Author: Jason Zingale (Page 82 of 154)

Cleaner

After directing some of the worst films of the past decade (“The Covenant,” “Exorcist: The Beginning,” “Mindhunters”), Renny Harlin delivers a welcome return from the basement with “Cleaner,” a by-the-numbers thriller that, while totally predictable, succeeds thanks to a solid cast. Samuel L. Jackson stars as Tom Carver, a former cop who now makes a living cleaning up crime scenes. When Tom is called in to sterilize a home following a suburban shooting, however, he’s surprised to discover that in erasing crucial evidence, he’s unknowingly become an accomplice to the much-publicized murder of a wealthy community leader. Though Jackson is more timid in this film than usual, it’s exactly what’s required of the role. The veteran actor has a pretty good track record when working with Harlin, and while the final product isn’t always a slam dunk (see: “Deep Blue Sea”), it’s usually at least fun to watch. The rest of the cast (including Eva Mendes and Luis Guzman) also deliver safe performances, with the exception of Ed Harris, whose onscreen relapse into his “Gone Baby Gone” character fails to retain even an ounce of surprise in the film’s ending. It’s not like you won’t see it coming on your own, but had the journey there been a little less predictable and “Cleaner” could have been even better than the average thriller it seems so comfortable being.

Click to buy “Cleaner”

Cassandra’s Dream

Over the past three decades, Woody Allen has written and directed a new full-length feature almost every year. If you don’t think that excuses a poor outing every once in a while, you clearly have no idea how hard it is to make one good film. Unfortunately, Allen has been in a rut for some time, and though “Cassandra’s Dream” marks his third consecutive film to take place in London, it lacks the focus of his first (“Match Point”). The film stars Ewan McGregor and Colin Farrell as a pair of brothers with ambitious plans for the future. Ian (McGregor) dreams of becoming a big shot real estate investor, while Terry (Farrell) just wants to make a better life for him and his girlfriend. When both run into money problems, however, they look to their successful uncle Howard (Tom Wilkinson) for help. He’s more than willing to loan them the money, but first, they have to do him a favor: murder a fellow associate who plans to rat Howard out for his questionable business ethics. Much like “Before the Devil Knows You’re Dead,” Allen’s latest film is a second-rate thriller disguised as a masterpiece. Though McGregor and Farrell both deliver solid performances, the story goes nowhere due to Allen’s inability to develop his characters beyond their one-dimensional relationships. It’s too bad, because while “Cassandra’s Dream” definitely has potential as a film, it would have worked better on the stage.

Click to buy “Cassandra’s Dream”

Grace Is Gone

We’ve all seen John Cusack play the sad sap before, but in the Iraq War-influenced “Grace Is Gone,” it’s a different breed of his trademark character. In the film, Cusack plays Stanley Philips, the down-to-earth manager of a retail store who’s just learned of his soldier wife’s death overseas. Unable to tell his two daughters the truth, he packs up the car and takes them on a road trip, hoping that by the time they return home, he’ll have healed enough to break the news. Written and directed by James C. Strouse, “Grace Is Gone” is an incredibly light drama that, despite its subject matter, doesn’t really have a political agenda. Instead, it just uses the situation as a means of telling a simplistic, yet effective story about one man’s emotional journey.

Though the film garnered two Golden Globe nominations for Clint Eastwood’s work on the soundtrack, Cusack’s phenomenal performance was completely overlooked. Much of this has to do with the fact that very few people were given the opportunity to see it, and while I’m not exactly sure why “Grace Is Gone” never received a wider theatrical release, it’s safe to assume that it had something to do with the Weinsteins’ poor marketing skills. This isn’t the first time the brotherly duo have screwed the pooch on a great film, and while I commend them for having the balls to invest millions of dollars into risky projects (*cough* “Grindhouse” *cough*), it means absolutely nothing if you can’t market it correctly.

Click to buy “Grace Is Gone”

Diary of the Dead

It was inevitable that George A. Romero’s latest zombie flick would draw comparisons to “Cloverfield.” Both movies use the first-person camera gimmick as their main storytelling device, but unlike the J.J. Abrams monster movie, “Diary of the Dead” doesn’t have a particularly engaging story to tell. The set-up may be different than Romero’s past films – in this one, a group of college students become victims in a real-life zombie attack while shooting their own horror movie – but the events that transpire are so formulaic that you might as well just pop in “Night of the Living Dead” (now available in a 40th anniversary remastered edition) instead. This isn’t just one of the worst acted horror movies I’ve ever seen, but it’s also one of the most idiotic social commentaries that Romero has ever attempted. Cameras are likened to guns, racist National Guard soldiers play out their hottest Black Panther fantasies, and documentary filmmakers are blasted for their supposed cold-heartedness. Unfortunately, I don’t know a single person that even cares about any of this stuff, and while Romero deserves all the credit in the world for creating such an excellent subgenre, it’s about time he passed on the torch to someone better suited for the job.

Click to buy “Diary of the Dead”

Dragon Ball Z: Season Five

For many, the events leading up to the fifth season of “Dragon Ball Z” was all just a big tease. With the introduction of Cell (a seemingly indestructible android from the future), it looked like Goku and the rest of the Z Fighters had finally met their match. Not only was Dr. Gero’s new weapon born from the DNA of the greatest warriors to ever walk the Earth, but Cell could also duplicate all of their most powerful attacks. That doesn’t stop Goku and Co. from trying, however, and when they discover that Cell’s primary mission is to track down the Androids and absorb their power, the feuding sides team up to battle their latest threat. Collecting the complete Imperfect and Perfect Cell Sagas, the six-disc set contains remarkably fewer episodes than in past releases, but it’s still a major step up from season four. As usual, it takes two to three times as long to tell an episode’s worth of story, but considering that these episodes also act as the launching pad to one of the series’ greatest story arcs – the Cell Games – it’s well worth the wait.

Click to buy “Dragon Ball Z: Season Five”

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