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Monthly Archives: January 2012

Kurosawa: “The truth? You can’t handle the truth!” or, What You See is Not Always What You Get.

The “Rashomon Effect” is the effect of the subjectivity of perception on recollection, by which observers of the same event are able to produce substantially different but equally plausible accounts of it.  It is named for Akira Kurosawa’s film Rashomon (1950), in which a crime witnessed by four individuals is described in four mutually contradictory ways.  The film is based on two short stories by Ryūnosuke Akutagawa, “Rashōmon” (for the setting) and “Yabu no naka,” otherwise known as “In a Grove” (for the story line).  Later films and TV users of the “Rashomon effect” focus on revealing “the truth” in a now conventional technique that presents the final version of a story as the truth, an approach that only approaches Kurosawa’s film.  Here are some examples of the half-ass Rashomon Effect employed in western programing:

  • All in the Family            “Everybody Tells the Truth.”     Archie Bunker and Mike Stivic give conflicting accounts of an incident involving a refrigerator repairman and a black apprentice repairman.
  • CSI: Crime Scene Investigation “Rashomama.”  The episode required the CSIs, deprived of any of the usual forensic evidence, to rely on the eyewitness accounts of guests at a wedding to solve the case.
  • Fame (the TV series)    Under a theater marquee, two characters wait out a rainstorm.  Only after the entire story has unfolded in flashback does the camera divulge that the theater marquee announces “A Kurosawa Festival.”
  • The Fresh Prince of Bel-Air      “Will Goes a Courtin.”  When Will defies his uncle’s orders by having his friends over by the pool after he refuses to pay his rent to his Uncle Philip unless Philip repairs the air conditioner in Will’s guesthouse, Phil sues the two stubborn men and they plead their cases in court before Judge Reynolds.  Uncle Phil, and Will and Carlton respectively, paint very different pictures before the judge of the same incident.
  • Grey’s Anatomy           “I Saw What I Saw.” A patient dies because of a mistake and Chief Webber interviews Owen, Cristina, Bailey, Alex, Lexie, Jackson, Reed and April and gets all differing versions of what transpired that night to determine who made the mistake.
  • Happy Days     “Fonzie Gets Shot.”      Fonzie is shot on a weekend camping lodge trip with Potsie, Chachi, and Roger.  At the hospital, they all offer different versions of how the Fonz was shot, each of which is transformed to make the speaker look more heroic.

The Film

Kurosawa’s film is based on two short stories by Ryūnosuke Akutagawa, “Rashōmon” (for the setting) and “Yabu no naka”, otherwise known as “In a Grove” (for the story line).  Rashomon is the film that introduced Kurosawa and the cinema of Japan to Western audiences, albeit to a small number of theatres, and is one of his masterpieces.  The film won the Golden Lion at the Venice Film Festival and received an Academy Honorary Award at the 24th Academy Awards.

Now the Show

The film opens on a woodcutter and a priest sitting beneath the Rashōmon gate to stay dry in a downpour.  A commoner joins them and they tell him that they’ve witnessed a disturbing story, and begin recounting it to him.  The woodcutter claims he found the body of a murdered samurai three days earlier while looking for wood in the forest; upon discovering the body, he says, he fled in a panic to notify the authorities.  The priest says that he saw the samurai and the woman traveling the same day the murder happened.  Both men were then summoned to testify in court, where they met the captured bandit Tajōmaru (Toshiro Mifune), who claimed responsibility for the rape and murder.

The Bandit’s Version

Tajōmaru, a notorious outlaw, claims that he tricked the samurai to step off the mountain trail with him and look at a cache of ancient swords he discovered.  In the grove, he tied the samurai to a tree, then brought his wife there.  She initially tried to defend herself with a dagger, but was eventually “seduced” by the bandit.  The woman, filled with shame, then begged him to duel to the death with her husband, to save her from the guilt and shame of having two men know her dishonor.  Tajōmaru honorably set the samurai free and dueled with him.  In Tajōmaru’s version, they each fought skillfully and fiercely, but in the end Tajōmaru was the victor and the woman ran away.  At the end of the story to the court, he is asked about an expensive dagger owned by the samurai’s wife: he says that, in the confusion, he forgot all about it, and that it was foolish of him to leave behind such a valuable object.

