End of Watch

END OF WATCH

Another thrilling police drama from the writer of Training Day

 

I wish I had a gold AK...

 

2012, Police Drama, Rated R

Distributed by Open Road Films

 

          End of Watch stars Jake Gyllenhaal and Michael Pena as LAPD officers and partners in the latest film from David Ayer. Ayer has written many successful movies involving realistic depictions of police officers and this is merely his latest. End of Watch has a twist, though: it's filmed like Paranormal Activity and Cloverfield. Most of the movie is viewed through Officer Taylor's (Gyllenhaal) home recorder. He brings it along and films everything, sort of like in the show Cops. He even has cameras attached to their chest pockets. The illusion really works and it will begin to feel totally reel. The found footage tactic works in End of Watch and that alone makes it worth seeing. The thing is, most found footage movies have big thrills and bad actors. Gyllenhaal and Pena both give excellent portrayals of L.A.'s finest.

          Officer Taylor's camera's aren't the only way we experience End of Watch. There are other shots throughout that are filmed like a traditional movie. They are blended so well into the action that you won't even notice. The fact that the cameras are there, though, provide for many interesting scenes. Many of the other officers are skeptical of Taylor filming them and that always made for funny moments that explored each character involved.

          What's great about the film is that it's not just about cops. It's about the people who happen to be cops. There is a lot of time spent with Taylor's and Zavala's (Pena) families as well as car chases and shootouts. We really get a feel for who these guys are behind the badge. This makes for great dramatic moments between the two men when they're on the job. They fight, laugh, talk sh@# but always act totally human, not like made up charatcers. It's hard to describe. The found footage technique worked very well in End of Watch.  

          The whole thing somehow felt a bit underwhelming, however. It felt like a poor man's Training Day, or rather, a Training Day for a modern, younger audience. I guess that isn't a bad thing. It really is a good movie and the experience of it all is intense, but it somehow reminded me of other police dramas that have been grittier. That's what was missing: the grit. Maybe it was the young, pretty-faced Gyllenhaal that made me feel this way, though he did a great job. Anyway, don't expect Training Day or a new classic police drama. This is a thrill but it won't last.

          After a lull at the box office I'd say this is a good film to catch at the theater. The hand-held gimmick is good for the theater. The whole film will be more intense that way. But hey, plenty of people watch Cops on their TV's so maybe wait for it on DVD. It's a great film, and all the actors turn in good performances, but it isn't a mind-blow. It also felt a bit too long.

 

          Side note: I thought the ending was bad. I won't say what happens and although you may see it coming, I wasn't a fan. They should have kept it original like the film had been up until that point. And then there's a random other ending that is funny but felt really pointless. I think they were hoping to distract you from the cliche ending. 

 



Dredd

DREDD

R-rated sci-fi action at its finest

 

2012: Lionsgate


2012, Sci-Fi/Action, Rated R

Distributed by Lionsgate

 

          I don't think anyone could have predicted this: Dredd is the best R-rated action film of the year. There is no comparison to the amount of brutal and stylish violence that is displayed on screen during this new sci-fi actioner. The film builds its own ultra compelling, crime-ridden, post-apocalyptic world full of interesting characters and futuristic technology. The film's attitude serves it so well: Judgement is coming so you'd better be ready. Strap in and hold on tight, Dredd is absolutely thrilling.

          Let me explain my initial skepticism about the remade, comic book adaptation that is Dredd. Karl Urban is the star. This guy hasn't carried a good action film on his own. He has tried and failed miserably. Pathfinder saw him as a central action hero in another comic book adaptation and that film was awful. It wasn't his fault, though, because Urban is a good actor when he wants to be (see his side roles in The Lord of the Rings trilogy and the Star Trek remake) but his starring roles have not made him a bona-fied action hero yet. Hopefully Dredd can push him in that direction. He does a fabulous job as the one-note, badass law-enforcer named Judge Dredd. He lives in a city surrounded by deadly radiation jampacked with 800 million people. There is a lot of crime and the only force fighting that crime is the Hall of Justice. Judges are like futuristic policemen who do everything on the job: they act as judge, jury, and executioner for each case they handle. They carry out "on site executions" like it's no big deal because the dystopian society that now exists doesn't have time or resources to do it the old way.

