Omar & Pete (2005) Review

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(More customer reviews)Omar and Pete is a poignant look at these two longtime friends that have spent a considerable portion of their lives in and out of the prison system. Before examining the world outside, as Omar is about to be released from yet another stint in the correctional system, he reveals his thoughts and fears regarding his past and his uncertain future of freedom once again.
Upon re-entering society, this story begins by following Leon `Omar' Mason in his sometimes difficult and painful journey to start a new life. Despite the best of intentions and making decent strides to improve himself, Omar eventually suffers from multiple relapses due to a drug addiction, he deals with the agony of a death in the family, and his battle with other personal problems threaten to consume him altogether.
Pete Duncan, a resident manager at a transition house where Omar is placed, is a recovering drug addict who has been out of prison for 10 months now and he helps others to repair their broken lives. Time is spent here looking at Pete and his rewarding efforts and it is evident that he has found the correct mindset to keep himself productive and healthy in society.
I'd like to say that the ending to Omar's story ended up being a happy one but I can't do that. After failed attempts at detox programs and counseling plus new felony offenses, Omar was once again incarcerated and he faces a long prison sentence. Pete, on the other hand, is still going strong these days. He is drug free and out of the transition house and was subsequently promoted from a drug counselor to a residential supervisor.
`Omar & Pete' is a well produced documentary in my opinion and emotional in its content. There aren't any easy answers or quick fixes regarding transition from prison back to mainstream society but this story looks at the struggle from several distinct perspectives and it does an admirable job in that regard.

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A "vivid, sobering portrait" that "packs considerable cumulative punch" (Variety) OMAR & PETE is a compelling and highly personal film that examines the social, economic, and personal barriers two ex-offenders face as they try to reintegrate into their communities and families. In and out of prison for more than 30 years, Omar and Pete are determined to change their lives. Upon release, both participate in the Maryland Reentry Program, which is designed to help long-term repeat offenders stay out of prison. This intimate and penetrating film follows the two long-time friends for several years after what they hope will be their final prison release. In that time, their lives take divergent paths as one wrestles with addiction and fear while the other finds success and freedom through helping others. Their story boldly exposes the many barriers to successful reintegration and the complex, often frustrating challenges that men who were formerly incarcerated face when reentering society. Written, produced, and directed by Academy Award nominated and Emmy award-winning filmmaker Tod Lending, OMAR & PETE provides an honest and unflinching portrait of how challending life on the outside can be for men who have lived much of their lives behind bars. DVD Features: Deleted Scenes; Filmmaker Interview; Filmmaker Statement; Filmmaker Biography; Interactive Menus; Scene Selection [NOTE - Aspect ratio 16:9 Widescreen]

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24: Season Six (2007) Review

