Brad Pitt

‘Se7en’ Movie and 4K Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

When it comes to 1990’s cinema, it’s difficult to find a film as popular or as well-received as “Se7en.”  It became part of the pop-culture zeitgeist when it was released, and it still is a film which elicits a strong reaction from audiences today.  Whenever people talk about it, they instantly quote Brad Pitt’s famous line of, “What’s in the box?”  The film also served as inspiration for the “Saw” franchise and was ahead of its time in terms of the true crime genre. Now, the film is celebrating its 30th anniversary on 4K from Warner Brothers Home Entertainment.  This is sure to be one of the most popular 4K releases of the year.

“Se7en” opens up by introducing the audience to Detective Lieutenant William Somerset (Morgan Freeman) who is one week away from his retirement before he is thrown into a case which captures his attention.  It starts off with a man who is found dead after being forced to eat spaghetti over and over again until he perishes.  Somerset teams up with a hot shot detective named David Mills, played by Brad Pitt.  He recently moved with his wife Tracy (Gwyneth Paltrow) to the city, and he’s looking to make a name for himself.  Somerset and Mills could not be more different in how they approach their jobs.

Mills has a short fuse and is ready to fly off the handle at anyone who gets in his way. He also doesn’t play by the rules.  Somerset is even-keeled, a deep thinker, and someone who believes you have to look at these cases as more than just black and white, crazy and sane. Before long, more murders are occurring, and the serial killer is murdering people based on the seven deadly sins. For Mills, he simply thinks the killer is a crazy person and writes him off as someone who is going to get caught and isn’t thinking straight. Somerset, on the other hand, sees there is a clear motive and agenda by the killer.

“Se7en” was one of my favorite films growing up. I was 10 years old when it was released, and I saw it when I was 15.  It was very much ahead of its time with its gritty, down and dirty filmmaking style.  When I watched it in 2025, I liked the film a lot and I admire the craft and precision which went into making it, along with the incredible performance by Freeman.  However, I do see some flaws in the film, such as Pitt’s performance.  Of course, his “What’s in the box?” scene has become a legendary meme, but he’s way too over-the-top here.  After a while, it becomes hard to spend too much time with his character.

I also wanted to learn more about Tracy, played by Gwyneth Paltrow.  Paltrow is a terrific actress, and her scenes with Freeman, especially at the diner, give the film some much needed levity. Her character isn’t given enough to do though, besides stay at home and just be written as a one-note character. She and her character deserved better. Going back to Pitt for a moment, I understand what he was going for with his performance, but he plays it too big.  In a serious movie like “Se7en,” it almost feels like his character doesn’t belong here. Freeman makes it look easy, and he’s able to portray all of his emotions on his face perfectly.   I understand the film was showing the contrast between the two characters, but it doesn’t work as well as I remembered it.

When it comes to films like “Se7en” which rely on a twist, they don’t always hold up as well on multiple viewings because the element of surprise is gone.  I still think it is a really good film though, and I enjoyed revisiting it on 4K.  The atmosphere and the sense of dread is on full-display from David Fincher.  The film also has a lot to say when it comes to its views on the world and the people in it.  While Mills believes he can make a change and clean up the world, Somerset is more realistic on what he can do and what the world is capable of as a whole.  It’s a film with some brainy ideas, but those ideas sometimes get lost in the middle of trying to solve the crime.

Overall, I still like “Se7en,” even though this might sound like a negative review.  I’m just not as enthusiastic about it as I was 10 or 15 years ago. I see more of the film’s flaws than I did in the past.  The second half, especially the big reveal, is still as powerful as it was upon its release.  The film works best when it allows its actors room to show off their acting chops and really get into the meat and potatoes of their characters.  I found the police work and the case itself not as interesting or multifaceted as I remembered it being in the past. “Se7en” is still a film worth revisiting and owning, despite some new flaws I’ve noticed along the way.

* * * out of * * * *

4K Info: “Se7en” is released on single-disc 4K Digibook or Steelbook from Warner Brothers Home Entertainment.  It comes with a digital copy of the film as well. It has a running time of 127 minutes and is rated R for grisly afterviews of horrific and bizarre killings, and for strong language.

4K Video Info: “Se7en” is a dark and grisly film, and this specific visual aesthetic is perfect for the 4K format.  I don’t think anyone is expecting the film to look crisp, clear and colorful in 4K. The 4K is not as washed out or bright as the Blu-ray, and this is a good thing. It has a more film-like look to it, which is what I was hoping for with this 4K release. 4K is supposed to bring out the best elements of what the director was looking to achieve with the picture, and “Se7en” is a solid 4K release.

4k Audio Info: “Se7en” comes with a DTS-HD Master Audio soundtrack for the film, which is consistent and steady throughout the course of the film.  This is a pretty quiet film with moments of loud and intense dialogue, but it never feels like it’s too much. Subtitles are included in English, Spanish and French.

Special Features:

Commentaries –

The Stars: David Fincher, Brad Pitt, Morgan Freeman

The Story: Richard Dyer, Andrew Kevin Walker, Richard Francis-Bruce, Michael De Luca, David Fincher

The Picture: Darius Khondji, Arthur Max, Richard Francis-Bruce, Richard Dyer, David Fincher

The Sound: Ren Klyce, Howard Shore, Richard Dyer, David Fincher

Deleted Scenes

Alternate endings

Still Photographs (featurettes) –

Production Design (featurette)

Mastering for the Home Theater (featurette)

Exploration of the Opening Title Sequence: Early Storyboards (featurette)

Exploration of the Opening Title Sequence: Rough Version (featurette)

Exploration of the Opening Title Sequence: Final Edit (featurette)

Exploration of the Opening Title Sequence: Stereo Audio Commentary One – The Concept – Designer Kyle Cooper (featurette)

Exploration of the Opening Title Sequence: Stereo Audio Commentary Two – The Sound – Brant Biles & Robert Margouleff (featurette)

Theatrical EPK

Should You Buy It?

“Se7en” is a must-own for physical media enthusiasts out there, but there is one problem with this release: the packaging.  If you are going to get the digibook, you should know the film is housed in a sleeve, which makes it very hard to take the disc out without touching the back of it.  As many of you know, 4K’s are easier to scratch and damage than Blu-rays.  While I appreciate the fact they tried something different with this packaging, they should have at least thought about the overall health of the disc. I would recommend you pick up the Steelbook release instead. I’ve noticed a lot of people are unhappy with the lack of updated special features, as these are the same special features that came with the Blu-ray. Special features on older films are not as prevalent in today’s releases as they were originally done during the height of DVDs and Blu-ray releases, and I think it’s important to remember that.  It costs money to interview the actors, and it’s not always easy to track them down for new interviews regarding older films they have done. While it would have been a nice addition to the 4K release, I understand it isn’t cost effective. The film looks sharp and the soundtrack is impressive. For the film itself, as stated in my review, it didn’t hold up as well as I remembered it, but it’s still a really good flick. This is a day-one purchase despite the less than stellar packaging options.

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

‘Ocean’s Trilogy’ Review and 4K Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

When you think of the “Ocean’s Trilogy,” you think of big movie stars, high stakes, and witty banter. These are individuals known for being con-artists and having a certain set of skills, but they bring an element of fun to the proceedings. They are interesting, layered, and unique.  These are not your bargain basement crooks and thieves. These films are also aided by the direction of the stellar Steven Soderbergh. He makes everything pop and sizzle on screen. He knows how to add just the right amount of style to these films without taking away from his ensemble cast.  The beauty of a Soderbergh film is the fact he can dabble in a number of genres and make a film successful both commercially and financially. He’s not just pigeonholing himself into one type of film.  He can do an independent film that gets people talking or he can do blockbuster films like the “Ocean’s Trilogy.”