The Wife

The samurai’s wife tells a different story to the court.  She says that Tajōmaru left after raping her.  She begged her husband to forgive her, but he simply looked at her coldly.  She then freed him and begged him to kill her so that she would be at peace.  He continued to stare at her with a look of loathing.  His expression disturbed her so much that she fainted with dagger in hand.  She awoke to find her husband dead with the dagger in his chest.  She attempted to kill herself, but failed in all her efforts.

The Samurai’s Story

The court then hears the story of the deceased samurai, told through a spiritual medium.  The samurai claims that Tajōmaru, after raping his wife, asked her to travel with him.  She accepted and asked Tajōmaru to kill her husband so that she would not feel the guilt of belonging to two men.  Tajōmaru, shocked by this request, grabbed her, and gave the samurai a choice of letting the woman go or killing her.  “For these words alone,” the dead samurai recounted, “I was ready to pardon his crime.”  The woman fled, and Tajōmaru, after attempting to recapture her, gave up and set the samurai free.  The samurai then killed himself with his own dagger; later, somebody removed the dagger from his chest.

The Woodcutter’s Story

Back at Rashōmon gate (after the trial), the woodcutter explains to the commoner that the samurai’s story was a lie.  The woodcutter had actually witnessed the rape and murder, he says, but just did not want to get too involved at the trial.  According to the woodcutter’s new story, Tajōmaru begged the samurai’s wife to marry him, but the woman instead freed her husband.  The husband was initially unwilling to fight Tajōmaru, saying he would not risk his life for a spoiled woman, but the woman then criticized both him and Tajōmaru, saying they were not real men and that a real man would fight for a woman’s love.  She spurred the men to fight one another, but then hid her face in fear once they raise swords; the men, too, were visibly fearful as they begin fighting. They began a duel that was much more pathetic than Tajōmaru’s account, and Tajōmaru ultimately won through a blind stroke of luck.  After some hesitation, he killed the samurai, and the woman fled in horror.  Tajōmaru could not catch her, but took the samurai’s sword and left the scene limping.

Climax

At the temple, the woodcutter, priest, and commoner are interrupted from their discussion of the woodcutter’s account by the sound of a crying baby.  They find the baby abandoned in a basket, and the commoner takes a kimono and an amulet that have been left for the baby.  The woodcutter reproaches the commoner for stealing from the abandoned baby, but the commoner chastises him.  Having deduced that the woodcutter in fact stole the dagger from the scene of the murder, the commoner mocks him, “a bandit calling another a bandit.”  The commoner leaves Rashōmon, claiming that all men are motivated only by self-interest.

These deceptions and lies shake the priest to his very worldview of humanity.  He returns to his senses when the woodcutter reaches for the baby in the priest’s arms.  The priest is suspicious at first, but the woodcutter explains that he intends to take care of the baby along with his own children, of whom he already has six.  The simple revelation recasts the woodcutter’s story and the subsequent theft of the dagger in a whole new light. The priest gives the baby to the woodcutter, saying that the woodcutter has given him reason to continue having hope in humanity.  The film closes on the woodcutter, walking home with the baby.  The rain has stopped and the clouds have opened revealing the sun in contrast to the beginning where it was overcast.

These stories are mutually contradictory and not even the final version can be seen as unmotivated by factors of ego and the Asian tradition of face.  Apparently even the actors kept approaching Kurosawa wanting to know the truth, which he claimed was not the point of the film as he intended it to be an exploration of multiple realities rather than an exposition of a particular truth.  Due to its emphasis on the subjectivity of truth and the uncertainty of factual accuracy, Rashomon has been read by some as an allegory of the defeat of Japan at the end of World War II.  A little too much of a stretch for my taste but we need to keep professors employed now don’t we?

What can you say about a film when its title has become synonymous with a story-film technique used to this day and not even nearly at the level Rashomon does?  For some this movie may seem a little boring, but for the real viewer it will show the origins of a method we have seen numerous times but probably without knowing its nomenclature or origins.  Rashomon needed to be reviewed after Vantage Point because I didn’t want JPFmovies readers thinking that Vantage Point employed the use of the Rashomon Effect nearly as fittingly as seen in the Kurosawa source.  If you are into films, this is one to see since Kurosawa realized an innovative technique that no one has really been able to duplicate to date.