          Anyway, a new drug pops up and is slowly getting the whole city hooked. It's called "Slow-Mo" and makes it seem as though time is happening at 1% its normal speed. Dredd is on patrol with a rookie Judge (played by Olivia Thirlby) and they stumble into a tower in which the drug is being produced and controlled by one woman. She's called Ma-Ma (played by Lena Heady) and she is one evil, totally infectious, very powerful villain. She finds out two judges are sniffing around her operations and shuts the whole building down, locking them inside. The two Judges then have to fight their way to the top (200 floors up!) with no backup and hundreds of baddies after them. It's explosive action and cheeky dialogue from then on.

          Dredd takes full advantage of superb special effects, 3D, and gruesome violence. This film is not for the faint of heart. When characters take the Slow-Mo drug, the screen gets this sparkling, ultra-slow-motion fix to it that is just dazzling. Most stylish gimmicks like this can feel like hollow eye candy, but not the visuals in Dredd. I was always glued to the screen during a Slow-Mo scene. It's so cool because each time something new and different will happen to the person on the drug. Usually is involves violence. One scene has a whole room full of users as Dredd and the rookie bust in and shoot pretty much everyone. The whole scene is in slow motion and you see bullets going through people's faces. It's violently gorgeous on a visual effects standpoint. There are violent images in this that are truly unrivaled in other R-rated films. It's not going to win any Oscars, but Dredd succeeds in all areas that it attempts to impress.

          There's a lot of deadpan humor to be found here as well. The filmmakers know that people aren't going to take this movie too seriously so they play around with the dialogue and the action. Dredd doesn't say much but when he does it's either hilarious or extremely menacing. Karl Urban really pulls this one off with flying colors. The scribe too, Alex Garland (28 Days Later), wrote a great script. Another excellent aspect of the film is that Dredd never takes off his helmet. That was an issue fans of the comics had with the original. This time around they did it right. Performances were also top-notch. Lena Heady as Ma-Ma was perfectly creepy and menacing and Olivia Thirlby as the rookie Judge with psychic abilities were both great. The rookie's psychic powers come into play during an interrogation scene that is just plain awesome: like nothing you've ever seen.

          All in all I'd say drop what you're doing and go see Dredd if you like action films, especially if you like overly-violent R-rated action films. All the characters are compelling and the special effects are totally mind-blowing. There's been a lull in good movies since August ended and this is your first real reason to visit the theater post-summer-blockbuster slump.

 

          Side note: September is always a slow time at the movies. The films that come out usually aren't good enough for end-of-the-year Oscar rounds or mainstream enough for the busy summer schedule. The past two weeks have been a good example of that. That's why I haven't been reviewing as much. But this weekend sees the releases of multiple exciting new films. Come back very soon for reviews of The Master, End of Watch, House at the End of the Street, and Trouble with the Curve. It's gonna be a busy weekend...go see Dredd, though, because it's awesome. 



Hit and Run

HIT AND RUN

This is one accident you want to get into

2012: Open Road Films

 

2012, Action/Comedy, Rated R

Distributed by Open Road Films

 

          Hit and Run stars Dax Shepard (from TV's Punk'd) and a dreadlocked Bradley Cooper as criminals in a hysterical cat-and-mouse road trip movie. It's not at all the movie you expect it to be. At first, when my initial expectations (the trailers advertise just another R-rated raunchy comedy) were not reached, I was bracing myself for a bad time at the theater. But then the shift of tone settled in nicely and the film was a great ride from then on. You'll soon learn that it has a very strong and romantic love story and the goofy Dax Shepard can pull this one off.

          The film, co-directed and written by Shepard, is about a couple, played by Shepard and Kristen Bell, who are deeply in love. This is expressed in the opening scene. It's essentially pillow talk between them and Dax Shepard does so well. At first I thought I could only take him in a comedic light but he is a real actor through and through and proves it here. Kristen Bell is great as well; their chemistry was perfect. The movie is hard to explain from there, but that's what I like about it. There is so much back-story that is revealed to the audience slowly and very naturally and it paints the whole picture in the end. There were many comedic scenes that strayed from the plot because of lengthy improv rants from all the actors, but it was always hilarious. Tom Arnold does an especially great job going head to head with these young funny actors. He plays an accident-prone U.S. Marshall meant to monitor Shepard because he is in Witness Protection. 