Let’s start with “Ocean’s Eleven,” which is, of course, a remake of the 1960 film starring Frank Sinatra, Dean Martin and Sammy Davis Jr. I don’t think it is fair to compare these two films as they are forty years apart, but I will say that both are entertaining and sleek in their own ways. Remakes in general tend to get a bad rap, but when they are done with the right people involved and the right mindset, they can really deliver the goods.  It’s about taking an idea and making it your own without copying from the original source material.  This is not always easy to accomplish, but they did that with “Ocean’s Eleven” in 2001.

The charming George Clooney stars as Danny Ocean, a professional thief who has recently been released from prison. Even though he served time, he’s on the lookout for his next big caper.  Once he gets involved with the thrill of the chase and the risk and reward that comes with it, it’s hard to turn it down or live a normal lifestyle after that. He meets up with an old partner named Rusty Ryan (Brad Pitt), and they are looking to hit up Las Vegas for their next big heist. When it comes to a heist like this, money is important. They end up securing the money from Reuben Tishkoff (Elliott Gould), and their plan is to rob three casinos in Las Vegas, which are owned by Tishkoff’s rival. The stakes are high, at $160 million, so they need to make sure they are on their A-game.

In order for Danny and Rusty to pull this off, they will need to assemble the right team. They enlist the help of Basher Tarr (Don Cheadle), Livingston Dell (Eddie Jemison), Linus Caldwell (Matt Damon), Frank Catton (Bernie Mac), and Virgil and Turk Malloy (Casey Affleck and Scott Caan). Every one of them brings something unique and special to the table. Julia Roberts also shows up as the Danny Ocean’s ex-wife, Tess, and she has a bone to pick with Danny. Andy Garcia is in the film as well as Terry Benedict, the owner of the three casinos they are trying to rip off in the film.

“Ocean’s Eleven” Cast Bernie Mac, Casey Affleck, Li Dian Feng, Scott Caan, George Clooney ,Brad Pitt ,Matt Damon, Elliott Gould, Don Cheadle, Edward Jemison and Carl Reiner © 2001 Warner Bros. Photo by Sid Avery

For my money, “Ocean’s Eleven” is the best of the three films.  The pacing is terrific, and there is never a dull moment in the film.  Even though there are a lot of moving pieces, it never feels like the movie is overstuffed, boring or too long as it moves at a brisk pace.  Also, when you have top-notch actors and actresses together, you know you are going to get some great performances.  A big part of the fun of these films is seeing these Hollywood legends go toe-to-toe with one another.

Moving onto “Ocean’s Twelve,” which came out in 2004, I don’t want to go into too much detail on this film just in case you are watching this trilogy in order for the first time.  I will say I found it to be a little bit more of a slog to sit through and a bit of a letdown after “Ocean’s Eleven.” It was merely an OK film.  It was successful at the box office, but I didn’t find the story as engaging this time around.  Of course, the characters are still entertaining and fun to spend time with, but since there isn’t a great story or plot to drive them, they quickly run out of steam here.  It ends up being one of those films where the cast had a lot more fun making it than we had watching it.

 In 2007, they came back with “Ocean’s Thirteen” which introduced Al Pacino to the proceedings and was once again directed by Soderbergh. Julia Roberts and Catherine Zeta-Jones are missing here, which makes this film feel a bit off in regards to the female-male ratio.  Roberts, especially, was such a big part of the first film, and Zeta-Jones was also very charming and lit up the screen in “Ocean’s Twelve.”

“Ocean’s Thirteen,” however, is a nice return to form after the lackluster and underwhelming “Ocean’s Twelve.” It’s almost as if Soderbergh sat down and realized what was missing from the last film and made sure to make up for those mistakes this time around.  The addition of Al Pacino to the mix is also a juicy twist as well.  What I enjoyed most about “Ocean’s Thirteen” is how it brought back the fun factor from the first film. “Ocean’s Twelve” was an entertaining film at times, but it was also a lazy one as well.  This time, they work on making sure the fun is included along with a story that can hold its own in the process. 

When these films work best in this franchise, it is when they realize we are just as interested in the story as we are in the characters.  They go hand-in-hand. They play off each other in a sense.  We love to see the characters in action and find out all of the twists and turns along the way.  It was clear they put time, effort and brains into the first and third films. They lost their way a little in “Ocean’s Twelve,” which feels like a sequel they didn’t put a ton of thought into.

“Ocean’s Eleven” – * * * ½ out of * * * *

“Ocean’s Twelve” – * * out of * * * *

“Ocean’s Thirteen” – * * * out of * * * *

4K Info:  The “Ocean’s Trilogy” is released on a three-disc 4K set from Warner Brothers Home Entertainment.  This set only includes the 4K discs, so if you are looking for Blu-rays and 4Ks together, you will not find them here. According to the press release, the 4K remasters of “Ocean’s Eleven,” “Ocean’s Twelve” and “Ocean’s Thirteen” were completed at Warner Brothers Discovery’s Motion Picture Imaging (MPI) with the participation of Soderbergh. All of the films are rated PG-13, and their respective running times are 116 minutes, 125 minutes and 122 minutes.  There is also a digital copy for each film which allows you to own all three copies of the trilogy.  Subtitles are included in English, Spanish, and French.

Video Info:  I really like the look of these movies on 4K.  Having previously seen “Contagion” on 4K, also from Soderbergh, I’m happy to report this is another fantastic looking 4K set.  Its color is vivid, bright and filled with a lot of life.  It’s also dark and mysterious when things turn up a notch. All three of the films look great on 4K.

 Audio Info: There is a lot of talking in these films as they are going over plans and information, and the dialogue comes in crystal clear on all three films.  The soundtrack is just right in covering the dialogue, music and background noise without being too distracting. It captures the essence of each film.

Special Features:

“Ocean’s Eleven”

• Commentary by Steven Soderbergh and Ted Griffin

• Commentary by Brad Pitt, Matt Damon and Andy Garcia

• Are You In or Out? The Making of Ocean’s Eleven

• Pros & Cons: Inside Ocean’s Outfit

• The Style of Steal

• The Look of the Con

• Original Ocean’s, Original Cool

“Ocean’s Twelve”

• Commentary by Steven Soderbergh and George Nolfi

• Ready, Jet Set, Go: The Making of Ocean’s Twelve

• HBO First Look: Twelve Is the New Eleven: The Making of Ocean’s Twelve

• Deleted Scenes

“Ocean’s Thirteen”

• Commentary by Steven Soderbergh, Brian Koppelman and David Levien

• Third’s a Charm: The Making of Ocean’s Thirteen

• Ahab with a Piggyback: The Means & Machines of Ocean’s

• Jerry Weintraub Walk and Talk

• Masters of the Heist

• Deleted Scenes

Should You Buy It?

I’m seeing this set go for about $55 right now online, which is a really good price. That’s a little less than $20 for each 4K.  If you enjoy a good movie collection, this one is definitely recommended.  You get all of the old special features included here along with updated 4K transfers on these films as well.  These are 4K transfers where it is clear they put a lot of care and effort into them. They didn’t just throw them together.  If you enjoy heist movies with great casts, you really can’t go wrong with this trilogy.  I’d recommend you go out and buy this set right now at its current price. You can make a weekend out of watching all three films and really enjoy yourself.

