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DOWNLOAD MOVIE Ladder 49 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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Ladder 49 Reviewed By Erik Childress Posted 10/01/04 14:03:01

"Rise UP! C’mon, Rise UP! Against Bad Firemen Movies!" (Pretty Bad)

It is damn near impossible for a fireman NOT to be considered any less than a hero. Unlike their never-wanted-until-you-need-one brothers, the police, firemen will always have the thumbs up from society. If they save someone’s life, they’re a hero. If they die in the line of duty, they are given a hero’s funeral. If they fail to save someone’s life, well hey, thanks for trying; we know how dangerous your job is. Hell, Backdraft made a fireman a murdering arsonist and we STILL cared for him. Do we need any more evidence that we love these guys through thick and thin? Certainly we don’t need another movie to prove their bravery, let alone one as plain and hackneyed as Ladder 49.In a weak display of screenwriting construction, Ladder 49 begins in the third act where Jack Morrison (Joaquin Phoenix) becomes trapped in a high-scale blaze and briefly knocked unconscious. This gives him the opportunity to go back and remember where the film should have begun at his initiation to the close-knit Baltimore firehouse that welcomes him, but not before a bit of “Probee” ribbing. When you work a one-day-on and two-days-off schedule, you have to fill your day somehow in-between the meals, pool-playing and the occasional fire.John Travolta sleepwalks as the firehouse Chief who acts as a father figure to the anonymous characters who scurry in-and-out of the movie. Don’t get too attached to those firemen who actually share dialogue with Joaquin cause they are likely to come face-to-face with the flames in some form or another. Ladder 49 wants to show us a life along with “the life” of a fireman, so we follow Jack’s progression from rookie to…come to think of it there isn’t much development aside from a surprisingly engaging performance by Phoenix. (Probably because his character’s been given one-and-a-quarter dimensions.) He’s an amiable guy, meets a charming gal (Jacinda Barrett), and has a couple kids. Not bad for a hero.You’ll find this semi-progression stunted every 20 minutes as we flip-flop between Jack’s past and his grim present, splicing a needful connection to the dread he faces. Revealing a character’s fate in the opening scene is bad enough of a device, but manufacturing a formation as ubiquitous as Godfather II takes us right out of the moment. Just as we settle into one timeline, we’re woken up by the other.Ron Howard’s Backdraft, beyond what many felt of a rather conventional script, was criticized for putting way too much fuel on the fire. “No fireman would ever go on the roof during a chemical fire,” I remember hearing back in 1991 and granted, Howard was left with the tough task of adding humanity to a groundbreaking exercise in pyrotechnics. Donald Sutherland’s Hannibal Lecter-like fire expert remains as laughable today and it makes no apologies for driving home Hans Zimmer’s brilliant score during its overtly tearjerking finale. Now here we are in 2004, three years and a month removed from 9/11 which put an inexorable and justifiably warranted stamp on the valor of these men. They were heroes. This is a movie. It may want to play up the everyday characteristics of their lives, but it gets caught in a rundown that devalues its intentions. The firefighting scenes aren’t nearly up to the exciting standards of Backdraft, intentionally playing down their outrageousness and thusly downsizing their peril. But then Jack’s predicament is played like an action sequence with rescue attempts and quick escapes. It also finds a fireman caught off guard on a rooftop and an overly sappy ending. So our world may have changed, but the movies sure as hell haven’t.Lewis Colick’s screenplay has no trouble in mapping its way towards the most obvious of firefighting clichés. The wife concerned about her husband’s well-being, despite knowing what she was getting into when she married him. Firemen spending 90% of their off-hours in the bar together. Apparently it’s a requirement that all movie firemen must be Irish or display Irish-like tendencies. “Why do we run into a burning building while everyone else is running out?” is used twice and is the same as asking “Why do I go see crappy movies like Ladder 49?” Because it’s my friggin’ JOB!!!The drama is content with being just that - content. It serves as a glue stick to get back to the unspectacular fires (either presently or historically) which apparently isn’t enough drama for the frathouse with cool trucks. When things amongst the professional family are getting too loosey-goosey, along comes Robert Patrick to do or say something mildly annoying to raise someone’s ire. He might as well have spilled his nightcap and drop a match since conflict has rarely felt as artificial as it does here.Ladder 49 saves it’s Grande La Tear for the final moments and has no shame in belting you in the ribs twice to get its waterworks. Storytelling-wise, one of them is already cheapened by shooting for those ducts twice before. The other is a final montage, full of the menial jobs and sacrifices firemen are put through. Backdraft had the sense to put this in the middle of its story rather than brazenly conditioning us as we exit. They gave us Bruce Hornsby, Ladder 49 gives us a Robbie Robertson song that may as well have been the other Bruce (Springsteen) and his “My City of Ruins” anthem from the 9/11 tribute album, The Rising. There’s a lot more to being a firefighter than just a hero. And there’s a lot more to being a hero than a movie like Ladder 49 even knows.
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DOWNLOAD MOVIE Outlaw 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 Outlaw deserves credit for being different from any other western
made up to 1943. Before I saw this film I heard so much about it, that
I wanted to like it. It had a spectacular Jane Russel, sexy and
beautiful, Jack Buetel was very well cast as Billy The Kid, and it had
two great actors Walter Huston and Thomas Mitchell. Something went very
wrong with the script, even though it was written by Jules Furthman,
who had "To Have and Have Not" and "The Big Sleep" to his credit and
with the help of Ben Hecht, uncredited. And the problem is the absurd
sentimentality in the relationship between Doc Holiday (Huston) and
Billy, which borders on the ridiculous. The reason for that could be
they wanted to imply there was homosexuality in the relationship
without censorship problems, but if that was the case they could have
done a better job. Jane Russel was such a bombshell that she justified
the film, even though to Billy and Doc she was worth less than a horse.

