Hart's War (2002) Review

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(More customer reviews)First of all let's get one thing straight, although the setting of Hart's War is during World War II, this is not an action movie along the lines of Black Hawk Down or Saving Private Ryan, instead, it is more of a who-done-it type of drama film. With that out of the way, Hart's War is about the experiences of Lt. Thomas Hart during his stay at a German POW camp (the Stalag 6A) in 1944, nearing the end of the war. Inside the compound he meets Col. William McNamara, the highest ranking officer in the place, even in prison, all US soldiers and officers still answer to McNamara, and the chain of command is expected to be followed. Things start to get out of hand after two black fighter pilots enter the camp, and when one of them is accused of murder, Hart is assigned to defend him in the court martial, if he fails, the man will face the firing squad.
The strongest part of Hart's War is the performances, not just by the leads but also the supporting cast. Bruce Willis proves once again that he is a talented actor, not just another action star. His portrayal of McNamara was right on, it's as if the role was tailored specifically for him, and in every scene he held a commanding presence. Colin Farrell also did a good job as Hart, compelling and measured, I really like how his character struggled between his allegiance as an officer and his duty to his client. Fairly new to Hollywood, he's definitely someone to keep an eye out for in the future.
The script is another big plus for the movie, I found it ironic that these soldiers were sent to Europe to fight a war against the Nazi and the their so called ethnic cleansing, but instead, they are fighting their own racial prejudices in the POW camp. The hatred some of these enlisted men have for their fellow African American comrades was sometimes even more intense and pronounced than what they shown towards the enemies, Hart's War was able to accurately illustrate the hardships blacks have to face in the war even among allies. Top it off with excellent dialogues, Hart's War is one solid drama.
The only problem I had with the movie was the ending, it's not bad, just a little unexpected, but not enough to ruin the whole experience for me. I strongly recommend Hart's War to anyone who wants a little change of pace from all the big action war films we've had (and are going to have in the upcoming months,) I sure wasn't disappointed.

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Bruce Willis stars as an imprisoned officer who refuses to give up his fight to defeat the Nazis inthis "absorbing" (Roger Ebert) WWII adventure. Co-starring Colin Farrell (Minority Report) and packed with "crisp action sequences" (Los Angeles Times), Hart's War is a powerful and "stirring tribute to soldierly courage and honor" (L.A. Daily News).When Col. William McNamara (Willis) is stripped of his freedom in a German POW camp, he's determined to keep onfightingeven from behind enemy lines. Enlisting the help of a young lieutenant (Farrell) in a brilliant plot against his captors, McNamara risks everything on a mission to free his men and change the outcome of the war.

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Minority Report (2002) Review

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(More customer reviews)I probably would have waited until Minority Report hit the rental stands if it weren't for all the five-star ratings critics have been giving this movie. After being digitally assaulted by the current crop of high-budget special effects films like Spiderman and Attack of the Clones, I was already weary of acting and storyline taking a backseat to gee-whiz computer graphics. I underestimated Spielberg's ability.
So what is the plot exactly? Well, dear reader, take comfort in knowing I will not spoil the movie for you. In the year 2054, Americans are subjected to Gap clothing stores (that scan your retina and hard-sell khakis by your name) as well as USA Today newspapers with animated front page covers that update in real-time. Tom Cruise is John Anderton, Washington D.C.'s top-cop in the experimental pre-crime unit that seeks out and eliminates would-be murderers through the use of precognitive beings that are able to sense murders shortly before they happen. The premise sounds wonderful until John discovers he's about to murder someone he has never met. This is the story on the surface yet it is not the story. I fear many will avoid this movie because this is all they will expect. I will stump for this movie because it's not just an action-thriller and it's not just a thinking-man's science-fiction movie. What lies beneath the story is much deeper and darker.
You see, even in knowing the future, Mr. Anderton is confronted with an awful dilemma. How can he prevent himself from killing the person he is supposed to murder if he has never seen the person he is supposed to kill or the location the murder is supposed to take place? Is the future preordained or does man create his own destiny? As Anderton uncovers the answers to these questions, viewers will find that this is not the underlying story either.
Minority Report is a dark and disturbing vision of the future made believable with Cruise's much more human characterization of Anderton than his previous Mission Impossible persona. Samantha Morton, Colin Farrell, and the incomparable Max von Sydow all serve to effectively help and hinder Anderton's quest. Are there flaws in the movie? Perhaps. The action scenes are impressive and appropriate, but one particular scene in the LEXUS factory contained so much eyeball-jarring camera manipulation that I felt I was hit by a "sick stick." And speaking of brand-names, reviewers complain of the blatant commercialization of the movie. Without question, an obscene amount of advertising permeates almost every frame. Did Spielberg sell out to the highest bidder or is he making a statement about the not-so-distant future, or even the present? I'll let you decide. Finally, the fact this movie received a PG-13 rating is a statement in itself. I remember all the controversy generated by parent-groups when Poltergeist received a PG rating. It seems so long ago...
Yet credit must go to Steven Spielberg as there was much of this movie that could've been done ineffectively. After the disappointing box-office numbers of A.I., many (including myself) were expecting a dumbed-down formulaic hack to swing alongside the rest of the massives. Instead, Spielberg shows he's master of the technology as the impressive display of visuals serve to add to, not overwhelm the story. By the time the movie ends, you may find yourself pondering the kind of questions only philosophers argued over.

