MasterDebator5
Joined May 2004
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Reviews14
MasterDebator5's rating
Yes Man
Directed by Peyton Reed. Starring Jim Carrey, Zooey Deschanel and Bradley Cooper.
In the late '90s, Jim Carrey decided he'd had enough of playing the silly goofball and started on a path to more serious films like "The Truman Show." Ten years later, he's had his share of hits, but for the most part, his comedic efforts have fallen flat. Excusing 2003's fairly enjoyable "Bruce Almighty", Carrey hasn't had much recent success with the genre that he once dominated ("Fun with Dick and Jane", anyone?).
In "Yes Man", the skilled physical comedian has dusted off the cobwebs and is back in good form. Carrey really seems to be enjoying himself, putting on his best game face and immersing himself in the sight gags and slapstick madness that were so commonplace in his earlier films. He hasn't lost his touch or his talent at making people laugh, and he makes sure that the audience knows it.
Truthfully, the plot to "Yes Man" is irrelevant. Carl Allen (Carrey), a man afraid of living life, challenges himself to say 'yes' to everything for an entire year. Hilarity ensues and in the end, everyone learns a lesson. It's nothing more than a vehicle to showcase Carrey's ability. But really, which one of his comedies isn't? There are no unexpected twists or surprise endings, just Jim Carrey doing what Jim Carrey does best. Everything else is secondary.
The film is rounded out rather nicely by a few of its supporting players. Zooey Deschanel is a cute and bubbly romantic interest who even adds a bit of mayhem to the proceedings, instead of being relegated to straight-man status. "Flight of the Conchords'" Rhys Darby shines as Carl's Harry Potter-obsessed co-worker. However, some of the cast feels extraneous. Bradley Cooper and "That '70s Show's" Danny Masterson are given little to do, and contribute little as a result. The missed opportunities are irksome, but will do little to affect one's enjoyment of the film.
"Yes Man" is a fun time waiting to be had for those who know what to expect. The movie is generally funny throughout, but not clever or inventive enough to justify a second look. It's the kind of entertainment that leaves you chuckling, but won't be remembered long after viewing. The biggest thing going for the film is that it has re-energized Jim Carrey. He's an absolute joy to watch; one only wishes that "Yes Man" could keep up with him.
Final Grade: C+
Directed by Peyton Reed. Starring Jim Carrey, Zooey Deschanel and Bradley Cooper.
In the late '90s, Jim Carrey decided he'd had enough of playing the silly goofball and started on a path to more serious films like "The Truman Show." Ten years later, he's had his share of hits, but for the most part, his comedic efforts have fallen flat. Excusing 2003's fairly enjoyable "Bruce Almighty", Carrey hasn't had much recent success with the genre that he once dominated ("Fun with Dick and Jane", anyone?).
In "Yes Man", the skilled physical comedian has dusted off the cobwebs and is back in good form. Carrey really seems to be enjoying himself, putting on his best game face and immersing himself in the sight gags and slapstick madness that were so commonplace in his earlier films. He hasn't lost his touch or his talent at making people laugh, and he makes sure that the audience knows it.
Truthfully, the plot to "Yes Man" is irrelevant. Carl Allen (Carrey), a man afraid of living life, challenges himself to say 'yes' to everything for an entire year. Hilarity ensues and in the end, everyone learns a lesson. It's nothing more than a vehicle to showcase Carrey's ability. But really, which one of his comedies isn't? There are no unexpected twists or surprise endings, just Jim Carrey doing what Jim Carrey does best. Everything else is secondary.
The film is rounded out rather nicely by a few of its supporting players. Zooey Deschanel is a cute and bubbly romantic interest who even adds a bit of mayhem to the proceedings, instead of being relegated to straight-man status. "Flight of the Conchords'" Rhys Darby shines as Carl's Harry Potter-obsessed co-worker. However, some of the cast feels extraneous. Bradley Cooper and "That '70s Show's" Danny Masterson are given little to do, and contribute little as a result. The missed opportunities are irksome, but will do little to affect one's enjoyment of the film.
"Yes Man" is a fun time waiting to be had for those who know what to expect. The movie is generally funny throughout, but not clever or inventive enough to justify a second look. It's the kind of entertainment that leaves you chuckling, but won't be remembered long after viewing. The biggest thing going for the film is that it has re-energized Jim Carrey. He's an absolute joy to watch; one only wishes that "Yes Man" could keep up with him.
