Scott William Foley

If you’ve ever been a fan of the Hulk, hardcore or otherwise, go see The Incredible Hulk.  You’ll be glad you did. 

This version of the Hulk is not the psychoanalytical drama of Ang Lee from a few years ago (which, while a little boring, didn’t particularly bother me).  No, this Hulk is directed by the guy who brought us Transporter 2, so he knows a little something about high-octane action.  And action it had!  They spend the first three minutes brilliantly recapping how Bruce Banner became the Hulk, why General Ross is after him, and how he hurt and abandoned the woman he loves.  From that moment on, it picks up five years later and races to the finish!

However, while this is most certainly an action flick, Edward Norton as Bruce Banner brings a certain amount of credibility to the film that might have been lacking without his involvement.  He delivered a depth to Bruce Banner that was expertly understated, but there nonetheless.  Honestly, when I heard they were making another Hulk movie, I thought, “Too soon.”  But when I heard Norton was in the lead, I said to myself, “This will work.”  I’ve always respected Norton’s artistic integrity and even with a comic book movie he does not rest on his laurels. 

Liv Tyler as Betty Ross, Banner’s love interest and daughter to General Ross, delivered a good performance and I felt as though she and Norton had real chemistry.  I really believed she and Norton’s characters had a history and wanted a future together.

Jettisoning all remnants of Ang Lee’s Hulk, The Incredible Hulk surprised me by its tight plot.  Though straightforward in nature, all portions of the film actually worked to progress the storyline and/or characterization.  I especially appreciated that the character who eventually becomes Hulk’s nemesis, The Abomination, slowly worked up a grudge against the Hulk and went through a slow process over the duration of the film to become a powerhouse himself.  Too often in movies a villain shows up out of nowhere with little explanation or logic.  Such is not the case with The Incredible Hulk.

They made sure to pay homage to all Hulk’s history that came before, too.  You’ll see familiar scenes and hear theme music from the old seventies show, notice the original Hulk actor himself, catch a scene with Stan Lee, and get some classic lines from the comic books.  And, if you’ve seen the commercials, a certain “Iron Man” appears as well, laying the foundation for the future.

Finally, this Hulk actually looked real.  They did such a great job of blending him in with the live action.  There were times I forgot I was watching a CGI creation with all the rippling muscles and realistic movement.  And move this Hulk did!  We finally get to see the berserker Hulk we’ve all waited for!  He’s on the rampage, tearing things apart, and it’s a blast to watch!

In summation, The Incredible Hulk is an all-out, fast-paced action movie that took special care to deliver a tight story with logical progression, rounded characterization, and very good acting.  But even with all these wonderful attributes, they delivered the most important aspect-they gave us a Hulk who relished smashing stuff up.

I’ll say it again, if you consider yourself a fan of the Hulk at all, go see The Incredible Hulk.

How can you go wrong with Tim Burton and Johnny Depp?  Answer: You can’t. 

First and foremost, you must understand that Sweeney Todd is a musical.  Many people don’t make this realization before they sit down to watch the film.  If you’re among them, don’t feel bad-you’re not alone.  However, bear in mind this is a film adaptation of Steven Sondhiem’s musical and the vast majority of the movie is pure song.

That being said, while I’m not particularly a fan of musicals, I am a fan of Burton and Deep, Burton, and Depp (in that order).  We get the classic gloom and melancholy playfulness we love from Tim Burton, and Depp makes Sweeney Todd his own with emotional glares, terse dialogue, and a stylistically eerie appearance.

And while it was obvious none of the actors were professional singers, I didn’t find Depp’s singing nearly as distracting as I thought I would.  Be aware, though, at times the music itself grates on the nerves.

Perhaps the most pleasant surprise Sweeney Todd offered was the scene-stealing acting and singing of Sacha Baron Cohen.  Of Borat fame, the nearly-unrecognizable Cohen dazzles with multiple accents, mesmerizing body movement, and probably the best singing existent within the film.

Burton, as usual, gives us wonderfully morose scenery and costumes.  Never a slave to convention, a musical would have been the last endeavor I would have expected him to undertake, but I’m glad he did.  It goes a long way to solidifying his versatility, and the fact he did it his own way with tremendous risk in casting only reestablishes my faith in his artistry.