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

‘The Departed’ Movie and 4K Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

When it comes to filmmaking, Martin Scorsese is not known for his brevity.  His films are lengthy and complex. However, because there are so many moving parts that are interesting and layered, it rarely feels like a slog to sit through them.  He also makes sure to assemble an all-star cast of some of the best actors in Hollywood so, as an audience, we are glued to the screen with each and every performance. It’s so hard to pick a favorite Scorsese film, as he’s trying to achieve something different and unique with each one.  From an entertainment standpoint, however, I think “The Departed” might be the most thrilling movie he’s ever made.  It was also the film which earned him his first and only Best Director and Best Picture Academy Award.

“The Departed” is initially set in 1980’s Boston and introduces us to a series of seedy and underhanded characters.  The local Mob boss is named Frank Costello, played by Jack Nicholson. He befriends a young Colin Sullivan and buys him groceries, as he knows he comes from a struggling family.  Fast forward to present day in the film, and Colin (Matt Damon) is now working on the inside for the Massachusetts State Police in their Special Investigation Unit.  Frank is still the leader of the Mob, but he has even more power because he knows Colin will keep him in the loop when the police get too close to him.

Billy Costigan (Leonardo DiCaprio), a police academy recruit, is brought in to meet Captain Queenan and Sergeant Dignam, played respectively by Martin Sheen and Mark Wahlberg. Considering Billy’s family has a criminal record a mile along, they think he’s the perfect mole to go undercover and bring Frank down once and for all. In order for Billy to gain the trust of Frank, he needs to serve some time in prison and also commit some crimes with the help of his cousin, so his cover isn’t blown.  However, Billy is starting to feel as though he’s living a double life and his mental health is suffering.  This is when he meets Madolyn (Vera Farmiga), a police psychiatrist who is also currently dating Colin Sullivan.  Needless to say, this is a messy and tricky situation for all parties involved.

The beauty of “The Departed” is that it keeps you guessing all the way until the finale. There are a lot of different characters and pieces of the puzzle here, but the film never feels overplotted or too complicated.  It’s very engaging, well-paced and highly entertaining.  As an audience member, it takes you on quite a ride from start-to-finish. Scorsese also takes his time in developing his characters, and he trusts his actors to put their own personal touches on their performances.  There are so many standout performances here to choose from, but Nicholson and DiCaprio in particular are remarkable.  Nicholson brings an unhinged charisma to his role as the mob boss while DiCaprio is tortured and powerful in his performance.  As the old adage goes, “Do Your Job.” Everyone in this film knows how to do their job, and Scorsese gives them the platform to do their jobs to the best of their abilities.

The screenplay, which was written by William Monahan, is also able to keep the audience engaged and thrilled without ever feeling too gimmicky or implausible.  These are well-written characters that are looking to stay alive and pull the wool over the eyes of those looking to bring them down.  They have to stay one step ahead of the audience and also one step ahead of the characters in the film.  “The Departed” is also a remake of the Hong Kong Film, “Infernal Affairs,” which I own as part of the Criterion Collection. I have yet to see that one, but I definitely need to check it out after having seen “The Departed” numerous times.

All in all, “The Departed” shows Scorsese at his best in a world he has inhibited many times in the past.  This time, though, he has new players to work with.  Of course, we are familiar with the Martin Scorsese/Robert De Niro films of the past such as “Casino” and “Goodfellas,” but it’s great to see him working with Nicholson for the first and only time along with Damon, Mark Wahlberg, and Alec Baldwin. Of course, his collaborations with DiCaprio have become legendary, but this was in the early stages of their working relationship, and you can see why they work so well together.

Screenshot

Hollywood has always had a fascination with crime movies and the characters who inhabit that world. Scorsese knows this world very well and how to make it accessible and fun for mainstream audiences. If I had to choose, my favorite Scorsese movies are “Raging Bull,” “The King of Comedy,” and “Taxi Driver.”  However, as stated earlier, if you are talking about pure entertainment value and pure fun, it’s hard to deny the power of “The Departed.” Even eighteen years later, this film still captivates and engages with its words, its story, and its players.   It only gets better and better with age. If you are seeing it for the first-time, you are in for a real treat.

* * * * out of * * * *

4K Info: “The Departed” is being released on a single disc 4K from Warner Brothers Home Entertainment.  There is also a steelbook version of the film as well.  Whether you pick up the steelbook or the 4K slipcover, you can’t go wrong with either copy of “The Departed.”  It also comes with a digital copy of the film. It has a running time of 151 minutes and is rated R for strong brutal violence, pervasive language, some strong sexual content and drug material.

Video Info: This is a gritty looking 4K that is able to keep the dark and moody look of Boston and its seedy characters alive while also cleaning up the dirt and artifacts to make it look sharp and vivid.  This is a solid 4K transfer. The HDR is a big improvement from the Blu-ray.

Audio Info:  I would have liked a Dolby Atmos soundtrack on this 4K release, but as it stands, this is still a powerful audio transfer. At times, the music and the action scenes can be a little too loud as the dialogue is more leveled, but that’s a minor issue.

Special Features:

Guilt and Betrayal: Looking into The Departed (new)

Stranger than Fiction: The True Story of Whitey Bulger, Southie, and The Departed

Crossing Criminal Cultures

9 Deleted Scenes with introductions by Martin Scorsese

Should You Buy It?

When great films, Academy Award winning films at that, are available on 4K, you have to buy and add them to your collection, if you are a film collector.  It is the only way studios are going to keep releasing these films on physical media. Now, more than ever, with more and more brick-and-mortar stores getting rid of physical media altogether, we have to purchase these films and add them to our collection.  “The Departed” looks really, really sharp on 4K.  There are the previously released special features from the Blu-ray along with a new special feature as well. This is a great film from the legendary Martin Scorsese being released in the best format possible to watch movies.  This is a no-brainer in my book.  You can’t go wrong with either the steelbook or the slipcover version of this film on 4K. This 4K of “The Departed” comes highly recommended!

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

‘Moneyball’ – One of the Best Baseball Movies Ever

Posted on by The Ultimate Rabbit

WRITER’S NOTE: This movie review was written in 2012. I present it now as the latest baseball season has now begun.

“Moneyball” is, for my money, the best baseball movie since “Bull Durham” as, like Ron Shelton’s 1988 classic, it takes a very unique look at this American pastime and the players who inhabit it. Whereas most baseball movies are about rising to the occasion and winning the big game, this one is more interested in the mechanics and statistics as the characters, all based on real life people, work to see if the current state of this sport can be improved. This is not about winning mind you, but of recapturing a love for the game which has long since passed so many people by.

Brad Pitt stars as Billy Beane, general manager of the Oakland Athletics (a.k.a. the Oakland A’s) who has just witnessed his team’s tough postseason lost to the New York Yankees. In its aftermath, he watches as the team’s key players of Johnny Damon, Jason Giambi and Jason Isringhausen leave for more lucrative deals with other more desirable franchises. From there, the team’s management becomes obsessed about finding the best players to fill their spots. What stands in their way, however, is they have a budget of $40 million to work with which, in any other case, would sound like a lot, but it’s pitiful compared to the Yankees’ overall budget of $100 million.

While visiting a coach from a rival team, Beane comes across Peter Brand (Jonah Hill), a Yale economics graduate who has new and radical ideas of how to assess a baseball player’s value. After hearing Brand’s theories, Beane hires him to join the Oakland A’s, and they both put his unusual theories to the test. This quickly upsets the team’s scouts who cannot, and do not, want to see the validity of these chances being taken. Regardless of the objections, Beane is insistent everyone go in this new direction. But as “Moneyball” goes on, it becomes clear that Beane is not just doing this because of a lack of money, but to find a new way to fall in love with baseball as it ended up betrayed him years before he became a manager.

