Sometimes it’s more effective for documentaries not to tell you its point of view before, during, or after watching a film to gain the most resonance.  Sometimes it’s best to just throw up the images, warts and all, and let us feel the impact without nudging our thoughts one way or another in a manipulative way.  Such is the case with Kenneth A. Carlson’s Go Tigers!, which gives you the ups and downs of the high school football team called, of course, the Massillon Tigers, in the small town of Massillon, Ohio.  This is a town in which footballs are handed out to every newborn male baby, starting the recruitment early for future players for the town’s biggest source of pride, its football team.

The town is nuts over the team, and in fact, one might call the fervor for which the town’s citizens and officials support the team as rabid.  This documentary showcases the Massillon struggle to redeem itself in the 1999 season, coming off of a humiliating 4-6 record the year before.  The town is also on the verge of a major change, as a levy is being proposed and voted on by its citizens, and one in which would mean a major change to the educational system. 

Carlson employs an even-handed approach to his subject, giving you a glimpse into the personal lives of the players, and it is much to his credit that he befriended them sufficiently to showcase them at their highs and lows.  This isn’t a showcase for Massillon pride, but also an in-depth commentary on what’s wrong with the town’s educational system, where students are habitually held back in 8th-grade in order to make them older, hence bigger and stronger, for their football team as seniors.  There is also a scandal involving the recruitment of students outside of the town, and indeed the state, to relocate to Massillon and play for the team. 

Go Tigers! surprised me with how much anger it was able to inspire in me, almost effortlessly, because it never panders its case, if in fact it has a case to make.  In so doing, it does raise my awareness of small-town sports, and how easily a cult can grow and flourish in a small town.  From the religious undertones, to the ostracizing of anyone who isn’t with the program, one almost would think this was a documentary about religious zealotry, and not the quaint football flick as surmised by looking at the cover. 

By the end of the film, I found myself actually hoping the team would lose, as well as the levy.  I was disgusted at the lopsided interests of the school board, which threw dollars away on babying the football team and coaches, and concentrated very little investment in the education and well-being of the students at large.   A fancy scoreboard, lavish training facilities, and corrupt school policies which revolve around making their football team the best it can be, all served up for our perusal, and potential displeasure.  Go Tigers! may look like an unassuming film about a beloved high school team, but underneath it all, it speaks to what’s wrong with the educational systems of many small communities all over this country. 

The irony is, those who perpetuate this sort of sports-first mentality, especially those in Massillon, probably view this film as another source of pride.

Qwipster’s rating:
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DOWNLOAD MOVIE Wimbledon Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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I’ve been waiting for this movie for a while now. I love romantic comedies (same studio that made Bridget Jones and Notting Hill), I totally love British movies (or American movies that happen in the UK), I truly love Kirsten Dunst (specially since I first saw her first in her first non-child part in one of my favorites, Sofia Coppola’s The Virgin Suicides), and, to not say love again, I really like Paul Bettany which was awesomely good in both comedic (A Knight’s Tale) and dramatic (A Beautiful Mind) in 2001. So now I’ve seen it, and it’s very, very good.Though Kirsten has first billing here, Paul is the star of the movie, as a washed up tennis player who once almost was somebody but choked, and now is playing his last tournament before retiring. And this tournament happens to be Wimbledon which is, of course, his home land (though has never a British player won it- this in the movie and real life).Kirsten is a young American player, number one in the world, playing her first Wimbledon tournament, which is the most prestigious of all the Grand Slams with even the Royal Family attending the final games though they’re not even mentioned here. Just realized that. She likes to yell to the judges and also likes to loosen up whenever she has a chance though her father (played by Sam Neill) would like for her to focus on her game a lot more.This movie plays very much like Notting Hill at first, with him being the nobody, and her the star. But then he starts winning, and also falling in love. She’s also falling in love, but her father’s pressure makes her leave him and that’s when their game changes for rest of the games, and movie.I loved the chemistry between Paul and Kirsten, and the fact that he’s eleven years older than her in real life didn’t affect the movie. And they played great tennis, specially Paul. The scenes playing were just a few, looked very real and well played.