 
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Posted by on January 31, 2012 in Movie Reviews

 

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Vantage Point (2008) is no Kurosawa’s Rashomon, (1950)—but in all fairness what is?

Vantage Point is a 2008 political thriller by first time director Pete Travis that focuses on one 23-minute segment in time covering an assassination attempt on the President of the United States.  The film begins without development behind its characters; rather, action takes off in the first few minutes.  The premise is straightforward: view a Presidential assassination from eight character angles, each having a different take on the ensuing events.  Once a character sees what he or she was supposed to see, the film rewinds, and plays the same situation over with another character, theoretically revealing additional details of the 23 minute attack.

The 23 minutes is seen through the eyes of eight unrelated parties.  Dennis Quaid and Matthew Fox as Secret Services Agents, Forest Whitaker as a video taking tourist, William Hurt as the President and Sigourney Weaver as a producer of multinational news organization all star in principal roles.  These five actors/actresses are not exactly second rate talent. Weaver and Quaid put in the best performances without a doubt.

Because of the film’s technique using different characters that view the same 23 minutes and showing the audience what they perceive, Vantage Point is often compared, unfavorably, to Akira Kurosawa’s Rashomon (1950), which was the first movie to use this technique to tell the story of a rape/murder in order to question the possibility of “truth.”  Rashomon was also the film that introduced Kurosawa to the west.  Unlike the “Rashomon Effect,” which tries to piece together the different perspectives and viewpoints in order to reveal a justly “truthful” account of what happened, Vantage Point instead opts to cut and paste plot and dialogue in between special effects, kidnapping, assassination and terrorism scenes.  While Vantage Point does reveal the assassination attempt from various points of view, in Rashomon those views are shown as flashbacks.  However, in Vantage Point each point of view is not a flashback, instead it merely provides a certain view of the story, while the story (supposedly) moves forward.

In Vantage Point, U.S. President Henry Ashton (William Hurt) attends a political gala in Salamanca, Spain peddling an international anti-terrorism treaty—I am sure one that will infringe on our civil liberties even more.  The assassination attempt on the President occurs over a time span of 23 minutes.  Whenever the 23 minutes have run their course with the relevant character, the events start from the next vantage point.  Each segment reveals additional details that complete the superficial story behind the assassination.  There are eight segments; out of mercy I will only describe three.

Viewpoint number one: GNN producer Rex Brooks (Sigourney Weaver) is in charge of the media personnel there to cover the event from a mobile television studio.  The Mayor (Jose Carlos Rodriguez) delivers a short introduction for the President, but the President is shot twice as he approaches the podium.  An explosion outside the plaza soon follows.  Moments later, the podium itself is destroyed by a larger secondary explosion, killing and injuring numerous people.  As the smoke clears, GNN reporter Angie Jones (Zoe Saldana) is seen lying dead in the rubble.Vantage Point [2008] The TV Studio. 

The second perspective follows Secret Service agents Thomas Barnes (Dennis Quaid) and Kent Taylor (Matthew Fox).  While on post, Barnes notices a curtain fluttering in the window of a nearby building that was allegedly vacated.  He also observes American tourist Howard Lewis (Forest Whitaker) filming the audience.  After the President is shot, Barnes tackles a man rushing to the podium named Enrique (Eduardo Noriega).  Taylor pursues a lead to a potential assassin.  Following the second explosion, Barnes barges into the GNN mobile studio and asks to view their footage.  He calls Taylor, who reports the direction of the suspected assassin’s escape route.  Barnes then views an image on one of the camera’s live feeds that startles him and prompts him to run out without saying a word.