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Based on a short story by the late Philip K. Dick, this science fiction-thriller reflects the writer's familiar preoccupation with themes of concealed identity and mind control. Tom Cruise stars as John Anderton, a Washington, D.C. detective in the year 2054. Anderton works for "Precrime," a special unit of the police department that arrests murderers before they have committed the actual crime. Precrime bases its work on the visions of three psychics or "precogs" whose prophecies of future events are never in error. When Anderton discovers that he has been identified as the future killer of a man he's never met, he is forced to become a fugitive from his own colleagues as he tries to uncover the mystery of the victim-to-be's identity. When he kidnaps Agatha (Samantha Morton), one of the precogs, he begins to formulate a theory about a possible frame-up from within his own department. Directed by Steven Spielberg, who hired a team of futurists to devise the film's numerous technologically advanced gadgets, Minority Report co-stars Colin Farrell, Max von Sydow, and Neal McDonough.

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In Bruges (2008) Review

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(More customer reviews)Martin Mc Donagh's "In Bruges" proves at least one thing once and for all: Colin Farrell is a thoughtful, emotionally open, soon to do very great things on the screen, actor...something that anyone who has seen "Tigerland" and "Home at the End of the World" already knows despite evidence to the contrary: "S.W.A.T," "Alexander," "Miami Vice," etc. etc.
'If I'd grown up on a farm, and was retarded, Bruges might impress me. But I didn't, so it doesn't" says Ray (Farrell) to his fellow hit man, Ken (burly Brendan Gleeson): both sent to Bruges, Belgium to cool off after a bloody hit that unfortunately went woefully wrong.
This is McDonagh's first film as Director/Writer and it is evident that he has a great eye for detail both in the sparkling, smart-*ss dialogue as well as with the stunning visual vocabulary of movies. Bruges is a beautiful city: ancient, redolent of the many lives lived there with its cobblestone streets, masonry buildings and outdoor plazas. As such, staid, old lady of Belgium Bruges stands in vivid contrast to the Irish duo of middle-aged, seen-it-all, supposedly Gay, interested in the sights and history of the city Ken and the emotionally over-wrought, painfully sensitive Ray: nervous, anxious, wanting to party, sporadically breaking out in sobs...literally an open emotional wound desperate for succor, blatantly remorseful, seeking redemption in all the wrong places.
"In Bruges" roils over with goofy, silly dialogue (mostly spoken by Farrell who proves very adept at delivering it in droll, wry, ironic style) and profanity, violent bursts of gunfire, and jokes at the expense of dwarfs and Americans. Screenwriter McDonagh steers his odd couple Irishmen through a series of strange/odd situations in which questions of honor, friendship and mortality are mulled. The older Gleeson also proves to be the grounded one: good at what he does (that is kill people) and able, by his very presence to calm Ray down.
Ralph Fiennes is also on hand here and plays Ray and Ken's boss, a mean-spirited bloke who talks in Michael Caine-Cockney cadences and arrives in Bruges to make sure that a hit, assigned to Ken is carried out without fail.
"In Bruges" shares many of the surface traits of such films as Tarantino's "Pulp Fiction" but, though great as "Pulp Fiction" is, it doesn't have the heart and soul of Mc Donagh's "In Bruges": a film that satisfies the thriller/action genes of us all but also digs very deep below and reveals the true natures of its very conflicted, ultimately very human characters.