Final Grade: C+
Die Another Day
Directed by Lee Tamahori.
Starring Pierce Brosnan, Halle Berry and Judi Dench.
Pierce Brosnan's fourth effort as James Bond turns out to be by far his worst, resulting in the overly cheesy and disappointing "Die Another Day." Marking a double anniversary for the series (twenty films in forty years), the movie celebrates the tried-and-true Bond formula by tossing in at least one reference to each previous installment. While it may be fun to play 'Guess That Bond Movie' for a bit, there is generally not much enjoyment to be had in this uninspired entry.
The pre-title sequence kicks things off in typical Bond fashion. 007 invades a North Korean military base and, after an exciting hovercraft chase, is captured and imprisoned for over a year. As the credits roll -- to the sub par theme sung by Madonna -- the audience sees Bond beaten and tortured. MI6 only comes to his aid because they believe that he has cracked under pressure, and don't want the North Koreans siphoning important information. The once-heroic secret agent returns to his homeland a disgrace. The intro sets a serious tone for the film, duping its audience into suspecting that a similarly themed story will follow. That's what would have made sense, but it certainly isn't what occurs.
"Die Another Day" is split into two very different films. In the first half, it's a revenge story played relatively straight with interesting plot turns and developments. Bond, without the backing of his agency, seeks revenge for his betrayal in North Korea, following a trail (with stops at Hong Kong, Havana and Iceland) that eventually leads to diamond tycoon Gustav Graves (Toby Stephens). Graves is a pretty standard villain at first glance: rich, eccentric and power hungry. In fact, the entire first hour is business as usual for the series; nothing new but enjoyable nonetheless.
The story takes a turn for the outrageous in its second half, starting with Bond's initial encounter with Graves. The two quickly clash egos at a prestigious London fencing club. Their friendly match soon becomes an over-the-top sword fight that toes the line between exhilaration and camp. In the very next scene, Bond is reinstated at MI6 and "Die Another Day" simultaneously ditches the revenge theme. Apparently, Tamahori was no longer concerned with that aspect of the story, instead preferring to prop up his movie with ridiculous gadgets and unconvincing action sequences. The series typically employs stunt men to realize its fantastic feats, but this outing amps up the CGI to a disappointing degree. Seeing a computer-generated Pierce Brosnan riding a tidal wave and dodging icebergs on a makeshift surfboard is just too much. Remember, just because you can doesn't mean you should.
Brosnan's effort in "Die Another Day" recalls that of Sean Connery in his last 007 feature, "Diamonds Are Forever." Much like Connery at the time, Brosnan has simply lost interest and sleepwalks from scene to scene. His heart clearly isn't in it, whether it be due to the corniness of the film or boredom with the role in general. He stars opposite Halle Berry, whose Jinx character is set up as Bond's female equivalent. She's an American agent working for the NSA, with an appetite for sex and excitement. Despite the good intentions, Jinx is just a poorly disguised effort to appease feminist sensibilities (not to mention, she's just plain annoying). The producers make sure that she kicks butt, yet she is still the helpless damsel in distress when the time comes.
This twentieth installment means well, and in the hands of a more competent director it could have been much better, but "Die Another Day" ultimately fails because of its indecisiveness. The film sacrifices story to make way for mindless action, but in order for the audience to care about the action there needs to be a compelling story driving it along (I guess those responsible for the movie never heard about the chicken and the egg). It attempts to pay tribute to the past, but instead combines the worst bits of the old movies. As a result, "Die Another Day" takes its place alongside "Diamonds Are Forever", "Moonraker" and "A View to a Kill" as one of the worst Bond films ever made.
Final Grade: D
Directed by Lee Tamahori.
Starring Pierce Brosnan, Halle Berry and Judi Dench.
Pierce Brosnan's fourth effort as James Bond turns out to be by far his worst, resulting in the overly cheesy and disappointing "Die Another Day." Marking a double anniversary for the series (twenty films in forty years), the movie celebrates the tried-and-true Bond formula by tossing in at least one reference to each previous installment. While it may be fun to play 'Guess That Bond Movie' for a bit, there is generally not much enjoyment to be had in this uninspired entry.
