For those who love the idea of people walking around with paranormal skills Push is right on the money. Basically the big bad government strikes again -- this time in the form of a shadowy agency known as the Division. They have genetically transformed citizens into an army of psychic warriors with tag names such as “Pushers ” “Shifters” and “Sniffers ” who brutally dispose those unwilling to participate in their reindeer games. Nick Grant (Chris Evans) a second-generation telekinetic or “Mover ” is one such rebel hiding out in Hong Kong. He meets the tough-as-nails Cassie (Dakota Fanning) a 13-year-old second-generation clairvoyant or “Watcher ” also on the run and through uncontrollable circumstances reluctantly follows her on a quest to bring down the Division. Wanna know what a “Bleeder” does? It isn’t pretty. While the story weakens at points it’s saved by winning performances especially from Fanning. This is her sort-of coming out film -- moving away from the childish and into more adult fare cursin’ and gettin’ drunk in Push like a pro. This kind of teen wiseass role could have been played obnoxiously but Fanning gives it depth and heart. Her longevity as a actress is quite evident. The charmingly good-looking Evans (Fantastic Four) too makes the most of his reluctant hero a guy with a bigger chip on his shoulder than he’d like to admit. Other standout turns include Djimon Hounsou (Blood Diamond) as The Division’s No. 1 badass a top-notch Pusher who can put any old thought in your head and Camilla Belle (10 000 B.C.) as Nick’s part-time love interest who holds the key to the whole operation -- at one point quite literally. Director Paul McGuigan showed his mettle with the tightly wound thriller Lucky Number Slevin -- and continues the trend by crafting another slick actioner. What he does best is make Hong Kong a vital and integral part of Push. Shot entirely on location the nooks and crannies of the city gives the film a very claustrophobic feel while the stark minimalistic environs enhances the sort of hopelessness of the situations playing out. One particular climactic battle on top of a glass roof is pretty cool. Any of the film’s faults lie in the script which seems to meander and feel forced at times but ultimately Push is just pure escapist fun.
No matter how many times Hollywood screenwriters trot out this tired hackneyed plot in failed horror movies there’s always another just like it around the corner. Stop us if you’ve heard this one before: An attractive young couple Kristen (Liv Tyler) and James (Scott Speedman) return to his family’s deserted secluded vacation home after attending a friend’s wedding reception. With roses petals strewn everywhere and a ring box in sight this was to be a night of elation for the couple--but something goes wrong. At 4:00 am just as things begin to pick up for them again romantically there is a loud knock at the door. Of course being mind-numbingly stupid movie characters they open it to discover a strange young woman asking if someone named “Tamara” was home. After that James has to conveniently leave for a while which leaves Kristen alone. What ensues is about 40 minutes of near encounters with three masked weirdos who clearly are not there to borrow a cup of sugar. When James returns Kristen must convince him there are people trying to terrorize her. It doesn’t take long before he gets the message and the two must use all their wiles to fight for their lives. Let’s face it this is not the type of script that’s going to attract Meryl Streep. Liv Tyler is the nominal lead and altough her rather expressionless weepy doll school of acting is an acquired taste she does prove she can scream with the best of ’em when the knives finally come out. Unfortunately much of The Strangers is ultimately reliant on the proposition that we care about this couple and their romantic woes. We don’t. Chemistry is nil between Tyler and co-star Scott Speedman whose bland performance doesn’t help matters. There’s really not much to say about the masked “strangers” (Gemma Ward Kip Weeks and Laura Margolis) who all act like zombies and speak in monotones. Glenn Howerton as James’ friend has some brief moments that threaten to liven up the proceedings but he’s in and out too quickly to make much of an impression. First time screenwriter/director Bryan Bertino pulls out all the clichés associated with this type of film. You’ve seen it all done many times before in any number of pictures from Straw Dogs to the recent Funny Games and Vacancy. Bertino’s gimmick seems to be letting the audience not the characters in on what’s about to happen. So often we see the killers lurking in the shadows unnoticed by our clueless leads. Then they vanish. This pattern is repeated over and over milking the “suspense ” but not making much story sense. There are a couple of standard movie jolts here and there to mix things up but mostly Bertino proves himself to be a better tease than director. No Hitchcock this dude! SPOILER ALERT: We have a policy about not giving away the ending but it sucks. Just like the movie.
