LIVE FREE OR DIE HARD
(First Viewing)

When a criminal plot is in place to take down the entire computer and technological structure that supports the economy of the United States (and the world), it's up to a decidedly "old school" hero, police detective John McClane, to take down the conspiracy, aided by a young hacker.

3 words sum up this movie for me: better than expected. Since day one I was against the idea, especially when I heard it was going to be PG-13. And even though it's not the old McClane that we all love and remember, he's not very far off. Justin Long did a great job in a big Blockbuster movie providing the humor outlet and Mary Elizabeth Winstead continues to grow as well. The Kevin Smith cameo was a nice touch but what impressed me the most with the film was Timothy Olyphant as the villain. I'll always remember him from SCREAM 2 as Mickey and he's done some fine work on HBO's DEADWOOD series, however I haven't seen him in many movies recently.

But back to the movie, yes I thought it was another unnecessary remake. I could have lived without seeing McClane again, especially watered down to PG-13 rating so the teenie bobbers could get in on the action. However, from all of the other sequels I've deemed unnecessary these past few years, this is probably the best. I've heard rumors of a DIE HARD 5 and even though I'm against that as well, DIE HARD 4 paved the way that could make a possible DIE HARD 5 equally as good. For the franchise I'd rank them as follows:

1) DIE HARD: WITH A VENGENCE
2) DIE HARD
3) LIVE FREE OR DIE HARD
4) DIE HARD 2

"...especially watered down to PG-13 rating so the teenie bobbers could get in on the action."

The funny thing is, you go to see more of these retarded teenie bopper films than teenie boppers do.

]

Just watched UltraViolet........yes she has an ass, it got more screen time than her face...not really sure what the movie was about though. Seemed to just be a reason to put her in tight pants and show every possible scene from behind and between her legs.

Yeah I saw ULTRAVIOLET in theaters. I was bribed by a friend who paid for my admission ticket. Yeah, I remember it being pretty bad.

ULTRAVIOLET is a mess, which is a pity since that movie got fucking chopped up by the studio.

40+ minutes were cut out, the planned FX never finished, and FOX had a dud on its hands.

No wonder the movie makes no damn sense at all.

I think its funny how Irish likes being owned and trashed around these parts...if he didn't, he would try to argue against it or say something.

Maybe he gets a sadist kick out of it. Maybe its the Yanks having a bad year, maybe.....nah, its the Yanks sucking it this side of the Marlins.

Funny, I called that Irish would go apeshit for LIVE FREE OR DIE HARD in the shoutbox (and why not? He has a thing for anything thats Michael Bay or Bay-influenced). LLC owes me $10.

Anyway, while I defend LIVE FREE OR DIE HARD as being as average as DIE HARD 2, just not as fucking contrived, there are some things in it that still bug the shit out of me.

* Bland actor playing the villain....or is it decent actor stuck with really a shit part?

A computer programming genius? Thats like trying to sell John Wayne as Genghis Kahn. At least William Sadler in DH2 happens to BE a good actor despite the shit he was given to work with.

Which is sad, since Timothy David Olyphant worked so well on DEADWOOD.

My verdict? SHIT CHARACTER

*How does Bruce Willis know that the Asian assassin was the baddie's girlfriend?

PLOT HOLE!

*You know, John McClane STILL lost his entire 401K plan. Imagine him asking the Feds for help:

McClane: You know, I just saved the day. Can you help restore my 401K plan?

Feds: Why don't you work hard for it like any other decent American, instead of asking for a handout?

*Why exactly is Lucy McClane being a bitch with her father? Not that its a bad idea, but its execution in LIVE FREE OR DIE HARD seems simply as cheap contrived drama to stack the decks against McClane.

I mean, isn't it possible that she's the only person in his family that can tolerate him? It would have made the entire 3rd act mean absolutely alot more for the hero than the whole reversal of opinion nonsense.

SAVING PRIVATE RYAN
(Third Viewing)

Following the Allied invasion of Normandy, two brothers lay dead in the wake of the onslaught. Meanwhile, in New Guinea, a third brother has been killed fighting the Japanese. After the Army General Staff learns that a fourth brother is missing in the French countryside, a rescue mission is ordered to find the young soldier and return him safely home. The mission is mounted by a veteran Ranger Captain commanding a squad of men who have mixed feelings about risking their lives to "Save Private Ryan".

This and PLATOON are probably 2 of the best war movies I've ever seen. This is also easily in the Top 5 of Spielberg's best and I might be generous enough to put it as high as number 2 (SCHINDLER'S LIST is his masterpiece). What worked the most for me with this film was the realism. Spielberg did a fantastic job at bringing the audience into the film and making them feel as if they were in the trenches with these guys.

Also, the opening battle scene on the beach is tough to get through. It shows the viewer very quickly just how brutal, ugly and vicious war can be. This stood out to me because some war films (particularly some of the classics) seem to glamorize the war. I'm not saying that's necessarily a bad thing, but Spielberg went in an opposite direction and said it wasn't all glamorous. As such, I think he offered a better tribute to those who sacrificed their lives for this country than some in the past.