The pre-title sequence kicks things off in typical Bond fashion. 007 invades a North Korean military base and, after an exciting hovercraft chase, is captured and imprisoned for over a year. As the credits roll -- to the sub par theme sung by Madonna -- the audience sees Bond beaten and tortured. MI6 only comes to his aid because they believe that he has cracked under pressure, and don't want the North Koreans siphoning important information. The once-heroic secret agent returns to his homeland a disgrace. The intro sets a serious tone for the film, duping its audience into suspecting that a similarly themed story will follow. That's what would have made sense, but it certainly isn't what occurs.
"Die Another Day" is split into two very different films. In the first half, it's a revenge story played relatively straight with interesting plot turns and developments. Bond, without the backing of his agency, seeks revenge for his betrayal in North Korea, following a trail (with stops at Hong Kong, Havana and Iceland) that eventually leads to diamond tycoon Gustav Graves (Toby Stephens). Graves is a pretty standard villain at first glance: rich, eccentric and power hungry. In fact, the entire first hour is business as usual for the series; nothing new but enjoyable nonetheless.
The story takes a turn for the outrageous in its second half, starting with Bond's initial encounter with Graves. The two quickly clash egos at a prestigious London fencing club. Their friendly match soon becomes an over-the-top sword fight that toes the line between exhilaration and camp. In the very next scene, Bond is reinstated at MI6 and "Die Another Day" simultaneously ditches the revenge theme. Apparently, Tamahori was no longer concerned with that aspect of the story, instead preferring to prop up his movie with ridiculous gadgets and unconvincing action sequences. The series typically employs stunt men to realize its fantastic feats, but this outing amps up the CGI to a disappointing degree. Seeing a computer-generated Pierce Brosnan riding a tidal wave and dodging icebergs on a makeshift surfboard is just too much. Remember, just because you can doesn't mean you should.
Brosnan's effort in "Die Another Day" recalls that of Sean Connery in his last 007 feature, "Diamonds Are Forever." Much like Connery at the time, Brosnan has simply lost interest and sleepwalks from scene to scene. His heart clearly isn't in it, whether it be due to the corniness of the film or boredom with the role in general. He stars opposite Halle Berry, whose Jinx character is set up as Bond's female equivalent. She's an American agent working for the NSA, with an appetite for sex and excitement. Despite the good intentions, Jinx is just a poorly disguised effort to appease feminist sensibilities (not to mention, she's just plain annoying). The producers make sure that she kicks butt, yet she is still the helpless damsel in distress when the time comes.
This twentieth installment means well, and in the hands of a more competent director it could have been much better, but "Die Another Day" ultimately fails because of its indecisiveness. The film sacrifices story to make way for mindless action, but in order for the audience to care about the action there needs to be a compelling story driving it along (I guess those responsible for the movie never heard about the chicken and the egg). It attempts to pay tribute to the past, but instead combines the worst bits of the old movies. As a result, "Die Another Day" takes its place alongside "Diamonds Are Forever", "Moonraker" and "A View to a Kill" as one of the worst Bond films ever made.
Final Grade: D
Batman Begins
Directed by Christopher Nolan.
Starring Christian Bale, Katie Holmes and Liam Neeson.
After Joel Schumacher finished running the Batman franchise into the ground with 1997's ridiculous "Batman & Robin", Christopher Nolan decided to pick up the pieces and mold a much grittier Dark Knight. "Batman Begins" isn't a perfect film, but it is a refreshing and unique take on the character and challenges typical notions of what a comic book movie can be.
"Begins" picks up on Bruce Wayne, Batman's billionaire alter-ego, living life as a criminal in a dank prison located thousands of miles from his home in Gotham City. Wayne (Christian Bale) has effectively gone off the map, breaking contact with old friends in Gotham on his quest to come to terms with the guilt he feels from witnessing his parents' death as a young boy. The result is somewhat satisfying, but it is when Bruce meets Ra's Al Ghul -- a deadly assassin who heads the vengeful League of Shadows -- that he really starts learning how to be a fear-inducing vigilante. Bruce studies under Henri Ducard (Liam Neeson) and quickly proves his worth, mastering the techniques that will serve him well in his future crime-fighting endeavors. He is willing to do all that is necessary in order to be effective, except for one thing: this new Batman's not too keen on taking lives. Unfortunately, his humane outlook isn't shared by his League comrades.
