Classic Film Review: Hot Fuzz: 9/10

While I write my reviews for the Fistful of Dollars trilogy, here's a review of a great film highly overlooked and yet so much fun to watch.

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With a collage of wit, action, comedy and horror, Hot Fuzz is a funtastic spoof of a genre known for its over-the-top behavior, 22 April 2007

Author: diac228 (diac1987@netscape.net) from Orlando, Florida

The average American knows what an American action film is. It usually consists of throwaway plots, buddy/partner relationships, pointless sex scenes, amazing amounts of profanity, explosions, and more explosions. Of course, it gets dabbed from time to time with humor and some random romance story that has little correlation with the main plot. Of course, not ALL action films fall into this, but most do. It is a genre that has really good films (The Rock, Con Air, Die Hard, Speed, The Rundown), really bad films (Bad Boys II, Lethal Weapon 4, 2 Fast 2 Furious) and then some that are just downright ugly (Beverly Hills Cop 3, Double Team, Biker Boyz, Simon Sez). Now, we have the British creative staff behind the cult classic Shawn of the Dead providing us with their take on the genre that has garnished a lot of money but has established itself with a reputation of being mere mindless popcorn entertainment. What winds up happening is exactly like what happened with Shawn of the Dead: the spoof/satire/homage to the genre its portraying winds up becoming one of the best of its kind, better than most released recently.

Hot Fuzz excels as an action film because of its funny build-up, its quite intriguing story, its ability to stay on track, excellent chemistry amongst the actors, and of course, plenty of gruesome action to sink your teeth into. Carrying the formula that propelled Shawn of the Dead, Hot Fuzz entertains you, throws you off with its plot twists, and then has you on the edge of your seat when the action picks up. It does not contain any romance or pointless sex scenes, but that's instead replaced by a dosage of horror and mystery. The pacing is fast and furious, and refuses to slow down. The references come flying (some obvious, some vague) from all directions, and then it even ends like an action film—so plug in the ears if you don't like a lot of noise.

In this over-the-top spoof, we follow Nicholas Angel, (Simon Pegg) a top-notch police officer that is re-assigned because he is making everyone else look bad. That was pretty much established right from the beginning of the film. Next thing you know, he is in a rather secluded, clean, and seemingly happy town by the name of Sandford. Right from the get go Nicholas seems to be a bit paranoid and creeped-out about the mannerisms of the town, as he tries to teach the dim-witted but reliable partner Danny Butterman (Nick Frost). Angel's suspicious rises as a series of accidents hamper the town. Nonetheless, despite the overwhelming evidence and logic he uses, the rest of the police department isn't convinced.

Following the same choppy-edited quick cuts from Shawn of the Dead, Edgar Wright does a fantastic job keeping the speed of the film fast, while leaving plenty of details, Easter eggs, and hints as to what is going to happen next. Adding to his fantastic direction are the funny visuals that can be seen in the background as the subjects in front of the camera engage in conversation. But even with the hints intact, you still don't know where the story is going, and that is thanks to the writing staff (Pegg, again, and Wright…again). Hot Fuzz is actually a lot less predictable than Shawn of the Dead—its also not as funny, but much more action-oriented.

We have quite a talented staff in Hot Fuzz that extends from the creative staff to the actors. Besides the hilarious and likable Pegg and Frost, we also have Bill Nighy, Timothy Dalton, Paul Freeman, Stuart Wilson, and the Oscar-winner Jim Broadbent. While you may not know these names as well as the major Hollywood actors of today, just know that you won't get the typical stomach-churning acting present in the average action film. Hot Fuzz spends most of the movie building up using comical scenes, moments of suspense and terror; and then blows the doors down in the final moments. With a long, funny, yet satisfying shootout, a grand car chase, a tense final fight, and explosions left and right, the third act more than makes for its lack of gunfire and pyrotechnics in the first two parts of the movie.

Bottom Line: While referencing and giving nods to Die Hard, Point Break, Bad Boys, Lethal Weapon, and other superb action flicks, Hot Fuzz becomes among the better action flicks in recent memory. With a plot that actually works, characters are actually dimensional, and with content that is actually smart, this film is over-the-top, gory, but maintains the quality whether blood is spewing onto the screen or not. It may require multiple viewings to actually catch all the references, but with a film this good, you won't mind. It is funny and out-of-control. The British team behind Shawn of the Dead does it again; only this time hopefully more Americans will take notice of an emerging quality force across the Atlantic Ocean. Here comes the Fuzz.