What starts out as a case of mistaken identity turns into a war between two of New York’s most rival crime bosses: The Rabbi (Ben Kingsley) and The Boss (Morgan Freeman). They both believe laid-back Slevin (Josh Hartnett) staying at his absent friend’s apartment is the guy who owes them money--and they both set about to make sure he pays them back one way or another. The happy-go-lucky girl next door (Lucy Liu) tries to help Slevin unravel the mystery but the whole mistaken identity thing gets him into even more hot water when a relentless detective (Stanley Tucci) hounds him--and an infamous assassin Goodkat (Bruce Willis) tracks him. Looks like Slevin is going to have to come up with his own ingenious plot to get himself out of this fine mess he’s in. And I do mean ingenious. With character names such as “The Rabbi ” “The Boss ” “Goodkat ” and “The Girl Next Door” you know you’re in for some style over substance which is probably why the script attracted such a top-notch cast. Josh Hartnett (who starred in Slevin director Paul McGuigan’s weirdly romantic Wicker Park) tries something different as the affable Slevin a guy who seems pretty smooth on the surface but who has some seriously twisted ulterior motives. Liu also veers from her usual icy villainess to play Slevin’s kooky love interest bouncing all over the screen like a pinball. Willis revisits his Jackal character but adds a certain panache to the hit man role. And then there’s Kingsley and Freeman. As the Rabbi Kingsley deliciously chews things up while Freeman deftly plays his usual understated self as the Boss. When these two have their one and only confrontation the Oscar winners show us exactly what acting is all about. Lucky Number Slevin is a bit of an enigma. It starts off shaky. You feel like you’re watching something you’ve seen done a million times before: Mistaken identity quirky crime lords who want him dead the bumblin’ cop the hardened assassin. But in the capable hands of Scottish director Paul McGuigan(Gangster No. 1) things aren’t what they appear to be and soon you are thoroughly involved forgiving its formulaic beginning. Much like the recent Inside Man this is yet another excellent example of taking something prescribed and turning it on its ear. Of course much of the intelligence comes from the smartly written script by Jason Smilovic who supplies the actors with plenty of juicy mouthfuls. But Slevin makes you think. It makes you want to find the clues so you can figure out the puzzle. Or if you didn’t catch the clue have it shown to you in an inventive way. Thank god independent film these days offers such new and resourceful ways to watch staid themes.
This is one of those stories you want to keep vague for fear of giving away too much. It starts when photographer Matthew (Josh Hartnett) sees dancer Lisa (Diane Kruger) for the first time as she passes by his video shop in the Wicker Park section of Chicago immediately captivating him. He follows her they meet and soon fall deeply in love. All things seem to go perfectly until Matthew asks her to move in with him--and she up and leaves on a dance tour without a word. Two years later Matthew has moved on with his life has a good job even a fiancée (Jessica Pare)--but he still has completely gotten over Lisa and the nagging torment of the "what ifs?" Then suddenly he thinks he catches a glimpse of her in a bar. Not sure if it was she all the feelings come rushing back nonetheless and Matthew begins a twisting obsessive search for the woman who captured his heart years ago. But as Matthew's search intensifies it leads him deeper into a mystery which now includes his best friend Luke (Matthew Lillard) and Luke's newfound paramour Alex (Rose Byrne). Facing deception at every turn Matthew quickly learns that obsession can go both ways--and that indeed you can love someone too much. Fuzzy enough for ya?
Once considered the "It" boy especially after a string of films including Black Hawk Down and Pearl Harbor Hartnett took himself out of the heartthrob equation by slowing down to one film a year. His last two efforts--2002's 40 Days and 40 Nights and 2003's Hollywood Homicide--didn't do so well at the box office so in a way Wicker Park is a coming out party for Hartnett. It deftly brings the actor back into the spotlight as a romantic lead as well as taps into some of that talent we all know he has (remember
The Virgin Suicides?) His Matthew is a rather intense fellow but his emotions about the love that got away ring true even when things turn dangerously towards obsession. In one telling scene after Hartnett finds out he's been played he registers his anger through those penetrating brown eyes. As for his female co-stars Kruger and Byrne (who starred together in the epic Troy) also play well off the situation. Kruger has the easier job of being the sweet object of affection while Byrne turns in the more complex performance as Alex who has hidden agendas of her own. As the best friend Lillard (Without a Paddle) delivers in his usual high energy goofy shtick but at least this time it's with real human beings instead of CGI dogs named Scooby-Doo.
Director Paul McGuigan (The Reckoning) describes Wicker Park as a "love story told in a very non-linear way." Boy he isn't kidding. Although Park is a remake of the French film L'Appartement it takes a wholly original spin on staid themes which in this day and age is getting harder and harder to do (and usually only comes in the form of a Charlie Kaufman script). Through McGuigan's guidance Park toys with your emotions--and your expectations. Jumping back and forth through time and seen through varying perspectives the film starts out very slowly--almost too slowly-- setting up what you think is a sweet love story but then having things quickly turn darker. It's plodding and confusing at first but then it begins to pull back the layers and as you fit the pieces together you're hooked. And as cheesy as it might sound you want to the two lovebirds to find each other; you're on the edge of your seat urging Matthew to hurry up and get to Wicker Park to meet Lisa before she thinks he's never coming and gets on a plane to London forever. Run Matthew run!