Archive for August, 2004

Suspect Zero

A Film Review By Jason L. King

Rating:Rated R for violent content, language and some nudity
Starring:Aaron Eckhart, Ben Kingsley, Carrie Anne Moss
Directed By:E. Elias Merhige

Final Grade:

America is obsessed with their serial killer flicks. Films like Silence of the Lambs set the precedence that all other Serial Killer flicks aspire to be. Multiple times each year America heads out to the Box Offices to see their favorite stars tracking serial killers who reek havoc on a city. As the body count piles up and the mystery unfolds Americans have learned they just can’t get enough of the cold calculating violence of a Serial Killer. And Hollywood producers have tapped into this revelation. The Americans have voted with their pocketbooks and multiple movies have been made tracking violent killers. TV shows such as CSI have captivated audiences for seasons. And then one day someone in Hollywood had the “could be” biggest Serial Killer flick yet…Suspect Zero.

One of the “best” things about a serial killer is tracking their ritualistic killings and trying to decipher why they are killing in the first place and how to stop them. But Suspect Zero hones in on a new idea, a serial Killer that actually tracks and kills other serial killers. Ben Kingsley stars as Benjamin O’Ryan, a man trained by the FBI to track serial killers through a strange psychological experiment. Years later O’Ryan still finds himself haunted by his past. He begins to become obsessive with tracking what he calls “Suspect Zero” a serial killer who can’t be caught because his patterns are that he has no patterns whatsoever. In order to catch him he enlists the help of a FBI agent named Mackelway (Aaron Eckhart) who he believes shares the same psychological gift he has. But attracting Mackelway’s attention is harder than O’Ryan imagined and to do it he begins a Killing spree of killing other serial killers which eventually leads Mackelway to Suspect Zero.

I wanted to say something really great about Suspect Zero but I am really at a loss of words. The film reeked of awkward scenes, bad acting and was plagued with the world’s dumbest FBI agents. Apparently things that the everyday American knows about crime scene investigation and forensic science from just watching TV have no bearing in the Suspect Zero world. The Agents run around like chickens with their heads cut off tracking O’Ryan and the audience who cares about the film have already figured it out long before the agents do. The big “twist” of Suspect Zero should have been that O’Ryan is a serial killer who is killing other serial killers. Had the audience not known this going into the film, it may have come as surprise and made a lot of audience members a little more excited. Instead they built the film up on this idea and just drug you along for the ride.

Somewhat Newcomer director E. Elais Merhige does a great job if his intentions were to beat boredom into the minds of his audience. Unfortunately I don’t believe that was his intent. His film doesn’t test any boundaries, doesn’t push the envelope and doesn’t bring anything new to the serial killer genre. You’ve seen the same things executed far better in other films like this. Merhige tries to use lots of red tinted flashbacks to show the serial killers path of destruction, but it doesn’t help the plot at all. All that really does is slow the already slow moving, formulaic garbage plot and continues to drag out for longer than it should have. And of course the movies always love to have a serial killer that decides to “befriend” a cop who he teases into capturing him. Merhige does this in Suspect Zero as well. Real serial killers don’t do this! I assure you. Which makes me question, Where did Hollywood come up with this idea that is replicated again and again and again?

Acting in this film was equally horrible. Aaron Eckhart, whose recent films were stuff like The Core, Paycheck and The Missing, is terrible in this flick. His lines seem delivered half-heartedly and his performance just feels sub par. His co-star Carrie Anne Moss, most famous for playing Trinity in the Matrix Films gets lost in the shuffle of things and is never really given a defining moment to shine in the flick. Her character is so easily disposable it’s almost as much of a mystery to the audience to figure out why she is there in the first place. Ben Kingsley who is a great actor does a decent job in the role, but the film was so terrible it hard to praise him for outshining his cast and the story. That’s like comparing a diamond to a pile of manure. The bigger question for Kingsley is why is he in this flick at all? The same goes for Thunderbirds earlier this year. Kingsley needs to get out of this slump fast before he becomes the laughing stock of Hollywood.

