Star Scene

By Ian Gibson

Vengeance is an angry thing, an act charged with intense emotions and violent actions. Faster, the latest starring vehicle for Dwayne “The Rock” Johnson, is a film about vengeance. Though it is made-up of all the typical components of a revenge flick (villains, gunfights, flashbacks, etc.), there is something inherently new in Faster – a mysterious quality that makes it enjoyable despite the sense of familiar territory.

Johnson is, predictably, the badass of the film, the hero with a nasty edge and a heart filled with rage. A recently released convict with a bad memory of his brother’s death, the hero sets-out to kill those who killed the only person he loved in the world. Carla Gugino and Billy Bob Thornton co-star as the odd-couple pair of police detectives trying to make sense of a world suddenly filled with dead bodies. Rounding out the cast of characters is a professional hitman played by Oliver Jackson-Cohen tasked with killing Johnson in order to protect a guilty client. To be painfully honest, the plot and characters don’t offer much beyond the standard formula of the genre.

Where Faster gets interesting is in the thrilling cinematography. Nearly every shot is carefully planned and orchestrated to be original and invigorating. The emotions of the scene drive the camerawork, instilling in the viewer the exact same state of mind that the characters are experiencing. Even the most basic situations are given this treatment, giving the entire film a likable innovative feel. The soundtrack only adds to this aesthetic, kicking in with at exactly the right moment with a song that works to enhance the visual action and not drown it. For a film marred by a plethora of stale, standard elements, Faster is surprising novel and entertaining.

In an odd way, Faster’s theme of redemption applies outside the bounds of narrative. Despite it’s staid quality, one can’t help but applaud the film as whole for its ability to use creative technique to reinvigorate well-worn tropes. Faster deserves to be watched and studied as an excellent example of how to be creative in the bloated, over-saturated state of modern Hollywood.

By Ian Gibson

In the age of internet dominance and tell-all exposés, a movie about the world’s most popular social networking site has long been expected. The Social Network, a new film from Aaron Sorkin and David Fincher, attempts to finally fill that niche. The film chronicles the upstart of Facebook in brilliant cinematic fashion, reveling in the plethora of characters and scandals surrounding the birth of the now-ubiquitous website.

The Social Network focuses on the character of Facebook creator Mark Zuckerberg, a fascinating narcissist portrayed brilliantly by Jesse Eisenberg (Zombieland, Adventureland). From the fast-paced and emotionally charged opening scene to the somber but telling final shot, the personality of Zuckerberg is the star of the movie. Every interaction he has with the other equally interesting but nonetheless overshadowed characters subtly reveals flawed aspects of a deeply troubled individual. Though the film is called The Social Network, the subject is not Facebook but rather the destructive Zuckerberg. Justin Timberlake and Andrew Garfield fill-out the main cast as Napster founder Sean Parker and Facebook co-founder Eduardo Saverin, respectively. Their roles within the film are mainly as contrasting influences upon the tech-brilliant but logistically challenged Zuckerberg.

In terms of presentation, The Social Network rises above the heap of average, homogeneous films polluting the theater today but does not quite reach the pinnacle of excellent filmmaking. The pacing, though intensely focused on the pivotal first-year of Facebook, does not quite present the scale needed to tell the story of a seven-year-old website. When the credits role, one cannot help but feel that certain questions and plot lines have been abandoned for the sake of streamlined brevity.

The cinematography also shares this quality of give-and-take, presenting a film that switches at-random from staid editing and shot composition to brilliantly scenes that utterly consume the viewer’s attention. The soundtrack of the film is one of the few unifying elements that remains consistently top-notch throughout the feature.

The Social Network proves a must-see film not simply because of its thrilling presentation but rather its relevance to the individual of the 21st century. Every viewer can find a piece of themselves in the movie’s selfish but driven characters, striving for success in a fast-paced, tech-rampant world.

For Upcoming movies, visit http://www.cineklik.com/

By Ian Gibson

Woody the cowboy, Buzz the action figure, Mr. and Mrs. Potatohead and the rest of the gang are back for more fun in Pixar’s latest animated creation Toy Story 3. Providing fun and entertainment for both youths and adults, the newly released finale to the 15-year-old trilogy proves a worthy successor to its classic prequels.

Continuing with many of the same characters and voices (Tom Hanks, Tim Allen, and Don Rickles to name a few), Toy Story 3 carries the well-known storyline to new heights. With owner Andy now off to college, the toybox gang find themselves facing new challenges in the form of time and dimension. The question of what is to become of them and where they will end-up fuels an adventure across the city and into totally new environments. New companions and enemies join them along the way, making for a generally thrilling and ever-exciting plot.

