Source Code (2011, U.S.)

I have very mixed feelings about this one. It definitely had a very interesting concept for a science fiction thriller. And it had the one-of-a-kind, sweet, sexy, boy-next-door, unlikely-hero Jake Gyllenhaal. Some good special effects (exploding trains and the like). A hint of romance. A dash of (misplaced?) patriotism. Lots of promise, but it just didn't come together well.

It's not that it was confusing. At first it was a bit confusing, as I got the hang of the plot. In fact, it was a bit confusing for Coulter (Gyllenhaal), and the viewer figures out what's going on as he does, which was pretty good for the plot. As far as sci-fi action flicks go, this seemed pretty strong for the most part, especially considering it took place over and over again in the same 8 minutes with the same handful of characters on the same train.

I was mostly frustrated because the developing romance didn't make much sense, and the ending made no sense at all. It felt like they were going somewhere else with the story, but the original ending was too depressing so they rewrote it to be conveniently-ever-ever. (This is just a theory, but that's how it felt to me.) Both of these things made the whole thing feel forced and ruined the effect. I barely convinced myself to go up to 3.0 instead of 2.5.

I would recommend this to anyone who's desperate for a good sci-fi thriller (a somewhat under-used genre in today's market, it seems to me). Yes, even though I didn't rate it higher, the kernel of the story was very good; just the execution was lacking. I also recommend it to diehard Jake Gyllenhaal fans (like myself). He really carried this movie. He has a very quiet, underrated talent and plays the tough yet tender hero very well.

Rating: 3.0

Whiteout (2009, U.S.)

This was a surprisingly good movie. I've seen a lot of bad reviews on it, but you have to keep in mind that's it's not supposed to be an Academy Award winner. It's supposed to be a scary, unlikely suspense flick.

Basically, a U.S. Marshall stationed at the American station in Antarctica must investigate a murder, and a special UN agent comes to help her investigate. They also get some assistance from a helicopter pilot and the station's doctor. The investigation turns up a string of bodies, a buried Soviet plane from the '50s, a smuggling operation, and all kinds of other fun stuff. When the rest of the station leaves for the season, this handful of people is left behind. Whiteouts and other dangerous situations abound, and the murder appears out of the blizzard with no warning.

Is it silly? Yes. But is it scary in its way? Yes. It's a fun, mindless flick, exactly what it's supposed to be.

Rating: 3.5

Luftslottet som sprängdes (2009, Sweden)

Larsson's novels were very complex and involved a lot of detail about Swedish politics. The films, especially this third film, was much more simple, but still a passable adaptation. The first was definitely the best. This was an interesting look at the Swedish legal system. Apparently the judges/jury, prosecution, defense, and witnesses just sit in a big circle and talk it out! It makes it difficult to believe that the corruption that's the basis for these stories could possibly occur in such a country.

My biggest complaint about this installment was the abrupt ending. It just felt way too sudden. Otherwise, my comment would all be repetitive from the two other films. I will repeat, I think for the second time, that Noomi Rapace is a stellar actress. I look forward to seeing her in more movies.

Rating: 3.5

Salt (2010, U.S.)

I never thought I would see the day that I agreed with Roger Ebert, but I think it has come. He gave it four out of four stars, saying that "It's gloriously absurd. This movie has holes in it big enough to drive the whole movie through." Amen. It's like a super cheesy and preposterous 1950s spy film but with the realism that comes from modern day film techniques, and this is a very disconcerting combination. You could almost say it was so ridiculous it was good.

A lot of the plot devices lacked clarity, but I can't go into without giving away the ending. I did figure out one plot twist thanks to an episode of Lost, which was kind of fun for me.

Of course, I love Angelina Jolie more than anyone else I know. She makes an excellent action hero (see Tomb Raider). Apparently she's been wanting to do a spy franchise, and I wish this had a better script so they could make a franchise out of it. I do have to say thank goodness Tom Cruise dropped out, because this movie would have been ten kinds of awful with him instead of her.

Besides Jolie, the three best parts were the action, the setting, and the music. A lot of the action was based on Salt running and running and running from her pursuers, rather than explosions and shooting (though there was a good share of that too). The filming took place primarily in D.C. and was really well done. And the score (by one of my favorite composers) was perfect. If I had listened to it without the movie, I would have said to myself, "This would make good spy music!"

Don't expect much, and you'll be entertained. Especially if you like Angelina Jolie.

Rating: 3.5

Shutter Island (2010, U.S.)