There are a number of things at work in this film; the need to change the game, the disadvantage some teams have compared to others, and the demons that keep fighting certain baseball players who continue playing this game even when they are long past their prime. In flashbacks, we discover how Beane was an exceptional baseball player in high school, and that scouts for the big teams were serious about signing him up for the major leagues before he could even consider college. His baseball playing career, however, turned out to be a stunning disappointment, and it is this failure which haunts him to this day.

Brad Pitt gives one of his best performances ever as Billy Beane, and he finds a balance to where he inhabits the character more than acts. He draws us emotionally into this movie even more than some might expect, and he brings a realism to Beane which makes his acting never less than compelling.

Jonah Hill, best known for “Superbad,” “Funny People” and “Get Him to The Greek” among other films, gets to go against type here with this dramatic role. He does an excellent job of playing Brand as so fresh-faced to this job and becomes our eyes to the realities of baseball which many people may not be aware of. Seeing Hill imbue Brand with a strong intelligence and a big heart proves he has a lot more to offer than just hilarious performances in comedy movies, and it marks an important change of pace for him as a result.

Another great performance comes from Philip Seymour Hoffman as Art Howe. You never catch Hoffman acting as he portrays Howe as an individual being worn down by endless contract negotiations and is constantly questioning the control he has over his own team. Howe is adamant that he is the one to manage the players above everyone else, but he eventually finds he does not have the energy for a prolonged argument with Beane or Brand as they have their own plans. It is the weariness of Howe which Hoffman so perfectly captures, and he remains one of the best actors working today.

“Moneyball” is based on Michael Lewis’ non-fiction novel of the same name, and it has been adapted by two of Hollywood’s best screenwriters: Steven Zaillian and Aaron Sorkin. Neither of them ever tries to spell out everything for the audience because they are smart enough to give them enough information to where we can all come to very understandable conclusions. And on top of everything, their dialogue remains as brilliant as ever.

In a year which has seen more remakes or recycled ideas as opposed to anything resembling originality, “Moneyball” succeeds in giving us a story which feels so fresh and highly innovative. In dramatizing real-life events, the movie makes you want to see people go against the grain because it does not help to keep things the same as they have always been. It also makes us remember what is so great about the game of baseball in a time where headlines about steroids and other performance enhancing drugs and the constant abuse of them make it all seem like a sick joke. Surely there is plenty of innocence left to this American pastime, right?

* * * * out of * * * *

Favorite Opening Titles: ‘Seven’ (1995)

Posted on by The Ultimate Rabbit

For years now, motion picture opening credits have increasingly become a lost art form as filmmakers want to hit the ground running and leave all the credits to the very end. But while audience members are quick to exit the theater to take care of their ever-growing urine aches, it feels like increasingly shameful that filmmakers are less and less interested in giving their works a prologue which helps to illustrate the cinematic stories audiences are about to take in.

Now when it comes to my favorite opening titles, the first one which comes to mind is for “Seven,” David Fincher’s 1995 film which proved to be his true big breakthrough. Things start off with us being introduced to Detective William Somerset (Morgan Freeman), a veteran homicide detective on the verge of retirement, and his partner and eventual replacement David Mills (Brad Pitt). From there, we watch Somerset try to fall asleep in his bed to the sound of a metronome, and the sound of the metronome is constantly overwhelmed by the violent sounds coming from the streets outside of his apartment.

After this, the opening titles, which I did not expect “Seven” to have, began, and they were done to a remix of the Nine Inch Nails song “Closer” which was entitled “Precursor.” Right from the start, they serve as an introduction to the main antagonist known as John Doe who commits murders based on the seven deadly sins. The way Fincher saw it, these titles were a way of introducing the audience to this character’s perverted state of mind, and there was no forgetting this throughout the rest of the film.

I love the shakiness of the credits as they illustrate the deeply disturbed mindset of John Doe as he writes in his journals and attaches pictures of people who are either his intended victims, those he has already harmed in an inescapable way, or those young ones whom he would prefer not to witness the bloodiness of what he is doing.

These opening titles captivated me from the get-go as they were unlike any that I had ever previously seen in other motion pictures. They were designed by Kyle Cooper whose other credits include the titles to “Home Alone,” “Passenger 57,” “Carlito’s Way” and the acclaimed television series “Homicide: Life on the Street.” Cooper was assigned by Fincher to create a montage reflecting the disturbed perspective of John Doe. The images presented here hang over everything else we come to see in “Seven” as the film heads towards a climax which proves to be utterly devastating.

It should also be noted that the opening titles to “Seven” were filmed over the course of eight days and cost around $50,000 to complete.

Please feel free to check out the opening titles of “Seven” down below:

‘Bullet Train’ – A Bumpy but Entertaining Ride Thanks to Brad Pitt

Posted on by The Ultimate Rabbit

“Bullet Train” is one of those movies which takes you on an adrenaline-fueled ride and leaves you wrung out at its incredibly chaotic conclusion. Now I usually begin writing movie reviews soon after I watch one, but I had to sit down for a bit after and gather my thoughts when it came to this particular feature film. Yes, it is furiously entertaining, but the story does drag from time to time and there are moments which defy simple logic. Also, some have accused the film of trying to be Tarantino-esque as the director wants the characters to look and sound cool when they talk. My response to those criticisms is this: didn’t the trailers spell out to you that this is a motion picture which you will need to check your brain at the door while watching it?

Based on the Japanese novel “Maria Beetle” by Kōtarō Isaka, “Bullet Train” is not a perfect movie, few movies are for crying out loud, but for the most part I found myself really enjoying the chaos on display as we watch Brad Pitt portray an American assassin who makes his way through a Japanese train going at a speed of about 200 miles an hour through the country’s vast railway system.

Pitt’s character has no name here, but he is given the codename of Ladybug by his contact and handler, Maria Beetle (voiced by an Oscar winning actress whose voice you will recognize). His mission is a snatch-and-grab one as he is to collect a suitcase on a train heading to Kyoto and then get off at the next stop. Ladybug is also an experienced assassin who has been doing his job for far too long, and this looks to be one of those last mission before retirement gigs for him. Also, he is trying to find some inner peace in the midst of all his deadly deeds and is quick to encourage others to do the same. Yes, “Bullet Train” is that kind of movie.

Now Ladybug is quick to acquire the briefcase which acts as this movie’s McGuffin, but getting off the train quickly turns into an insane comedy of errors as he keeps running into other assassins whose missions prove to be very similar to his. Among them are British assassins Lemon and Tangerine (Brian Tyree Henry and Aaron Taylor-Johnson), Japanese assassin Yuichi Kimura (Andrew Koji) who looks to avenge his son who lies in the hospital in critical condition, a Mexican assassin known as The Wolf (Benito A. Martinez Ocasio, a.k.a. Bad Bunny) who has a special grudge against Ladybug, and Prince (Joey King) who is a British assassin who received her codename only because her parents really wanted a boy instead of a girl.

With everything set up, we know these characters will eventually collide with one another in inventive and creative ways as their individual missions have an inevitable connection. Seeing it all happen on a train traveling at a very high speed is especially exciting as, while these assassins are trying to kill or trick one another, the rest of the passengers are sitting in their seats as, to quote a line from another movie starring Pitt, “calm as Hindu cows.” Oh yeah, there is a venomous snake which manages to escape its cage and slither about the train in the same way that spider crawled around the McCallister house in “Home Alone,” and you sit in fear of it striking at the least suspecting passenger.

Directing “Bullet Train” is David Leitch who helmed the very first “John Wick” film, the insanely entertaining “Deadpool 2,” and “Atomic Blonde” which starred Charlize Theron who gave a performance which should have had you saying, “not bad for a human.” Clearly, he is out to give us a fun-filled ride, and he delivers for the most part. Not everything lands in the way it should as some moments fall flat, but those which do hit had me enthralled and laughing my ass off. While it may not be as thrilling as “Top Gun: Maverick” or the vastly underappreciated “Ambulance,” Leitch for my money gives this motion picture more entertaining set pieces than not, and that makes it worth seeing in my opinion.