The kiddish sense of wonder and light-hearted play that made the original such a hit return in spades in Toy Story 3. Everything has been cranked up a notch, from the flurry of slapstick and puns to the Rube Goldberg-esque actions of the characters both old and new. This escalation of the Toy Story formula, though refreshing in its appeal to heritage and nostalgia, does somewhat degrade the experience. The strong sense of confined setting largely present in the original and only somewhat referenced in the sequel is practically absent in Toy Story 3. In the string of heart-pounding adventures spanning kilometers of territory, the story is no longer about what happens in the toybox/playroom sans-humans. That being said, it is a testament to the genius of Pixar that the movie still works despite this disregard of foundation.

So far for the summer of 2010, the list of blockbuster releases has been frequented by more failures than successes. Despite such bleak company, Toy Story 3 emphasizes the ingenuity and individuality of Pixar in it’s ability to ignore common convention and release a unique joy of a movie. As a finale to the series, Toy Story 3 is a must-watch for movie-fans of all ages.

By Ian Gibson

East meets west, retro meets new in the latest film of the 2010 blockbuster season. Disney’s The Karate Kid proves a near perfect remake, incorporating all the nostalgic elements of the original and adding on an invigorating modern facelift.

Starring Jaden Smith (Son of Will and Jada) as the juvenile martial arts newcomer and Jackie Chan as his wise teacher, The Karate Kid sticks close to its 1984 source just enough to feel familiar. This time around, a move to China forces Jaden out of his element and into scuffs with a playground gang. Jackie Chan emerges as a protectorate of the wayward pup, teaching him to embrace and not spurn the jarring culture around him. Though the basic plot points remain the same, this remake adds enough new creations and nuances to serve as a welcome update rather than an unnecessary rehash.

Perhaps the greatest facet of the original carried forward and multiplied in The Karate Kid is the maturity of the film. From the subtle, sometimes dark, but always hilarious humor to the pressing cultural issues faced by individuals of all ages, an aspect of willingness to address the emerging issues of our era in a manner telling of the modern mindset shows through. The movie only touches upon but does not explore all of the conflicts in it (guilt, diversity, pride, etc), almost as if it wishes to point out the difficulties of human nature without didactic moralization or problem-solving. The Karate Kid serves almost as a primer to the young adult, introducing them to the challenges of adulthood and the world at large.

With a movie as focused on its main character as this film, the performance of Jaden Smith shines for how much depth it portrays. In portraying a character undergoing an immense amount of emotions and stress, Jaden’s acting ability shines through with stunning brilliance. From punchline to tears, anger to pride, this talented young actor runs the emotional gambit with skill usually only seen in the most veteran of Hollywood. Between Jaden Smith and Jackie Chan, the spectacularly updated plot and emotionally riveting story, The Karate Kid proves a must-see film for all ages.

For more upcoming movies and what is showing now, go to http://www.cineklik.com/

By Ian Gibson

In the era of the Hollywood remake, fondly remembered TV shows of the 80s prove to be irresistible property. The classic series The A-Team arguably lies at the top of list of modern-day adaptables with its crowd pleasing duo of humorous sass and blockbuster action. With that in mind, it’s a shame to see the infinitely disappointing result that is The A-Team, a movie that squanders such incredible source material.

Staring the quartet of Bradley Cooper, Liam Neeson, Sharlto Copley, and Quinton Jackson, The A-Team follows a ragtag group of US Army Rangers and the odd, nearly impossible missions they are given. With each actor portraying such wildly different and caricatured characters, most of the substance of the film lies in the interaction between the outside world and the team members themselves. The badly paced plot relies mainly on the inevitable Hollywood standby of double-crossing to the point of inanity, adding so many ineffective twists as to make itself a muddled mess by the end.

The ultimate downfall of The A-Team lies in the absolutely abysmal editing and cinematography. With an endless supply of too-quick cuts and an overbearing soundtrack, following the action on the screen proves nigh impossible. Any positive aspects of the movie are nullified by the off-putting manner in which they are displayed. Acting almost as a feature-length montage of barely discernible close-ups, the movie reaches a point where it simply becomes unwatchable.

The real victim of this sham job of filmmaking is the incredible humor of the film. The magnetism of both the outlandish characters and the excellent actors portraying them allow for fast, hard-hitting punchlines. The style of humor and joking references vary immensely but always deliver on the laughter. Newcomer Copley of District 9 proves the wildest of the bunch, bringing giggles to guffaws to the audience every time he appears on camera. That being said, The A-Team still proves an immensely flawed film despite the enormous potential within it. Perhaps in another 26 years a new The A-Team remake will do it right.