By the sixth vantage point, we have been introduced to terrorist Suarez, who shoots Ashton’s body double using a remote-controlled automatic rifle placed in an adjacent window next to the one with the fluttering curtain that had drawn Barnes’ attention earlier.  The rifle is retrieved by Taylor, whom Barnes sees leaving the scene wearing a Spanish policeman’s uniform on one of the GNN live feeds, even though he tells Barnes that he’s in pursuit of the assassin over the phone.  Barnes realizes Taylor is actually part of the terror plot.  The man Enrique saw embracing Veronica (who we meet in one of the earlier vantage points) is revealed to be sharpshooter Javier (Edgar Ramirez), whose brother is being held hostage to ensure Javier’s cooperation with the terrorists.  Javier kills the guards and aides within the hotel, and kidnaps the President.  Ashton is later placed in an ambulance with Suarez and Veronica disguised as medics.  At the overpass, Enrique, who did not die in the blast at the podium as intended, confronts Javier and Taylor.  Enraged, Javier shoots Enrique, mistakenly believing he had knowledge of his kidnapped brother’s whereabouts.  Javier is then shot and killed by Taylor when he demands to be brought to his brother, who had been killed earlier by Suarez.  Enrique dies of his wounds as Barnes reaches the scene on foot firing several rounds at Taylor, who attempts to flee.  After crashing his car, a critically injured Taylor is dragged out by Barnes.  He orders Taylor to reveal where the President has been taken, but Taylor dies.  Barnes runs to an ambulance where he sees Veronica lying dead.  He shoots Suarez dead and rescues the President—tying everything up nice and neat in less than 2 hours.

In the end this film all winds up—or trickles down—to yet another chase through crowded streets in commandeered cars, with an ending meant to be ironic but that simply provides a crowning howler to all the nonsense.  Unlike Akira Kurosawa’s classic film Rashomon, which is structured around multiple retellings of the same event, in Vantage Point nothing is gained from all the stopping and restarting.  Aside from the meager changing-perspectives device, the film has nothing going on and there doesn’t seem to be any reason for adopting this strategy which gets really old after about the fourth time. Vantage Point, like several other movies we have reviewed here at JPFmovies, is yet another example of Hollywood making an action-adventure movie that is short on plot intricacies but long on gimmicks and explosives. No amount of ripening time would make this artificial and ultimately harebrained movie anything more than crude, nerve-grinding and finally as un-salvageable as the car accidents it keeps inflicting on its characters.

Clearly, this is not a movie to take its audience’s intelligence for granted.

 
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Posted by on January 25, 2012 in Movie Reviews

 

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Jude where have you been? We are all waiting for your next unique and refreshing take on a movie review.

Jude where have you been? We are all waiting for your next unique and refreshing take on a movie review.

 
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Posted by on January 16, 2012 in Movie Reviews

 

By Request: The Adventures of Buckaroo Banzai Across the 8th Dimension! (1984)

An old chum of mine recently left me a comment asking why, as a co-connoisseur of the inane, hadn’t The Adventures of Buckaroo Banzai Across the 8th Dimension! been reviewed.  Answer, I don’t know.  So here you go MF this one is for you.

People have a love-hate relationship with this film.  Many, especially younger people, believe it is (at best) a cheap sci-fi want-to-be made by idiots for idiots.  Others look at The Adventures of Buckaroo Banzai Across the 8th Dimension! and see it as brilliant because it is at once a spoof of 50’s era science fiction and a celebration of all sci-fi in general.  The film is a cross between the action/adventure and science-fiction movie genres, and also includes elements of comedy, satire, and cheap, cheap romance.  Well a movie can’t be all things to all people and anyone who knows anything about movies would have seen this film and known it was destined for the controversial cult classic list.  If you like sci-fi and don’t take yourself too seriously to laugh at the genre sometimes, then you will probably like Buckaroo Banzai Across the 8th Dimension!

Let’s take a look at the cast.  Buckaroo Banzai was directed and produced by W. D. Richter (writer of Brubaker and Big Trouble in Little China (excellent movie)) and has a pretty impressive supporting cast including John Lithgow as Dr. Emilio Lizardo/Lord John Whorfin, Ellen Barkin as Penny Priddy, Christopher Lloyd as John Bigbooté, Peter Weller as Buckaroo Banzi and Jeff Goldblum as New Jersey.  For a low budget sci-fi that is a pretty impressive cast—remember that Lloyd would go on to co-star in Back to the Future the next year–one of the biggest box office hits in history. 

Ok so far we have a film that is going to be a spoof and a strong cast. There is only one thing left, the story.  The story is where the film loses its appeal to the great unwashed philistines who unfortunately comprise a vast percentage of the movie going audience.  I will concede that the film’s plot has many twists, turns and stops but anyone who does not have a serious case of ADD should be able to follow it.