Dragonball Evolution: 3/10

Dragonball Evolution (2009)

Dragonball fans, you can cry now. But don't say they didn't try., 12 April 2009

Before even reading this review, you knew that the film was going to fail. You knew that there was no way that a modernized version of a brilliant anime that didn't even have the entire cast of characters (in the first episodes that is) was going to disappoint and deliver garbage. However, the difference between this remake/re-imagining of the animated cartoon and the typical Hollywood remake is the amount of effort. This was not some half-arsed production or cheap attempt to sell more toys and make quick money. This was an actual futile attempt to create a new storyline for the franchise that has been around since the 80s and jump-started the anime craze that eventually hit the United States in the late 90s.

But yes the movie is bad. Yes the movie is muddled with clichés, over-blown special effects, wooden writing, and a weak ending. Yet, the energy and flair throughout the production stood out, and the potential for an evolving franchise that jumps from miserably bad to good is there. There is some bit of hope; you just have to deal with the fact that they aren't going to follow the original storyline at all. Maybe it's the fanboyism talking that if they listen; they can deliver a superior work of Dragonball. That or I might be utterly crazy. In the meantime, we shall gripe.

1) Oolong, Vegeta, Turtle, Ox King, Puar, Krillin are not in the film

2) There are no extremely lengthy fights like in the television show

3) Bulma is a gun-wielding feminine cowgal

4) Yamcha has blonde hair

5) Master Roshi was not living in a very secluded island with a palm tree next to it

6) There is only one signature move mentioned in the film

7) Piccolo wasn't green

8) The Great Ape is reduced to angry Donkey Kong

If you are not at all ruffled at the previous complaints, then you aren't a fanboy, and can continue reading this so you know why the film fails. If you did get upset, stop reading, because odds are you are already protesting. Dragonball Evolution is most certainly not going to appeal to any of the true-blue fans of the show; those that saw Goku's travels from child to multiple deaths to wonderful memory. As for those who want to know what Dragonball is all about, skip this as well. If you are willing to accept a new vision of Dragonball, read on.

To make the plot synopsis simple: Goku must recover 7 dragonballs in order to prevent Piccolo from creating apocalyptic havoc across the planet. With the help of Bulma, Master Roshi and Yamcha, he sets off to try to rid the world of evil using the dragonballs. This film has all the nods to other "young lad must rise up to overcome challenges despite incredible odds." The clichés are fired so often, you can predict the next one. It's pretty clear that the writers knew about the anime and the characters, but didn't study about it deeply at all. Its one thing to know the show, it's another thing to truly know the show. Example: makers of Twilight Zone Tower of Terror saw every Twilight Zone episode 3 times. End result is an attraction that literally looks like a Twilight Zone episode. In the case of Dragonball Evolution, it has the characters, some of the familiar characterizations, but that's about it.

Blaming the acting would be wrong, since they provided well with the material they had. Justin Chatwin as Goku is a mixed bag; he can play the role, but doesn't resemble Goku that much. Chi-Chi herself doesn't look like Chi-Chi, but Jamie Chung plays the role with a nice dosage of beauty and feistiness. Same goes with Bulma, portrayed by Emmy Rossum. Last but not least, the best performance comes from Yun-Fat Chow, who plays Master Roshi perfectly. Too bad the turtle sidekick from the cartoon was missing.

Bottom Line: Let's just wrap the review simply with this: It sucks, but could have been halfway decent if the clichés weren't flying and there was more research plastered into the production. While a Dragonball movie outside the manga series actually following the franchise plot lines is inevitable (there have been two live-action films already) the effort placed in this installment was actually uplifting, even if the quality of the movie itself destroyed any positive feelings. Dragonball itself is an amazingly charming story full of rich characters, why not do a highly accurate adaptation? The only reason to see this movie is the only reason I went to see it: for nostalgia sakes, to reminisce the good times of Toonami. Don't expect miserable utter failure, but expect a bad movie with a few good moments and elements.

Cruise Video Madness (FYI, I now HATE my camcorder..what a load of shi)(18 videos!!! WOOO!!)

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Other randomness

These are the other films I saw during my stay at the cruise. I am going to just sum up these films instead of giving full-length reviews.

Dragonball: Curse of the Blood Rupees

8/10

Oh so charming and enjoyable, this is Dragonball before it became utterly serious in the next installment of the franchise.

Dragonball: Path to Power

7/10

10th anniversary of the original cartoon series. Decent re-creation, but misses the fun and humor of the series.

Undercover Brother

7/10

Among the smartest anti-Whitey films you’ll ever see. Too bad it sometimes becomes too stupid for its own good.

Startsky and Hutch:

7/10

Never gets off the ground but has a few good moments.