The other actors go out of their way to fully inhabit their roles regardless of whether or not their screen time is long or short. Both Taylor-Johnson and Henry work off of one another very well, and that’s even though I could not always understand every word coming out of their mouths. As for Henry, his character of Lemon goes out of his way to give us all a special appreciation of the British children’s television series “Thomas & Friends” and of all the different kinds of trains there are in the world.

One of my favorite performances comes from Joey King as the oddly named Prince. From the first time we see her, she proves to be an alluring presence as she uses her disguise as a schoolgirl to gleefully throw her antagonists off-balance in an almost sublime manner. Her eyes show us a character who is infinitely dedicated to taking out her main target with extreme prejudice, but she also succeeds brilliantly in deceiving those around her ever so easily. Seriously, King steals every scene she is in.

But yes, the one person who manages to connect everything together here is Brad Pitt who once again proves why he is one of Hollywood’s best and most dependable of movie stars. Even if his performance threatens to be too broad at times, he made this film especially fun and looks to be having the time of his life. There’s also a scene where we see him traveling through the train cars in slow motion (you will now what I am talking about when it happens), and the expressions he gives off prove to be absolutely priceless.

Now I cannot say that “Bullet Train” will remain in the mind long after you have watched it but watching proved to be a blast for the most part. While many may say it pales in comparison to other films from its genre, I was never quick to compare it to others. There may a few bumps and lags on this particular train ride, but I still enjoyed this film for what it was, and that was enough for me. And, like “Where the Crawdads Sing,” it makes me want to read the book it is based on.

Oh, there are some truly brilliant celebrity cameos to be found here, especially towards the end. Seriously, they are alone worth the price of admission, particularly when it comes to the one actor playing an assassin named Carver.

* * * out of * * * *

The Super Bowl LVI Movie Trailers in Review

Posted on by The Ultimate Rabbit

The Super Bowl has come and gone again. While the home team, the Los Angeles Rams, got me interested in this monumental event more than usual, what always brings me back to the Super Bowl are the commercials and the trailers for upcoming films which look to bring in the largest audiences possible. Even if some are available to stream on streaming services on opening day, these blockbusters are clearly made for the silver screen. Whether or not COVID mandates are still in place when these films arrive, I look forward to seeing many of them in a theater.

Doctor Strange and the Multiverse of Madness

Following the massive success of “Spider-Man: No Way Home,” Doctor Strange returns to battle the multiverse once again, and it looks badass to put it mildly. Sam Raimi returns to make his first movie based on a Marvel Comics character since “Spider-Man 3,” and it sure feels like a Sam Raimi film with all the crazy images which look like they came from “The Evil Dead.” The only thing I have to wonder now is this, will there be a Bruce Campbell cameo? Moreover, will his classic yellow 1973 Oldsmobile Delta 88 make an appearance as well? If so, that would be groovy.

Granted, the trailer presented during the game was a teaser for the official trailer which is now available to view online. I am just going to leave you the official trailer down below. Just when I thought I was getting burned out by superhero/comic book movies, this “Doctor Strange” sequel has whetted my appetite.

By the way, was that Patrick Stewart’s Professor X voice we heard?

The Lost City

Look, I love Sandra Bullock and Channing Tatum is fun, but this trailer for “The Lost City” makes the film seem like a wannabe “Romancing the Stone” which is too broadly comedic for its own good. Directed by Aaron and Adam Nee and based on a story by Seth Gordon, Bullock plays the brilliant but reclusive writer Loretta Sage who is known for penning romantic adventure novels which take place in exotic locations. While promoting her latest novel, she is kidnapped by an eccentric millionaire played by Daniel Radcliffe whom we see only briefly here, and it is up to Alan (Tatum), the model for Bullock’s book covers to save her. Oh yeah, there is a secret treasure involved. Sound familiar?

It pains when actors are clearly striving to be funny as this trailer. Still, it is worth watching for Brad Pitt who steals the show here just as he stole a certain scene in “Deadpool 2.”

Jurassic World Dominion

As disappointing as “Jurassic World: Fallen Kingdom” was, its conclusion gave its follow-up an interesting scenario to work with, dinosaurs co-existing with human beings. Can such a thing be possible, or will one race dominate the other to where a certain species is rendered extinct?

The trailer presented during Super Bowl LVI is the same one that recently premiered online. The image of cowboys trying to herd some dinosaurs who could easily kill them just by stepping on them is a fascinating image, and the characters played by Chris Pratt and Bryce Dallas Howard now have a daughter because, let’s face it, these two were bound to get it on at some point, and the whole will they or won’t they scenario has long since been played out.

But the real joy of the “Jurassic World Dominion” trailer is seeing the return of the “Jurassic Park” trio, Sam Neill, Laura Dern, and Jeff Goldblum. Neill is always terrific in whatever project he appears in, Dern looks like she hasn’t aged a day since “Jurassic Park III,” and Goldblum looks to get more of a role this time around as opposed to the glorified cameo he got in the previous installment.

The magic of first seeing the dinosaurs in Steven Spielberg’s 1993 film has never been quite the same, and this franchise has taken some embarrassing turns since then. But with “Jurassic World” director Colin Trevorrow behind the camera again, maybe everyone involved will give this trilogy the conclusion it deserves.

The Adam Project (Netflix)

On one hand, this trailer acts as a promotion for the original content Netflix is going to be dropping on us in the coming months. But this trailer’s main attraction is clearly the Shawn Levy film “The Adam Project” starring Ryan Reynolds, an actor no one can ever seem to get sick of. Originally titled “Our Name is Adam,” back when Tom Cruise was attached to star, Reynolds travels back in time to meet his younger self (played by Walker Scobell) in an effort to confront their late father. While the storyline seems like a rip-off of “Looper,” this looks like its own thing despite any similarities which I am hoping are coincidental.

Seriously, seeing Reynolds in this trailer made me as giddy as Will Ferrell was when he spotted him in the audience the last time he hosted “Saturday Night Live.”

Nope

This trailer for Jordan Peele’s latest cinematic opus reminds me of the greatness of the first “Cloverfield” trailer; it gives us a lot of fascinating and unforgettable visuals while leaving the movie’s plotline a mystery. The trailer for “Nope” looks like it takes place at a horse ranch in the middle of nowhere when all the electricity suddenly goes out, and either Armageddon is happening or a UFO is landing as characters flee as fast as they can or get sucked up into the air. Whether it is a political thriller dealing with racism like “Get Out” and “Us” or just a straightforward science-fiction horror thriller, this trailer has me deeply intrigued, and July 22nd cannot come soon enough.

Ambulance

Anybody who knows me well understands how much I despise Michael Bay. Ever since the cinematic atrocity that was “Transformers: Revenge of the Fallen,” I have avoided his movies like the plague. However, I cannot help but be intrigued by his latest film, a remake of the 2005 Danish film of the same name, which is about a bank robbery gone wrong (is there any other kind in movies?) which leads two of the robbers to hijack an ambulance and use an EMT and a wounded police officer as hostages. Plus, with a cast that includes Jake Gyllenhaal and “The Matrix Resurrection’s” Yahya Abdul-Mateen II, this looks to be a film not made with 5-year-old moviegoers in mind. Whether it is made with the mindset of a 5-year-old, however, remains to be seen.

The trailer for “Ambulance” has been out for some time now, but its Super Bowl spot serves as a reminder of how I am honestly excited for it. While it looks to have those typical Bay flourishes like explosions and cameras moving around in circles, there is nary a Transformer to be found here.