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DOWNLOAD MOVIE Shallow Ground 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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Shallow Ground is a film that looks and feels bigger than it really is - for being an Independent Film and what Sheldon Wilson (Director) and his crew was able to do was amazing.. kind of like the “Little Engine that Could,” no matter what was thrown at them, they kept chugging along.

Even though I do applaud the effort of Sheldon and his team - in trying to bring something fresh to a sometimes-repetitive genre, but no matter how much I praise the work that was put into this film and no matter how much I really wanted to love Shallow Ground – it ended up being a film filled with one too many plot holes, as well as  one with poor execution (of certain parts) of the story line.  It ended up to much for me to overcome, so instead of loving this film, I only ended up liking Shallow Ground..

In Shallow Ground: A naked teenage boy covered in blood appears at a remote sheriff’s station one year after the brutal unsolved murder of a local girl. Now sheriff Jack Shepherd, guilt ridden over the girl’s murder must confront his own demons as he desperately searches for the boy’s true identity and possible victims. Little does Jack realize that he had started down a path that will bring him face to face with an unthinkable horror. Before sunrise the living will pay for the pain the dead have suffered…

The overall acting in Shallow Ground was pretty good. What one may think as being a weakness in most independent films - it really was not with this one. Rocky Marquette did an excellent job at playing “The Boy” - for one who have little to no lines, his presence in the film came off the strongest of all the characters. He kept me intrigued and wanting to know more about the mystery surrounding him. Lindsey Stoddart (Deputy Laura Russell) and Stan Kirsch (Deputy Stuart Dempsey) both were also both pretty much solid in the roles (Lindsey, please pin the hair back) and helped keep the movie together. Now the one character I did have a problem with was one of the lead characters Timothy V. Murphy (Sheriff Jack Sheppard). I feel it was more of him being “mis-casted” then his actual acting that turned me off. He was the only one that had an accent (and it was heavy at times) and with the whole story revolving around a small tight-nit town (one in which I pictured you were born there and you die there) he was just out of place. I was never able to overcome the accent and that lead to him being unbelievable and one of the small downfalls to this film.

Outstanding! I cannot express how much I was impressed with the SFX in this film. With what they were able to do with the blood - making it an actual character in the film was amazing. Before seeing this film, I’ve watched the behind the scenes clip (here on this site) about the blood effects and then seeing it on screen - I was still floored. The other make-up and prop effects was “spot-on” too.. from the sliced up faces to the fish hooked wearing corpses - ACE!