Now to try to sum it up.  The film opens with Banzai is preparing to test run a heavily modified Ford E-Series van powered by a jet engine capable of exceeding Mach 1.  The car is also equipped with an “oscillation overthruster,” that looks just like a flux capacitor and that Banzai and his comrades, the Hong Kong Cavaliers, hope will allow the truck to drive through solid matter.  The test is a success; Banzai drives the Jet Car directly through a mountain and emerges on the other side, but finds that an alien organism has attached itself to the “car.”

Learning of Banzai’s success, mad scientist Dr. Emilio Lizardo breaks out of the mental hospital for the criminally insane, where he has been a resident for 50 years.  A black and white flashback shows Dr. Hikita (Robert Ito) (Banzai’s mentor) present at a failed overthruster experiment of Lizardo’s in 1938, trapping Lizardo briefly in the 8th dimension where his mind is taken over by Lord John Whorfin.

Whorfin is the leader of the Red Lectroids, a race of alien reptiles who waged an expansionist campaign against Planet 10.  After being defeated by the peace-loving Black Lectroids, Whorfin and his group were banished into the void of the 8th dimension.  Kind of like the villains in Super Man II but with no mirror.  Lizardo’s failed experiment accidentally released Whorfin, and he soon brings many of the Red Lectroids to Earth in an incident that was accurately reported in 1938 by Orson Welles in his radio broadcast The War of the Worlds, only to be retracted as fiction.

The Red Lectroids are incognito as owners and employees of a defense firm named Yoyodyne Propulsion Systems.  The Reds have been building a large spacecraft in the guise of a US Air Force program, the Truncheon bomber.  They intend to rescue any remaining 8th dimension exiles and then try to take over Planet 10 again.  Whorfin plans to steal the overthruster because they can’t make one of their own.  Banzai’s team finds out about what really is going on at Yoyodyne and hacks into their computer only to discover that everyone there has the first name John. At first they believe it’s a joke, but then they notice all the Yoyodyne employees applied for Social Security cards on November 1, 1938 and all in the same town, Grover’s Mill, New Jersey.

In the meantime, a Black Lectroid spacecraft orbiting Earth contacts Banzai, giving him an electric shock that enables him to see through Lectroids’ camouflage (kind of like in Predator they change their image—the Black Lectroids appear to be Rastafarian Jamaicans, while Red Lectroids are Caucasians.)  The ship also sends a “thermo-pod” to Earth, with a holographic message from the Black Lectroids’ leader, John Emdall, that gives an ultimatum: stop Whorfin and his army or the Black Lectroids will protect themselves by staging a fake nuclear attack, causing World War III.

With help from the Hong Kong Cavaliers, a collection of civilian volunteers named “The Blue Blaze Irregulars,” and a young woman named Penny Priddy (Ellen Barkin) (a long-lost twin sister of Buckaroo’s late wife), Buckaroo succeeds in his mission, destroying the Red Lectroids and saving Earth.

Whew, that was not the easiest summary to write.  The talented cast each play their roles well and the film overall is low budget and looks it.  The Adventures of Buckaroo Banzai Across the 8th Dimension!, with its low-budget look and cheesy special effects, fits with its theme of a spoof of 1950’s era science fiction films and all things sci-fi in general.  If you can’t laugh at sci-fi don’t bother with this movie you would probably take it personally.  Where do I stand on this movie?  Well I like it, but I don’t think it is the end all be all of cult movies.

 
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Posted by on January 16, 2012 in Movie Reviews

 

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Someone read the JPFmovies list and commented to me that Miami Vice (2006) sucked—he thought all reviews were positive! Wrong, in fact I don’t think I did enough of a hatchet job so I am going to do a Miami Vice (2006) Redux.

Someone read the JPFmovies list and commented to me that Miami Vice (2006) sucked—he thought all reviews were positive!  Wrong, in fact I don’t think I did enough of a hatchet job so I am going to do a Miami Vice (2006) Redux.

As you can probably guess from the title and if you’ve read the previous review of Miami Vice anyone could guess that the film does not impress us here at JPFmovies.  We looked at this “film” some time ago but upon reflection, it did not get the review it deserved. So we will do Miami Vice the way it should’ve been done the first time.