Much better than the last film I saw that was based on a Dennis Lehane novel. DiCaprio plays Teddy Daniels, a U.S. Marshal who goes to a federal penitentiary for the mentally insane on a tiny island in Boston Harbor. With his partner, his mission is to find an escaped and highly dangerous prisoner. However, the doctors and administrators on the island are less than helpful, hurricane-type weather blows in, and Daniels is plagued by hallucinations/dreams of his deceased wife and experiences during World War II.

This is the kind of slowly building suspense that is all about creepy atmosphere and psychological drama, and it was very well executed. DiCaprio is a stellar actor, of course, and he definitely carried the movie. When it comes time for the big plot twist at the end and the memorable last line, he nails it.

Scorsese made a very interesting choice, and instead of having the film scored, he used a collection of instrumental classics. It worked perfectly. Some of the songs were beautiful, but the best one were creepy and frighteningly suspenseful. They did an especially effective job when Teddy and his partner first drive through the gates of the compound. It made me want to shout, "Turn around, don't go in there!"

You'd have to see this one to believe it. I just can't say much without giving away the ending. Which, I think, is a pretty good recommendation for the film.

Rating: 3.5

Män som hatar kvinnor ( 2009, Sweden)

There's nothing like seeing a film based on a novel starring a bunch of actors you don't know to let you appreciate the quality of the adaptation. This was a great film, and I'm glad I was able to see the Swedish adaptation before the American adaption comes out. (My guess is that this version will be the better one since it wasn't Hollywood-ed up, even if Daniel Craig is going to play Blomkvist in the American movie.)

The casting was pretty near perfect, at least for the two characters who mattered. (The rest I could take or leave.) Blomkvist was a middle aged but sort of ruggedly handsome go-getter type, and Salander was teeny and angry and very punk, with the haircut to match.

It's interesting how something so graphic and violent and awful (i.e. rape, murder, etc.) can seem less so when you read it (and frankly lack the imagination to picture something so horrible) and yet even when they tone it down for a film, it seems ten times as ugly. They definitely kept the bleak tone of the novel, and even the Swedish landscape added to the feel.

One thing that I really missed was the depth of the characters. Larsson had an almost overzealous narrative, rambling about things that seem pretty irrelevant to the plot. That's something that just can't carry over into film. Still, they didn't do an awful job converting it, and otherwise, everything that was good about the book was good about the movie. Suspenseful, complex, character-driven mystery. Wonderful.

Rating: 4.0

Water's Edge (2003, U.S.)

Calling this a formulaic thriller would be an exaggeration. It wasn't even that good. Not that the idea was bad, but the writing and (most of) the acting was pretty awful. (Can't discount the power of Nathan Fillion, although even he wasn't in top form.)

Basically, an author and his wife are having a hard time in life, so they move out to his dad's old cabin in the middle of nowhere America. (Sounds like both of the horror/thriller type movies I watched recently—but without Kristen Stewart.) When he's out in the woods one day, he stumbles upon the county sheriff beating a woman to death. Well, he can't have that, so he shoots the sheriff. (Can you hear the cheesy music playing in the background?)

Husband and wife proceed to uncover a web of sex, lies, and murder in small town America. Most of the characters' motivation is unclear, as are several of the plot twists. All in all, a pretty awful piece of filmmaking. But hey, if you love Nathan Fillion, go ahead and watch it anyway.

Rating: 2.0

The Haunted Airman (2006, UK)

What a crazy film. There was a lot of psychological baggage to cram into 68 minutes, and it was definitely a head trip. I went into it thinking that I would probably like it, because the previews looked incredible. And I will say that I did, in fact, like it, though I say this with reservations. Because mostly I was confused.

From what I gathered, this British pilot was shot down during World War II and lost the use of his legs. He goes to a creepy recovery home, as far from the war as he could be. He starts to lose his mind, feeling spiders everywhere and seeing things that aren't there. Or perhaps he doesn't. Perhaps his doctor is actually pushing him into these delusions. Meanwhile, the RAF pilot has been having an affair with his deceased uncle's wife, and they let her come stay at the hospital too. It's just a bunch of weirdness. And the end will really blow your mind.