For his first major feature film - Sheldon Wilson is on the right track. I’ll be curious to see how he handles other feature films and grow as a director. Shallow Ground is a film whose parts are greater than the whole and there was just to many little things that kept this film from being more than just average. Sheldon weaves a story that is very deeper than one initially thinks.. connecting the dots and taking the viewer along on a surprised filled ride - but it is the execution of some of these plot points is where Sheldon fails to capitalize on, example: The deputy quickly figuring out that certain features from all the missing persons make out the face of “The Boy” - great idea, unbelievable in execution. How the killer ties into everything - great idea, unbelievable in execution (cannot comment more on this.. don’t want to reveal a spoiler), and the “red herring” was really unnecessary (in my point of view).. didn’t add anything to the film. Another problem I had with the film was with some of the pacing. Shallow Ground starts off intense.. very kick ass, only to be slowed down to a crawl - and this uneven pacing is throughout the film - it might tend to frustrate some (it did me).

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DOWNLOAD MOVIE Lolita 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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Lolita
The 3-D Vision "Wildcat Women" would give even the most astute spectator a
difficult time comprehending its plot direction. In summary, a young black
girl’s (who mysteriously shafeshifts throughout "key" moments)uncle is
murdered by a group of hoodlums, headed by an Asian man named "Buddha,"
who
is more of a foreigned stereotype than an actor. She and her friends seek
the help of a black radical, whom uses his abilities to disguise himself
to
help the girls out. Stop! The rest of the film is mostly indecipherable,
with random and minimal insertions of sex scenes (hilariously flawed
continuity)as well as a cheesy finale, with blood that most closely
resembles that of breakfast condiments. I was growing irritable of the way
my 3-D glasses kept unfolding a popping off, as I usually do. But it is
one
thing to watch a "3-Dized" print of Casablanca and a piece of trash like
this. The only appeal of "Wildcat Women" is its blatant use of racist
rhetoric, and a few frank one-liners, such as, "I was gettin’ jealous at
first, but now I wouldn’t mind a three-some" (one of the black villians
who
after sleeping with the black girl whom seeks revenge goes into an
adjacent
room and spots a hot young white girl). Poor editing, atrocious
plot/character development, and dialogue the mentally insane wouldn’t find
pleasing constitute "Wildcat Women." Advice to the filmmakers on their
next
outing (unlikely to happen)- include much more sex and take advantage of
3-D
vision, having a character comment on how thirsty he is and thrusting a
soda
in the direction of the camera 5-6 times is not originality. Also, please
don’t petition Laemlles Theatre on Sunset to screen anymore of your films,
I’m always dragged out there by my friend Jon, and end up paying $7.00 for
nothingness.

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DOWNLOAD MOVIE Hannibal 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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So here’s the deal, I got a chance to see this film at an early screening last night where the films stars Gong Li, Gaspard Ulliel, and one of the Weinstein Brothers were in attendance. I really had no idea what to expect from this movie for a number of reasons. First off, it was a prequel. Prequel’s are unpredictable. Sometimes they can be good, and add a totally new dimension to a story. Other times, they can royally suck and just do further damage to an already dead series (see texas chainsaw massacre the beginning for example). Second, not many images had come online from the movie, and the tv spots have been few and far between. A lack of promotion is usually never a good thing. At any rate, “Hannibal Rising” lacks the thrills and excitement of “Silence Of The Lambs”, and “Hannibal“.

But it is a great story, which if you can switch your mind to appreciating good storytelling over a lack of entertainment value most of the way through, you should like this movie as much as I did when it opens next Friday. “Hannibal Rising” starts off with the battle between Russian and German SS troops during World War II. A battle which spills over into the territory of a young Hannibal Lecter, his sister Mischa, and his mother and father. ALl are planning to escape the area before they die in the crossfire, but before the family can leave the area a Russian tank approaches, with the occupants inside looking for water. During their obtaining of liquids, a German plane fires on them and they return fire. The plane crashes into the tank killing Hannibal’s entire family in the process. This tragic turn of events leaves Hannibal alone to fend for himself and look after his young sister.