          The reason he needs protection should not be explained here, you have to let the film unfold its story for you. The pacing is perfect and I was never bored. From each romantic scene to every last chase scene I was glued. Bradley Cooper is probably my favorite in the film, though. As expected, his character is whacked-out but hilarious. There are no good guys or bad guys...I'm stumbling here because it's nearly impossible to describe. There are so many hilarious actors and characters that fill the story, you shouldn't lose interest.

          The action is spectacular as well. It's not CGI robots or anything but the cars were fast and the rubber was hot. Dax Shepard's character was a getaway driver before he met his girlfriend so he always escapes somehow in suped-up cars of various high-end makes and models. There are a few scenes of violence that embrace the R rating but I would say overall this is a comedy. The way each character talked felt very real, so I liked how much swearing I heard. The plot, editing, and pacing were all particularly impressive because it's not a traditional type of story. This is pretty much a great, fun film with tons of likable actors, a funny script, and in a copy-cat world, it's actually original.

 

          Side note: I didn't want to give away the story so I couldn't mention other characters and actors. Here are some noteworthy performances: Michael Rosenbaum as Gil, Kristen Bell's character's pathetic but persistent jealous ex-boyfriend, Christen Chenoweth as Bell's pill-popping boss, Jess Rowland as a desperate homosexual police officer, David Coechner as a redneck thief, and Beau Bridges as Shepard's father. Jason Bateman and Sean Hayes have cameos...need I continue?

 



Premium Rush

PREMIUM RUSH

Goofy title aside, you'll enjoy this one

Gordon-Levitt does just that

2012, Thriller, Rated PG-13

Distributed by Columbia Pictures
 

          The most interesting aspect of this film is its director, David Koepp. Koepp normally sticks to screenplays and has penned some very successful films with broad appeal (Jurassic Park, Panic Room, Spider-Man). His latest, which he wrote and directed, has somewhat limited appeal. It's about a bike messenger in New York City who gets some heavy baggage to deliver. With a very corrupt cop hot on his rubber trail, Wilee must race to get the package into the right hands. People's lives depend on it. It's very intense stuff, but somehow it all feels a bit trivial. It's a great and stylish little film, but I wouldn't say it's for everyone.

          Joseph Gordon-Levitt plays Wilee the exceptionally quick and smart bike messenger living and delivering in the heart of NYC. He does a wonderful job playing the character while opening up a world to the audience that most people aren't familiar with. It reminded me of other films that show you the inside workings of an industry or something unknown to the viewer (such as driving a taxi in Collateral, being a male stripper in Magic Mike). The film is held up by the fact that bike messengers live an interesting and fast-paced life, one we get a close-up look at, and Koepp depicts it with style and enthusiasm.

          Opposite Gordon-Levitt is Michael Shannon as the corrupt cop trying to intercept Wilee's new and dangerous package. Just as Wilee picks up the package, Shannon's dirty cop is there to antagonize him and demand the contents of the envelope. It's a gritty and high-octane chase scene from there on. Wilee outwits Shannon's character in many well-crafted scenes but he is relentless. Michael Shannon has proved a versatile actor but in Premium Rush he really shines. He does a superb job playing the grimy villain. He is very good at playing a creep, I'll give him that.

          Even though the film is edge-of-your-seat action and chase scenes, there are surprisingly a few dull moments. What I love about the film is that it begins at about 5:00 pm and ends around 7:00 pm which is when Wilee's message needs to be delivered. It's almost in real-time. Almost. There are overly-long and complicated flashbacks that show the viewer why the dirty cop needs what Wilee is carrying. It's nice to see a well-thought-out reason, but the flashbacks interrupt the flow of the film. I found I could have done without them. His backstory could have been displayed to the audience in a more interesting way. I would have taken advantage of Michael Shannon's excellent acting by giving him a monologue or something to describe his situation. The way they did it, though, wasn't terrible.

          There are so many redeemable aspects of this fresh new film to warrant a trip to theater. It's nothing like The Avengers and isn't as intense as The Bourne Legacy but it is original and it is creative. The visual effects are tremendous and the soundtrack even sticks out as better than average. All in all, I highly suggest it.