Also, the cast was great for this film. Most, if not all of these guys are recognizeable now. Some of them weren't as much before this film (Edward Burns, Vin Diesel, Giovanni Ribisi, and others), but since then have seen their careers grow from this. Barry Pepper was my favorite as I briefly stated in my review of SHOOTER. I respect his talent and his calmness throughout the picture. Also Tom Sizemore fit in beautifully. I just felt he was built for this picture and that role as Tom Hanks second in command.

How SHAKESPEAR IN LOVE beat this out for Best Picture I'll never know. However, in all fairness, I've never seen SHAKESPEAR IN LOVE, although I just can't imagine it being better than RYAN. For Michael Bay, this is the kind of movie he should have made when he was making PEARL HARBOR just 3 years later. Oh well, all will be forgiven if TRANSFORMERS kicks a$$ which I anticpated it will!

Finally, after watching this film, if Quentin Tarantino plans on still doing INGLORIOUS B*STARDS, I'd be excited to see it. Not only because it's Quentin, but also because I'd love to see how he could or try to surpass RYAN. I'd like to see Quentin try his hand at a war flick.

I got bored half way through into watching Shakespeare in Love. But my old roomie was a big fan of it. I am yet to watch Saving private Ryan and Schindler's list which you term as his best. I somehow see Spielberg more as a clever director than a great one. Again IMHO.

SHAKESPEAR just doesn't seem like my kind of movie. I'd really have to be in the mood to watch it.

svsg, have you heard, or do you know of anyplace I can download Ilsa, She-Wolf of the SS?

Torrents are the way to go. Install Azureus from
http://azureus.sourceforge.net/

Then download the torrent from http://www.torrentspy.com/torrent/457109/Ilsa_She_Wolf_of_the_SS_1975_XviD_DVDRip

There are 12 seeds (people who have full copies), so you should be able to download in a day or two. Usually the way this works is peers keep coming and going. So unless it is a very popular movie, it will take a while to download. The way to minimize the download time is by queuing up many files for download, so one or the other will be active at a given time.

BTW, Irish you are slowly venturing into the type of movies I have been watching lately. I see it is banned in a couple of places. Welcome

Mention his name again out of the blue, and you will be banned for life. Indeed, you are the Master Baiter. Grow the fuck up. (BOTH of you!) END of story!

With all due respect RRA (Seriously), I challenge you to post something about movies that doesn't include some sort of knock on Irishman. I'm not asking you to change, but, I triple dog dare you!

Thanks brother, I really appreciate it!

And thank you Geoff & Blibble

I don't know, I'll try my best.

FAMILY BUSINESS (1989)

Hoffman, Connery and Broderick directed by the great Sidney Lumet.

What happened?

Broderick still asks himself why people still treat him, an adult in his 40s, like a kid.

Bueller, Bueller, anyone???

Sounds a lot like what happened to Alien 3. 35-40 minutes were cut out because thought the film wouldn't hold the audience's attention. Because of this, David Fincher (very good director), disowned the film.

If you ever get the chance, watch the directors cut, it's quite good. Just as good as Aliens in my opinion.

I must correct something here.

Yes, that alternative edit on the DVD boxset is MUCH BETTER than the theatrical edit...but its not a Director's Cut.

Fincher not only disowned it in the editing bay after FOX raped it, the movie was already raped by FOX's mendling during shooting, with Sigourney Weaver vetoing/demanding script changes, etc.

My point is, the "Director's Cut" doesn't exist. Thats why Fincher didn't involve himself with that DVD boxset. If he got it his way, it would only be if he go back in time, and make it with his full autuer creative powers that he has with say PANIC ROOM and ZODIAC.

Still BDuff, you're right. The alternative edit makes more logical sense, not as many annoying plot holes, etc. Still not much of a film though.

But its something compared to the mass liquid of nothingness that is ALIEN RESURRECTION.

Exactly. Hell, he was the lead in the pretty good GLORY...but no one remembers that fact. Pity really.

You didn't like that movie PB?

I enjoyed it very much.

DONNIE BRASCO 1/2
(Third Viewing)

This true story follows FBI agent Joe Pistone as he infiltrates the mafia of New York. Befriending Lefty Ruggiero, Pistone (under the name Donnie Brasco) is able to embed himself in a mafia faction lead by Sonny Black. Ruggiero and Pistone become tight as the group goes about collecting money for 'the bosses'. Eventually, the group become big time when Black himself becomes a boss, all the while Pistone collects evidence. However, the trials and tribulations of the undercover work become more than Pistone can bear. His marriage falls apart and to top it off, the mafia suspect a mole in the organization. The real dilemma is afforded to Pistone, who knows if he walks away from the mafia, Ruggiero will be the one punished.