So a very recommended movie that has sports, comedy, and love.

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White Squall – *** (out of 5)   (1998)

Cast: Jeff Bridges, Caroline Goodall, John Savage, Scott Wolf, Jeremy Sisto

Directed By Ridley Scott

WHITE SQUALL is based on a true story of a ship school set in 1960 led by Captain Christopher "Skipper" Sheldon who, along with his wife , leads a group of young boys in the ways of the high seas. The crew of lads learn teamwork and how to overcome adversity, but they get a real challenge when a huge storm attacks their ship.

Ridley Scott gives the film a great look and gets the most out of his cast of actors, but the film plays a little too much like DEAD POETS SOCIETY on the Atlantic, complete with a schmaltzy "oh captain, my captain" ending. Credit goes also to the effects crew for an exciting storm scene, but that scene is about the only time the film ever achieves any moments of gripping drama. There are some nice character touches, and the film is pleasant enough even when there’s not much going on. It’s a worthwhile adventure but its overlong pace and limp ending keep this film from taking off.

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DOWNLOAD MOVIE Evil Dead II Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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10/10

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Wicker Park (2004) / Romance-Drama

MPAA Rated: PG-13 for sexuality and language Running Time: 116 min.

Cast: Josh Hartnett, Rose Byrne, Matthew Lillard, Diane Kruger, Christopher Cousins, Jessica Pare Director: Paul McGuigan Screenplay: Brandon Boyce

If I had to sum up Wicker Park in a one-word review, I?d put it simply: Frustrating.  Based on the French film, L?Appartment, Scottish director Paul McGuigan?s version meanders in its twisty narrative until we not only aren’t able to swallow the motivations of the characters, but we also aren’t able to follow them, mostly because we genuinely don?t care.  If slick direction were all it took to make a sexy thriller, Wicker Park would be a great film, with its split screen action, fluid moving camera, and sleek cinematography.  Alas, this is a romance, and to be successful, we need characters we can relate to, and unfortunately the characters as written have far too little depth or appeal, and all we?re left with is to watch the mechanical plot shift gears and hope something good comes of it.  It doesn?t. Josh Hartnett (Hollywood Homicide, 40 Days and 40 Nights) stars as Matthew, a Chicago hotshot advertising exec who sneaks around on his would-be fianc?  (Jessica Pare, Stardom) when he suspects that the woman he loved and lost two years ago, Lisa (Diane Kruger, Troy), is around somewhere in the area.  Through a set of unlikely occurrences, Matthew finds Lisa?s apartment, and while all of the personal effects in it point to the right woman, the one inhabiting the apartment calling herself Lisa (Rose Byrne, I Capture the Castle) is not the same person.  However, things aren?t adding up here, as Matthew continues to look for that elusive woman he is still in love with. Happenstance, circumstance and contrivance are the three primary forces at play in Wicker Park, and suspension of disbelief comes at far too heavy a price as events unfold.  One unlikely occurrence after another get piled on, and you?ll have to have a heavy tolerance for inanity to stick with this story to the bitter end.  Wicker Park?s main problem is this:  Matthew is a selfish asshole who is unworthy of any woman?s love, much less three women.  This is a character that has an obsessive relationship with a woman and then loses her through an extremely unlikely set of events, only to enter into another relationship that approaches the point of marriage – and then on a whim he dumps girlfriend #2.  Meanwhile, on the way to get girlfriend #1 back, he meets and is easily seduced by girlfriend #3 – cheating on two women at once!  In the final coup de grace, Matthew is so obsessed with getting girlfriend #1 back, he is willing to dispatch would-be wife #2 without much commentary (something like, ?Sorry, I love someone else.  See ya.?)  Perhaps this kind of situation might play better with the benefit of French sensibilities and subtitles, but as a Hollywood production, it?s a hair-pulling exercise in frustration.  The plot shifts back and forth in time, from the present to the past, with little explanation of which time is which (not to mention a dream sequence).  Then there are the characters that all know each other several different ways, none of them very believable, and themes of duality that don?t jibe well with the story as a whole.  It?s not a terribly novel idea for a story (call this a lifting of the themes of Vertigo and an interpolation of the plot to Single White Female), and as presented, quite a bore.  Wicker Park is a good-looking but empty film – pretentious, bland and overly ambitious to a fault.  Perhaps the French might have made this premise fly, but in Hollywood, the deft hand of Alfred Hitchcock is sorely missed. ? 2004 Vince Leo