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Colin Farrell and Academy Award-nominee Ralph Fiennes star in this edgy, action-packed comedy, filled with thrilling chases, spectacular shoot-outs and an explosive ending you won't want to miss!Hit men Ray (Farrell) and Ken (Brendan Gleeson, Harry Potter) have been ordered to cool their heels in the storybook city of Bruges (it's in Belgium) after finishing a big job. But since hit men make the worst tourists, they soon find themselves in a life & death struggle of comic proportions against one very angry crime boss (Fiennes)!Get ready for the outrageous and unpredictable fun you will have In Bruges, the movie critics are calling, "wildly entertaining" - Stephen Rebello, Playboy.

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Pride and Glory (2008) Review

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(More customer reviews)I agree with the other review in that the story line is nothing out of the ordinary. Typical New York good cop, bad cop storyline. This is why I didn't give it four stars but I have to give a lot of credit to the actors especially Collin Farrell. He is brilliant in this movie. I have to say, he nailed his performance to the tee. So the story goes: A family of cops, the dad (Jon Voight (Francis Sr.), his two sons (Edward Norton (Ray),Noah Emmerich (Francis Jr.) and their brother in law (Collin Farrell (Jimmy). They were all after this drug dealer who killed four other cops. Ray was thrown in this wild goose chase only to find out that Jimmy was somehow involved. So Jimmy somehow framed Ray (can't spoil the movie too much), they were in this battle of Ray's words against Jimmy. The ending could've been better but overall, it is a pretty good movie. Worth watching on DVD.

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Edward Norton, Colin Farrell, Jon Voight and Noah Emmerich star in a gritty, tension-packed tale of a multigenerational family of cops facing hard realities and tough choices. Set and filmed in Manhattan's Washington Heights, Pride and Glory draws you into a grippingly raw real world...and into a house divided.

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The Recruit (2003) Review

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(More customer reviews)Al Pacino may not be the most versatile actor in the world, but he is a good actor; and, he proves it in this movie.
Al plays a 'scout' for the CIA looking for a few good spies. He finds bartender and computer hacker extraordinaire (how's THAT for a double career) played by Colin Farrell. The first spy talent seems to be keeping your 5 o'clock shadow exactly the same throughout the entire movie. :)
Colin and several other spy wannabes are chosen and sent to a training camp called 'The Farm' where Colin meets a delicious recruit played by Bridget Moynahan (NOTE: calling them by their character names just slows me down). Bridget quickly learns the spy trait at crying at the drop of a hat.
Without blabbing off too much more of the storyline, Al gives Colin an assignment that prepares him quite well for the life of a CIA agent.
There are several plot twists in this movie but not so many that it gives you a migraine. About the only thing that does is the constant verbal reminder in the film that "nothing is as it seems".
Overall, great acting all around and very good action scenes. The PG-13 rating is well deserved since it isn't overly bloody or violent.. i.e. it isn't going to put an idea into your teenager to go out and do something stupid.
Movie warnings: almost but not quite nudity (backless Bridget in a shower scene), sex with WAY too many covers, and profanity (mostly by the audience complaining about the covers).
Is it worth seeing? For matinee prices, definitely. For evening prices, yes, if you're into thriller movies.
And, just like in the movie, "PLEASE TURN OFF YOUR CELL PHONES." :)

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Academy Award(R)-Winner Al Pacino (Best Actor, SCENT OF A WOMAN, 1991) and Colin Farrell (MINORITY REPORT) take you deeper into the CIA than you've ever been before in this action-packed psychological thriller. James Clayton (Farrell), one of the smartest graduates in the country, is just the person Walter Burke (Pacino) wants in the Agency. James quickly rises through the ranks and falls for Layla (Bridget Moynahan, THE SUM OF ALL FEARS), one of his fellow recruits. But just when James starts to question his role and his cat-and-mouse relationship with his mentor, Burke taps him to root out a mole. As the suspense builds in a maze of gripping twists and turns, there are only two things James can count on -- he can't trust anyone and nothing is as it seems. It's the ultimate CIA thriller with so many surprise plot twists, you'll want to watch it again and again.

