Murder on the Orient Express (1974, Sidney Lumet)

Rating: 8 out of 10 (above average)

Snow stops a train on which a murder has been committed, and the truth is coming out in this clever adaptation by Sidney Lumet of an Agatha Christie novel. Rich folk aboard the train love to dine, but do any of them secretly love to kill?

Lumet wanted this picture to have life, color and exceptional quality. The music, lighting and camerawork are creepily effective and the legitimately cramped atmosphere of the train is wonderful. He certainly achieved that by thinking up powerful scenes and casting big stars for this remarkable mystery, inspired by the tragic Lindbergh kidnapping case.

Lumet described his third choice for Hercule Poirot, the brilliant detective, Albert Finney, as being too young for the role, which would require excellent make-up effects to make work. The result? Lumet thought Finney pulled off a tour de force and I absolutely agree. Finney carries this captivating mystery, flying through so much dialogue with that Belgian accent, the gelled-up hair, looking dapper as he cunningly figures out "whodunit." Midway through his verbal showcase of solving the crime, Poirot takes a drink for his dry throat, a drink that Finney earned.

Everybody looks glamorous, and the picture ends in a poignant moral quandary. The picture never feels dull, due to the dialogue, plot revelations and a fabulous running joke as Finney's interrogations of the passengers ends with "[They] did it!" Finney knows that uncovering dark secrets is not that easy, but it is quite a thrill to watch everything unfold.

After watching "Source Code", thinking sometimes about "Terror Train" and playing "Resident Evil: Zero", I was in the mood for a good train movie. I am pleased to say this picture was far from disappointing.

Resident Evil: Apocalypse (2004)

That red dress was cramping my style.

Rating: 7 out of 10 (Enjoyable)

This sequel begins immediately after the events of the first movie. The zombie outbreak quickly reaches Raccoon City, a fitting start that echoes the video game, Resident Evil 2. Also borrowed is the plot (and monster) of Nemesis, the 3rd game in the franchise, with Jill Valentine (Sienna Guillory) joining the cast to give Alice (Milla Jovovich) some competition and some help.

I'm leaving town. I suggest you do the same.

Guillory is stunning as a S.T.A.R.S. operative, giving the best performance as she instructs others, "Try to shoot 'em in the head" after firing off a head-shot flurry on zombie perps at the police station and lights up a cigarette in her blue tube top, black skirt (that shows off her sexy legs) and holster. Jovovich bares less skin than in the first movie but her nipples blatantly show through her sheer top and undershirt, nearly excusing an underwater nude scene in the film that doesn't flatter her.

To make up for it, the film has topless zombie strippers.

AND THIS GUY.

This sequel is penned by Paul W.S. Anderson, who gave the director's chair to Alexander Witt this time. I find it amusing how Anderson did not follow the video game plot in the first movie, saying fans would not find it exciting due to familiar material, despite the fact that faithful adaptations are generally met with success, hence the love/hate relationship between fans and the first movie that strayed far from a spooky mystery in a mansion. Anderson meshes his own spin on the story well with the source material, leading to a frenetic action flick with good visuals, chilling atmosphere and solid fight choreography.

My name is Alice. And you're dead now.

Character depth is superficial at best, especially for Alice who undergoes the most change (even on a cellular level) but you can't expect more from this genre when characters exist for little more than to be killed off on a scene-by-scene basis. One plus is Carlos Olivera (Oded Fehr) as one of the  commandos deployed into Raccoon City by Umbrella to neutralize the zombie threat. He pulls off some cool martial arts and a neat helicopter rappel stunt when he isn't flirting with Alice, and Mike Epps is a civilian with custom-made guns that supplies nice comedic relief.

Bros before brains...

Alas, Apocalypse fails at playing to its strengths. The film zooms by at 98 minutes rather than dwelling on the spooky atmosphere, the panic, tension, and the horror that would accompany a real zombie outbreak. Instead, it opts for silly stunt scenes that defy physics and take viewers out of the movie. Regardless, it is my favorite of the series because it avoids the absurdity levels of the rest.

Harry Potter and the Shafting of Wormtail

One thing that bothers me about the Harry Potter movies is how characters aren't given "their moments" like they receive in the books, characters like Peter Pettigrew aka Wormtail (Timothy Spall).

Wormtail is a rat (literally), a murderer, a servant, a traitor, and a person--but he is not given his moment. He obeys Lord Voldemort out of fear, influence and loneliness. He has a dark side, a dastardly, selfish, sneaky (and squeaky) one that will curse people or flee as soon as the opportunity arises.

Dumbledore wisely tells Harry in Chamber of Secrets: "It is not our abilities that show what we truly are; it is our choices." Wormtail makes a choice in Deathly Hallows that epitomizes his character, a flawed man that regrets betraying his friends and does what he can to atone for it.