Be aware, however, that had anyone else directed Sweeney Todd, I probably wouldn’t have bothered to watch it.  If you’re a fan of Burton/Depp collaboration or musicals, I think you’ll be pleased.  If you don’t particularly enjoy either, I’d make a point to avoid Sweeney Todd.

Not as eccentric as The Life Aquatic with Steve Zissou or as dark as The Royal Tenenbaums, The Darjeeling Limited falls somewhere in-between and is an entity unto itself.  However, make no mistake; this is a Wes Anderson movie through-and-through.  In other words, it’s well-made and very fun to watch.

Owen Wilson plays Francis, the oldest of three siblings who calls his two brothers, Peter and Jack played (respectively played by Adrien Brody and Jason Schwartzman) to India.  They meet on the train called the Darjeeling Limited with no idea as to Francis’ plans for them.  It turns out they haven’t seen each other in a year, and Francis wants them to reconnect as brothers on a spiritual quest.  However, he also has some other plans for them that he keeps to himself for as long as possible.

Wes Anderson is one of those creators that I prize.  He brings a unique vision to his projects that I both revere and respect, no matter what the subject matter or presentation.  The Darjeeling Limited was equal parts funny and dramatic, but it was never laugh-out-loud, nor did it bring a tear to your eye.  At times, though, it had you on the verge of both.

Furthermore, it delved into the relationships between brothers and delivered dialogue and ridiculous situations that, while certainly “Anderson” in nature, were still relatable to anyone with a brother.

The quiet interpretations of such outrageous characters by Wilson, Brody, and Schwartzman made me love them and, at times, detest them.  Really, though, isn’t that what real life is like with people? 

I’d like to say that Schwartzman is always wonderful, Owen presented himself as the actor I wish he always was, and Brody was a fine addition to the Anderson universe.  We’ve seen Schwartzman and Wilson with Anderson before, so I knew they’d knock it out of the park with his direction, but Brody was a pleasant surprise.  He played both the most grounded and troubled of the brothers, and that’s saying something.  There were also some special appearances by Anderson’s favorites that I won’t spoil for you.

A pleasant surprise on the DVD was the inclusion of the short film, Hotel Chevalier.  Roughly ten minutes, it serves as a prequel of sorts to The Darjeeling Limited and fleshes out some of Jason Schwartzman’s character and that of his ex-girlfriend played by Natalie Portman.  It’s not totally necessary to understand The Darjeeling Limited, but it does help the film make a bit more sense in terms of some references.

If you didn’t enjoy any of Wes Anderson’s previous films, there’s no reason to believe you’d like one set in India, primarily on a train, exploring the complex relationship of dysfunctional brothers.  However, while I still consider The Royal Tenenbaums my favorite of his work, The Darjeeling Limited was very cleverly made with delightfully peculiar characters.

Quiet, subtle, and nuanced, this movie is a work of art for those interested in cinematography, story, and acting.  Anyone hoping for a “popcorn” movie will be sorely bored and disappointed.

The title says it all, for it focuses more on the motivations of Casey Affleck as Robert Ford than it does on the exploits of Brad Pitt as Jesse James.  In fact, the film is a classic character study, moving us from Robert Ford’s infatuation with James to his utter resentment of the man, despite their becoming partners (of sorts).

Clocking in at two and a half hours, the story takes its time peeling away layer after layer of Ford’s insecurities and James’ paranoia as it offers beautiful shots, lovely scenery, and props and costumes that are seemingly spot-on. 

The acting is magnificent, by the way.  Don’t look for any robust chest-thumping-this is the stuff of delicacy.  Affleck’s character is a coward, as the title reminds, and Affleck does a wonderful job through body language, facial expression, and voice inflection of seriously creeping the audience out.  He makes his character so uncomfortable to watch, so truly awkward, that he really won me over as a skilled actor.

In fact, James’ gang was terrified of him, and each actor in the gang seemed genuinely fearful.  Affleck was by far the best, but they all squirmed in such understated mannerisms around Pitt that I found myself on edge.  Perhaps Pitt was given the least amount to work with because James is something of a legend, but his acting really paled in comparison to Affleck.  I have to give Pitt credit, though, because while he may not be the strongest actor, he certainly chooses to take part in excellent movies.

