“Analyze This” regardless of its critical acclaim has to be one of the most overrated unfunny movies to come out in years. Despite its large cast and top-notch direction and writing team, “Analyze That” is no exception from its predecessor. It’s comprised of two elements: a sequel that is unnecessary, and a sequel that should have never been made. This sequel is composed of nearly every modern sequel’s downfall: it doesn’t provide new material to an original property, instead it recycles it as “Scream 2” did, and as “Jungle Book 2” did. So, watching this is like watching the first except the plot is different. I’m very disappointed in Robert DeNiro for even agreeing to star in a film of this magnitude. Lately, the legend has failed to rake in a box-office or critically acclaimed hit, and this film brings him down a notch. He proceeds in this film in his character almost as if he know he’s too good for this film, and he is.
Tag Archives: Crime
Punch-Drunk Love (2002)
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.
Femme Fatale (2002)
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.
The Recruit (2003)
There are those films with big stars that you know are because the actors love the part, then there are the films that actors are in, and you know it’s for simply money. There can be no other explanation for actors such as Al Pacino and Colin Farrell to star in this other than that simple reason. There’s a mood director Roger Donaldson is going for desperately but fails with every leap trudging through the plot with a tried attempt. He attempts to go for the Tom Clancy mood and motif with the murky and sometimes sharp cinematography, but little does he know that the script is the ultimate down fall to this film. There’s nothing to like about this movie from its plot holes to immense lapses in logic; for instance, how is it that Clayton goes from a top computer programmer, to a moon lighting bartender right into the CIA without any training beforehand?
White Oleander (2002)
It’s a shame Alison Lohman has never done a lot of work for Hollywood over the years. While she has remained consistent through television and film roles, she hasn’t really ever broken out as a highly publicized cinematic artist. Like Sarah Polley and Vera Farmiga, she’s always remained on the fringe, but never quite broke out as someone overly saturated. Perhaps that’s a good thiing. Whenever Alison Lohman decides to commit to a film she’s a force to be reckoned with. One of the better dramatic suspense films of 2002 that came out at a time where other films were stealing its thunder was indeed “White Oleander.”
The Italian Job (2003)
Not exactly a remake per se, but based on the concept of the original 1969 film starring Michael Caine, “The Italian Job” is a fun popcorn action flick. The filmmakers play it smart by comprising an all-star cast of actors that play their roles well; there’s a round up of charismatic and memorable actors who all play some great characters. Mark Wahlberg leads the cast as Charlie the gifted thief and leader of the group, Charlize Theron is Stella, the daughter of John who is a legitimate safe cracker for the police. Edward Norton plays the slimy and sneaky Steve.
Auto Focus (2002)
Based on the book “The Murder of Bob Crane” by Robert Graysmith, the film “Autofocus” chronicles the life of Bob Crane who had an early career as a radio DJ with a hit show and then made his foray into television with the hit series “Hogan’s Heroes” one of the most successful television series of all time. It’s by the life on the road where he formed an addiction to sex often luring women to his mansion and engaging in orgies, threesomes, and much more until his death at age 49 where his skull was crushed by a tripod by an unknown assailant.