 
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DOWNLOAD MOVIE Lord of War Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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"Scattershot and ultimately pointless morality tale." (Pretty Bad)

The ads for ‘Lord of War‘ promise a farcical, half-crazy satire on a subject close to no one’s heart — gun-running. Making a living by supplying weapons to chaotic nations is so indefensible that perhaps the movie, we think, will flip things around and find the thrill of it — the monetary rush, the power.Writer-director Andrew Niccol, however, has already decided how he feels about it, and he isn’t the kind of filmmaker to give you a down-and-dirty rise-and-fall story, like Martin Scorsese’s GoodFellas or Ted Demme’s Blow. Those movies at least enticed us into complicity with intelligent men who chose to profit from human frailty. Lord of War can’t stop reminding us that gun-running crushes the soul; the movie ultimately crushes itself in a vise of self-loathing. Niccol is so busy making the profession unattractive that he forgets to make the film engaging. Nicolas Cage, as the suave weapons dealer Yuri Orlov, stands amid deep puddles of bullets and tells us (as in the ads) that there is a weapon for one in every twelve people on Earth, and that the problem is closing the deal with the other eleven. Then he smirks. Lord of War is a two-hour effort to wipe the smirk off Yuri’s face. After witnessing a botched mob hit in a Little Odessa restaurant, Yuri decides that if people are going to kill each other anyway, they’ll always need the means to do it. He begins small, with local gangs, and soon expands his clientele to global gangs — revolutionaries, counter-revolutionaries, whoever pays on time. Yuri has no scruples; he’s just supplying a product, and what people do with it is their business. He enlists his slacker brother Vitaly (Jared Leto), who becomes his partner as well as a raving coke addict. The movie’s emotional reading is neutral. Other than the fact that the plaintively decent Nicolas Cage is playing him, we get little sense of Yuri’s humanity, so we don’t feel that his profession is rotting him away inside, even though the script tries to sell that later on. Yuri arranges to meet and seduce a woman (Bridget Moynahan) he’s had his eye on since he was ten, and she has no spark or personality aside from maintaining a willing moral blindness to what he really does for a living. Yuri’s riches buy him nice things, but we don’t get any kick from the American dream realized by deception and blood. Niccol puts Yuri’s lavish furnishings on the screen with no comment pro or con. Lord of War doesn’t work as a tragedy or as a comedy, especially since Niccol fills the soundtrack with glib, obvious songs that editorialize on the action (he actually puts Eric Clapton’s "Cocaine" on when Vitaly starts his habit). Some of Niccol’s other touches, like the ka-ching of a cash register on the soundtrack accompanying each bullet shell out of a machine gun, are shockingly puerile coming from a previously sophisticated filmmaker. Did Andrew Niccol really want to make this movie? His previous efforts, 1997’s Gattaca and 2002’s Simone, both studied the human effects of technology. He also wrote 1998’s overrated The Truman Show, which took the same tack. But Lord of War, which seems like a depressed remake of William Friedkin’s 1983 flop Deal of the Century, has only the slightest connection to his previous concerns as an artist. It feels like something he made because the money was there to make it, effectively rendering him as much of a whore as Yuri, though far less dangerous. Maybe Niccol, having fought hard battles to get some intelligent entertainment into theaters, sees himself in Yuri — sees Yuri as a stand-in for major-studio directors, who foist unpalatable product on people and don’t care who it hurts. In that case, Lord of War is a self-hating Hollywood parable with no special insight into its putative subject, no matter how much research Niccol reportedly did. As for Nicolas Cage, whose name is on the film as a producer, he probably lied to himself as much as Yuri does, telling himself he was making an important film shedding light on the global cycle of violence. But the movie doesn’t care much about violence; there’s a too-clever credits sequence following a bullet from creation to execution, and it ends its journey by thudding into a blank, anonymous face. The point isn’t the life taken, it’s the bullet. Cage can’t find a consistent tone for Yuri, and he seems awfully constrained, denied either the heroism or the freakiness we know he’s capable of.About an hour into the movie, the great actor Eamonn Walker (of HBO’s series "Oz") turns up as a casually brutal dictator who does business with Yuri, and the audience is shaken awake. Walker gives us a violent man, not without humor, who knows exactly what he is and isn’t bothered by it. He’s so much more interesting than anyone else on the screen (including "Gattaca" star Ethan Hawke, thrown away as a goody-two-shoes agent on Yuri’s trail) that he derails the movie by suggesting a complexity far beyond the margins of the rest of the film.
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DOWNLOAD MOVIE Punisher, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Punisher (1989) / Action

