Did we need this? No. Did we need to see this? No. Were we forgetting? I could live to be 99, and I’ll still remember it. So, why was it made? That’s up for debate. But it happened, and there was nothing left to do but watch it and hope for the best; Greengrasses depiction of the September 11th and the incident and eventual crash on United 93 is surely a tense and deft exploration that never really seeks to be fantastic or grandiose. I can tell you we didn’t need this, but does that devalue it? No way. I admit to you, I was prepared to tear this to shreds, and I was readying myself to loathe this. But a strange thing occurred. During this film, I had a lump in my throat and my chest was tight from the tension. And then suddenly I was back in September 11th, and the memories flooded back, and if you’ve had a more personal experience with that tragedy, I warn you that you will not be able to sit through most of it.
Tag Archives: Thriller
En Passant (2005)
Supercross (2005)
If you needed any verification towards the quality of “Supercross” you need look no further than the first ten minutes. After our character narrates that he and his brother are close, and that just because they’re close doesn’t mean they never compete, and that their father dreamed of having them as Supercross stars, we’re subjected to a nearly ten minute long opening featuring a montage of motocross sequences set to a dramatic scores and flickering credits. Oh joy. And then there’s the actual film after the stunt show. We’re dragged along with pool cleaners whom rely on their jobs and have nothing else in their lives except their job, which they rely on, and their bikes.
Serial Killing 4 Dummys (Serial Killing 101) (2004)
This is just one of those movies that are so bad, they’re just damn good. The quality, filming locations, bad acting, and nonsensical story all pretty much made for a film that shouldn’t be taken too seriously by the audience and should be approached with an open mind. It’s pretty obvious that the makers attempted to make a real slasher, but then, halfway, decided to just make a satire, which is why this has two movie syndrome, where one half of the film feels so different from the second half. What starts off feeling like another slasher film inevitably becomes a cheesy, campy, dark comedy about killing.
V for Vendetta (2005)
If you’re expecting an average comic book adaptation from “V for Vendetta”, then you’re out of luck. McTeigue’s film is both an excellent action film, and a brutally intelligent political thriller fixed to the modern socio-economic and political currents with biting satire, and an almost demented subtle commentary that only those in touch with the current political events can and will catch on towards; suffice it to say “V for Vendetta” is far from your typical superhero actioner. Set in a semi-Orwellian society, the Wachowski’s altered the eighties era story Moore set to the political current in his home country to coincide with America’s direction and its current tide of terrorism; Moore’s hero V is a pure terrorist, by many definitions, but this hero is also a freedom fighter.
Frankenstein's Bloody Nightmare (2006)
“Frankenstein’s Bloody Nightmare” basically has its head on tight with intentions of being both experimental and surreal, and in many respects, Director Hand knows how to convey both a nightmarish and surrealist theme with a hazy picture that drifts from plain and sterile to multi-colored and intense. Hand’s film has a very noticeable Lynchian feel as yet another take on the Doctor Frankenstein character. Hand’s film is a pure mixture of sixties psychedelic grind house exploring the sheer utter madness behind a man seeking to help his wife.
Final Destination 3 (2006)
Not surprisingly enough, the whole “Final Destination” franchise has become like a carnival ride, too. You get on, you sit down, and watch the magic happen, and then watch people die in the most gruesome fashions imaginable, and then you shut it off and somehow feel content with your exercise in sadism. Death once again proves to his master that he’s kind of a moron, because every film involves someone guessing his tricks as he causes a death like a game of “Mouse Trap” personally created by Rube Goldberg at his most sadistic.