Thumbnails Feb 15
The story of the 1980 Soviet Olympic hockey team told through the eyes
of captain Viachaslav Fetisov highlights the
dismal relationship between Fetisov and the other players on one side
and their dictatorial coach,
Viktor Tikhonov, on the other. It goes on to tell how all the players
came to play in the NHL, how they finally got together on the same team,
and the effect it had on the NHL, closing with what became of Fetisov.
Itís a fascinating film.
Despite the fact that itís too long and lacks humor, this Jude Law
vehicle still creates a sufficient amount of tension along with the plot
twist that make it entertaining. Frankly, though, the plot twist made
absolutely no sense to me. This is intended to capture the
claustrophobic feeling of being in a disabled submarine of questionable
safety in the ocean depths. Unfortunately, good as this movie is,
director Kevin McDonald has apparently never seen the inside of a real
sub because this one is big enough to play basketball in.
Taken 3 (5/10):
Screenwriter Robert Mark Kamen has apparently run out of ideas for this
until-now entertaining Liam Neeson franchise. This is a formulaic, often
preposterous, excursion into revenge violence. Director Luc Besson has
clearly lost his way in this film. Oh, well, all good things must come
to an end, and thatís whatís happened here. Too bad; with new blood it
could continue for a long time. But this one could be the killing blow.
Wild Card (5/10):
It would be hard to believe that it took longer than 15 days to shoot
this Jason Statham vehicle, which is a remake of Burt Reynoldís 1986
ďHeat.Ē Thereís no story to speak of, just an excuse for unarmed
gambling addict Jason Statham to use his martial arts to dispatch lots
of bad guys who need shaves (generally around 10 at a time) and are
armed with guns and knives, yet emerging without so much as a scratch.
Cameos by Jason Alexander and Stanley Tucci are wasted, although Tucci
provides some spark.
Song One (3/10):
Anne Hathaway spends a lot of time sitting by her song-writing
brotherís bedside waiting for him to come out of a coma (tick, tock,
tick, tock). When it mercifully cuts to scenes of her having a love
affair with a folk singer (Johnny Flynn), one realizes how comparatively
action-packed it was to watch her sitting by her brotherís bedside. The
musicís not bad, though.
This is the new kind of thriller, one that relies on action without
logic. Itís ludicrous, full of guns that fire unending rounds of
ammunition without needing a reload, gunfights in crowded areas, chases
that spring out of nowhere, well I could go on and on. It seems as if
there is at least one plot hole every minute. It piles non sequitur upon
non sequitur, defying cohesion or reason.
The Interview (2/10):
When Charlie Chaplin made The Great Dictator (1941) satirizing
Hitler, his character was named Adenoid Hynkel, not Adolph Hitler. Only
the initials were the same. And Hynkelís country was not Germany but
Tomainia. If Hitler wanted to protest, heíd have to prove that Hynkel
was similar to him and Tomainia was similar to Germany, so he ignored
it. Seth Rogen, however, shows a lack of understanding of effective
satire, by using the names of a real person and country. Itís no
surprise that Rogen once again relies on cheap sex jokes, priapism, and
foul language as substitutes for humor in this inept, unfunny film.
Since Rogen has both writing and producing credits, there was no worry
that the movie would not have a surfeit of F-bombs, a word without which
Rogen apparently cannot communicate.