For more upcoming movies and what is showing now, go to http://www.cineklik.com/

By Ian Gibson

From Eraserhead to Salo, Cannibal Holocaust to Requiem for a Dream, movies with emotionally disturbing content have always proved a hot potato issue. Precious, a critically acclaimed film featuring the plight of the urban African-American, attempts to shock the audience into sympathy in a manner that is ultimately more off-putting than effective.

Precious is the tale of a 16 year-old Harlem resident pregnant with her second child. The father is her abusive father, a fact made more jarring by the violent behavior of Precious’ jealous mother (played brilliantly by Mo’Nique). Failing school, barely surviving on welfare checks, and constantly surrounded by hatred and animosity, Precious struggles to survive in a world that is stacked against her. As she transitions to an alternative school for troubled students and deals with the burgeoning pregnancy of yet another unwanted child, the mental escapes of Precious become more fanciful and removed from reality. Serving only as a slice of a difficult life, the film ends on an ambiguous and unclear ending.

With such strong material, one would expect Precious to be a powerhouse film that plays upon all strings of the human heart. Instead, the audience is treated to a badly mashed experience that becomes much too hyperbolic to be believed. Moving quickly from too-short scenes of disturbing content to overly stylized and normalized moments of daily life proves a confusing and bewildering juxtaposition. If the life of Precious is simply too awful to imagine, let it be shown in all of its horrendous glory instead of being quick-cutted and glittered as it appears in the film. It proves impossible to connect emotionally with such a schizophrenic film.

As a sort of keyhole look into the problems of inner-city life, Precious should maintain at all times a delicate balance between truth and fiction in order to shock the viewer with what is so distressing at to almost be unbelievable. Instead, the progression of the film turns more and more far-fetched until it reaches a point where the viewer sees it more as fantasy than reality. In its attempt to address the lurking evils of modern civilization via direct representation, Precious only serves to further distance the audience from the realities it fails to portray.

For more upcoming movies and what is showing now, go to http://www.cineklik.com/

By Ian Gibson

Latina sensation Jennifer Lopez has had quite the career crisis in the past decade. Following on the heels of her successful singing career, a transition to full-time acting seemed like the risky but smart choice to make. Unfortunately for both Lopez and audiences worldwide, The Back-Up Plan proves to be the latest in a long line of terribly stale romantic comedies featuring the once promising star.

The premise of The Back-Up Plan is perfect chick-flick material. Lopez stars as a middle-aged single gal that decides to play the role of single mom via artificial insemination.  Just as she gives up hope of ever getting married and bites the baby bullet, along comes Alex O’Loughlin as heart-stealing hunk. Faced with the juxtaposed dilemmas of pregnancy and courtship, Lopez’s character undertakes the stereotypical hormonal activities portrayed in nearly every film of the chick-flick genre.

In attempting to enact such a god-awful plot that barely fills a trailer let alone a feature-length film, The Back-Up Plan employs an inordinate amount of humor. This excess could be forgivable given the comedic tilt of the film save for the fact that 90% of the punchlines fail to bring forth so much as a titter. Even with a cast of remarkably talented actors with comedic backgrounds, The Back-Up Plan falls flat in attempting to amuse the audience through laughter.

The overall feel of the film is as convincing a case of cinematic déjà-vu ever was. All the standard plot devices and womanly scenarios of the romantic comedy are replicated carelessly and without any sense of ingenuity of creativity. With such an oddly unique and disturbing plot, The Back-Up plan could have proved an interesting film if taken in an innovative direction instead of the cookie-cutter fashion in which it was made. Perhaps one day the beautiful and talented Lopez will star in a film in which she is used to full effect.

For now, The Back-Up Plan serves as another failed film in the quickly rotting career of yet another has-been pop star.

For more upcoming movies and what is showing now, go to http://www.cineklik.com/

By Ian Gibson

Despite the outward appearance of ease, the action movie is arguably one of the hardest projects a director can take. Beyond the base requirements of explosions, thrills, and general cinematic extravagance lies the difficulty of not only engaging the audience but maintaining that excitement beyond the handful of explosive scenes. Iron Man 2, the long-awaited sequel from director/actor Jon Favreau to the 2008 original, provides a near-perfect blueprint of a great action movie – big, ballsy, and not too brainy.

Robert Downey Jr. reprises his role as anti-hero Tony Stark, this time delivering endless punch lines and punches without the expository necessities of an origin story. Stark faces the dual threat of government acquisition and rival duplication of his superhero getup, presenting a classic “man against the world” motif that works well within the individuality of Iron Man lore. Mickey Rourke and Sam Rockwell play the villains of the film, each offering different personalities that enlighten the film and the plot. Filled with conflicts both explosive and personal, Iron Man 2’s story provides the perfect plotline in which the characters can roam about without too much emphasis on either action or dialogue.