After forcefully parting ways with the League of Shadows, Bruce returns to his old stomping ground, ready and willing to make an impact on its criminal underbelly. Gotham City has become a breeding ground for the insane and the corrupt. Batman has his hands full dealing with both, from the nerve toxin-spraying Scarecrow (a delightfully eerie Cillian Murphy) to the city's own Godfather of Crime, Carmine Falcone (Tom Wilkinson). The film winds up biting off a bit more than it can chew, choosing to focus less time on more villains than vice versa, but no matter. The core of "Batman Begins" is all about what drives the tormented hero, studying Bruce Wayne's character with or without the cowl.
Much of the film's success is due to Bale and Nolan, who really reignite the series and take it in a much more interesting direction. Bale delivers, delving into Bruce Wayne's psyche and unleashing his Caped Crusader over the modern, depressing background of Nolan's Gotham City (the director filmed effectively in Chicago to represent the fictional city). Others, like Michael Caine's Alfred and Morgan Freeman's Lucius Fox (playing the billionaire's butler and gadget supplier, respectively) help round out the cast and add a bit of charm to the proceedings. The only real letdown is Katie Holmes as love interest Rachel Dawes. Holmes is out of her league in this fantastic cast, and is relegated merely to damsel-in-distress status.
"Batman Begins" is a welcome addition to the Batman legacy, and will satisfy fans of all ages who are open to a darker interpretation. It successfully ignores the camp of the old films without sacrificing any of the fun. Long gone are the days of enlarged cod-pieces and curiously defined Bat-nipples. I, for one, couldn't be more pleased.
Final Grade: A-
Directed by Christopher Nolan.
Starring Christian Bale, Katie Holmes and Liam Neeson.
After Joel Schumacher finished running the Batman franchise into the ground with 1997's ridiculous "Batman & Robin", Christopher Nolan decided to pick up the pieces and mold a much grittier Dark Knight. "Batman Begins" isn't a perfect film, but it is a refreshing and unique take on the character and challenges typical notions of what a comic book movie can be.
"Begins" picks up on Bruce Wayne, Batman's billionaire alter-ego, living life as a criminal in a dank prison located thousands of miles from his home in Gotham City. Wayne (Christian Bale) has effectively gone off the map, breaking contact with old friends in Gotham on his quest to come to terms with the guilt he feels from witnessing his parents' death as a young boy. The result is somewhat satisfying, but it is when Bruce meets Ra's Al Ghul -- a deadly assassin who heads the vengeful League of Shadows -- that he really starts learning how to be a fear-inducing vigilante. Bruce studies under Henri Ducard (Liam Neeson) and quickly proves his worth, mastering the techniques that will serve him well in his future crime-fighting endeavors. He is willing to do all that is necessary in order to be effective, except for one thing: this new Batman's not too keen on taking lives. Unfortunately, his humane outlook isn't shared by his League comrades.
After forcefully parting ways with the League of Shadows, Bruce returns to his old stomping ground, ready and willing to make an impact on its criminal underbelly. Gotham City has become a breeding ground for the insane and the corrupt. Batman has his hands full dealing with both, from the nerve toxin-spraying Scarecrow (a delightfully eerie Cillian Murphy) to the city's own Godfather of Crime, Carmine Falcone (Tom Wilkinson). The film winds up biting off a bit more than it can chew, choosing to focus less time on more villains than vice versa, but no matter. The core of "Batman Begins" is all about what drives the tormented hero, studying Bruce Wayne's character with or without the cowl.
Much of the film's success is due to Bale and Nolan, who really reignite the series and take it in a much more interesting direction. Bale delivers, delving into Bruce Wayne's psyche and unleashing his Caped Crusader over the modern, depressing background of Nolan's Gotham City (the director filmed effectively in Chicago to represent the fictional city). Others, like Michael Caine's Alfred and Morgan Freeman's Lucius Fox (playing the billionaire's butler and gadget supplier, respectively) help round out the cast and add a bit of charm to the proceedings. The only real letdown is Katie Holmes as love interest Rachel Dawes. Holmes is out of her league in this fantastic cast, and is relegated merely to damsel-in-distress status.
"Batman Begins" is a welcome addition to the Batman legacy, and will satisfy fans of all ages who are open to a darker interpretation. It successfully ignores the camp of the old films without sacrificing any of the fun. Long gone are the days of enlarged cod-pieces and curiously defined Bat-nipples. I, for one, couldn't be more pleased.
Final Grade: A-