MPAA Rated: R for violenceRunning Time: 92 min.

Cast: Dolph Lundgren, Louis Gossett Jr., Jeroen Krabbe, Kim Miyori, Brian Rooney, Bryan Marshall Director: Mark Goldblatt Screenplay: Boaz Yakin

Back in the day, Marvel-licensed superhero flicks weren’t so hot, and The Punisher’s only real claim to success was that it was at least better than Captain America.  2004 will see the another attempt at telling the tale of Frank Castle, and although I’m uncertain what the quality will be, I will bet it is much better than the first one.  The oft-repeated line for this movie is "The guilty will be punished," and if there were any justice in this world, this would mean that Goldblatt, Yakin, and almost everyone else guilty of making this fiasco would never have been involved in films again.  Sadly, Frank Castle is only a figure of comic book fiction, and the bad movies have continued.

The origin of The Punisher was changed from ex-Vietnam vet to ex-cop-turned-vigilante, avenging the deaths of his wife and children, committing at least 125 successful hits over a five year period of New York’s most notorious criminals.  His real name is Frank Castle, thought to be dead, but living in the underground of the city with only one thing on his mind: punishing the guilty.  With so many murders already, a void has been created in organized crime, and now one man, Gianni Franco, has a plan to take control of what crime families are left.  However, other crime factions from the other side of the world have also come in to take a slice of the crime pie in the form of the Japanese yakuza.  Castle is willing to let them kill each other in a mob war, until the yakuza get the notion to kidnap the children of the mafia families, and one thing Frank won’t stand for is the slaughter of innocent children.

The problems with The Punisher are multitudinous, so much that I won’t even bother going into but a few of the more significant ones.  The first major mistake is that Frank Castle doesn’t wear his trademark "skull shirt."  This might seem like a trivial issue, but imagine a film featuring Superman without an "S" on his chest or Batman without the Bat symbol, and you’ll see the significance.  This is a film which ignores the fan base by tweaking almost every aspect of what made The Punisher such a popular comic book character, and without the trademark garb and origin, this film is nothing but a run-of-the-mill vigilante cop flick, indistinguishable from hundreds just like it that have appeared before.

The second major mistake is that it’s an Australian movie, although the setting is supposed to be the United States.  However, it’s clear to almost anyone that this is not New York City, from the landscapes to the buildings to the cop cars to such things as the "Wonky Walk" at the amusement park.  It looks completely inauthentic, with even the Italian mobsters behaving like complete caricatures dropped in from the cast of Dick Tracy than reality. 