Bugs Bunny and Road Runner Movie:

9/10

Contains some of the best Warner Brothers cartoons ever crafted, all by director Chuck Jones. Then there’s the half an hour of Coyote-Road Runner hilarity.

Nick and Norah's Infinite Playlist

8/10

Awwwwwwwwwwwwwwww, what an adorable little movie.

Lost in Space:

2/10

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Gladiator:

4/10

*sigh* could have really been something.

Vicky Christina Barcelona: 5/10

Its like a Travel Channel documentary, with annoying narration and a yawn-worthy plot packaged within, 4 April 2009

Woody Allen's work has been around for several decades, creating quite a livid and faithful fanbase that dedicate their lives to watching his yearly films. His films range from romantic to mysterious to even sometimes the realm of science fiction. After a brief slump that was cascading through the 90s into the early part of this decade, Woody Allen re-enters the mainstream with a string of successful and acclaimed movies he filmed overseas. Allen's success derives from his deep flicks about love, affection, sexuality, etc.; and they reached their peak in terms of tone and theme in films like Match Point and Scoop, his "comeback" movies. Riding the success wave with his latest muse Scarlett Johannson, Allen now heads to Barcelona to deliver another tale about the complexities of love.

Let's get one thing straight here: the man is a tad on the overrated side. Surely none of his movies can truly resemble that of your usual romantic comedy dribble, but its nothing spectacular. Perhaps it's the fact that I'm still bitter that Star Wars, one of the greatest films of all-time, was defeated in the Oscars by Annie Hall. But it could be that his sense of humor is extremely dry, his views on love are just absurd and become repetitive, and the films never quite take off. His movies start in shallow waters and remain in shallow waters, with every so often a curveball being flung by for good measure. Vicky Christina Barcelona is no different; it's a film that doesn't quite take off, even with grand performances, a nice soundtrack, and beautiful cinematography.

This film is about two women (The Muse and the unknown Rebecca Hall), one engaged and the other free-spirited, spending the summer in Barcelona. Upon their wanderings, they run into a handsome and charming painter (Javier Bardem) who wants to make love to both of them. A few twists and turns later, Vicky gets married but has doubts about what she wants in life, and Christina moves in with the painter; only to have complications arise once the ex-wife (Penelope Cruz) comes into play. Like previously stated, Allen's movies are never predictable or dwell into stereotypical territory, but the film lacks any sort of dramatic or comedic tension.

To further simplify why this film can never be viewed as good or great in my eyes, Vicky Christina Barcelona presents a total of four main characters in a world full of love trying to figure out what it is. No conflict really arises, no climax is ever actually approached, and we never really care for anyone nor do we hope for someone to end up with someone. We are just witnessing, not really interacting or choosing sides. Plenty of dialogue, but very little of it actually enhances the plot. As a matter of fact, we learn most about our characters whenever the narrator (that comes out of left field most the time) describes the scenario at hand and how everyone is feeling.

Nothing is more hampering to an actor or actress' ability to perform than a narrator in the background telling you how they feel. This is what hampers everyone's performance, we know how they feel not because of their actions or reactions, but because some guy in the background is mentioning their sentiments. It's annoying, and perhaps why critics believe Cruz didn't deserve her Best Supporting Actress Oscar, even though personally I'm glad she finally earned something for her work.

Not bashing everything though. The cinematography is absolutely stunning here, as Barcelona looks its absolute best on the big screen. One would wonder how much better it would look in Blu-Ray; it can pass off as a Travel Channel documentary. The sets within the city are fantastic as well, further emphasizing the beauty of the setting. Adding to the allure of Spain is the fantastic choices of music. The classical guitar and laud-back music are like little finishing touches on the cinematic shots of the towns and restaurants within the city. Allen's direction has definitely improved over the years, as he broadens the horizons and films more than just characters muddled in dialogue. Too bad he couldn't write a better story.

Bottom Line: I love him. I don't love him. I might love her. I don't love her anymore. We should all love each other. More or less, this is almost every single Woody Allen picture, and this one is no exception at all. But unlike Annie Hall, it doesn't even end very properly, by not proving enough closure. If you pressed mute throughout the film, you'll see why some credit should be given: the sets, scenery, and direction. Removing mute reveals relentless and repetitive dialogue and annoying narration; both elements ruining the acting and music of the entire film. This isn't the worst film of the year, but is indeed far from the best. Vicky Christina Barcelona is reserved for those who truly enjoy Allen's work—the good, the bad, and the pretty.

Enchanted: 8/10

Offering hope to the hopeless, 4 April 2009

"Sire, do you like yourself?"

"What's not to like?"