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Ondine (2009) Review

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(More customer reviews)According to the dictionary an 'ondine is a water nymph or water spirit, the elemental of water. They are usually found in forest pools and waterfalls. They have beautiful voices, which are sometimes heard over the sound of water. According to some legends, ondines cannot get a soul unless they marry a man and bear him a child. This aspect has led them to be a popular motif in romantic and tragic literature.' Another bit of background information that aids the viewer of this little rarity of a film, ONDINE, is the bit of folklore often referred to in the film - that Ondine is a 'selkie': 'In Irish folklore, there are many stories about creatures who can transform themselves from seals to humans. These beings are called selkies. The seals would come up onto rocks or beaches and take off their skins, revealing the humans underneath. There is no agreement among the stories of how often they could make this transformation. Some say it was once a year on Midsummer's Eve, while others say it could be every ninth night. Once ashore, the selkies were said to dance and sing in the moonlight. One of the most common themes found in selkie folklore is romantic tragedy. Selkie women were supposed to be so beautiful that no man could resist them. They were said to have perfect proportions and dark hair. They also made excellent wives. For this reason, one of the most common selkie stories is that of a man stealing a selkie woman's sealskin. Without her skin, she cannot return to the sea, and so she marries the human man and has children with him. She is a good wife and mother, but because her true home is in the sea, she always longs for it. In the stories, she ends up finding her sealskin that her husband has hidden, or one of her children unwittingly finds it and brings it to her. According to legend, once a selkie find her skin again, neither chains of steel nor chains of love can keep her from the sea. She returns to the ocean, usually leaving her children behind with their grief-stricken father'.
All of this information may seem redundant, but when a beautiful little film such as ONDINE, written and directed by the always excellent Neil Jordan, knowing the background helps support the manner in which the story is told and revealed. Syracuse (Colin Farrell) is a recovering alcoholic fisherman whose alcoholic wife has custody of his beloved daughter Annie (Allison Barry) who because of renal failure must be dialyzed frequently and spend her days in a motorized wheelchair while she awaits a kidney transplant. Syracuse focuses his life on Annie - until one day while fishing he brings up a beautiful girl in his nets, a frightened girl named Ondine (Alicja Bachleda, a brilliant Polish actress and singer from Mexico) who fears being seen by anyone. Syracuse protects and clothes her and secludes her in his dead mothers shack by the sea - until Annie discovers her, having researched everything she could fine at the library about the selkies. Annie decides Ondine is selkie who must bury her seal coat in the earth and thus gain seven years on land without having return to the sea. With this mixture of myth and reality the story moves along at a gentle pace: Syracuse frequents the priest (Stephen Rea) confessional (his only available semblance of an AA stabilizer in his small village), Annie and Ondine bond, Syracuse and Ondine fall in love (despite the myth's warning that every selkie has a husband), and the townsfolk begin to accept the strange happiness that has returned to Syracuse's heart. The plot then twists and the realities of the myth become known and the story progresses from a recreation of a mythical romance to the difficulties of a true romance.
The chemistry between Farrell and Bachleda and Farrell and Barry is extraordinary and palpable: they make the film sing. The haunting musical score is by Kjartan Sveinsson and the moody cinematography is by Christopher Doyle. Neil Jordan pulls all of these elements together into a film that will linger in memory - like the song Ondine sings. There have been novels, operas, ballets, and plays written based on this myth, but few capture its mystery the way this film does. It is a quiet little gem of art. Grady Harp, June, 10

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ONDINE is the story of Syracuse, a simple fisherman who catches a beautiful and mysterious woman in his trawler nets. The woman seems to be dead, but then she comes alive before Syracuse s eyes, and he thinks he may be seeing things. However, with the help of his irrepressible daughter, Annie, he comes to believe that the fantastical might be possible and that the woman (Ondine) might be a myth come true. Ondine and Syracuse fall passionately in love, but just as we think the fairytale might go on forever, the real world intercedes.