Unfortunately more trouble finds Hannibal as a group of evil, sadistic SS soldiers decide to take refuge inside his home, and chain up him and his little sister. As the days pass the soldiers get more and more famished due to nonexistent resources, and before the film fast forwards a few years later to when Hannibal is a teenage boy, we’re left with a stare down between the soldiers and Hannibal and his little sister. It’s left up to our imagination at that point what happens to Hannibal’s sister Mischa but the scene pretty much hints at the “worst case scenario”. The basic story of “Hannibal Rising” is a simple one played out with class and some very powerful scenes. Hannibal as a teenager is confined to an orphanage, which ironically enough used to be his family’s home. After escaping in the middle of the night, he soon takes reufuge with a wealthy Japanese woman named Lady Murasaki, who takes him in, and who also happens to be the widow of his uncle. Lecter however has much larger plans in mind, which is where “Hannibal Rising” finally begins to take off a bit. Hannibal manages to get the names and locations of the SS soldiers who did away with his sister all the years ago, and thus begins his blood-soaked quest for revenge. Thomas Harris who penned the novel and the screenplay for the film adaptation of “Hannibal Rising” makes sure to give the audience the perfect counter to all of the gruesome and dark Lecter behavior though.

As Hannibal begins to track down his enemies, he also starts to fall for Lady Murasaki. Even going as far as to teach a very “painful” lesson to an Anglo man who makes crude comments about certain parts of her body. Gaspard Ulliel and Gong Li have a very good on-screen chemistry in this film, and it’s pretty cool to watch them act together in scenes and their relationship slowly develop into a full fledged love affair. It’s also very fun to watch because as Hannibal spends more and more time with the Lady, he’s also finding time to leave her residence, and pick off his enemies one by one. It does seem a bit morbid at times, that Lecter is displaying all of this love and affection in one part of his life, and then later on is commiting horrific and gruesome acts of violence against human beings. Bad human being of course, but human beings nonetheless. Of course the films early scenes manage to surpress any feelings of pity or compassion you might feel for these men who were responsible for the death of his little sister. Harris manages to make his villains so villainous that you can’t feel one iota or shred of pity for these fiends. One of the films most gruesome scenes comes when Lecter corners Richard Brake’s character Dortlich, and performs are pretty graphic act of murder upon him with a rope and a horse. But “Hannibal Rising”’s best scenes come in the movies climax when Hannibal comes for one of the two final target’s on his list, who proves not to be as easy of a conquest as the previous soldiers.

He eventually manages to escape, and kidnaps Lady Murasaki, forcing Hannibal to partake in a classic rescue mission to save her, and do battle with the man as well. This is one of my favorite scenes from the movie becuse it’s not only the most graphic but it also has a slight James Bond-ish tone to it. With Lady Murasaki being held prisoner on a boat and Lecter having to deal with a Henchmen or two in order to get the info he needs as to her whereabouts. “Hannibal Rising” is a strong entry into the series, which really gives it’s best effort entertainment wise in the final act, while spending acts 1 and 2 telling a brilliant story and building an intriguing relationship between it’s two main characters. It was much better than I had expected it to be. Positives:Great performances by Li, and Ulliel. Some very gruesome scenes late in act two and in act three. Good ending too. A solid story. Negatives:Acts 1 and 2 drag at times. Overall:A really impressive prequel to “Silence Of The Lambs” which gives us a very intriguing look into what made Hannibal Lecter into the man that he is.

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DOWNLOAD MOVIE Gone with the Wind 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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David O. Selznik, one of the most successful producers in the Hollywood
of the 1930s, probably never considered what he was getting into, when
he decided to bring Margaret Mitchell's massive novel, "Gone with the
Wind", to the movies. The monumental task to recreate the book, which
was a favorite among the American public of the era, was not an easy,
or a happy undertaking by Mr. Selznik, or the people that were involved
in the project.

David Hinton's documentary, which was shown by TCM recently, is a gem
of a film because it gives a fantastic account of all that went on to
make the film. "Gone with the Wind" stories have been told forever, or
so it seems, yet, in the documentary they are examined thoroughly again
by a lot of Mr. Selznik's collaborators who were still around in 1989
to tell the story.

The best thing in "Making of a Legend: Gone with the Wind" is the
footage where many stars were tested for the leading roles. The
characters of the book were coveted by most of the actors of the time
because they realized the importance about appearing in it would mean
to their careers. We see actors of the stature of Jean Arthur, Joan
Bennett, Tallulah Bankhead, among the ones that wanted to contribute to
the movie, yet, they were not chosen.

David O. Selznik comes across as a disorganized genius who had no idea
about what he was doing. His memos to the cast and crew were something
not to be believed. Some people resented this way of communication. His
battle with George Cukor is also told and how Victor Fleming, who by
all accounts was not the perfect candidate, came to be the one that was
able to complete the picture.

