After the painfully overrated “Match Point,” I was basically ready to welcome anything else that Allen could offer us. Sadly, going out of New York and onto the UK for his comedy thrillers has worked against Allen, and he’s pretty out of his element, as it becomes apparent with “Scoop.” All essence of genius and life is gone, and every one liner that Allen hurls our way manages to fall flatter and flatter to the point where it becomes rather pathetic. Especially when you consider the fact he’s now resorted to remaking his own movies, with “Scoop” being a loose remake of “Manhattan Murder Mystery.”
Tag Archives: S
Spider-Man 3 (2007)
I have this theory that “Spider-Man 3” is Sam Raimi’s revenge on Sony Pictures. What leads me to that theory? Well, Raimi was likely forced to make the second sequel on a speedy time slot, he was likely bored with making another Spider-Man film on such a hectic schedule, and was forced to include Venom, a character he swore off when he took on the Spider-Man franchise. What’s interesting is that “Spider-Man 3” seems to prove many of my points at every turn, and it’s painful that I may be right.
Sympathy for Mr. Vengeance (Boksuneun naui geot) (2002)
Perhaps I wasn’t paying attention, or perhaps I was just falling asleep after the first hour of nothing, but I couldn’t understand about sixty percent of what occurred in “Sympathy for Mr. Vengeance.” Whether or not Park actually tells the story jumping from different time to time, I’ll never know, because characters I thought died pop up later, and events that suddenly never happened, leads to something unexpected. Park’s story is awfully disjointed to the point where I couldn’t even catch up.
Switchblade Sisters (1975)
All these years I was pretty sure that there’d never be another gangster movie that equaled “The Warriors” in terms of pure atmosphere and grit. And then I saw “Switchblade Sisters.” Sure, it’s not as good as “The Warriors,” but it makes a damn good argument of equaling it in quality. “Switchblade Sisters” is a hard film to dislike. I’m not going to claim it’s the perfect gangster movie, but watching a bunch of tough broads fighting off prison wardens is still as exciting as watching The Warriors battle The Lizzies. It’s past its time, sure, but it’s also aged pretty damn well. The gung-ho corniness, colorful characters, and unflinching bad-ass attitude are just so damn entertaining, and Hill is never apologetic about displaying this film as a fantasy, that’s also acceptably outlandish.
SuperCroc (2007)
I really can’t understand why companies on tight budgets insist on attempting to create humongous epics on such a small pittance. “Supercroc” is part rip-off of “Primeval,” a part rip-off of “Alligator,” and a part rip-off of “Godzilla.” But mostly, it’s just an animals-on-a-rampage flick typical of low budget fare these days. And as all low budget fare, the animal in question does very little. As I’ve seen with many low budget movies, the film thinks it can base the story around our characters, so the audience won’t notice that the thing they came for only appears every twenty minutes and does very little. And this would be well and good, were the writing worth something. I mean, hell, the first ten minutes of this snooze fest involves soldiers on a mission on… I want to say a lake resort.
Stay (2005)
Can someone clear up why “Stay” was touted as a horror film, or a supernatural thriller? For the life of me, I’m still attempting to figure out why it was touted as a supernatural thriller, or even a supernatural horror film. You figure a film starring many rather esteemed actors would do its best to stray from its genre pigeon hole, but alas, I’m left perplexed at the utterly disappointing results of “Stay.” It’s not horror. When you’re finished with it, you’ll see that it’s clearly a Supernatural drama, and a pretty lackluster one to boot. I remember this film. It’s “Jacob’s Ladder,” no wait, it’s that crime drama with Courtney Cox who went all “indie,” that must be it. No, “Stay” is really just a sappy melodrama touted in a supernatural angle, and that’s a damn shame.
Shrek 2 (2004)
The question always is: was there really a need for a sequel? The answer is no, but when there’s money to be made, Hollywood will do anything to make sure there’s another film no matter how pointless, or awful if it’s mildly successful. I liked “Shrek”, I thought it was a one of a kind animated comedy that was actually funny. Then I watched “Shrek 2” and was appropriately disappointed. I went in to this movie with a lot of optimism because I liked the original film so much, but this was just a lagging effort, and it becomes painfully clear within thirty minutes in this movie that the producers and all the stars got big fat pay raises to come back for this.

