, but this film manages to provide both. The characters are so real, and their feelings are so common to young people today that it's almost scary. The film's star, Ed Norton, is, without a doubt, the best actor of his generation. His performance is flawless, and is a huge part of why this movie is as good as it is. Despite the incredibly graphic violence, the horrific language, and the nudity, this film is a must see in my book.

Even though most white kids in America would deny that they are racists and would completely reject any form of Nazism, they still identify with Danny Vineyard's feelings. The racist speeches Derrick Vineyard delivers with such passion (the one in front of the grocery store, and the one at the dinner table come to mind) strike chords deep inside of most of us. We hear him speak, and understand how people could get caught up in these ideologies. Then, we see the results of his ideas. Amazingly, we all sympathize with Derrick when he's crying on T.V. about his father's death; we sympathize with him when he says "It's Americans who are poor and hungry.' and we absolutely love him when he steps in to win the basketball game. Then we abhor him as he beats the grocery store owner. We cringe as he smiles after brutally killing a two people. We rail against the swastika tattooed over his heart. Derrick Vineyard shows us something about racism that most of us overlook. He shows us that while racism is a terrible thing, racists aren't necessarily terrible people, and he proves it during the color scenes in the movie. The knockout punch comes with the final scenes, as the film takes a twist and gives us a piercing picture of reality that makes us reevaluate all the things we have come to feel during the course of the movie.

This film is truly, an unforgettable piece of art.

In the Bedroom (2001)

Twists and turns make "In the Bedroom" seem like three spectacular films instead of one.

[9/10 · 2 October 2002]

Truly, this is a sensational film. The story is amazing. the setting is both beautiful and realistic. The acting is phenomenal. Not just because the stars all have incredible performances, but because every character n the movie, no matter how minor or insignificant, is believable. Even the extras in this film can act. Don't be put off by the title, this is not a sex film. In fact there is relatively little or no on screen sex and the language isn't even that bad. However, the emotional depth of the film is way too intense for most young viewers.

"In the Bedroom" begins as what seems a simple yet well acted and interesting Romeo and Juliette type story. Guy loves girl. Girl loves guy. Her ex-husband doesn't love guy. His mother doesn't love girl. Not all that original, but it is so easy to identify with the characters that it's easy to forgive the seemingly simple plot. Then, just as you're beginning to be drawn into the story, BLAM , everything changes. The entire point of the film switches instantaneously. Major characters fade into the background and the story switches focus. Some of the most realistic writing and directing I've ever seen take place in the middle section of this film. Then, just as you think resolution is about to be achieved, the focus swings again and everything changes. Instead of being confusing or irritating, the focus changes are surprising and thought provoking. The film shows life as it really happens, not one problem being resolved at a time and then periods of happily ever after, but as one struggle leading to another and in the end, resolution is hoped for rather than attained.

The Godfather (1972)

The ultimate depiction of America's obsession with power

[10/10 · 25 September 2002]

Mario Puzo's book The Godfather is one of the greatest works of fiction this country has ever produced, and Coppala brings it to the screen almost perfectly. Both the book and the film have been so popular, in my opinion, because they provide a stylistic and romantic view of power-a subject which we Americans have always struggled with.

Most Americans (especially men) like and admire Vito and Micheal Corleone. The fact that they are criminals doesn't bother us at all. Usually a character must be empowered by the law or seeking justice in order for us to sympathize with him or condone actions we normally view as evil. That is not the case with the Corleones. We like them because they are powerful in and of themselves. The actions of the Corleone family are sometimes motivated by revenge, but more often the goal is to simply gain more power. We excuse them of murder because we see them as being outside of and above the law.

The reason that this film is so appealing (beyond the phenomenal acting, the wonderful quotes, the artistry and originality or the director, etc.) is because deep down, most of us want to be Vito Corleone. We want to be powerful enough to protect our families and our friends. We want our enemies to fear us. We want the money that goes hand in hand with such power. (You'll notice, that in all three Godfather stories, the power brings in the money, not visa versa.) Sure, most of us would rather come by it honestly, but in the end we just want that kind of control. For most of us, Vito Corleone embodies the American dream.

The English Patient (1996)

One of the most overrated romance movies of all time

[2/10 · 9 March 2001]

TEP is basically a passionate love story full of interesting and realistic characters which is never told. The acting is good. No one can deny that, but all the good acting in the world couldn't save this movie. There are essentially four stories going on at any time during the movie: the flashbacks of a dying man, his relationship with the woman who is caring for him, a nurse's attempt to love someone without them dying, and a man with no thumbs looking to get revenge for what happened to him. There is just too much going on in this movie. None of the stories are ever resolved very well. It is almost as if the director was just getting into the movie when he realized that it was already over three hours long and tried to wrap everything up very quickly. The only real romance in the film comes in the form of flashbacks to an almost comical affair between Ralf Fiennes and Kristin Scott Thomas. The first love scene, which is supposed to be one of those angry/passionate sex scenes, ends up looking like a botched up rape. The nudity is almost tacky and lacks any artistic value. Even the shots of the desert, which were really nice at first, got old after the first two and a half hours. I rated it a two. Very Unimpressive.

Driving Miss Daisy (1989)

A fine little movie. Heartily Realistic

[7/10 · 9 March 2001]

Morgan Freeman is perfect. Jessica Tandy is great. Dan Akroyd is incredible. This movie tells the story of a time in American history which has been forgotten by so many people. The time period of my grandparents was brought to life before my eyes by the brilliant performances is this film. The music is great. The acting couldn't be better. A fine little movie.

Lonesome Dove (1989)

The Greatest Western of All Time

[9/10 · 6 March 2001]

Larry McMurtry's wonderful story is beautifully and amazingly brought to the screen by director Simon Wincer. It assembles together one of the best casts in movie history. Robert Duvall and Tommy Lee Jones are nearly perfect. Duvall has been quoted as saying that Gus McCrae was his favorite character he ever played. He is certainly mine. Angelica Huston is the perfect person to play Clara. It is almost like Larry McMurtry had some of these actors and actresses in mind when he wrote his novel. The only exception is Frederic Forrest as Blue Duck. He does a fine job with what he's got, but the man just isn't big enough or scary enough for this role. The story is incredible. The scenery is beautiful. Lonesome Dove is, in my opinion, the best western ever made. A definite must see for everyone.

A River Runs Through It (1992)

A very positive review

[7/10 · 5 March 2001]

This is a truly great picture. The picturesque Montana landscapes make a wonderful backdrop for this magnificent family drama. Brad Pitt is refreshingly clean looking (Something that is rare in his more recent films), and does a wonderful job supporting Craig Sheffer's character throughout the film. Sheffer is also very good as Norman Maclean, but the best aspect of this movie is Tom Skerritt who seems born to play the role of Rev. Maclean. This movie follows the book it is based on almost to the letter, and Robert Redford is to be commended for it. The Narration is beautiful, the story is powerful, and the acting is tremendous. All in all, a great movie.