I definitely need to see this again to understand it better. But I can say that the cinematography was incredible. And the acting was superb. This is a 20-year-old Pattinson who acts like he's been at it for decades. (In reality, he'd just been in Vanity Fair, where his scenes were cut; a made-for-European-tv movie, where he had very few lines; and The Goblet of Fire, in which he made us all fall in love with Cedric Diggory.) The intensity with which he portrayed this character and his fractured mind was simply mind-blowing. Previously unknown gems like this make it clear that Pattinson has real talent, and isn't just a lucky boy (to land HP and Twilight roles) with a pretty face (and musical talent and bad hygiene).

Rating: 3.5

Passengers (2008, U.S.)

So Anne Hathaway has never been my favorite, though I am quite fond of Patrick Wilson. I think Netflix might have recommended this one to me.

Claire is a therapist counseling the survivors of a plane crash. The survivors remember an explosion that the airline says didn't happen. When the passengers start disappearing, Claire is determined to find out what happened. She's helped by Eric, one of the survivors who she begins a romance with.

This was actually pretty good in terms of mystery and suspense, in a very slow-building, creepy way. I can't compare it to anything without giving the whole thing away, but let me just say your skin will be crawling by the end. Not bad!

Rating: 3.5

No One Can Hear You (2001, U.S.)

I decided to watch this movie because it featured Kieren Hutchinson, a Kiwi actor I've seen once or twice and found quite adorable. It also stars Barry Corbin, a truly iconic actor. Of course, I'm not big into horror, but I figured I'd branch out.

The first night I started to watch it, I had to turn it off. Living alone in a very dark area across from a cemetery is not so bad on a normal day, but horror movies are not a good addition to this scenario. The opening credits are the scariest part. They show someone's darkroom, red light and eerie photos everywhere, while someone whispers, "True love never dies" in a voice that truly makes your skin crawl.

The rest was not so scary. Essentially, a bunch of suburban families with teenage daughters kept being found dead all together, decapitated. It seems to echo a crime that happened 15 years earlier. The local news reporter's daughter fears she will be next. The filmmakers work so hard to make you believe the killer is one person that it's incredibly clear that it's someone else.

It amazes me that a movie can be so horribly written with a completely nonsensical plot and yet still be so incredibly predictable. Terrible.

Rating: 2.0

Cold Creek Manor (2003, U.S.)

I've become a huge Kristen Stewart fan recently, so I decided to try out this movie even though it's not my usual fare. I have to say, I was pretty impressed. This movie was creepy.

A couple and their two children move from Manhattan to upstate New York. They move into a house they bought at auction; the previous occupants had gone bankrupt. The father, a documentary filmmakers, begins working on a film about the previous occupants. But weird things start happening in the house. Snake infestations, a dead horse. It is terrifying, especially because you know who is responsible the entire time, yet the family remains clueless.

They send their children home to protect them, and as the suspense builds and it becomes clearer to them what's going on, my skin just kept crawling. The final confrontation is something else—although very cliché, as it occurs at night during a thunderstorm.

Sharon Stone and Dennis Quaid are very good actors, and the chemistry and marital tension between the two was great. And of course, Kristen Stewart was fabulous. Christopher Plummer was very convincing as an old, senile man. But it was Stephen Dorff, who I've never even heard of, who stole the show. He played very sketchy white trash to a T.

I wish I remembered the music more clearly, because I noticed later that the director also composed the score. Interesting.

Anyway, this is a great movie if you want to be super creeped out!

Rating: 3.5

Prison Break: The Final Break (2009, U.S.)

Prison Break. I'm an addict. At least, I was. I thought the first season was incredible, and the second was just as good. The third was a bit iffy—how many different prisons can you break out of? And the fourth was downright confusing and off topic.

The last episode of the series skipped ahead 4 years, and while the ending was lovely, the missing years left something to be desire. Enter straight-to-DVD filler movie! (Also, they wanted to do a spin-off TV show about a women's prison, and it never happened. I think this made them happy.) I was hesitant about this one, but it was great.

Pregnant Sara is arrested for murder during her wedding reception. (She had killed someone who was about to kill Michael.) She's taken to a women's prison, where the General promptly has a hit put out on her. They think she'll be exonerated, but they also think she'll be killed first. So Michael decides to break her out.

The suspense is as good as it was in the early seasons. The character relationships are back. It's an interesting look at life for the other gender behind bars. For instance, Lori Petty (think Rae from Free Willy or Kit from A League of Their Own) plays "Daddy," the female equivalent of T-Bag. Creepy.

One thing that bothered me was how short it was. The boys spent an entire season (several months) breaking out of Fox River State Penitentiary, and 90 minutes (2 days) breaking Sara out of the Miami-Dade Women's Correctional Facility. They made it seem plausible, but even still... Too quick and easy. I would have loved to see more.

