Yep this is it, the Final Destination, the alleged final installment in the “Final Destination” franchise that promises to close up the entire storyline. And yes, I’m not buying it either. When there is money to be made, sequels are still a potential cash cow and I think the series will continue to live on when the studios decide it’s time to make some money off of this carnival of cruel and painful deaths. What “The Final Destination” promises is not what it delivers. There are simply no questions answered to the big questions. Who are chosen to receive these premonitions? Are these people just random or do they possess unusual powers or gifts? Are they apart of a legacy or do they just happen to be apart of an accident or misfire? Who or what grants them these premonitions? Does death give it to them as some sort of sick game? And if there is some mystical being granting these people the gift to foretell the next move of death why do they want these people to be one step ahead of death?
Tag Archives: Thriller
The Lovely Bones (2009)
Peter Jackson is usually a very competent director. Hell, he’s a skilled director who can take any concept he wants to tackle and tackle it with great prowess almost never failing. With “The Lovely Bones” the man doesn’t seem to be hitting his stride and instead looks to be sleepwalking through what could have been an excellent film. I never read the novel before but I felt that was what would give me the ability to see through what Jackson was attempting to accomplish. Instead what I received from his latest was a story that was often confused about what it was trying to say. He seems to want to jump on every theme and plot point possible and this causes a cluster fuck in its focus hopping from character to character from perspective to perspective.
Inglourious Basterds (2009)
Tarantino is often touted as a filmic sensation, a director who understands film and the art of storytelling and despite the backlash he gets from some, the man simply knows how to tell a damn story. In a world where blockbusters and animated films shake us down for cash in exchange for a movie that only acts as an amusement park ride (experienced now, easily forgotten later), Tarantino opts instead to give us bang for our buck with films that surpass their genres and provide us with the old fashioned art of storytelling. With his flair for dialogue and his mastery of the film camera, Tarantino is always performing at his best regardless of his film’s quality (erm–“Death Proof”) and “Inglourious Basterds” is one of his best works yet.
Fast & Furious (2009)
I want to live in the world that Justin Lin has created in the fourth film of the “Fast and the Furious” franchise. In it people can smash through windows like they’re cutting through paper, bullets don’t necessarily harm them, racers can speed through city streets without being pulled over or tracked by traffic cops, and they’re able to fly in stealth mode evading authorities in the loudest most conspicuous cars imaginable. That’s the world I want to be in. Probably the biggest turd of the series, “Fast and Furious” presents us with four actors with no other option than to sleepwalk through a hundred minutes of explosions, car chases and the prerequisite bad acting. Particularly from Rodriguez and Diesel whose chemistry is still there and seems to amplify their horrible acting abilities.
H2: Halloween II (2009)
In Rob Zombie’s first bastardization of the Halloween franchise, we’re told that Michael is so intent on going home that he’s willing to do anything to get there and is perfectly willing to remain unresponsive to psychological help. We’re also told that he’s completely emotionless and cold to just about everyone. And yet here we are with “Halloween II” where we get to see how cute and affectionate he is with his mother. This is further proof that Zombie just doesn’t know what the hell he’s doing ninety percent of the time. How can we ever expect to see a good movie from this man again if the story he’s telling is inconsistent? Seeming to have no other option these days, Zombie continues chucking rotten eggs our way from the contrived “Halloween II” (I refuse to call it H2) right down to the awful animated mess that was “El Superbeasto.”
The Hurt Locker (2008)
I honestly think that given enough time, Hollywood is going to understand how to create a great film about the Iraq War. In the eighties we observed the sixties and its impact on society and given another five or six years we’ll get the right film about the Iraq war that chronicles its impact on civilization. Few movies have done it successfully (“In the Valley of Elah” was excellent, though). That is until now where Kathryn Bigelow has managed to capture the chaotic fervor and flat out insanity of the occupation of a foreign land told through the eyes of three soldiers, one of whom happens to be a bomb specialist who takes risks time and again to ensure the safety of his platoon.
Why Hire a Killer? (2009)
I always say that you can tell if a movie is going to be really good or flat out stink by the first ten minutes. And that’s because the first ten minutes is when any sensible filmmaker starts off with a hook. It’s a device that gives us something of a bang for our buck that convinces us to stay or just flat out leave it out in the cold for someone else to deal with. Sadly, “Why Hire a Killer?” leaves very little reason to stick with it. Judging by the five minute long opening credits, Director Oscar Sanders really doesn’t have the ability yet to hit us with a hook.