In the end, save your time and save your money. Don’t head out to the theaters to see Suspect Zero. The film is less than average and isn’t worth the ticket price or the rental fee. It’s just really not good. If you don’t believe me yet, I leave you with the following: Halfway through my movie experience the projector shut down at one of the big plot points of the film. As I went out to tell the usher I realized that in the broad spectrum of things, I really didn’t care if the film started again. If it didn’t I got to go home early. The only reason I stuck it out for the rest of the film was my strange desire to find out why a serial killer that kills serial killers is really that bad of a thing. I never learned that lesson.

Open Water

A Film Review By The Mike

Rating:RATED R for nudity, language, and terrifying images
Starring: Blanchard Ryan, Daniel Travis
Directed By: Chris Kentis

Final Grade:

Open Water has the potential to be the most polarizing independent film since the infamous Blair Witch hit screens five years ago. While many will laud it’s gritty and tense film-making, those looking for something more Hollywood will no doubt loathe it for reasons that are both visual and mental.

I definitely fall into the former category, though I’m much less impressed with this film than I was with Blair Witch. The film manages to place us with two characters in the middle of the ocean and remain tense (albeit for under 80 minutes), while still giving something interesting to see and consider.

I’ve no doubt that several “more conventional” viewers will leave the theater disgusted by the fact they watched the film. When it ended, I could hear people around me saying things like “Man, I almost left when I saw the way it looked” or “Geez, I’m never letting you pick a movie again” or “Yeah, I totally thought it was gonna be something more than like that.”

These stupid people have some validity in their statements. The digital photography, which I found perfect for the film, is jumpy and unspectacular, and even annoying. But doesn’t the film intend to make the viewer feel this? I think so.

Yes, the characters are simple, the story isn’t “twisty,” and the ending is abrupt. But isn’t it more possible that things would happen that way? I think so.

For those that don’t want to have to associate with the film they’re watching, Open Water is not the right movie to see. It’s not escapist entertainment, and it requires you to give yourself completely to its insistence that what is happening could be (and may have been) real. Without that ability, you won’t care for it one bit. But if you can make the commitment, you’ll probably experience tension like you’ve rarely gotten from a movie, at least in certain scenes. Open Water is commendable solely for the fact that it’s an internal experience as much as it is an external one.

A minor complaint before I go: Lead actress Blanchard Ryan is very hot. She’s shown many times on the boat that takes them to dive, looking so, and letting her breasts show more than they should. But, when the boat leaves, no one seems to notice her and her husband aren’t there.

Seriously, wouldn’t one of the 20+ people on the boat, which were mostly male, look around and say “Hey, where’s that extremely hot chick that came out here with us?” I think so.

Alien VS. Predator

A Film Review By The Mike

Rating: PG-13 for Alien Violence
Starring: Sanaa Lathan, Lance Henriksen, lots of aliens
Directed By: Paul WS Anderson

Final Grade:
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It’s been a while since Hollywood’s given us such a disappointingly inept action film, which makes Alien vs. Predator even harder than it should. Based off a video game that had origins in the two best alien terrors created in the 70’s and 80’s, the film suffers from far too many drawbacks to make it even somewhat entertaining.

The plot, as one could expect from a “versus” film like this, is ludicrous. This is brought out even further in the final half of the film, when the human characters suddenly get uber-smart and begin understanding the exact details the script doesn’t know how to introduce. But, to a fan of the concept, it shouldn’t be a hindrance. The same kind of story ruled last year’s Freddy vs. Jason, which was met by fans with a high approval rating.

What Alien vs. Predator lacks, and Freddy vs. Jason had, is quality in its battles. Paul W. Anderson, who’s made a career of directing ADHD inspired action scenes, handles any interaction between the titular monsters with an air of ineptitude that is often laughable (especially at the moments when slow-mo/”bullet-time” effects are randomly used). There are also far too many moments that lack sufficient lighting, probably due to the fact the creature CGI was still being worked on into the week prior to the film’s release. There are occasional moments of coolness, and even a couple of great scenes. But, as a whole, these battle scenes are quite pedestrian, and border on awful.