Top Gun: Maverick

Delayed by the COVID pandemic more times than “No Time to Die” and hoping to score big at the foreign box office, “Top Gun: Maverick” is FINALLY arriving in theaters this May. For its Super Bowl spot, Paramount partnered with Porsche because when Tom Cruise says he “feels the need, the need for speed,” you either think of “Top Gun” or a Porsche, right? Well, I would certainly love to drive a Porsche with Jennifer Connelly as my passenger, that’s for sure.

With Cruise reteaming with his “Oblivion” director Joseph Kosinski, we can expect some truly intense visuals and real G-force experiences as shown on Maverick’s face. But as with those “Avatar” sequels which James Cameron keeps promising us, I have to say RELEASE THE DAMN MOVIE ALREADY!

https://youtu.be/8o7rJgJyF8c

The Lord of the Rings: The Rings of Power

Okay, this is not a movie trailer, but it is a trailer to one of the most anticipated television series ever. Now, this trailer proves this is not a remake of Peter Jackson’s “Lord of the Rings” trilogy, but instead a prequel that takes place many, many, many, many, many years before Gollum found his precious. While it looks epic, those CGI effects look fairly obvious and kind of take me out of the spectacle on display. Still, we are in J.R.R. Tolkien territory, and it remains ripe with imagination after all these years.

DC Movies

Instead of a single comic book/superhero movie, DC movies will be giving us four of them in 2022: “The Batman,” “Black Adam,” “The Flash” and “Aquaman and the Lost Kingdom.” Images from each one are featured in one Super Bowl ad, and these are my thoughts: I’m sick of hearing about “The Batman.” I just want Matt Reeves’ cinematic interpretation of Bruce Wayne and his alter ego to come out already. Seeing Dwayne Johnson as Teth-Adam/Black Adam proves to me how passionate he was about bringing this character to the silver screen. Hopefully, Ezra Miller will have more speed on his side than he did with “Justice League.” As for Jason Momoa, he has already proven to me he is the definitive Aquaman, and the upcoming sequel is yet another reminder of the fact I have still not watched the original. With these four movies, perhaps DC will finally give the Marvel Cinematic Universe a run for its money.

Sonic the Hedgehog 2

I have not seen the first “Sonic the Hedgehog,” and the Super Bowl spot for the sequel does not make me want to check either of them out. When it comes to Jim Carrey though, I have no problem defending him as an actor. While he looks to be doing his usual schtick here as Doctor Ivo “Eggman” Robotnik, he is far more than what he appears to be. His lack of an Oscar nomination for “The Truman Show” was tragic, and they should have just handed him the Oscar for his performance as Andy Kaufman in “Man on the Moon.” And when it comes to “Batman Forever,” I still think he was the best thing about it. Anyway, that is all.

‘Burn After Reading’ – Another Darkly Comedic Film From the Coen Brothers

Posted on by The Ultimate Rabbit

WRITER’S NOTE: Ralph Garman selected this as his Video Vault pick on the August 14, 2020 episode of “The Ralph Report.” It was an excellent selection on his part.

WOW! That was quick! Following Joel and Ethan Coen’s Oscar-winning masterpiece “No Country for Old Men” in 2007, they gave us their follow-up of “Burn After Reading” a short later. Some filmmakers take their sweet time following up a cinematic triumph of theirs, but the Coens did not want to waste any time. This film follows the tradition of them making a movie which is the polar opposite of what they previously gave us. Most reviews at the time mentioned of how the Coens went from making “Fargo” to giving us “The Big Lebowski,” and how they went from “The Man Who Wasn’t There” to “Intolerable Cruelty.” With these brothers, it is always important to expect the unexpected because they are never out to do the same thing twice.

I’m not going to bother comparing “Burn After Reading” to “No Country for Old Men” because the only thing these two have in common is they were made by the same people. It’s like comparing the Marx Brothers’ “Duck Soup” to Lars Von Trier’s “Breaking the Waves,” and this threatens to say more about the critic than it does about the films themselves. This particular one is more of a lightweight effort you could ever expect from the Coens, and it is a reminder of how hysterically dark their comedy can get.

“Burn After Reading” is a crazy movie to say the least, and it does not really have a plot as much as it does a plethora of characters who are unleashed on us through a selfish act of utter stupidity. As a result, there is no rug of any kind which can tie this room of a movie together. The main drive of the action comes from Chad Feldheimer (Brad Pitt) who discovers a disk at the gym he works at which contains classified information from a former CIA operative, Osborne Cox (John Malkovich). Along with his fellow co-worker, Linda Litzke (the always fantastic Frances McDormand), they both connive to act as “good Samaritans” and give the disk back to Osborne, providing he pays them several thousands of dollars as a reward. Naturally, this plan, which was not given much thought to begin with, goes awry and involves many others in this scheme, all of whom are never entirely sure of what they have gotten themselves into, or of whom they can trust.

Let’s look at the characters, shall we? Chad is a personal trainer at the Hardbodies gym who is, to put it mildly, rather dense and not playing with a full deck. His manager, Ted Treffon (Richard Jenkins) doesn’t want to get involved in this blackmail plan, but he simultaneously has a huge unrequited crush on Linda, and she is upset because her insurance won’t cover the various forms of plastic surgery she wants to get. In the meantime, she is going through the motions of internet dating and ends up meeting Harry Pfarrer (George Clooney). Harry is actually married and in the midst of an affair with Osborne’s wife, Katie (Tilda Swinton), and she herself is planning to divorce her husband who is now in the midst of writing his memoirs. In the midst of all this, CIA Officer Palmer DeBakey Smith (David Rasche) reports to his superior (the priceless J.K. Simmons) of the goings on, and of the ways they are going to keep this all under wraps.

Are you with me so far? Clearly, this is a movie which will benefit from more than one viewing to keep up with everything. Like I said, there is no real plot to speak of, other than the blackmail of Osborne Cox. While in some movies this would be an Achilles heel, it works for the Coens as it allows you to keep guessing as to what will happen next. Just when you think you know where things are going, it has another surprise up its sleeve. There were moments both funny and shocking, and I was eager to see what would happen next.

“Burn After Reading” combines a lot of actors the Coen brothers have worked with over the years like George Clooney and Frances McDormand, and they also got to add newcomers to their strange cinematic universe like John Malkovich and Brad Pitt. It’s a kick to see all these actors let their hair down in a film which was never meant to be taken seriously by anyone.

The most inspired performance in this movie comes from Pitt. Clean shaven, thin, buff, and an avid bicycle rider, his character is a hilarious creation of a physically fit moron who has no clear idea of just how in over his head he is. It was funniest performance since his ultimate stoner of a character, Floyd, in “True Romance.”

Another one who is a huge kick to watch here is Clooney as he blows away just every bit of coolness in his system to play an increasingly neurotic philanderer who is always on the verge of anaphylactic shock as he keeps warning everyone he hangs out with about his life-threatening allergies. To see Clooney let loose here is a reminder of how he constantly tries in real life to not take himself too seriously. It also makes you wonder if he and Swinton will ever be in a movie together where they play characters who have a healthy relationship with one another. Keep in mind, they previously appeared together in “Michael Clayton.”

It’s actually a shock to realize this is the first time Malkovich has ever worked with the Coen brothers. He lets it all out here as a CIA operative who quits his job after being demoted in part because of his drinking problem. To see this actor go completely nuts at all the complete idiots he has to deal with is such a hoot. Not many actors can play a character who is quick to absorb the situation they are in and yet still remain in the dark when it comes to the truth of the matter. Malkovich may prefer the stage to the silver screen, but it is always great to see him do something like this.