It is the simplest exchange of dialogue in the movie. But underneath it, whether the director intended it or not, lies layers of meaning. Nethaniel, suddenly seeing things in the light of the real world, asks this question to Prince Charming, whom is looking for Giselle and still stuck in the magical-happy-go-lucky state of mind. Prince Charming is the representation of the old-school Disney, the very simple, clean, wholesome, lovable Disney that every single child grows up with. In the old-school days, dreams come true, the heroes and villains are defined, and beauty runs deep within the main heroine.

Nethaniel is new-school Disney, unsure of itself, lacking any posture or ability to stand up and become known. Enchanted is quite possibly the greatest meshing of old-school with new-school, and while Disney self-mocks itself, it also statuses itself as the last main white hope in the dreams of children and adults. In a world full of cynicism, disappointment, and uncertainty over the actions and motives of other people, we all need a little bit of pixie dust to continue life. The question is can an old-school princess survive in a new-school world? Or would the new-school world consume the hopes and mannerisms of our princess? Enchanted stands as one of Disney's best family movies outside the Pixar realm this decade, and ultimately is an amazing celebration of the Disney image and reputation that it has sustained (in roller coaster fashion) for nearly a century.

Enchanted is about a princess (Amy Adams) whom is flung into a world where "dreams don't come true" according to our main villain Narissa (Susan Surandon). The reason for this is so that Narissa can remain at the throne and Giselle and Prince Charming don't marry. Giselle (in real-life form) winds up in New York City, where she runs into a pessimistic divorce lawyer (Patrick Dempsey) and his curious daughter. While waiting for Prince Charming to arrive to New York to save her, Giselle learns that her new setting is full of people that do not have hope in life and do not believe in a happy destiny. What's worse is that Prince Charming isn't the only one that makes his way to New York from the magical land….

The script, written way back in 1997, went through a major series of changes before the final product was unleashed. And my what a script it is. Full of Disney references that could open up an amazing drinking game and full of bubbly fun, the story and dialogue remain crisp, clean, and despite predictable, contains plenty of unpredictable curves. However, the script doesn't make the film: Amy Adams does. Her performance is one of the few in film history that should quality for an Academy Award win, but won't get the nomination because of the content. It's definitely hard to praise the performance of a Disney princess, but Adams does spectacular as Giselle singing and acting-wise; infusing a jolt of energy and spirit rarely ever seen by anybody out there. Beneath her beauty is a bubbly personality that's impossible not to like. Everyone else did a grand job, including James Marsden and Timothy Spall as Prince Charming and Nethaniel respectably.

Enchanted's charm comes from its celebration and references to past Disney princesses, and its message about finding hope in a lost world. Just like in the movie, we as a generation of people exposed to the negativity of the world on a minutely basis lose all sorts of hopes in all aspects of life. The Flapper era and the Baby Boomer saga are two eras that just might not be duplicated for a very long time; the care-free, happy-go-lucky, positive time period in which as is well with the world. Walt Disney Studios used to be able to bank on this sort of happy time period. After all, Cinderella, Lady and the Tramp, Peter Pan, and Sleeping Beauty all came out in the 50s alone. Disneyland came out in 1955. That time has passed, this sort of eventual happiness nowadays passes off as clichéd. Even Enchanted itself was tough to watch at first because films nowadays just doesn't have that happy feeling throughout all 90-plus minutes. Even modern-day Disney flicks have a bit more gloom than before: see Lion King, Hunchback of Notre Dame, Pocahantas, Aladdin, and dear goodness Fox and the Hound.

The film's greatest strength is more than its humor, charming characters, and ridiculously happy ending; it's the message of hope and finding sunshine in a cloudy day that's screaming out to you within the first, second, and even final acts. Old-school Disney values are flung into New York City and the payoff is grand. Then there's the adorable musical numbers and nice choreography. You just want to hug the movie for being so cute. Even a bitter cynic like me couldn't help but smile throughout the entire thing, no matter how ridiculous it might be.

Bottom Line: Disney's old-school allure can be found here, as the celebration of works past and present are sprinkled throughout a creative story full of easter eggs and adorable performances. Amy Adams runs this optimistic show as the film opens up a can of happiness to anyone that sees it; no matter how bitter you claim yourself to be. The film isn't absolute perfection, but easily one of the best live-action Disney works this entire decade. Despite the childish outer look, you must see it for the deeper messages of hope and love. Highly recommend, and its great fun for the entire family. Kudos to Disney for heading in the right direction after years of questionable decisions.

"Everybody has problems. Everybody has bad times. Do we sacrifice all the good times because of them?"

Not in Disney's watch.