There are some excellent comments, especially from Ann Rutherford and
Evelyn Keyes, who explain what they saw while the film was in
production. Some others also come on to tell us their view about what
the film changed their lives and the experience of having worked with a
mad man who was so intent in getting the movie done. It's a good thing
this film was done during the 1930s because it would probably had cost
more than 200 million in today's dollars! Thanks to director David
Hinton this epic movie is examined and put in its proper context to
help the viewer understand the way Hollywood worked during the time it
decided to convert the book into a movie.

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DOWNLOAD MOVIE Ransom 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 numbers finally don’t add up on “Ransom.” A persuasive thriller for most of its length, it stumbles in its attempt to become an upscale version of “Death Wish” and other vigilante dramas and ends up derailing with a soft thud.      The story of the lengths a distraught father, played by Mel Gibson, will go to get his kidnapped son safely home, “Ransom” is a departure for director Ron Howard. “Apollo 13″ notwithstanding, Howard is known for softer fare, but he turns out to be reasonably effective at building criminal tension, hooking an audience and reeling it in. ADVERTISEMENT      Having a story that is a universal nightmare hasn’t hurt either. Written by Richard Price and Alexander Ignon and based on a little-seen 1956 film starring Glenn Ford, “Ransom’s” “pay up, we’ve got your child” plot is craftily put together with an eye toward terrorizing concerned parents nationwide.      At the center of things is Tom Mullen (Gibson), head of Endeavor Airlines, a company he founded and nursed to its current strong position servicing 32 countries. Surrounded by the trappings of success (Manhattan penthouse, warm friendship with the mayor, Rene Russo’s beautiful Kate for a wife), Tom is feisty enough to cause 10-year-old Sean (Brawley Nolte, Nick’s son) to comment: “It seems like someone’s always mad at you.”      Crosscut with an elegant party introducing Tom and his family are shots of a meanly furnished room, complete with handcuffs chained to the bed, the chamber of horrors being prepared for Sean. Soon enough he is snatched and an electronically altered voice on the telephone demands $2 million from Tom in the de rigueur unmarked bills.      While there is a generic quality to Howard’s direction, the initial stages of “Ransom” get the job done nicely. The script carefully parcels out its twists and surprises, virtuoso cinematographer Piotr Sobocinski (who shot “Red” for Krzysztof Kieslowski) makes things visually interesting, and the director, thankfully not looking to make a companion piece to “Seven,” keeps the proceedings restrained.      Once again moving back and forth between criminals and victims, “Ransom” shows us the kidnapping’s aftermath from both points of view. The five-person gang, rife with the kind of dissension that no movie evildoers can avoid, is well-defined, with fine actors like Lili Taylor and Liev Schreiber in the lawbreaking roles.      Back at the Mullen household, experienced FBI agent Lonnie Hawkins (yet another excellent performance by Delroy Lindo) has all he can do to keep the level of parental hysteria from going off the charts. As crises arise and nightmare piles on nightmare, Tom and Kate get increasingly frantic, going over the edge into emotional chaos as they try to decide what tactic will work best to bring their son back alive.      At a certain point, more because that’s what it says in the script than anything else, Tom opts to take matters into his own hands, a decision that frankly hurts the film. For one thing, the decision plays as stupid and implausible in its attempt to make a virtue out of a kind of stubborn willfulness that would be more appropriate, and equally unappealing, in a tiresome 2-year-old.      Just as troublesome is Gibson’s fitness for the kind of vigilante role that the menacing Charles Bronson, not for nothing called “Il Brutto” by the Italians, was effective in. Though he has the air of the rascal about him and was certainly formidable in the “Mad Max” movies, Gibson at this point in his career has a softer persona. He’s better suited to being the painfully distraught parent than the fatuous jerk “Ransom” unconvincingly insists is acting like the perfect hero. Ransom, 1996. R, for graphic bloody violence and strong language. A Brian Grazer/Scott Rudin production, released by Touchstone Pictures. Director Ron Howard. Producers Scott Rudin, Brian Grazer, B. Kipling Hagopian. Executive producer Todd Hallowell. Screenplay Richard Price and Alexander Ignon. Story by Cyril Hume and Richard Maibaum. Cinematographer Piotr Sobocinski. Editors Dan Hanley, Mike Hill. Costumes Rita Ryack. Music James Horner. Production design Michael Corenblith. Art director John Kasarda. Set decorator Susan Bode. Running time: 2 hours, 1 minute. Mel Gibson as Tom Mullen. Rene Russo as Kate Mullen. Brawley Nolte as Sean Mullen. Gary Sinise as Jimmy Shaker. Delroy Lindo as Agent Lonnie Hawkins. Lili Taylor as Maris Connor. Liev Schreiber as Clark Barnes.
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DOWNLOAD MOVIE Terminator, 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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Terminator, The

