Drumline (2002)

Posted on December 14, 2003 by Felix Vasquez

What “Drumline” does is give the American audience a perspective into something entirely fresh and original to watch while focusing on a relatively obscure practice called band and succeeds in every way shape and form possible. Every character in the film takes this practice seriously and treats it as if it’s life or death, and we can see why. It’s evident that there’s no glamorizing or watering down of any kind in the film, what we’re watching is in fact reality with the facade of Hollywood and it pulled me in right from the opener. It’s a shame films of this ilk don’t make it into theaters often.

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Poison (2000)

Posted on December 14, 2003 by Felix Vasquez

The story in the film and the script is a hefty mess and bears some incredibly wide plot holes that ruin the efficacy of the film. For example, It’s never fully or clearly explained as to why Traci does the things she does to get her mother’s attention. There’s some insinuation that she resents her, or maybe she’s psychotic, but there’s no verification. Even in the end which is somewhat blurry, we’re never truly sure as to her motives with killing all the people during the movie. Her actions during the film perceive her character to be more spoiled than psychotic and threatening, so in the end it remains hazy. Also, the climax of the film seems so rushed and tacked on it begins to feel awkward on the closing credits.

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The Mangler 2 (2002)

Posted on December 14, 2003 by Felix Vasquez

This is a pretty entertaining film, and reason enough for any B-movie horror lover to check out. It’s written by Michael Hamilton Wright who also directs and Stephen King (What in the hell?!) who is un-credited as second writer. When a strict school dean (Lance Henriksen) installs an advanced super-computer for school security, a rebellious young girl name Jo (Chelse Swain) injects a computer virus into the system and accidentally awakens an evil computer entity that traps her and a bunch of friends in school killing them off one by one. The plot, though incredibly contrived, doesn’t have the same plot the original does and actually becomes a lot more interesting in the process.

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The Curve (Dead Man's Curve) (1998)

Posted on December 14, 2003 by Felix Vasquez

This film reminded me of my favorite Hitchcock movie of all time “Rope”. Two high class men decide to join together and murder to see if they can not only beat the system, but somehow gain some personal conquest in the process. The problem is I’ve seen so many movies like “The Curve”, it fails to even come close to comparing to “Rope”. What also becomes evident at the start of the film is that the plot is immensely far-fetched; I don’t know if what’s explained in the film is true, and I could care less, but it hardly seems like motivation for murdering someone, of course is there any sensible motivation?

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Punch-Drunk Love (2002)

Posted on December 14, 2003 by Felix Vasquez

I sat on my couch at the end of the film, amazed at what I’d just seen… Adam Sandler can act. I thought to myself: Adam Sandler can act?! After watching him in comedic duds like “Water Boy”, “Billy Madison”, and one of his most recent “Mr. Deeds”, I was astonished to discover this man may actually have the ability to become one of the best actors in the biz, if only he’d stick to bittersweet dramedies like this. Only two of his films are watchable: “Happy Gilmore”, and “Big Daddy”, two movies which show Sandler’s knack for comedy and quality, two films that show the child that Sandler is so famous for invoking. “Punch Drunk Love” has prompted me to wonder if I was wrong all along about him. Sure, most of his movies are terrible, but “Punch Drunk Love” begs to differ and makes people think that maybe he’s just as much as star as everyone says he is.

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In the Bedroom (2001)

Posted on December 14, 2003 by Felix Vasquez

Matt Fowler (Tom Wilkinson) is a doctor in Maine whose son Frank (Nick Stahl) is home for the summer. While home, he falls for a single mother Natalie (Marisa Tomei). While the two have a lurid affair, the parents don’t approve, especially mom Ruth (Sissy Spacek). But soon a tragedy ensues that will test each of their own spirit and breaking points. The movie has a very calm and unperturbed environment to its story telling devices and never gives the feel of a thriller because it stays grounded down into reality. There’s a feeling of unrest during the film, a feeling almost like a bubble that could be burst in any moment during the story.

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Femme Fatale (2002)

Posted on December 14, 2003 by Felix Vasquez

When a heist goes awry, Laure Ash poses as a woman, stealing her identity and sets out to live a straight life while attempting to dodge two of her ex-partners out for vengeance and a photographer who wants her picture for the tabloids. I was literally stunned by DePalma’s (Carrie, Blowout) visually engrossing direction that so eloquently depicts every action of the story he is trying to tell. He is the master of the split screen which he uses to emphasize character motive and personality. At times, there were scenes so incredible, I just had to rewind and see it all over again. He pays attention to every small and seemingly adequate detail from the largest of street settings to confined spaces such as hotel rooms. One of my favorite scenes is where the character Bardo sits along his balcony top watching Ash from across the street; though he doesn’t know what he’s in for yet, he’s oddly intrigued, and another of the best scenes where Bardo fights off an aggressive pursuer of Ash where Bardo steps in begins to fight him. DePalma doesn’t show the fight except relies on sound and imagination as we watch the silhouettes of Bardo fighting off the attacker while he slowly closes in on Ashe’s face who is reacting to the entire scene like a snake watching her prey fight over her.

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