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The Way Back (2010) Review

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(More customer reviews)"The Way Back" is a masterpiece, a must-see film for thinking people and for lovers of cinema as a serious art form. I was on the edge of my seat through the entire film, and was stifling tears. I could not resist applauding at the end. I couldn't wait to discuss it with friends. Several hours after I left the theater, I kept seeing everything - a meaty sandwich, clean water flowing from the tap - through the prism of "The Way Back." I'm a long-time fan of director Peter Weir, who gave us classics like "Picnic at Hanging Rock," "Witness" and "The Year of Living Dangerously." Weir has outdone himself.
"The Way Back" depicts a long walk that Gulag escapees took from Siberia to India. I've been lucky enough, under luckier circumstances, to travel some of the world the film references, from Poland to the Himalaya. The film's authenticity in language, costume, even hairstyles, swept me up into its world.
Both Nazi Germany and Soviet Russia attacked Poland in September, 1939, thus beginning World War Two. At first, the Communists killed and deported more people even than the genocidal Nazis. Over a million Poles were deported in cattle cars. Many died; many never returned. No one knows exact numbers. Many struggled to return home, traveling on foot through Eurasia, making shorter treks comparable to that depicted in "The Way Back;" I've met such people.
Janusz (Jim Sturgess) is a young Pole falsely accused by Soviets. His wife is tortured to force a confession. Without ceremony, he is shipped to hellish Siberian concentration camps and mines. Janusz determines to escape, with a ragtag, multilingual crew of followers.
Janusz is not particularly handsome, or muscular, or super intelligent. He doesn't have a commanding voice or swagger. His potentially fatal flaw, in this environment, is kindness. Jim Sturgess' Janusz is one of the best aspects of the film. In real life, true leaders usually are not like Arnold Schwarzenegger. Janusz grew up in the woods, and knows how to jerry-rig a compass to point his group south, and a mask to survive blizzards. In the world of Gulag escapees, that's enough to make him the big man. Indeed, Valka, (Colin Farrell), a very tough gangster, declares, or diagnoses, that Janusz is the leader, the man whom the other escapees must obey, both for their own individual benefit and the benefit of group survival.
Prison escapees traveling thousands of miles of the Eurasian landmass with minimal gear face multiple dangers, from malnutrition-caused blindness to mosquitoes to snakes to dehydration. Some succumb, and die en route. You can't help but bet the same horrible game of chance that Valka proposes: who will die next? And will his meat be tender - that is, will we resort to cannibalism? A crew member falls. Surviving companions, in stunning testimony to their own humanity, take the time, burn the calories, devote the effort, to fashioning makeshift graves, and funerals. And then they march on.
What looks very beautiful on a calendar - an unspoiled mountain forest of snow-dusted evergreens - is actually all but an execution chamber for a hungry fugitive with no tools and only rags for shoes. The last thing a good man sees after making the simple mistake of walking too far with a limited light source will not be a breathtaking natural vista but a comforting, wrenching, hallucination of home.
Weir's best choice as a filmmaker here was simply to get out of the story's way. "The Way Back" does not want to be your best friend. Weir makes no attempt to cozy up to the viewer, to sweeten the story with phony warmth or touching crescendos. Weir makes no attempt to juice the action with cinematic steroids. For much of the film, the viewer is watching one grueling step after another.
Guess what? This is what it's like to suffer for a goal, this is what it's like to be crushed, this is what it's like, purely by chance - not because you are a better person or because God likes you more - to survive. You go on, hour after hour after seemingly pointless hour toward your questionable, impossible objective. This film is an endurance test. It will separate the men from the boys. Folks who think a movie about fantasy, sexy ballerinas is "great" filmmaking, and who think that temporarily losing their cell phone service is a human rights violation, will probably walk right out of "The Way Back."
Characterizations come slowly and are not forced. We discover, in a ruined monastery, that one character had been a priest. We discover that a girl can get taciturn men to talk. Characters speak of food, as hungry people do. "Add more salt!" to a fantasy meal, one begs. Valka makes a decision that caused this viewer to cry. I never thought the film could make me care about this murderous thug, but it did. There is inevitable, and surprising, laughter, also not forced, but integral to the circumstances.
There are moments of high drama. The men must fight wolves. Weir could have lavished lengthy close-ups on those sharp teeth, snarling snouts and prickly pelts. He doesn't. The wolves are onscreen only long enough to establish what they are and what they are up to. And then the next deadly and impossible challenge rolls down the shoot at the viewer, just as it did for those who took this long walk, and the millions of other humans like them, who have survived life and death challenges under impossible conditions. "The Way Back" is, like those poignant grave-markers the marchers make en route, testimony to those who have lived anonymous and agonizing lives in this pitiless world. If you don't think about the big questions while watching this film, and if you're not grateful to the film for that, you don't deserve it.

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A small band of multicultural convicts stage a daring escape from a World War II-era Siberian gulag, and embark on a treacherous journey across five countries in a desperate race for freedom and survival. Adapted from author, Slavomir Rawicz's, gripping memoir The Long Walk: The True Story of a Trek to Freedom, writer/director Peter Weir's sweeping POW drama stars Jim Sturgess, Colin Farrell, Ed Harris, and Saoirse Ronan.

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