Frances McDormand gives this movie one of its most lovable characters, in a manner of speaking, as she makes Linda into someone who wants to be free of the ravages of getting older. Seriously, give McDormand the smallest role in a movie, and she always succeeds in making it one of the most unforgettable. If you would like further proof of this, check her out in John Sayles’ “Lonestar.”

Richard Jenkins ends up giving us perhaps the saddest character here, and it is one we hope we don’t end up being. You know, that one person who is forever punished eternally with the pangs of unrequited love. Throughout, Jenkins shows you in his eyes of how much he wants to be with Linda, and he reminds us of how he remains one of the most dependable character actors working in movies.

And I loved the scenes between Rasche and Simmons in the offices of the CIA and how flippant they seemed about the situations which occurred here. I have yet to see another movie where you have CIA members seeming rather laid back in the decisions they make. It never comes down to doing what is best for their country, but of how to make this strange chain of events not get too overwhelming or hectic. Their inconvenience is the biggest problem because it involves secrets getting out, and of more responsibility and paperwork. Seriously, who wants that?

“Burn After Reading” may not be on the same comedic level of brilliance like “The Big Lebowski” or “Raising Arizona,” but it sure is a lot of fun and filled with more daring and originality than many movies which came out in 2008. Many have described it as a “trifle” from the Coens, but you have to admire what they accomplished here as it never fails to entertain from start to finish. We can also take comfort in the fact that these brothers continue to entertain and enthrall us from one film to the next, and their artistic brilliance never lets us down.

* * * ½ out of * * * *

‘Ad Astra’ is an Enthralling Cinematic Experience

Posted on by The Ultimate Rabbit

Ad Astra movie poster

The title of this movie is Latin for “to the stars,” and boy does co-writer and director James Gray ever take us there in “Ad Astra.” Like “Gravity,” “Interstellar” and “The Martian,” this is the rare science-fiction film which deals with the possibilities of space travel from a credible perspective, and it is a feast for the eyes throughout. While the human drama may be lacking, I could never ever take my eyes off the screen for a single second as this is a study in enthralling entertainment.

Brad Pitt, in his second great performance of 2019 (the other as Cliff Booth in “Once Upon a Time in Hollywood”), stars as Roy McBride, an astronaut who is able to keep his heart rate at a stable level even during the most strenuous of circumstances. In many ways he is the perfect astronaut, but his ambition to travel to the final frontier comes at a cost as he is emotionally distant from others around him, particularly his wife Eve (Liv Tyler, in a nearly wordless performance). When we see Eve dropping her keys on the counter before leaving the house, it is enough to tell us how good their relationship is going (which is to say, not at all).

Roy is also living in the shadow of his legendary father, Clifford McBride (Tommy Lee Jones), a pioneer of deep space travel who later disappeared into the far reaches of our solar system without a trace. But as Roy recovers from a catastrophic accident which sends him into a terrifying freefall he barely survives, he is told there is evidence his father may still be alive, and he embarks on a voyage to the outer edges of the galaxy to see if this is indeed true.

“Ad Astra” is said to take place in “the near future,” but considering all the flying spaceships we see here, this future is not all that near. One of the opening shots has Roy working near the top of what is called the International Space Needle, and it gives us an astounding moment of vertigo when we realize just how far this structure goes. This scene proved to be a quick reminder of when Felix Baumgartner made his record-breaking jump from a helium balloon above Earth’s stratosphere to the ground below, and it was both a terrifying and exhilarating moment which I watched as it happened. It is also the first of many spectacular images we are made to witness in this film.

Even though this story deals with technology of the future and space travel, the production design gives everything we see here an earthbound quality as spacesuits looked to have changed only so much throughout the years. It is quite fitting “Ad Astra” is being released in the same year we are celebrating the 50th anniversary of Apollo 11’s mission to the moon. The suit Neil Armstrong wore looks much like the one Pitt suits up in here, and along with the designs of the spacecrafts and controls designed to fly them, this makes everything we see here all the more believable to where nothing ever feels far-fetched.

Gray has crafted the story which he concocted along with Ethan Gross into a cross between “Apocalypse Now” and a Terrence Malick film. Like “Apocalypse Now,” this movie is not about the destination as much as it is about the journey. And like the average Malick cinematic experience, the move is paced in a slow and deliberate manner, and we get to hear Pitt provide a narration which encapsulates everything going on in his mind as his perfected astronaut ways are put to the test in ways he cannot see coming. This may put off some audience members who will find the film to be ponderous and a slog to sit through, and this is even though it barely runs over two hours. For myself, however, I felt this made the experience of watching “Ad Astra” all the more enthralling as we are sucked into a place the majority of us have only seen from a safe distance.

Yes, “Gravity” is still the ultimate outer space movie to where I had to admire Gray’s attempt to make “Ad Astra” in the wake of it as he could only hope to at best equal what Alfonso Cuaron pulled off. Like Cuaron, Gray not only captures the beauty of outer space, but also of its unforgiving nature. We are quickly reminded of how, in space, there is nothing to carry sound, no air pressure and no oxygen, and this adds an extra level of intensity to the proceedings as everyone here looks to be on a suicide mission.

But one thing I have to give Gray extra points for is how he portrays the psychological dangers of traveling through space. We all know how physically dangerous space travel can be, but many movies fail to illustrate how the mind can be almost irrevocably impaired the further we travel into what Captain Kirk called “the final frontier.” We watch Pitt as his character suffers through emotional turmoil which no mood stabilizer can offer him respite from, and it is emotionally draining to watch.

Pitt for the most part underplays his role here as his character starts off as emotionally withdrawn, but who eventually opens up to see what is most valuable in life. As Roy struggles to get closer and closer to where his father is believed to be, we see him getting increasingly desperate to find answers we know are being kept from him, and this forces him to make drastic decisions which will affect not only his sanity, but the lives of those around him. Like “Apocalypse Now,” “Ad Astra” is about a man on an obsessive journey, and many lives will be lost on the way to the final destination.

I also have to take my hat off to Tommy Lee Jones who, even though much of his performance comes across in video transmissions of a mission gone awry, shows Clifford’s transition from a loving father to an overly ambitious astronaut who is devalued the things in life he should have held most dear to his heart. When we see Jones in the film’s third act, he is just devastating to watch as he shows how Clifford knows all too well the damage he has left behind on Earth to where he is uncertain if he can live what he has done.

As serious as “Ad Astra” is, there are moments of levity and sardonic humor throughout as Roy’s arrival on the Moon shows it to have long since been taken over by corporate interests. There are fast food joints like Subway and delivery services like DHL on display, and it makes perfect sense how Roy could fly there only on Virgin Atlantic. Nothing is cheap in space either as a blanket and pillow pack costs $125. Gray’s vision of the future is meant to be one of hope, but I could not help but be reminded of a piece of dialogue from “Fight Club:”

“When deep space exploration ramps up, it’ll be the corporations that name everything, the IBM Stellar Sphere, the Microsoft Galaxy, Planet Starbucks.”

I was also amused to see how “Ad Astra” serves as a “Space Cowboys” reunion of sorts as, in addition to Jones, actors Donald Sutherland and Loren Dean also co-star here. I am almost tempted to call it a sequel to “Space Cowboys” as Jones plays astronauts in both films who end up far, far away from Earth. But while Clint Eastwood and company left him alone previously, now we have a new set of characters determined to find him.

Still, there is something which keeps me from calling “Ad Astra” a masterpiece, and it is a deficit in the human drama department. I am not about to say the human element is weak, but I came out of the theater feeling like it could have been stronger than it was. Perhaps there was a degree of predictability to this film which kept me from being completely enthralled by it. In some ways, it reminded me of “Tron Legacy” as both films deal with a son looking for his father who has long since lost himself in a realm which is not easily reached. As a result, I felt I knew where this story would end up heading, and this blunted the emotional impact to a certain extent.