Certainly, with choice comes consequence. And the movie chooses to not show this significant moment, despite having a run-time of 146 minutes. After being a focal point in Prisoner of Azkaban, you might as well play "Where's Wormtail?" in the later films and spot him lurking in the shadows. Instead, Peter's arc is discarded. He is left hanging, and it's a shame. Perhaps this wasn't always the plan. A key element of his arc was introduced in the fourth film, Goblet of Fire, as Wormtail is gifted a shiny metal hand by his master for being loyal. But Peter, a man stained by deception, fails to recognize the hidden malice buried within, a sign of who his friends truly are, and were, before he betrayed them. Then he will make the choice that defines his sorry life of betrayal, caprice, consequence, contrition and cowardice.

The African Queen (1951, John Huston)

Real men drink tea, Mr. Allnut.

Rating: 7 out of 10 (Enjoyable)

Humphrey Bogart won an Academy Award for his role in this funny little romance with Katharine Hepburn.

The Great War has started and they must get the heck out of dodge before the Germans spot them, amid crocodiles, leeches and mosquitoes.

In a delightful, dialogue-friendly, humorous script by James Agee, John Huston and friends, Charlie & Rose grow fond of each other's company as they enthusiastically brave the elements over cups of tea. John Huston's insistence of shooting on location pays off in this charming affair about two average folks swept up by the war...

...Or stuck in a bed of reeds.

Remember when you couldn't get back in the boat?

Rose, played elegantly by Hepburn becomes an adrenaline junkie as they engage the rapids, and wants Mr. Allnut, who she later affectionately addresses as Charlie, to construct torpedoes to use against the enemy. She also wants privacy.

In a sweet scene, Rose is at first aghast when Charlie invades her makeshift fort during a rainstorm and kicks him out, before having a heart and letting him back in, so long as he stays on his side of the fort. In exchange, Rose wants his help getting back into the boat after taking a refreshing bath, so long as he doesn't take a peek at her.

1951 clearly wants its background screens and special effects back, and I found myself laughing off the dated moments of the film, squinting at the swarm of mosquitoes, and understanding why the stars couldn't actually risk traversing lakes during thunderstorms.

The picture borders on farce, but the budding romance is honest. Most of all, Bogart makes Mr. Allnut into a very likeable fellow. In a fantastic scene, he imitates a hippo and monkey, showing how man can feel right at home and live happy on the river. Hepburn shows a desire in Rose to embrace the wild side of life instead of having her nose stuck in the good book. These elements have been revisited later in Titanic and Pirates of the Caribbean films.

The Night Flier (1997)

You've been looking for me all your life.  

Rating: 7 out of 10 (Enjoyable)

Miguel Ferrer (RoboCop) did a good job in this role. Richard Dees is a schmuck tabloid reporter that has an ugly charm to him. He cusses up a storm and cares only about himself. Typical edgy Stephen King protagonist, am I right? Complete with cynical side characters.

Do not follow me anymore, or I will swallow you whole.  

The Night Flier is quite spooky as a movie monster with some nice costume design and makeup, aside from a single jump scare that has poor CGI and a tongue-out gag, dating this low-budget movie to 1997. The dialogue and tension in the bathroom reveal scene flows straight out of King's story (which I haven't read, but would love to) and is atmospherically creepy.

There is a strange attraction to this demon as its victims become entranced. An elderly housewife gets her hair done, knowing she'll be getting a visit from him later that night, as the Night Flier beats her husband to death before sweetly killing her next, a touch of the mystifying appeal of the Phantom in "The Phantom of the Opera."

You always wanted to know what Hell was like.

Best of all is the black-and-white "Hell" sequence as the "leads" that Dees has used up throughout his career, and how it damns him to a terrible predicament when the police show up as he's covered in blood and wielding an axe.

Never publish what you believe.

It could've been better with some quality camerawork and higher budget, but I think there is a certain appeal to this "B" (or even C) movie quality. I wouldn't have minded a longer duration, perhaps throw in some sex appeal or a tense love interest in the "Jimmy" girl (Julie Entwisle), or a few scenes about the sleazy tabloid office, or some of Dees' cases that made him the best.

It's a good tale about obsession and selfishness. Was it all in his mind ? Is Dees the Night Flier, or is there a bloodsucking demon out there?


Full Movie: http://www.youtube.com/watch?v=zGstHabOGo8
Director's Cut: http://www.youtube.com/watch?v=-1UQxcGDs3g
"Hell" sequence: http://www.youtube.com/watch?v=x5uyfbGVo_4

Hoffa (1992, Danny DeVito)

Rating: 7 out of 10 (enjoyable)

Jack Nicholson is especially convincing as Jimmy Hoffa and fuels every scene. Hoffa is not afraid to get his hands dirty or his head busted (or worse) for the sake of the union.

Chaos runs amok during awful riot scenes, and it looks great. I don't think there is a bad shot in this whole film, and the flashback transitions are done smoothly. The profanity, guns, and general behavior of Hoffa had me feeling like the second half was a mob flick, reminding me of how the opening scene of the movie carried a charismatic charm to it along those lines.

When Hoffa wins after a bitter strike with a company, I was happy for him. DeVito, who directed and stars in the film as an amalgamation of Hoffa's associates over the years, does a terrific job of showing why Hoffa was so loved by the workers he fought for. The camaraderie, though fictional, between Hoffa and DeVito, softens the film. I found myself smiling at their rise to power and the friendship they've made together.