I would definitely recommend this to Prison Break fans, especially ones who have been disheartened by the last few seasons. Others may enjoy it, but they might not understand why characters behave the way they do without knowing back stories.

I was so relieved that this movie was so great, and now I can't wait to rewatch all 4 seasons + The Final Break again.

Rating: 4.5

Angels & Demons (2009, U.S.)

Even though I thought The Da Vinci Code was terrible (couldn't hold a candle to the book!), I decided to tempt fate and the movie gods and watch Angels & Demons. (It's really hard to say no to Ewan McGregor!)

Here's what I think. Like the first installment (that used to be a sequel but is now a prequel... weird), it took quite a few liberties. Mostly it was over-simplified to better fit a film format. However, there was strangely less suspense than in the book, even though they had a great opportunity to make it really come alive. A huge plot point involves a terrorist killing a cardinal every hour, and yet somehow they have time between locating each body to change clothes, do research in the Vatican archives, drive around in traffic, have some drawn out conversations, and then make it to the next murder scene with two minutes to spare. It was completely unbelievable it this respect.

Acting. Tom Hanks was okay. I felt like he didn't capture Langdon at all in the first film, and this was barely an improvement. His female sidekick, the brilliant scientist, was barely there. The strongest performances came from Stellan Skarsgård (the commander of the Vatican police) and Armin Mueller-Stahl (Dean of the College of Cardinals). They weren't major characters, but they were important and played their parts well. Ewan McGregor absolutely stole the show. Surprise, surprise. He was impassioned and calm-headed and pious and worldly at all the right times and in all the right amounts. Brilliant. The one thing that was lacking in his performance was a perfect accent. Usually his accents are passable, but he just sounded like a more toned-down Scot than the Irishman he was supposed to be. Details, details.

The mis en scène was pretty awesome, considering a large percentage of it was probably reproduction. Having been to Vatican City myself, I was pretty impressed with their recreation of the Sistine Chapel and St. Peter's Square. If I didn't know the Vatican would never allow film crews in there, I would believe it was the real thing. Other locations, such as the Castel and Ponte Sant'Angelo and the Fontana dei Quattro Fiumi (absolutely breathtaking in life) could also have been the real thing. Maybe they were. All I know is that I want to rewind time and relive those days I spent strolling around Rome. (Only this time, not in the summer with half of the U.S. and Japan there!)

Away from personal notes. I was impressed with the score from the first notes. I kept thinking that the style of the composition and the quality of performance sounded familiar. Turns out it was composed by Hans Zimmer (one of my all-time favorites) and the violin solos were performed by Jamie Bell (whose performance on the Defiance score is one of the most beautiful things I've ever heard). It had the right mix of suspense and beauty at the right times and did wonders for the film. The only thing that stuck out was when Cardinal Strauss tells Langdon that "of course" God sent him to Rome—and the score becomes suddenly ominous for a few bars. Very odd.

Overall, I can see how people who haven't read the book would love this movie. I thought it was okay, and I didn't want to tear my eyes out after watching it like I did with the first one. So there you have it.

Rating: 3.0

The International (2009, U.S.)

I have rarely been so disappointed with a film starring one of my favorite actors. Or by such a prestigious director. But The International just... wasn't good. I can't say that it was bad, necessarily, but nor was it worth the two hours spent watching it.

It started out really promising, with a shockingly long closeup of Clive Owen's face, looking pensive. That one shot built up more tension than the rest of the movie combined, probably. Why is he just standing there? What's going on? And then a man he's working with dies in front of him, and you think he's about to be killed the same way. But really it was just his overactive imagination. And the suspense end there.

The rest of the film is just a confusing mess. Naomi Watts plays a New York ADA and Clive Owen plays an Interpol agent trying to expose a corrupt international bank. How an NY ADA is going to help with this is very unclear. I guess it was unclear to the screenwriters as well, because Watts' screen time was incredibly short, considering she was given top billing with Owen.

I just don't even have that much to say about this film. The acting was great, of course. Some of the cinematography was unbelievable, including a drawn-out gun fight that takes place in a museum with fascinating architecture. (It could be said, however, that the whole film depended too much on this scene, which was drawn out entirely too long.) I didn't even pay that much attention to the score, which was done by the same guys who did Run Lola Run. It should have been more memorable.

All in all, a huge disappointment.

Rating: 2.0