It is always a bit frustrating when a film comes ever so close to being a masterpiece but does not quite reach that milestone. Regardless, it would be foolish to dismiss “Ad Astra” for its faults as it is still a visual spectacle which demands your attention in a theater with the biggest screen and best sound available. Along with ace cinematographer Hoyte van Hoytema and composer Max Richter, Gray has crafted a motion picture which makes you believe we can travel farther than we already have. At the same time, he also makes us see how the most valuable things we could ever find in our lives are not an infinite distance away, but in front of our very eyes.

* * * ½ out of * * * *

 

‘Once Upon a Time in… Hollywood’ – A Quentin Tarantino Fairy Tale

Posted on by The Ultimate Rabbit

Once Upon a Time in Hollywood movie poster

Quentin Tarantino once said he did not have an “Age of Innocence” in him like Martin Scorsese did, but after watching his 9th film “Once Upon a Time in… Hollywood,” I think he may be mistaken. Yes, it does have an R-rating like and features some truly brutal moments of violence where faces are literally pounded in, but this is largely a loving tribute to the Hollywood of the 1960’s and of the actors and filmmakers which inhabited it. Considering Tarantino’s attention to detail and his fetish for any kind of artifact from this era, I have no doubt he would have loved to have been a filmmaker back then if he could.

Tarantino and his longtime cinematographer Robert Richardson transport us back to the Hollywood of 1969 where we meet Rick Dalton (Leonardo DiCaprio), an actor and former star of a “Wanted Dead or Alive”-like television series called “Bounty Law.” After having a conversation with his agent Marvin Schwarzs (Al Pacino, more restrained than usual), he comes to see how washed up his career has become as he is reduced to doing guest spots as the villain on various television shows. The only person he can talk to about his troubles is his best friend and stunt double Cliff Booth (Brad Pitt) who is always around to have a drink with and drive him around town as Rick has had one DUI too many.

“Once Upon a Time in… Hollywood” is kind of like a Robert Altman film in that it doesn’t have a straightforward plot. Instead, it acts as a day in the life story as we watch Rick Dalton try to move on with his acting career as an important decision hangs over him, whether or not to move to Italy where he can star in low budget spaghetti westerns. When the story isn’t focused on him, it focuses on Cliff who seems content to live in a trailer out in Van Nuys with his dog who is a bit annoyed at him for serving him the kind of dog food which slides out of its steel can as if it were pure slime.

The only thing Rick seems fairly excited about these days is the fact Roman Polanski and Sharon Tate now live next door to him in the Hollywood Hills. But looming in the background is Charlie Manson and his cult of followers who look at first to be harmless hippies, but they later reveal themselves to be devoted to him in a most unhealthy way. Those of us who are familiar with history, and who have a deep respect for historical facts, know Sharon Tate and others were murdered by Manson’s followers, and that this shocking act all but ended the era of love and peace irreparably. But as I watched this film, I began to wonder if Tarantino would stay true to history, or if he would play around with it as he did in “Inglourious Basterds.” Whatever the case, the presence of Manson and his cult cast an ominous shadow over the proceedings, so we know the end of this story will not be the least bit pretty.

Watching “Once Upon a Time in Hollywood” reminded me of how much I love it when a filmmaker sucks us right into another time and place to where we don’t doubt the accuracy and attention to detail. Cameron Crowe did this with “Almost Famous,” Paul Thomas Anderson did wonders with the 70’s and 80’s in “Boogie Nights,” and Tarantino does the same as he brings us right back to 1969 with wonderful abandon. All the famous landmarks of Hollywood are here including the Cinerama Dome, Musso & Frank Grill, El Coyote Restaurant and the classic movie theaters located in Westwood. New Beverly Cinema can be seen from a distance as it is shown having a premiere for an adult film, and this was back when it was a porno theater.

This attention to detail also includes the kind of beer these characters drank, the type of books they read, television antennas and cars. This was back in a time when people smoked an endless number of cigarettes, drove and sat in cars without having to wear seatbelts, and when love and peace was in the air even as wars were being waged overseas.

It is great fun to see DiCaprio in this kind of role after seeing him be so serious in “The Revenant,” a movie which earned him the Oscar he should have received for “The Wolf of Wall Street.” He’s a gas here as he makes Rick Dalton into a study of desperation as he struggles to maintain what’s left of his image and berate himself while alone in his trailer. The scene he has with a child actress played by the wonderful Julia Butters is a special highlight as she shows him the kind of innocence and love of acting he once had before life, alcohol and a corrupted world view clouded his perception.

As I have said in the past, I love it when Pitt gets down and dirty in a role, and he does just this as Cliff Booth. In addition to being Rick’s stunt double, he is also a Vietnam veteran, and the violence he inflicts on others who wrong him can be described at the very least as punishing. Pitt also proves to be as funny as DiCaprio from scene to scene, and he has a classic scene opposite Mike Moh who is pitch perfect as Bruce Lee in which I saw something I never thought I would see or believe, someone getting the best of Bruce Lee.

But one performance I really need to single out here is Margot Robbie’s as Sharon Tate. While at the Cannes Film Festival, someone asked Tarantino why he didn’t give Robbie the same amount of dialogue he gave DiCaprio and Pitt. I don’t remember who asked this question, but whoever it was, they completely missed the point. It’s not always dialogue which aids a performance. Sometimes it’s just a look or an attitude, and Robbie gives off a look or two which is more than enough to capture the essence of Sharon Tate as well as her beguiling innocence.

Tate has long been relegated to history as one of the Manson family’s murder victims, but she deserves to be known for much more. As Robbie sits in a Westwood movie theater watching a movie Tate co-starred in, we are reminded of a talent which was taken away from this world far too soon, and it makes me want to check out everything Tate ever appeared in. Robie does a fantastic job of reminding us how fun it is to see ourselves, let alone our name, on the silver screen as others look on, unaware of who is sitting next to them in the audience, and she is as radiant as Tate was in her far too brief lifetime.

There are so many familiar actors worth singling out here, but some of them you may not see coming and I am not about to spoil any surprises this film has to offer. I will say it’s always a delight to see Kurt Russell in anything and everything, and he is great as a stunt coordinator who is not quick to warm up to Cliff. Margaret Qualley is a memorable presence as Pussycat, a member of the Manson family who does warm up to Cliff. Bruce Dern, in a role originally meant for the late Burt Reynolds, is fun to watch as George Spahn, a man whose ranch was used for many westerns and which later got used by Charlie Manson and his demented followers. And it is quite bittersweet to see the late Luke Perry as it is the last feature film he will ever appear in.

Seriously, as rough and tumble as “Once Upon a Time in Hollywood” gets, it really is a love letter to a Hollywood which time will never forget. As Tarantino nears the end of his long filmmaking career (or so he says), he continues to give us one enthralling motion picture experience after another. Even if his works threaten to be undone by self-indulgence, I am glad people are thoughtful enough to give him the freedom to make what he wants to make. If Tarantino ever had it in him to give us a fairy tale, this would be it. Even as its main characters threaten to be forever swallowed up by bitterness and cynicism, there is a light of innocence which helps lead them to the next stage in their lives. And if this film is any indication, this is time in Hollywood which Tarantino wishes lasted longer than it did.

Now, as with any Tarantino film, I have to go out and buy the soundtrack and then watch it again. And one other thing, I almost didn’t recognize Timothy Olyphant. Did you? Oh yeah, and sauerkraut will never be the same.

* * * * out of * * * *