Upon the film's periodical return to the ominous roadhouse that Hoffa last visited before vanishing without a trace, I found myself feeling excited as a new scene from the past began to play, wholly fascinated by the conflict as Hoffa tussled with Attorney General Robert Kennedy. I wasn't born yet to experience the events of the movie, but the drama and action were a pleasant distraction from my ignorance. This is a cozy trip back in time, despite the film not really explaining what is going on outside of the action. This could be seen as a problem, given the film's lengthy run-time.

The film offers a theory as to what happened to Hoffa, and it comes as a twist that I thought was wonderfully written, reminding me of the tragic end of Talk Radio, made by Oliver Stone, who could've also done well at the helm of this story, but I cannot fault DeVito's efforts. He couldn't help his friend (without a gun because he'd given it to Hoffa for his own protection) after Hoffa helped him.

Robin Hood (2010, Ridley Scott)

Rating: 6 out of 10 (worth watching)

I'm not familiar with the Robin Hood story, aside from knowing that he has a bow and robs people to give to the poor. This movie focuses on monarchies, king this and peasants that, which is neat. I enjoy looking at the costumes and battles.

But Cate Blanchett, who I liked in Elizabeth and The Curious Case of Benjamin Button, sadly reverts to her dull side that unintentionally worked as Galadriel among the dispassionate elves in The Lord of the Rings. She doesn't have that spark as an actress, so Lady Marion was less interesting than her blind father in-law.

Crowe was good in this, but he had a strange accent. What is Robin supposed to be? British, or something else? It seemed like Crowe was trying to sound British, but there was another voice under it that made it a bit odd for me. Unfortunately, Robin doesn't do much robbing in this movie which gives Crowe less to work with. His change from "looking out for myself" to "caring for others and never giving up" isn't as strong or exciting as it should have been.

Elsewhere, there are cruel characters that are just plain unlikeable. Yes, they are villains, but I didn't care for the selfish King John or Mark Strong in another one-dimensional villain role. I actually missed the climax of the final fight, so I assume his character died. Again, I wouldn't have cared. He couldn't even convincingly kill a blind man, and watching him torment innocent villagers made this overlong movie all the more tiresome.

Overall, this movie started out well and had potential to be a new twist on the classic story. But there is just not much going on and it really bogs things down. The romance between Blanchett's widow and Robin felt forced as there were simply not enough scenes to develop their relationship. I probably would not watch it again, despite liking the first half. It rises above Scott's dull Gladiator, but not by much.

Dead Men Don't Wear Plaid (1982)

Rating: 7 out of 10 (enjoyable)

I love those old detective stories, and this homage/spoof offers a perfect balance of intrigue and humor by using the classic elements that made the genre so appealing.

The music is delightful and several gags are hilarious, especially the subtle jokes, on-screen elements and sexual innuendo. There are the gorgeous yet dangerous women, the exciting narration, rainstorms, telephone conversations, racy dialogue, smoking, and a nice black-and-white filter.

Meanwhile, secrets abound and Steve Martin never falters in the lead role balancing deadpan humor in his narration whilst being the bold and vulnerable detective. I also loved the inclusion of clips from old movies with Bogart and whatnot. You also ought to know that I got shot in the arm while writing this.

A Look at "The Black Dahlia" (2006, Brian De Palma)

Fire, Ice, Murder...and Love for Sale

Rating: 8 out of 10 (Above Average)

I saw it back on HBO years ago and liked it for the most part. Upon closer inspection, the story is has a third act that feels rushed and rough around the edges. The murder is awful, but Mia Kirshner (The Crow: City of Angels, Exotica, 24) I've always found darkly gorgeous and she presents the tragic Elizabeth Short in a sympathetic light.

It is a good-looking picture with a neo-noir vibe, but is definitely a period piece of historical fiction. I generally enjoy Josh Hartnett & Aaron Eckhart and the whole cast is solid.

It has evocative qualities such as the old Hollywood era and distinct pieces like the scar on Scarlett Johansson (who is dreamy in this, would love to have her to come home to, as well as Hilary Swank in an unusual dark role), the smoking (in a world that is beginning to frown upon smoking), and the narration that speaks to me from a time period I was not part of.

It is not a great film, but it has the same surreal and atmospheric quality as the rest of De Palma's films I've seen (Carlito's Way, The Untouchables, Dressed to Kill, Mission: Impossible, Scarface) that I can enjoy as part of my movie collection.

Snow White & the Huntsman (2013)

 Rating: 7 out of 10 (Enjoyable)

With such a popular and used story, a new take on it really has to break out and do something special to avoid being another rehash. This version is satisfactory enough. It starts out well and has good moments every now and then, including creepy ones, cute ones, and a sad song that plays as the Dwarfs grieve, giving the film a "Lord of the Rings" vibe.

Ultimately, Snow White & the Huntsman doesn't escape being a rehash due to a weak third act that doesn't merit the dramatic premise. The huntsman's character was left hanging and given no real resolution, which is odd considering he is part of the title. Snow White became the new Queen, and the Huntsman...? Maybe I missed it?

I see why it underperformed. This was the extended version, by the way.