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(More customer reviews)If one thing's certain by now, it's the fact that people sometimes have starkly different opinions on seasons of '24'...and that's fine. I'm not here to change anyone else's mind overall, I'm merely going to point out -- as I did in my Season Two review -- the specifics (that helps) of what's led to my conclusion. I'll even be fair and make sure that the categories I'm about to discuss cover both positives and negatives.
To be blunt: What we have here is pure '24' -- a consequence-ridden one-day saga of well-developed characters, cleverly-written twists, political conflict, ethical dilemma, and fantastic action.
...But before going further into that, I want to respond to some things I'm hearing by tossing out three points of my own -- each of which address what this season isn't.
-This is not the weakest season (that distinction goes to Season Three, which had a convoluted, underwhelming first half and only became memorable during the second).
-This is by no means the first season to recycle concepts that have appeared before on '24'. A woman under Jack's protection having essential info; someone from the White House deciding to make a tragic human sacrifice; CTU being attacked; Jack going undercover as a bad guy; villains laying in wait to save their leader; the families of terrorists being threatened... Some of these are features that appear again here; all of these are features that have been reused well before Season Six.
-This is not the first season to be split into two story lines and have a latter problem borne of a former; it's simply the first to make the second objective significantly shorter (about six episodes long). I found this to be a refreshing new direction (anyone who claims the writers "ran out of script and improvised" obviously wasn't paying close enough attention; the second story line is foreshadowed about halfway through the first). It's also a direction that was more believable than the idea of stretching out the first story line for as long as possible.
Now then, where this season shines...
CHARACTER:
Four words: Bauer at his best.
"You are not judged by the height you have risen but from the depth which you have climbed" -- Frederick Douglas. What makes Kiefer Sutherland's character most admirable as a hero is up to every viewer to decide for themselves. For me, it's not primarily the remarkable skill and ingenuity he possesses, but the notable endurance and determination he displays no matter how bad things get -- and for Jack, things have been bad indeed. But even when faced with the worst life can throw at him -- two years of softening captivity, the absence of several friends and loved ones, and a torturous experience at the hands of terrorists -- Jack still holds on to some of who he is, which means that no matter how many times you knock him down, he'll keep getting up again.
It seems sometimes like the only person who can really take Jack out of the game is Jack himself, and there's a scene early on in which a distraught Bauer nearly does just that -- only to realize he must endure for one more day. The events that set this moment up (at the end of the fourth hour) are at first questionable, but it becomes apparent that they occur because the writers want, above all, to make a point about Jack -- and this is part of where the show's commitment to character is displayed.
Another highlight this season is the new presence of Vice President Noah Daniels, played excellently by Powers Boothe. I liken Daniels, in some respects, to a modern-day Agamemnon -- a powerful man whose pride can be off-putting, whose methods can be questionable, but also a man who ultimately cares about the land he's in service to and the soldiers under his command. Throughout the day, Daniels often stands in opposition to certain people we've come to sympathize with, but all the while, his arguments remain logical, his patriotism remains prevalent, and a sense of compassion and respect for others begins to stand more and more revealed. This culminates in the creation of one of the show's most entertaining and best-developed characters.
The highly talented Peter MacNicol arrives as Tom Lennox, a similarly-developed cabinet member who also starts off with questionable methods, but becomes a more endearing guy throughout as he labors for the good of the country, works alongside other likable characters, and passes a few moral tests along the way.
A complement to Jack this season is Rick Schroder's Mike Doyle, an experienced tough guy with admirable determination of his own, given depth by his handling of an ethical dilemma and his limited displays of camaraderie and respect toward Jack and other co-workers.
In addition to these nicely handled new characters, this season has some of the few returning favorites that are left, like Bill and Chloe, along with the returns of Karen, Morris, and brief appearances by the Logans. What also works out well is the return of someone who's become a nice nemesis-like figure for Jack.
Last but not least are the arrivals of a few more Bauers this season, which not only sheds some welcome light on Jack's family, but helps to finally reveal a few things about his past (such as how he wound up in law enforcement in the first place).
WRITING:
Among the creative twists this season are a scene where Jack and a partner have to trick a terrorist by means of an auto "accident" (more on this in a moment), and the first time the cunning Philip Bauer outfoxes everyone by taking an unexpected hostage. What I found especially clever was the David Fury-written episode in which there's more to a certain rescue than meets the eye.
The political content -- full of the usual conflicting methods, ethical questions, and even a case of conspiracy -- was well-written, clear, and served as grounds for some of the noted character development above.
'24' isn't a show that's known for being funny, which is what makes the rare moments of humor notable. One of my favorite scenes ever in this area comes this season, when we observe Jack pretending to be an angry driver (while tricking someone), as it's quite a fitting role for him. There's also a nice joke or two from Tom during a sting operation.
ACTION:
The most notable scene of the season in this regard is the final showdown between Jack and Fayed's team. This is probably the greatest action scene since Jack took on the Drazens (with the finale of Season Two being a possible exception). Also notable are the moments with the Doyle-led CTU team against the embassy, Jack playing a neighborhood hero in the fifth episode, and the battles inside CTU.
ROMANCE:
We get to meet the apparent first woman Jack ever loved, Marilyn -- who's been tied to the Bauer family ever since, and raising a son with Jack's brother. The likable bond between she and Jack, as mentioned, helps reveal little tidbits of our hero's past. Also nice is the fact that Bill and Karen have grown significantly closer since we last saw them, while Morris and Chloe's relationship can be enjoyable as well.
Where this season doesn't shine...
CHARACTER:
Well, if one compares the Palmers of today to the Palmers of yesterday -- specifically, the brother-sister duo of Wayne and Sandra to the great David and Sherry...sigh...
Wayne was an enjoyable character in Seasons Three and Five. It feels like he was never really meant to have the role he's given here, though, and one wonders if the writers begin to realize this throughout -- hence their focus on a far more interesting politician in Noah Daniels. Also, the character of Sandra Palmer just doesn't really seem to have a place, and overall, neither of these two can measure up to the standards set by the noble, strong David or the bold and mischievous (but sometimes noble) Sherry.
As a villain, Gredenko is also one of the least memorable (though this is compensated by the presence of his partner Fayed).
WRITING:
(Minor spoilers)
Russian President Suvarov practically playing terrorist while setting deadlines was a low point for me (though it's not much more absurd than the previous season's finale where Jack not only kidnapped a certain someone, but was set free shortly afterward). The situation with Sandra and her friend early on was also dull and lagging.
ACTION:
(Minor spoilers)
After getting the info he wants from someone in the embassy, Jack simply turns and walks toward a door that's got several guards on the other side? What's the obvious outcome here? If you answered "getting knocked senseless for walking into such an obvious danger," you're right. I'm also finding it hard to believe that at this stage, CTU can be physically attacked with such minimal effort (but of course, this sets up some better action to follow).
ROMANCE:
Nadia's triangle doesn't really seem all that significant.
On another note, some of us have wished that the Logans had more screen time this season. It's probably worth noting, however, that the decision not to use them is simply a traditional move on the story's part. This series has, in general, always used characters for as long as they're needed, and sent them away after that -- which is the reason the cast constantly changes.
What hasn't changed, though, in my opinion, is the fantastic work put forth by the cast and crew of this great show. Everything that composes the series is present here, and still done to enjoyable effect. This is fascinating characterization. This is engaging political intrigue. This is well-done action. This is complex drama. This is '24'.

