ALONG CAME A SPIDER (**½)
ALONG CAME A SPIDER is another addition to the overused ("abused" is probably a better word) for the serial killer-thriller genre. It stars Morgan Freeman (DRIVING MISS DAISY) as detective Alex Cross, who is supposed to be a brilliant serial-killer-profiler, and Monica Potter (CON AIR, PATCH ADAMS) as the secret service agent Jezzie Flannigan assigned to protect a senator’s daughter from being kidnapped. She fails to do so, enter Alex Cross. Michael Wincott (METRO) plays Gary Soneji as the baddie.
CONSTANTINE (**½)
CONSTANTINE is a strangely intriguing film, one that I enjoyed intellectually, but not viscerally. It is a rare kind of movie, mixing the supernatural with adventure (the last I remember of this sort was END OF DAYS). Though it doesn’t achieve the grand conflict that I was expecting, it adheres to its premise as loyally as it can, and deals with issues of good and evil (albeit not too deeply) from a worldly view. What a shame that I cannot recommend this picture, despite my affection for it.
FROM HELL (**½)
Not many people know who the Hughes Brothers are (Albert and Allen), but they should. They're a pair of 30-year old twins who just happen to be two of the most talented young filmmakers to come along in years. They crafted MENACE TO SOCIETY, the most powerful movie I have ever seen about the desperate lives of young African-Americans living in the slums of urban America (based on their real-life experiences). They also made the jazzy DEAD PRESIDENTS, which was more of an artistic exercise than anything else. They seem to be more skilled with stories about the 'hood than anyone else (other than John Singleton), and now they have come out with another 'hood story in FROM HELL, that just happens to be set in 19th century London.
HIDE AND SEEK (**½)
This picture is advertised as a horror flick. And though I haven’t been frightened by one in a long time (Stanley Kubrick’s THE SHINING and John Carpenter’s THE THING still chill me to this day), I still get a good kick out of those that grip me with building suspense and creative storylines (the last two were THE OTHERS and STIR OF ECHOES). Surprisingly, HIDE AND SEEK nearly did it for me, but it made one slight miscalculation, and to quote Robert Frost, “… that has made all the difference.”
I THINK I'M IN LOVE (**½)
I must be getting soft. In the past two weeks, I have seen more local films than I did all of last year. And if you read my reviews of the last three (SUPER-B, DISKARTE, and MAGKAPATID), it seemed that this summer's Manila Filmfest had showcased the worst that our industry has to offer. I prayed to God that something good could still be found among the Filmfest's offerings. After seeing I THINK I'M IN LOVE, I thanked the Almighty. It's not an entirely good film, but it is far from bad. It has a good feel, promising talents, and sparks of intelligence. Among the Filmfest's entries, it's a gem.
MEET THE FOCKERS (**½)
Any parent who names their only child Gaylord (Greg) Focker has to have some wealth of comedic possibility. So it was a no-brainer for Jay Roach, the director of MEET THE PARENTS and the AUSTIN POWER movies, to follow up with another comedy sequel in MEET THE FOCKERS. You could see it a mile away as soon as Greg’s father-in-law mentioned such a meeting in their last outing. The film’s casting of Greg’s parents, as well as its title, is inspired. Thus, expectations are high for this sequel to outdo, if not equal, its predecessor. So does it? Hardly.
ORANGE COUNTY (**½)
ORANGE COUNTY has gotten a lot of flak in the US for nepotism. If you know who some of its cast members are, along with its director, you might be inclined to agree. Colin Hanks is the son of Tom Hanks and Rita Wilson Hanks, Schuyler Fisk is the daughter of Sissy Spacek and Jack Fisk, while the director Jake Kasdan is the son of wonderful writer/director Lawrence Kasdan (Body Heat). I'm sure that if you have connections like those, you could get to be in a movie. But to a be a movie's lead requires talent, no matter how powerful your friends or family are. Are these 2nd generation artists ready for the big time? I'm inclined to think so. The movie showcases Colin Hanks' and Schuyler Fisk's charm and talent, along with Jake Kasdan's sure-handed approach. These people have worked on other projects before, and this film heralds...
S.W.A.T. (**½)
Earlier this year, I got a taste of BAD BOYS 2, a movie with such relentless action and just as much malice. It revolved around police officers that cared of nothing but themselves, their women, and their cars. After viewing such distasteful vanity, I was hoping that S.W.A.T. would offer something way more substantial. In some respects, it is everything BAD BOYS 2 was supposed to be. But in the end, it was not enough.
SPY GAME (**½)
Films about espionage are always about the fear of getting caught. And effective spy films are skillful in creating that fear by developing a concern for a spy and his motivation, in order for us to feel tense about the risks of his trade (James Bond movies are not so much about espionage but of action since we know he’s going to get out alive). The higher the stakes are involved, the more interesting the movie gets (provided the loopholes aren't large enough to drive a car through). Compared to its predecessors, SPY GAME is slick, kinetic, but with little substance. It has lots of sugar but very little soul.
THE INTERPRETER (**½)
Sydney Pollack is a director of old-school intelligence, relying on his characters to drive his films rather than the other way around. Like Clint Eastwood, he communicates exceedingly well with his stars, bringing out performances that never insult our intelligence (probably so because he himself is a superb actor). Knowing how to elicit excellent characterization can get you halfway to a good movie, while technique can get you the rest of the way. I am disappointed to say that with THE INTERPRETER, Mr. Pollack nearly gets us there, but not quite.
XXX (**½)
I'll admit it. I am a fan of Vin Diesel. No other movie star in the past 20 years has the potential to make the same kind of impact in Action Films as Sylvester Stallone did with Rambo and as Arnold Schwarzenegger did with Commando. Just like Sly and Arnold, Vin has an intimidating physique, impressive athleticism, a great name, and a commanding presence. But Diesel has something that neither of the two had... he can really act.