The title tells exactly what happens near the end of the movie, but they (including Pitt) offer a very interesting interpretation as to why James put himself in the position he did.  Pitt’s dialogue, if you read between the lines … Well, I don’t want to spoil anything for you.  Let’s just say there is ample material for a character study of James’ psychology.

If you’re looking for a Wild West shoot-out with daring robberies and nefarious misadventure, look elsewhere.  The Assassination of Jesse James by the Coward Robert Ford is a low-key movie driven by the evolution (or perhaps devolution) of character.  It is fascinating, but it is meant for those with patience and an appreciation of story and art.                

Based on a Stephen King short story, 1408 started very strong.  We were quickly introduced to the complexities of John Cusack’s character through deft editing, efficient dialogue, and Cusack’s effortless acting.  Unfortunately, the movie became a tribute to inconstancy for the remainder of the film and went nowhere fast.

Cusack plays a once talented author who sold out.  He now writes about haunted hotels after staying in them overnight.  A total disbeliever, he is condescending of his own work and is often the opposite of what his readers expect when they meet him.

However, soon he is mysteriously invited to visit a hotel in New York City and stay specifically in room 1408.  The manager, played magnanimously by Sam Jackson, refuses to rent Cusack the room, but eventually gives in due to legalities.  Cusack believes it’s all just part of the show as he’s before seen such dramatizations.

Cusack quickly realizes that the room is actually haunted, and the movie spends a great deal of time trying to terrify us with psychological taunting.  It offers many, what some may consider, cerebral twists and turns, but I found the whole thing a supreme waste of time.  There were moments of true creepiness, but overall I thought it rather cliché and annoying.

I find Cusack always entertaining, but even he couldn’t rescue this movie as 1408 went nowhere fast, and this was especially disappointing because it started so interestingly.

Live Free or Die Hard was one of those movies that I went ahead and rented out of morbid curiosity despite the fact I had no real desire to watch it.  Seriously, as much fun as Die Hard: With a Vengeance was, I had a hard time believing the franchise could go anywhere new.

But, finding my wife out with friends one Saturday morning, I went ahead and popped it in as I worked on other tasks thinking if anything remotely interesting actually happened, I could give it my attention.

To be perfectly honest, after about ten minutes, Live Free or Die Hard had me glued to the screen. 

Wow. 

I’m almost embarrassed to admit that.

Fact is, this thing was nonstop action from almost the beginning, and it’s the kind of action you can’t help but watch.  Over the top?  Sure.  Entertaining?  Indubitably.

They introduce Justin Long into the mix as a hacker-techno-god guy.  (I’m sure he got the job based off his acting resume.)  When I originally heard this premise, I realized they were going down a well-worn path.  Old action dude teams up with spunky-hipster computer guy.

Well, a horrible cyber-crime is committed, and Bruce Willis (still, indefinably charismatic) must escort Long somewhere to try to save the nation from being cut off at the knees.  Again, nothing new in terms of plot.  Cyber-crime was groundbreaking in, what, the mid-Nineties?  Now … not so much.

But somehow—SOMEHOW—it worked!  Long’s character was actually likable, and the complexity of the cyber-crime really made me sit back and say, “Good googley-moogley, I’ve never before seen it done quite that complicated.”

And the villain of the movie mesmerized me.  There was something about him.  Where had I seen him before?  And then it dawned on me—it was Timothy Olyphant, the guy who plays Sheriff Bullock on Deadwood (awesome show).  He took the intensity of Bullock and twisted it to shape his understated, yet oddly captivating, villain.  With Olyphant, you either think he’s a superb actor or a terrible one.  I, as you no doubt realize, find his acting tremendously potent. 

But, regardless of the surprisingly interesting plot and unexpectedly compelling characters, the real star of this movie was the action.  Each action scene made a point to outdo its predecessor, and while everything wasn’t necessarily realistic, I was able to suspend my disbelief and enjoy the ride.

On a final note, I’m glad that Willis made this movie the only way it could be done.  The days of brainless action flicks from the Eighties and Nineties, for me, are over.  I went in thinking Live Free or Die Hard would be a relic from the past, and I was more than pleased to realize it was part of the new brand of action movie—one with an actual plot, characterization, and real acting.