The third, and probably most substantial element is that the low budget shows in every frame.  Poor lighting, bad costumes, and shoddy sets fill up much of the screen, and the result is making an already cheesy film seem very tacky to boot.  Dolph Lundgren is certainly an imposing man, but poor make-up and a ridiculous delivery leaves him looking like a tall version of Stallone’s Cobra.  Sadly, Louis Gossett Jr., while delivering the only credible performance of the film, is given very little to do, and the dialogue he has to recite is just downright laughable.  "Let me inside, Frank!  Let me in!!"  This is an Academy Award winning actor here, folks.

Sadly, with almost all recognizable traces of the Marvel comic stripped away, and some incredibly standard action B-movie motivations thrown in, this is a film that is equally scoffed at by Punisher fans and those unfamiliar.  With goofy villains, a terrible script, and every other scene ending with an unbelievably gargantuan explosion, this is a film for bad action movie junkies only.

We know you punish the guilty, Frank.  But why us??  WHY US?!?  

?2003 Vince Leo

 
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DOWNLOAD MOVIE Hearts in Atlantis Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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"Three Subplots In Search Of A Movie" (Average)

The stories of Stephen King have always shifted from our worst fears to our base innocence and the forthcoming loss of it. Alas, children have always played an integral part in his tales, whether they are supernatural or nostalgic. Movie and King fans alike also know his novella, The Body, under the name of Rob Reiner and William Goldman?s screen adaptation, Stand By Me. In fact, some of the more beloved and acclaimed King adaptations come from the collections of short stories he?s amassed in books like Night Shift and most notably Different Seasons, where alongside The Body you will find the inspirations for Apt Pupil and The Shawshank Redemption. The latest screen presence of King?s comes in the form of Hearts In Atlantis, which would seem like a conversion of his 1999 novel, consisting of a series of interconnecting novellas and short stories. But where those contained tales were linked with common threads, the film version plays like a series of three underdeveloped subplots in search of a movie.The title stems from the second story in the book, a story that is completely absent here. Instead, the filmmakers have concentrated on the opening yarn entitled ?Low Men In Yellow Coats?. Set in the early sixties, eleven-year old birthday boy Bobby Garfield (Anton Yelchin) so longs for that boss Schwinn bicycle which graces the window turntable of the town store. His mother, Elizabeth (Hope Davis) presents him with an adult library card in its place. A gift that keeps on giving some parents might (and should) say, but is nothing more than a representation of Elizabeth?s self-indulgent stinginess as she blames their financial troubles on Bobby?s late father. Into their lives, and specifically their upstairs, comes Ted Brautigan (Anthony Hopkins). Ted brings with him no immediate agenda or any noticeable plan for the future. He befriends Bobby, sharing with him the value of that library card and offering him an allowance for reading the newspaper to him each day, drawing the ?special places? suspicions of mom. Ted also asks Bobby to keep him appraised of lost pet notices and other signs hinting to the arrival of the mysterious ?low men? who might have a vested interest in the psychic powers that Ted possesses.This trip down memory lane is bookended by the older Bobby (David Morse), now ?Robert? the professional photographer, who is called back home to attend the funeral of childhood friend Sully. These pro-and-epilogues focus on the friendship aspect of the story between Bobby, Sully (Will Rothhaar, bearing resemblance to River Phoenix in Stand By Me) and Carol Gerber (Mika Boorem). These three were inseparable during that summer, notably Bobby and Carol, who get to share a couple of wonderfully staged first kisses, inexplicably overlooked with no care by Sully, who conveniently makes too quick an exit to warrant much of any sympathy associated with his flashback-setting demise.Therein lies much of the problem with the filmmakers? decision to only tackle the beginning and the ending of King?s novel. Sure, this is where Bobby takes center stage, but Sully and Carol live on in the middle acts of a story that spans four decades and whose overriding theme is the Vietnam War, which in the film has yet to begin. No matter what kind of Lost Empire speech is concocted, the ?Hearts? of the original title refers not to childhood, or the honor and glory associated with courage in the face of evil, but to a card game.With three separate stories within one story, that was part of a larger canvas, fighting for dominance with no clear theme, we are left too many dangling threads to ponder what we have just experienced. Every resolution (the ones that exist) are too anti-climactic for our thorough satisfaction. What does eventually happen to Carol and what is the true nature of Ted?s power? He has visions of the future and the ability to look within man?s souls (ala The Dead Zone & The Green Mile) but what are its full implications? Passing along his gift to Bobby through an inadvertent touch so he can win at Three-Card Monte and never use it again? The only real gifts this movie possesses are the gorgeous Oscar-caliber cinematography of the late Piotr Sobocinski, who bakes the images with the perfect nostalgic colors, and of course, the presence of Sir Anthony Hopkins.No matter what role Hopkins plays, he always brings with him a sense of assured dignity and a manner of speaking that makes you hang not just on every word, but every syllable, every letter and every sigh that escapes his mouth. Listen to the story he tells about a football player, one that couldn?t be delivered better by any awe-stricken sportswriter, and you?ll wish that he was at your bedside, not just as a youngster but every evening until the end of your days to ease you goodnight.A daunting task, without a doubt, for someone not to be acted out of the viewing audience, let alone in the same frame with Hopkins and unfortunately young Anton Yelchin isn?t nearly up to the task. Unable to even find a middle ground between the Haley Joel Osment?s and Jake Lloyd?s of the world, Yelchin tends to be way too anxious to reveal his joy or to cry his eyes out, leaving us with the unwanted distraction of a kid TRYING to act. To even the playing field, the kids are well represented by Mika Boorem, playing Carol with a more naturalistic sense than Yelchin, especially in a very powerful sequence of events late in the picture.All the Stephen King trademarks are here: extraordinary powers, evil beings from a government network (ala ?The Shop?), childhood bullies and rhyming catch phrases. It?s a shame that director Scott Hicks and screenwriter William Goldman didn?t go the full nine yards in turning his novel and incredible storytelling techniques into the epic treatment that it deserved. Hicks (Shine, Snow Falling On Cedars) may have a great eye for the visuals (and it shows), but his storytelling leaves a lot to be desired. He should have taken time to revisit Frank Darabont?s King adaptations (The Shawshank Redemption and The Green Mile); a filmmaker who took his audience twice to Morton?s for steaks and Hicks invites us out to a place called Scraps. (Goldman even dips back into his Princess Bride wellspring for a couple speeches on the joys of reading.) This is a story that could have combined the fantastical of a Forrest Gump with the grittiness of The Deer Hunter into a two and a half-hour plus encapsulation of Americana and the loss of it through the eyes of Bobby, Sully and Carol. Instead, we?re left with 100 minutes that feels every bit like a Readers Digest version of a short story.
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DOWNLOAD MOVIE Harsh Times Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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"Harsh indeed." (Worth A Look)