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No Description Available.Genre: TelevisionRating: NRRelease Date: 4-DEC-2007Media Type: DVD

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Public Enemies (Special Edition) (2009) Review

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(More customer reviews)"Public Enemies", helmed by famed director Michael Mann, is a thriller of the most testosterone fueled variety. It's a fast paced actioner brimming at the seams with intense shootouts and a well-stocked cast of steely-eyed, square-jawed men harboring classic narcissistic complexes. Johnny Depp makes a suave, calculating Dillinger. It's more of a manufactured character than an interpretation of the real life Dillinger, but this is of little consequence because Depp achieves grand theatrics with his sullen glare and devil-may-care attitude. He plays it much as I imagine Steve McQueen would've in his heyday, plowing through his world with a sort of darkly cool, apathetic demeanor that suggests he doesn't care one way or the other about anything.
The supporting characters are superlative as well, particularly Stephen Dorff as Homer Van Meter. There's an intensity to his character that Dorff really brings out. In fact, I didn't even recognize him at first (interestingly, he looked very similar to actor Tim DeKay). Jason Clarke, who portrays John "Red" Hamilton, is an actor primarily known for his television work. I surmise he was chosen for his striking resemblance to the real life criminal; just compare his photograph to the infamous mug of Hamilton. He's probably the most featured gangster, other than Dillinger, being that Hamilton is portrayed as his right hand man. Of course, Christian Bale turns in an able performance as respected G-Man Melvin Purvis - donning yet another one of his famed accents for the role.
The film begins in medias res with an exciting jailbreak, something which I greatly enjoyed. I was happy the film didn't waste time trying to explain Dillinger's childhood and upbringing. There is no hollow attempt to apply reason to his actions or place blame for his anti-social behavior. In the end it doesn't matter what led him to a life of crime, particularly since over the years the man has transformed from a folk hero into a veritable legend. With that in mind, it's obvious Mann's vision was ambitious. He attempted to pack all the nuances and complexities of Dillinger's world into only two hours and, because of this, the end product is a bit too busy. I get the feeling that a bit of streamlining the script might not have been an awful idea. That aside, it's clear that Mann knew what audiences wanted to see is a rip-roarin' take on the robberies, shootouts, and defiance of the law that filled the bulk of Dillinger's life right on up until the bitter end. This film performs those functions in spades!
The major lacking feature of the film is that characterization takes a backseat to the action. This is, perhaps, inevitable considering the large ensemble cast and the fact that nearly every character is based on a very real, very famous person. Often many seemingly interesting characters never quite gel with the audience because their screentime is so brief. One such character is Gilbert Catena, portrayed by Domenick Lombardozzi (probably best known for his role on HBO's The Wire). Still, those aspects aside, every performance here is stellar. Just glance at the supporting cast which includes: David Wenham, Marion Cotillard, Giovanni Ribisi, and Billy Crudup, among others. It's my fervent hope that upon its release to home video there's an extended cut of the film because I would love to see more of these characters (especially Pretty Boy Floyd, since he is only in the film for a scant couple of minutes).