The only thing about Alien vs. Predator I can even recommend is the sound effects, which are really quite excellent. All of the trademark noises from the Alien and Predator films are there, and mixed marvelously. The lulls before the battles are probably the best moments in the film.

Outside of these sounds, however, there’s next to nothing of value in the film. It’s a shame that two creatures that have provided 6 great to entertaining movies between them are trapped in this premise, and it’s even more of a shame that Anderson got the helm, as it’s clear to see he was in over his head with the project. Alien vs. Predator should have at least been entertaining, even if that’s a low expectation when compared to the previous efforts of Ridley Scott, James Cameron, and John McTiernan. The fact that it doesn’t even manage that cements it in a place as one of the biggest failures of the year.

Collateral

A Film Review By The Mike

Rating:RATED R for Violence and Language
Starring: Jamie Foxx, Tom Cruise
Directed By: Michael Mann

Final Grade:

When the antagonist played by Tom Cruise gets into Max, the hero of Collateral’s cab, it’s a wake-up call the character had needed for a long time. Max has been stagnant for too long, a character settled into a cab job that he calls temporary, despite the fact he’s been at it for twelve years. Luckily he’s a man of moral solidity, as the battle of wits he’s involved in quickly boils down to what he would call “good against evil.”

It’s also probably the best thing that’s happened to Jamie Foxx, the actor playing Max, and should serve as a wake-up call to audiences everywhere as a statement of what this man can do. Despite shining in heavyweight dramas earlier (particularly Oliver Stone’s Any Given Sunday and Collateral director Michael Mann’s Ali), Foxx hasn’t been recognized well enough for the actor he is. At least, not until now.

Max is everything a hero used to be, in the days before Dirty Harry, John McClane and James Bond. He’s a sympathetic man, more worried about the preservation of life than the destruction of its assailants. He’s a quiet, intelligent character, who we like because he’s calm, not because he’s cool. His antithesis is Cruise’s Vincent, a self-proclaimed “indifferent,” who kills for money. He’s not like a lot of killers we see in our films. He doesn’t enjoy his work, nor does he dislike it. He simply does it, as a mean to an end.

Collateral is a film with a simple premise, despite my rantings on its characters above, and is one that could have easily made for a much more pedestrian thriller. Luckily, the script was given to Mann, who moved it from its original Washington D.C. locale to his beloved LA, and who went all out to make this one of the best looking films in years. Shot with an underused digital technique that harnesses the city’s natural nightlife, Mann’s vision here pushes the film into a higher level, where the actors take over.

Foxx and Cruise, as Max and Vincent, are responsible for carrying nearly every scene in the film. Foxx is energetic and likable throughout, and I liked him more and more in each scene, as he built his character quite well. Cruise, on the other hand, offers up a performance that’s a far cry from anything he’s done before. I didn’t once look at the screen and see “Tom Cruise, Hollywood Pretty Boy”. I saw a man that was frighteningly cool, who I didn’t want to like, despite his endlessly intriguing comments on life and death. When Max asks why he threw a victim out the window and Cruise responds with a dry “I didn’t throw him, he fell.” I couldn’t help laughing, even if I knew it was a morbid laugh.

It’s that attention to the characters’ moralities, and the performances of the actors in them, that push Mann’s film over the top. What could have been a stylish action flick with little depth instead plays out as a gripping thriller with a lot of thought-provoking moments. Instead of thinking things like “This bad guy’s really good with a gun” (which he is, as showcased in a late film shoot-out), I was constantly thinking things like “This guy would be pretty cool if he weren’t killing people.” I have nothing but respect for the work of Mann, Cruise, and Foxx, who’ve made a film that’s entertainment for both the eyes and the brain. Collateral is a dramatic thriller in the classic style of Hitchcock, and it’s one you shouldn’t miss.

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