SCREENED AT THE 2005 TORONTO FILM FESTIVAL: If I said "directorial debut from the writer of "The Fast and the Furious" and "S.W.A.T.," you’d probably be forgiven for dismissing the project as simplistic cop-action silliness, but veteran screenwriter David Ayer also gave us "Dark Blue" and "Training Day," so clearly there’s some intelligence behind the guy’s testosterone-y screenplays — which is why I wasn’t that shocked to discover that "Harsh Times" turned out to be a smart, slick, and somewhat shocking little movie. Plus it offers two phenomenal lead performances from Christian Bale and Freddy Rodriguez, an unflinching look at the culture of violence, and a surprisingly scathing indictment of the modern-day war machine.Jim David is a former Army Ranger who’s back home in L.A., desperately hoping for a job in civilian law enforcement, and astonishingly self-destructive in every conceivable way. Along with his old pal Mike, Jim spends his days drinking, smoking weed, and capably overpowering the urban thugs he comes across. But Jim’s a petty thug in his own right, only he’s one that was created by the military, and now he has nowhere to put his massive parcel of perpetual rage.Jim and Mike seem to be all but entirely intent on screwing themselves out of the few small assets they possess. Mike has a sweet-natured and caring girlfriend, but he consistently screws her over by refusing to get a job. Jim, for his part, has the inside track on a job in law enforcement, but his inescapable anger and his proclivity for illegal activities seem destined to ruin his life.We’re invited to ride along with these guys for a couple of self-destructive days, while Harsh Times makes a few subtle and seriously insightful statements about the nature of violence, the allure of being bad, and the dangers of being loyal to someone who seems hell-bent on ruining his own life.Harsh Times is a dark and frequently torturous tale of the ways in which "acceptable violence" can be carried over into normal life, and it’s not shy about exposing the frustrating truths about life after military service. Jim has a loving girlfriend in Mexico and an outside shot at a great position in the Homeland Security office — so why does he continue to smoke weed, brawl with gang-bangers, and spend his days as an irredeemable thug?Because that’s all the guy knows.As Jim, Christian Bale is, well, he’s just amazing. After American Psycho, The Machinist, and Batman Begins, I’m fully convinced that Christian Bale can do just about anything, and in Harsh Times he creates a character who’s as resoundingly hate-worthy as he is entirely fascinating. One of the finest actors working today, Bale creates a character who’s both hateful and despicable — but you won’t be able to take your eyes off the guy. As his (frequently reluctant) partner in crime, Freddy Rodriguez does a brilliant job with a difficult role. Bale gets to do all the flashy and shocking stuff, which leaves Rodriguez the option only to react, respond, and recoil as Bale burns down the screen. At the same time you’re wondering why Rodriguez’s character continues to hang with Bale, the actor makes it pretty clear what’s going on; he does it because they’re old pals. And sometimes, unfortunately, misplaced loyalty leads to some seriously bad decisions.Although not without a few third act missteps and a handful of redundant moments, Harsh Times is a ballsy, brave, and blisteringly intense movie. It’s certainly not "Hollywood" in any discernible way, and Mr. Ayer is to be commended for sticking to his convictions and making the movie he wanted to make — regardless of how "non-commerical" the final product is. So while it’s not any sort of action-laden crowd-pleaser like the writer’s earlier work, Harsh Times is clearly a passion project, and one that just may net the filmmaker a few new directing gigs.It’d be easy to say that "Harsh Times" is worth seeing for Bale’s performance alone, but there’s some real angst and anger hidden beneath the surface of this story, and Ayer is able to siphon out the most sobering aspects of his message and punch you right in the gut with ‘em.
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"I’ve seen bales of cotton candy with more substance." (Pretty Bad)