Anyone familiar with TV from or near the 1980’s knows of Miami Vice.  The series starred Don Johnson and Philip Michael Thomas as two Metro-Dade Police Department detectives working undercover in Miami.  The show ran for 5 seasons and at the height of its popularity had its theme song hit number 1 on the Billboard Charts with several other songs in the Top 40.  In fact, the musical score was the most popular in TV history.  The first season of Miami Vice saw an unprecedented 15 Emmy Award nominations and celebrities jockeyed to appear or have their music in the show.  Among the many well-known bands and artists who contributed their music to the show were Roger Daltrey, El Debarge, Duran Duran, Devo, Jackson Browne, Kate Bush, Meat Loaf, Phil Collins, Bryan Adams, Tina Turner, Peter Gabriel, ZZ Top, The Tubes, Dire Straits, Depeche Mode, The Hooters, Iron Maiden, The Alan Parsons Project, Godley & Creme, Corey Hart, Glenn Frey, U2, Underworld, Frankie Goes to Hollywood, Foreigner, The Police, Red 7, Laura Branigan, Ted Nugent, Suicidal Tendencies, The Damned and Billy Idol.  The series even guest-starred Phil Collins, Miles Davis, The Power Station, Glenn Frey, Suicidal Tendencies, Willie Nelson, Ted Nugent, Frank Zappa, The Fat Boys, and Sheena Easton.  Michael Mann, the show’s producer, was dubbed a genius.

I mean Miles Davis!  Come on—some dubbed him the coolest man alive!  I remember people canceling plans or making plans around the show.

Then in 2006, Mann put out Miami Vice the movie obviously based on the popular TV show.  The film was also about two Miami police detectives, Crockett and Tubbs, who go undercover to fight drug trafficking operations.  The film stars Jamie Foxx as Tubbs and Colin Farrell as Crockett, as well as Chinese actress Gong Li as Isabella.  The movie, however, flat out stinks on ice.  I am not sure there is one redeeming quality about it.

The plot closely resembled a typical TV episode (in fact it is based on the episode “Smugglers Blues”).  While working an undercover prostitute sting operation Sonny Crockett and Ricardo “Rico” Tubbs receive a hysterical phone call from a former informant.  The informant reveals that he is planning to leave town, and, believing his wife Leonetta to be in immediate danger, asks Rico to check on her.  Crockett learns that their informer was working as an informant for the FBI, but is now compromised.  Crockett and Tubbs quickly use their secret coded contact the FBI Special Agent in Charge John Fujima and inform him of the situation.  They track down the informant with the vehicle transponder and aerial surveillance.  The informant tells of the compromised situation and begs the two to check on his wife.  Rico tells Alonzo that he does not have to go home and in a state of grief, commits suicide by walking in front of an oncoming semi-truck.

Posing as drug smugglers “Sonny Burnett” and “Rico Cooper,” the two go undercover offer to infiltrate the cartels.  After a “high tension meeting” they pass the cartels screening process and are introduced to Archangel de Jesus Montoya (Luis Tosar), kingpin of drug trafficking in South Florida.  But there is more, during the course of their investigation, Crockett and Tubbs learn that the cartel is using the Aryan Brotherhood gang to distribute drugs, and is supplying them with state-of-the-art weaponry.  But wait, there is even more, Crockett is also drawn to Montoya’s financial advisor and lover Isabella (Gong Li), and the two begin a secret romance on the side.

That is all I can tell you and I had to research to get that much information.  Despite what I just wrote, amazingly the movie has no plot!  I found myself scratching my head during and after the film wondering where the film was, where was it going and what was the point.  The movie was written and directed by Michael Mann, but instead of getting a decent undercover story, we get a film that is stained with bad acting, horrible chemistry, wasted characters and actors, a lame villain, a worthless love story, idiotic “gadgets” and horrendous editing.  What makes matters worse is that the film tries to portray gritty realism while making Crocket & Tubs unbelievable super cops as we stated in the original review these “two were racing boats in the opening scene, driving Ferraris like Mario Andretti and then flying an Adam A500 twin piston engine plane— a rare plane (a little more than ½ a dozen were made) that is almost considered a light jet.  I mean come on, choose one maybe two out of the three but that is it.”  

When coming down to brass tacks, Miami Vice has major problems and is a really bad movie.  It was so bad I could not even laugh at the film as you can with other “bad” movies.  How could a show fall from so high to so low?  I don’t know I am still trying to figure out the movie much less the metrics of it.  The only reason I could recommend watching this film would be to help me figure out what the hell is going on.

 
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Posted by on January 12, 2012 in Movie Reviews

 

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Some of you have asked me for a list of movies we’ve reviewed.