Terminator 3: Rise of the Machines (2003) / Action-Sci Fi MPAA Rated: R for strong violence, language and brief nudity Running Time: 110 min.

Cast: Arnold Schwarzenegger, Nick Stahl, Claire Danes, Kristanna Loken, David Andrews Director:  Jonathan MostowScreenplay: John D. Brancato, Michael Ferris

 

 

When you’ve got a billion dollar franchise on your hands, chances are you’re not going to let it sit on the shelves too long.  Even if you can’t get the visionary director of the first two films, there’s still potential gold in them there hills, and by gum, they have got to be had.  But there’s a problem here, because if you don’t have a visionary, you don’t have a vision, and with a $170 million dollar budget at stake, it’s too risky to go in without a solid game plan.

The game plan from the get-go is to try to recreate the vision that James Cameron had for his sequel Terminator 2: Judgment Day and try to top it.  Keep Schwarzenegger as the good Terminator, craft a bad Terminator that’s even more menacing than the T-1000, and blow everyone away with stunts and special effects to try to make the first two films pale in comparison.

T3 isn’t really a bad sequel, and probably the kind of film you’d expect when the original creators have washed their hands of the project from inception.  However, when you follow one of the best sequels in movie history in T2, anything less than earth shattering brilliance is not allowed.  People were genuinely content with how things stood, and if we’re going to dance the dance one more time, there better damn well be a good reason.

There isn’t.  With T3 we see the replacement of James Cameron as the director to Jonathan Mostow, competent but as of yet unspectacular, whose only previous claims to movie making fame were the good but less-than-stellar suspense-action films U-571 and Breakdown.  If that drop in inspiration wasn’t significant enough, the chore of writing the script has also been given to the writing team of John D. Bracato and Michael Ferris, who collaborated on the far-fetched thrillers, The Net and The Game.  Then, Linda Hamilton isn’t on board, nor is Edward Furlong.  What you are left with is Arnie, a sky’s-the-limit budget, and a formula laid out by the predecessor so that they could play things as safe as possible by adhering to it at all costs.

T3 takes place roughly ten years after we’ve last seen John Conner, who has lived a rogue existence now that he has been contented that Judgment Day has been averted.  Or so he thinks, until several young men and women around the city start getting picked off one by one by a powerful new Terminator, the T-X, which has the power to shape shift as well as control other machines.  Another T-800 "Model 101" model Terminator has also come back to play the role as protector of John and his potential future wife, Kate, and it is his sole mission to make sure that they survive the impending doom that is to befall the rest of mankind.  However, this doesn’t sit well with John and Kate, who have about three hours to try to change destiny, against the seemingly insurmountable odds and against an unstoppable, omni-powerful opponent that will not rest. 

Although T3 is a clearly inferior sequel to the other two that come before it, it does have a couple of things that make it a tolerable viewing even if it falls short creatively.  First, the special effects are phenomenal, with a couple of action sequences that are nothing short of breathtakingly rendered.  It’s truly an eye-candy lovers delight.  Second, it does have a good sense of humor.  Not all of the jokes are funny, but plenty of them are, and even if the main plot isn’t engaging enough for us to care one way or another, at least there’s some choice fun to be had along the way. 

The bad news is that, try as they might, they couldn’t keep boredom from setting in because the main ideas are just woefully inadequate.  While the effects and stunts leave a lasting impression visually, somehow they don’t manage to actually help the story or plot.  We don’t care about the characters enough to really feel on the edge when their lives are in jeopardy, and probably wouldn’t shed a tear should they meet an unfortunate demise.  Contrast this to T2, which left a lump in many a person’s throat as the two main machines went to battle for the fate of humankind.  We marvel at the the level of explosions, carnage, and mayhem, yet we never truly connect with them enough to make us feel the danger we are supposed to. 