To describe this one as lightweight would be a stunning understatement. Her Alibi is a trifling confection, a near-invisible farce, cinematic pocket lint. That?s not to say that it?s a terrible movie; cake icing certainly isn?t a terrible food.You?ll have to have a deep adoration for Tom Selleck or a strangely acute immunity to non-stop piffle, but there?s actually a little fun to be had here…kinda.First off, the plot is a wandering mess. Selleck?s charming (yet wretched) novelist spends time in court fishing for new plot ideas. When a stunningly gorgeous woman is accused of murder, the clueless idiot unwisely offers her an alibi. Since he?s sure that such a beautiful woman could never be a killer, he is immediately smitten with her - but a truckload of plot contrivances kick in and before too long everyone onscreen is neck-deep in farcical misunderstandings.Selleck clearly has the old-school charm of a movie star, though his proclivity for choosing stupid movie after stupid movie speaks for itself. The femme fatale here is model-turned-hopeful-actress Paulina Porizkova; what she lacks in acting skill she more than makes up for in (ahem) screen presence. Tess Harper and William Daniels do the best they can with their broad supporting roles, though the flick is limp beyond salvation once the first thirty minutes have expired.Proof positive that photogenic stars and a director with a flair for the fluffy (Bruce Beresford) may lead to a movie that LOOKS attractive, but there?s so little going on in this movie it?s a wonder it doesn?t float away.
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