Some of you have asked me for a list of movies we’ve reviewed–So here is a partial list to look at:

  1. A Little Woo Goes a Long Way: Red Cliff Parts 1 & 2.
  2. The Hurt Locker–Not Crap Not A Rose.
  3. The Zero Effect
  4. Miami Vice (2006)
  5. Bananas
  6. Yes Minister & Yes Prime Minister
  7. Arrested Development
  8. 12 Rounds
  9. Real Men
  10. Bad Lieutenant—The Original Not That New Crap
  11. Crank Yankers
  12. Heavenly Mission
  13. Law Abiding Citizen
  14. Armored
  15. Avatar
  16. Battle of Wits
  17. The Divine Weapon
  18. Baian The Assassin
  19. Butch Cassidy and the Sundance Kid
  20. Bravo 20
  21. Diggs Town
  22. Shutter Island
  23. Lake Placid
  24. Liberty Stand Still
  25. Idiocracy
  26. Double Indemnity
  27. Frost Nixon
  28. Kung Fu the Series
  29. Looking for Mr. Good bar
  30. The Confessor
  31. Spinout
  32. Dazed and Confused
  33. The Pentagon Wars
  34. Black Hawk Down
  35. Harlem Knights
  36. Once Upon A Time in China
  37. Walking Tall
  38. The Postman
  39. Office Space
  40. Zatoichi
  41. Fight Club
  42. Judgment at Nuremburg
  43. Joe vs The Volcano
  44. Witness for the Prosecution
  45. The Big Lebowski
  46. Thunderbirds
  47. King Rat
  48. Fast Times at Ridgemont High
  49. Blade Runner
  50. Operation Petticoat
  51. Substitute 2 Schools Out
  52. Reindeer Games
  53. The Magic Blade
  54. Four Brothers
  55. Wild Things
  56. Tai Chi Master
  57. Silver Streak
  58. Stir Crazy
  59. Passenger 57
  60. Wall Street Money Never Sleeps
  61. Robin Hood (2010)
  62. Pink Panther
  63. Valliant Ones
  64. The Tick
  65. Detective Dee
  66. Viva Las Vegas
  67. The Party
  68. The Million Heiress
  69. On the Waterfront
  70. China Town
  71. Shao lin Wheel of Life
  72. 9th Gate
  73. Punishment Park
  74. FM
  75. Bottle Rocket
  76. Turk 182
  77. Heathers
  78. Samurai Fiction
  79. Glen Gary Glen Ross
  80. Inside Job Battle of Los Angeles
  81. Smokey & The Bandit
  82. Sharkeys Machine
  83. The Third Shadow
  84. Malone
  85. Hara-kiri
  86. City Heat
  87. Keeping up with the Joneses
  88. Musashi 1954
  89. Zen & Sword and Showdown at Hannyazaka
  90. Musashi NHK Series
  91. Duel at Ichijoji Temple (1955) a/k/a Zoku Miyamoto Musashi: Ichijôji no kettô.
  92. Movies 3&4 of the 5 Part Series–Musashi Birth of the 2 Sword Style and Musashi Miyamoto 4: Duel at Ichijoji Temple.
  93. Musashi NHK Part 2
  94. Samurai III: Duel at Ganryu Island
  95. Body Slam
  96. Iron Eagle
  97. Run
  98. The General
  99. Divine Weapon Redux
  100. Harvey Birdman Attorney At  Law
  101. Owls Castle
  102. 13 Assassins
  103. Chain Reaction
  104. The Chill Factor
  105. The Dark Crystal
  106. Escape from New York
  107. The Interpreter
  108. A certain killer
  109. Rough Cut
  110. My Fair Lady
  111. McFarlane vs Judge
  112. McFarlane vs Judge
  113. McFarlane vs Judge
  114. A Cruel Story
  115. Heart Break Ridge
  116. Posse
  117. Monk (Series)
  118. Men Who Tread on the Tigers Tail
  119. Love American Style
  120. The John Larroquette Show
  121. The Ropers
  122. Cannon Ball
  123. Top Gun
  124. Beverly Hills Cop
  125. Hero
  126. Kill Bill
  127. Kill Bill

I will try to get this list current and keep it that way.

 
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Posted by on January 10, 2012 in Movie Reviews

 

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