Category: Movie DVD Quicktakes (Page 10 of 41)

Flame and Citron

Conspicuously red-headed, twenty-something “Flame” (Thure Lindhart, “Angels and Demons“) is both a tortured romantic and an efficient killer and anti-Nazi patriot. Whether the target is a Gestapo officer or a pro-Nazi journalist, he’s efficient and not too concerned with moral fine-points — except, perhaps, when it comes to women. Former automotive saboteur “Citron” (Mads Mikkelson, the evil Le Chiffre of “Casino Royale“), however, is overtly troubled by the job, and even more so by his deteriorating marriage. Things become torturous for the pair, comrades but perhaps not quite friends, when a series of events involving questionable leadership, traitors within the resistance, and Flame’s emotional attachment to a sexy and sympathetic resistance spy (Stine Stengade) makes them wonder just how many of right and wrong people they’ve been killing, and why the local Gestapo head (Christian Berkel) isn’t one of them.

“Flame and Citron” attempts to blend the blunt realism of an anti-Nazi resistance thriller like Jean-Pierre Melville’s recently rediscovered “Army of Shadows” with a contemporary action film. Initially, director/co-writer Ole Christian Madsen’s bombast and an overlong first act partially derail matters in this 2008 Danish language production, but once it gets going, the film achieves its goal and becomes an honest look at the real cost of killing. A genuinely affecting, complex story kept remarkably clear by Madsen, strong acting (sometimes too strong), and some painfully effective action sequences makes this film a bitterly poignant reminder of the real cost of World War II.

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Broken Embraces

Behind every great actor is a great director. Leonardo DiCaprio has Martin Scorsese, Johnny Depp has Tim Burton, and Penélope Cruz has Pedro Almodóvar. Cruz, in particular, is a completely different actress when working with the Spanish director. Whether it’s the material he writes for her or the fact that she’s acting in her native language, every time they get together, something magical happens. Their latest collaboration, “Broken Embraces,” isn’t their strongest project to date, but it’s much better as result of Cruz’s involvement. A time-spanning love story filled with passion and revenge, the film stars Lluis Homar as Harry Caine, a blind screenwriter who recalls the story of falling in love with an aspiring actress (Cruz) while on the set of his latest movie, even though she was the mistress of his jealous financier (José Luis Gómez). The principal cast all turn in solid performances – Cruz channels an Audrey Hepburn-like innocence as the object of both men’s affection, Homar brings grace to an otherwise unlikeable character, and Gómez is a real villain’s villain – but the story just isn’t that compelling. Though Almodóvar infuses his film with bright colors and some hypnotically beautiful shots of his leading lady, the story dangerously borders on becoming a cheesy telenovella. It never quite reaches that point, but it’s enough to suggest you won’t love “Broken Embraces” nearly as much as fans of the director were expecting.

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Armored

Most people will take one look at Nimród Antal’s “Armored” and be immediately tempted to write it off as the kind of B-movie action thriller that you’d only watch if you were stuck home alone on a weekend. It really isn’t that bad, but with all the talent that’s involved, it should have been a whole lot better. Columbus Short stars as Ty Hackett, a decorated war hero who returns home to take care of his younger brother after their parents pass away. Although his godfather, Mike (Matt Dillon), gets him a job working alongside him as a security guard for an armored truck service, Ty still struggles to make ends meet. Desperate to get some quick cash before he loses his house to the bank, Ty begrudgingly agrees to join Mike and their co-workers in a plot to steal the $42 million they’re transporting and make it look like a robbery.

After all, it’s a foolproof plan with no “bad guys.” At least, that’s what everyone thinks until a nosey bum is accidentally killed in the process and Ty locks himself inside the truck with half of the payload. With the clock ticking down to their scheduled check-in with headquarters, Mike and his team get to work on removing the door, only for a meddlesome cop (Milo Ventimiglia) to get in the way. The further along the movie gets, the more ridiculous it becomes, with a series of preventable plot holes riddling the story like a piece of Swiss cheese. The film’s biggest crime, however, is its misuse of the cast. You’d think Antal would want to make the most of actors like Laurence Fishburne, Jean Reno, and even Skeet Ulrich, and yet each one is barely given more than a few lines. Had they played a bigger role in the movie, “Armored” might have been more entertaining, but as it stands, it’s something you’ll likely forget the minute it’s over.

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The Pleasure of Being Robbed

70 minutes isn’t a long time at all for a feature-length film, but those 70 minutes that are packed into director Josh Safdie’s indie work, “The Pleasure of Being Robbed,” are far too many. The movie is centered around Elenore (played by co-writer Elenore Hendricks) and her kleptomania that may or may not be caused by something deeper going on in her psyche. She steals not to profit, but just to peek into strangers’ lives. Elenore steals a lady’s purse, then a father’s gift for her daughter which consists of a bag containing a dog and some kittens, and eventually she works her way into stealing someone’s car keys just to see what the inside of the victim’s car looks like. It’s literally like watching someone’s bad home movies. At this point, Safdie himself appears as “Josh,” Elenore’s friend who convinces her to drive him back to his apartment, even though she has no clue how to drive. They manage to make it out of the city and back to his pad, and this takes up the majority of the movie and feels like it’s going in real time. Hell, it may actually be. There is no “plot” here, no real tale behind the characters, and no reason to care for anyone involved. This is indie filmmaking at its most uninspired, which of course has led some other critics to absolutely gush over it. But don’t believe the quotes on the back of the box; there is no pleasure of being robbed here, especially when you’ve just had 70 minutes of your life stolen.

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Passing Strange

If you frequented the better L.A. rock clubs during the 90s and early 2000s, you were likely acquainted with the work of Stew. First with his band, The Negro Problem, and later as a solo act, the talented singer-songwriter’s between-song patter was half the thoughtful fun. Still, it’s a pleasant surprise to find Stew headlining his own Broadway show, a clever combination of traditional musical theater and a wordy musical performance. This version of “Passing Strange” is not so much a movie in a traditional sense but a very well done video documentation by Spike Lee of the show staged by director Annie Dorsen. As narrated both in spoken word and song by the volubly imposing Stew, it’s a presumably autobiographical coming-of-age tale dealing with the travels of an artistically inclined young man (Daniel Breaker), first through the tail end of his middle-class upbringing in South Central L.A. and conflicts with his religious mother (Eisa Davis), and then on to the sex-and-drug positive bohemian enclaves of Amsterdam and Berlin. As you can imagine, it’s a heady journey and Stew’s narrative and Dorsen’s witty staging keep things hopping. At times, “Passing Strange” falls prey to the same artistic pretensions it skewers, and I remember liking Stew’s older music a bit better than the songs he and his life/songwriter partner, Heidi Rodewald, created for the show. Nevertheless, as preserved for posterity by Lee, this is a consistently thought-provoking, funny, and moving theatrical look at growing up creative and ethnic in an ever changing world.

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