In the inevitable comparison to the original, Iron Man 2 comes out a clear winner. The pacing problems of the original are replaced in the sequel with steadily built tension and perfectly meshed scenes.  Each of the characters, whether new or returning, is given a much deeper personality that helps to flesh-out the Iron Man universe. From the opening sequence to the climactic finale, the viewer is wholly invested in the film. In continuing the plot of the first film but in an improved, expansive manner, Iron Man 2 serves as a perfect sequel to the blockbuster original.

The only flaw of Iron Man 2 is one that is more critical of the genre than of this specific film. In focusing on violence and explosions, action movies are all too quick to abandon any attempt at an intelligent or thought-provoking story. Iron Man 2 falls prey to this same flaw in not providing a deeper moral or thematic meaning behind all the on-screen action. Despite this, the movie still excites the audience in all the right ways and is a summer blockbuster certainly worth seeing.

For more upcoming movies and what is showing now, go to http://www.cineklik.com/

By Ian Gibson

The cinematic spoof is always a tough genre to do right. Delivering a comic but not idiotic, poignant but not destructive critic of other films requires infinite finesse and the ability to please an audience with nearly indefinable expectations. Ghost Writer from famed director Roman Polanski is a near-perfect spoof experience, delivering a film that is enjoyable beyond the insightful jabs it makes.

Set as a political thriller, Ghost Writer stars Ewan McGregor as a clueless biographer thrown into the world of international governmental intrigue. Pierce Brosnan plays the former British prime minister surrounded in conspiracy and accusation that comes under question by McGregor’s hopelessly suspicious character. Kim Cattrall, Jim Belushi, and Olivia Williams play their supporting roles to near perfection in this nothing-is-what-it-seems movie. Secrets are uncovered, alliances and nemeses revealed, and tensions increased to a near-cataclysmic point as all the standard plot-pieces of a political mystery are laid into place.

What makes Ghost Writer such an extraordinary film is the manner in which it recognizes the somewhat ordinary fair of its plot in order to play upon it. The main character of the film acts in many ways as simply a member of the audience. As he enters the dense world of politicking and backstabs, his innocence and surprise is exactly the same as those viewing the film. It is this element that gives the movie a spoof quality, specifically in the nonplussed reactions he has to the stereotypical events into which he is thrust. In this manner, the film takes on a slight comedic edge that one can’t help but enjoy immensely.

Heightening all of this metacinematic play is the brilliant work of Polanski. Beautifully shot and brilliantly scored, Ghost Writer is an absolute joy to experience. The atmosphere of the film is both mockingly typical of the genre it inhabits but also comforting in its enveloping atmosphere. To watch this film is an entirely inclusive experience because of the extent to which it draws the viewer in. Ghost Writer is an absolute gem of a film because of the manner in which it both satisfies and expands the standard cinematic event.

For more upcoming movies and what is showing now, go to http://www.cineklik.com/

By Ian Gibson

Actor Robert Pattinson of the Twilight series is undoubtedly a talented actor. What troubles his career, however, is the ever-present trap of becoming simply a “make hunk” for screaming teenage fans and not a reputable thespian. Pattinson’s latest film, Remember Me, attempts to provide a more serious role but with an ultimately flawed plot.

Remember Me centers around the romance of two New York college students both deeply affected by the past death of a family member. Pattinson plays a soulfully troubled man with a domineering father, eventually falling for a spunky daddy’s girl (played by Emilie de Ravin). As they both try to work around their familial problems and the complications of becoming an adult, their romance blossoms in an immensely endearing way. The relationships they had with those they lost affect the manner in which they see life and interact with those they love. Mostly a love story at heart, Remember Me excels in the romance department but ultimately ends in a terribly aggravating manner.

The plot of the movie, though certainly a mandatory part, is not necessarily the key aspect of it. The characterization, on-screen chemistry and cinematic atmosphere of Remember Me make it a deeply moving romantic film. However, its unseemly devotion to plot and the unnecessary need to tie-up every single loose-end proves to be the downfall of the movie. Using a completely non-sequitur deus ex machina ending only serves to aggravate, and not satiate, the audience.
All that is great in this movie, be it the acting, dialogue, or camerawork, is wasted by the Trojan horse plot.

Throughout most of the movie, it is a minor nuisance, serving only as fluff to the main romantic heft. When the plot is forced to forefront in the third act is when everything goes downhill. The plot-heavy final half-hour of Remember Me completely invalidates anything that came before it; this movie is the perfect example of a conclusion that kills. It is a shame to see such a greatly rewarding film ruined by an immensely atrocious ending – Remember Me is a film that only angers instead of pleases.

For more upcoming movies and what is showing now, go to http://www.cineklik.com/