I've noticed many critics mention that the film unnecessarily milks the climax of the film, which is obviously Dillinger's execution outside of the Biograph Theatre. I didn't mind this so much because it's such an iconic event of the Public Enemy era, and more than that, the film portrays Dillinger's death with precise detail and follows what we know of the actual event to the letter. The scene features numerous clips of the film Dillinger watched: Manhattan Melodrama, the gangster vehicle starring Clark Gable.
The film surmises, with good reason, that Dillinger probably identified with Gable's character. It illustrates this by showing one of the haunting final scenes, when William Powell offers to have his death sentence commuted, Gable replies with "You think you're doing me a favor by keeping me locked up in this joint for the rest of my life? I don't want it. If I can't live the way I want, then at least let me die the way I want." Dillinger's face expressed great understanding, perhaps even compassion, with this statement. It's a great cinematic moment, especially since the audience is very well aware of what is about to transpire in his own life.
I give bonus points to the production crew for so aptly depicting mid-west America during the Depression. Many real-life buildings were redressed to look as they did during the time and their efforts greatly enhance the atmosphere. Then there are the detailed setpieces (one of my favorites, though it's a blink-and-you'll-miss-it one, is Gilbert's shop), the hairstyles and slick suits, the classic cars - they hit all the notes correctly. There's even some archaic slang film fans will remember from gangster films made in the thirties, such the calling of prison guards "screws".
The robbery scenes, being the lynchpin of any Dillinger yarn, are somewhat brief but accurately portray Dillinger's tactics and methods. Also, concerning actual history, this film does take liberties with what really occurred (like any film does). Perhaps the most egregious liberties are taken concerning the demises of the various gangsters. For instance, Pretty Boy Floyd is depicted as being killed months prior to Dillinger's death (Dillinger even references his demise to Pervis), when in fact he died months afterward. Also, Homer Van Meter survived Dillinger, only to be killed a month later. These aspects are often a necessary evil, because a filmmaker must strike a balance between reality and entertainment - and the two do not always intersect seamlessly. If you want a version that follows the facts exclusively - buy the book.
In summation, "Public Enemies" may not be remembered as a classic action film, but it will be remembered as a classic gangster film. The most gratifying aspect is that, unusual for most action films, all the actors turn in very memorable performances. Some critics and the press have commented on how Bale is absent from nearly all the trailers and promotional materials for this film, but when you watch it, the reason is quite understandable. This is unquestionably Depp's film, and though I concede to not having a particular predilection for him, his role here is not to be missed. This is well worth the price of admission!

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From award-winning director Michael Mann (Heat, Collateral) comes the film inspired by one of the country’s most captivating and infamous outlaws — John Dillinger. Johnny Depp (Pirates of the Caribbean series) stars as the charismatic and elusive bank robber marked by the FBI as America’s first “Public Enemy Number One." Academy Award® winner Marion Cotillard (La Vie en Rose) plays Billie Frechette, the only woman capable of capturing his heart. Hunted relentlessly by top FBI agent Melvin Purvis (Christian Bale, The Dark Knight), Dillinger engages in an escalating game of outrunning and outgunning the FBI, culminating in an explosive, legendary showdown. “It’s a landmark crime saga" (Peter Travers, Rolling Stone).

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