I gave this film a third try and it still didn't do it for me so I think I'm finally done with DONNIE BRASCO. I know a lot of people enjoyed this film but for whatever reason, it never excited me. I didn't hate it but I didn't love it either. Al Pacino was his usual great self as Benjamin 'Lefty' Ruggiero. Here's the first problem I had with the film. When we're introduced to Lefty in the beginning of the film he comes across as a big mob guy/bad motherf*cker. But very quickly into the movie his character to me becomes soft and by the end, almost a p*ssy. Secondly, Johnny Depp, as much as I love him didn't impress me at all really with this film. Sure he got the forgeddaboutit line done cold, but other than that I thought his performance was kind of stale. Also, Michael Madsen did a fine job but I don't think he had the same charisma that so many people loved from his Mr. Blonde character in RESERVOIR DOGS.

I think your first point of contention was the entire point of the film. It's not about the rise and fall of a gangster; it's about somebody undercover in the lower circles of a hierarchy. Basically, everybody gets shat on by those above, and by the end of it, we realise that Lefty is quite a sad, pathetic character in that most poignant turn of events: knowingly meeting his death.

"Here's the first problem I had with the film. When we're introduced to Lefty in the beginning of the film he comes across as a big mob guy/bad motherf*cker. But very quickly into the movie his character to me becomes soft and by the end, almost a p*ssy."

Irish, do you understand something literal or you understand the depths of humanity yet?

Lefty is a low-ranking scum sucker for the Mob. Hell, remember that scene when he's smashing a parking meter with a hammer to get those coins? He's pathetic....he won't ever be anyone, even in his outfit...and partly its because he's a fool. In a way, most mobsters are like Lefty more than they are honest or intelligent, right?

But he has the power to beat up people for their cash ,and get away with it. Plus with the Florida night club gig with Donnie, Lefty feels like a big shot now.

Really, its like if Tony Montana in SCARFACE stayed a low-ranking pusher/enforcer. Pacino plays Lefty so pathetically, you would almost sympathize with him....almost.


"Secondly, Johnny Depp, as much as I love him didn't impress me at all really with this film. Sure he got the forgeddaboutit line done cold, but other than that I thought his performance was kind of stale. Also, Michael Madsen did a fine job but I don't think he had the same charisma that so many people loved from his Mr. Blonde character in RESERVOIR DOGS.[/quote]"

What, you wanted Depp to do gimmicky acting where he's over the top this side of the PIRATES movies or ED WOOD or whatever some quirky stuff?

Depp kicks ass because imagine having to work a job where you have to wear a "mask" and be someone else 24/7....and certainly in the film, its obvious that as Joe Pistone is dying, "Donnie Brasco" is taking over.....why? Maybe because its more fun to be a high profilin/stylin gangster than a shit-paid FBI Agent.

I'm sure with your logic Irish, Al Pacino is stale as hell in SERPICO, or Christian Bale was stiff as hell in PRESTIGE and BATMAN BEGINS (funny that both Chris Nolan pictures involve identity).

As for MICHAEL MADSEN, whats with you? Mr. Blonde in RESERVOIR DOGS is a psychopath who gets a kick from sadism...and he boasts himself because I'm sure people fear him. But Madsen's character in DONNIE BRASCO is the absolute epitome of the Mafia: Using the bullshit of "code" and "honor," he betrays and kills everyone in his path to taking over...while guys like Lefty, who like to think they follow the code somewhat, end up working for him.

Really Capo, am I right?

I liked it, I just thought it could have really been special. Maybe even a classic, and it wasn't.

It was written by Vincent Patrick, who wrote THE POPE OF GREENWICH VILLAGE, so I may have been expecting too much.

I like it well enough to own it.

On Greenaway's 8½ Women (1999):

The critics may have a point in this being his least impressive feature film, though it is still considerably more conceptually and narratively original and visually seductive than a lot of other films, which might be a weak defence. If the acting seems unusually wooden (the script is great, but the delivery seems forced and unnatural at times) then at least it's in line with Greenaway's quest for an openly artificial cinema. The females here are all shot in a self-consciously beautiful way (Polly Walker, in one of her final scenes, and the one used for most promotional posters and DVD covers, is ravishing), the dialogue is almost always in reference to sex, and it handles emotional devastation in typical Greenaway fashion: that is, he puts a lot of faith in the "sophistication" (his word) of his audience, and doesn't manipulate them in the exploitative way; whether you connect to the film's dark, strange and provocative father-son relationship will depend not only on personal philosophies in life, but how close you connect with Greenaway's work as a whole... Indeed, ironically, this seems to be one of his most accessible films, and yet accessing it seems dependent upon familiarity with the director. There's something fantastic about certain, isolated images: the father holding a drill to his head is abstract and effective in showing his state of loss; the scene, even earlier than that, of him falling back into the bath, screaming and splashing, is a visual abstraction of complete grief; the aforementioned, unforgettable shot of Polly Walker's shadowy flesh as she sits with her back to us, masturbating the elderly protagonist; and the Herzogian shot of a pig with its front legs buried beneath it, its arse in the air.

Doesn't it apply to all films and filmmkers?