There are stints where T3 looks like it’s on the verge of going somewhere, yet it always falls back to gratuitousness in effects and action to try to build upon.  The first two films in the series laid the groundwork by providing characters we care about and a fate we were invested in wholeheartedly…we actually believed that everything hung in the balance at all times.  T3 is all backwards, because everything is built around the stunt pieces, and the characters are dwarfed in comparison, almost included merely as the vehicle to show more amazing visual effects and things blowing up. 

For fans of the series, who undoubtedly will still go to watch this film even though they may have reservations, I would only recommend to view T3 as a "What if…" movie rather than a direct sequel.  Otherwise, it’s no different than a Terminator itself, a mechanical construct whose only drive is to deliver its mission, feeling no emotions and possessing not even a trace of a soul.

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Windtalkers seems like an odd vehicle to catch the interest of over-the-top action director John Woo (M:I 2, Face/Off) in many ways.  Based on true events, it’s more of a tale conducive to human drama than in incredible stunt pieces and yin-yang good/evil confrontations.  It also inhibits Woo’s use of trademark styles and symbolism, which is what made him noticed as a different kind of director to begin with.  Instead, Woo must take a backseat to the story, and in so doing, must actually try to do what he hasn’t done in an American film to date: direct to bolster the story instead of working the story to accommodate his action pieces.

The setting is World War II, and Joe Enders (Cage, Gone in Sixty Seconds) is one of two Marines given the assignment of protecting Navajo codetalkers, who befuddle the Japanese troops by giving away their location using the unknown Navajo language.  These Navajo aren’t as respected by their fellow American troops, and keeping them safe proves a round-the-clock chore. both on and off the battlefield.

While it’s certainly an interesting little-known chapter in American history, the tale of the Navajo codetalkers just didn’t seem to naturally lend itself to being a great movie.  Woo must have figured this out at some point throughout the film, as he veers away from the drama whenever he can for seemingly endless shots of what he feels more comfortable directing, i.e. gunfire and carnage.  Such battle scenes, which could have been far more interesting had we truly cared for the characters, not only grind the movie to a standstill, they actually are mostly needless to tell the story and deliver the themes on the tragedy of sacrificing friendship and freedom for the good of the war. 

Windtalkers does contain some good costumes and quality actors, yet it’s curiously uninvolving as a whole.  Cage never seems in synch with the role, leaving the film without anyone to really identify with, and while attempts are made to provide character development, when deaths do start to occur to main characters we have seen so many people die that their deaths seem like just another casualty in an endless string of them.  Windtalkers probably won’t please Woo fans, action fans, war flick nuts, or history buffs, in other words anyone who might want to see this film.  It’s a noble endeavor, but whatever seeds of thought were planted in the conceptual stages never bore fruit during the production.

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Postman, The

The Postman *** (out of 5) (1997)

Cast: Kevin Costner, Will Patton, Larenz Tate, Olivia Williams, James Russo

Directed by Kevin Costner

  Clocking in at about three hours, comes another attempt by director Costner at an epic. After the much acclaimed success of DANCES WITH WOLVES, Costner takes the helm once again with an inspiring and moving, but seriously flawed patriotic statement. In the year 2013, the United States no longer exists after another war, leaving the entire nation in a state of anarchy. Seizing upon this lack of a formidable power comes Bethlehem, a former copier salesman who applies his talents for leadership to drudge up a band of thugs and terrorize several towns into submission of his will. They get more than what they bargained for after they kidnap Costner, who escapes their clutches only to assume the identity of a postman. One thing leads to another and soon, Costner’s postman becomes a hero to the wartorn and once hopeless inhabitants of those frightened towns under Bethlehem’s iron grasp.

Costner proves his directorial talent was no fluke the first time, as he hits just the right notes at the right times to make the film effective. However, try as he might, he cannot raise the level of the corny script, and also shows that needs to control himself as an editor, as three hours was one hour too long to tell this tale. Had the script been more profound and the action tightened up, Costner could have really pulled a gem out of this idea. Unfortunately, the gem loses luster every time it appears that it will finally shine. Not as bad as the critics said it was, but not as good as it tries to be; I don’t know whether to call it a pleasant surprise or a disappointment.

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