REVIEW DATE: 03/19/06

Theatre Release: 12/06/02
DVD Release: 05/13/03

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POTENTIALLY, this futuristic science-fiction action-adventure film could have left a mark upon its cinematic genre comparable to the innovative creativity of the Matrix trilogy, but it simply does not capitalize upon all the opportunities that propel such an artistic endeavor into the stratosphere of timelessness and the realm of a classic masterpiece.  To be sure, Equilibrium is a wonderfully orchestrated movie that pleases and appeals to the whole person, from the intellect to the emotions to sight and sound.  And it is very close to being that piece of work one uses as a measuring stick against all other similar features, but something within the fabric of the story itself; most likely the lack of sympathy and empathy the audience has toward oppressed, abused, and tortured victims of the futuristic society.  In a world of emotionless captivity, it is the very need of emotional appeal to those who suffer under such a tyrannous regime one needs in order to perfect the story being told.  In the futuristic aftermath of World War III, society collaborated in order to rid the world of that which was most dangerous to the continued existence of the species, namely, that which makes humanity human, the nature and soul of man which create emotions such as hope, terror, fear, anger, wrath, vengeance, joy, happiness, ecstasy, jealousy, and the like.  Inducing the population with Prozium, the masses are emotionally castrated and controlled by being robbed of any emotion that might cause conflict and war, which threatens to destroy the world in which they live.  However, like in any cruel society, rebels abound and those who crush them rise to a totalitarian power.  The Gramaton Cleric, as led by the supreme Cleric, John Preston (Christian Bale), is the new agency enforcing the law of the land; arresting and executing any who are guilty of experience senses.  Preston, after learning his partner, Errol Patridge (Sean Bean, Flight Plan, North Country), soon explorers the subjective world of emotions and feeling by withdrawing himself from the daily injections of Prozium.  Becoming human once again, Preston battles a rising star in the Clerical world, Brandt (Taye Diggs), the leader of the society, Dupont (Angus Macfadyen), and the entire world order.  Along the way he learns to value life as he experiences the love of being a father and of a desire for a woman, Mary O'Brien (Emily Watson, Separate Lies, Corpse Bride).  What one will find most impressive about this film is the fluidity and originality of the use of firearms as a unique weaponry.  The movie stays away from Matrix-like, dream-world fighting capabilities and finds a creative reality within the realm of violence unlike any other film.

REVIEW DATE: 03/09/06

Theatre Release: 11/18/05
DVD Release: 03/07/06

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I am a stranger to the books, but I am a huge fan and follower of the cinematic adaptations of J.K. Rowling's wonderfully imaginative world of witches and magic.  And though I did not see this latest installment of Harry Potter in the theatre, I was anxiously anticipating a fun-filled night of witchcraft brought to life through the best and most advanced CGI special effects.  In that regard, I was not disappointed in the slightest.  It was filled with extra-worldly imagery and magical feats I would never imagine apart from being shown the way.  What is most compelling about this particular movie is the progression of maturity, both in the physical, emotional, and intellectual growth of the characters and the growth of the depth and darkness of the stories.  At the same time, such a movement in one direction means a lost of that original winsome charm the other movies possessed.  Harry Potter is no longer for children of all ages, but only for those who are able to handle true scares, honest suspense, frightening imagery & characters, violence, death, and genuine evil.  The Potter legacy has graduated from fun with the whole family to a truly dramatic work of art comprised of complex emotional antics.  And while part of me appreciates this film for such qualities, I miss the innocence of only flirting with real danger in the previous films.  This movie revolves around an international contest that has been waged for centuries, pitting three young future masters of wizardry against one another and themselves.  However, this time, Potter, who is three years too young to compete, is magically (and to everyone's surprise) chosen to compete as the fourth wizard in this contest of bravery, resourcefulness, magic, and fortitude.  These tests are not simple, rather, all of them contain the possibility of death upon failing their completion.  One quickly learns there is more than meets the eye with regard to the reason Potter is magically and surprisingly chosen to participate in the games.  As usual, Harry (Daniel Radcliffe), Hermione (Emma Watson), and Ron (Rupert Grint) define their characters with their portrayals of them, and the other students continue right along with them in character development.  And though I miss the original Dumbledore, Richard Harris, Michael Gambon is adequate.  Serius (Gary Oldman) and Lucius Malfoy (Jason Isaacs, The Patriot) return briefly.  Most amazing is the appearance and introduction to the physical Lord Voldermort (Ralph Fiennes, The English Patient, The Constant Gardener, Chumscrubber).  This movie, though not the best in the series, sure provides promise for the continuing epic.

REVIEW DATE: 02/28/06

Theatre Release: 06/21/02
DVD Release: 12/17/02

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COMBINING Steven Spielberg (Saving Private Ryan) and Tom Cruise (The Last Samurai, Mission: Impossible II) is, by default, a recipe for greatness and success.  In this science-fiction thriller, John Anderton (Tom Cruise) is the head of a pioneering law-enforcement tactical team that uses three people who can omnisciently and seemingly infallibly predict and foresee gruesome acts of murder and inform the police of the persons, events, and locations involved in order that the would-be murderers might be arrested for the future murder of their victims.  Set in the year 2054, Minority Report is an action-packed, fast-paced, mysterious, thrilling ride of who-done-it with innovative and ingenious ideas of what the future holds for mankind.  However, Anderton's career and freedom are endangered as an agent who suspects him of being incompetent and several wrong-doings, Danny Witwer (Colin Farrell), tries everything he can in order to stop Anderton and possibly the precognition humans.  Not only is this film a bewilderment for the senses, but the philosophical quandaries of foreordination, foreknowledge, and free will dance throughout the whole movie and capture the mind, fully engaging one's own beliefs about such issues.  Great supporting acting is provided in the characters of Lamar Burgess (Max von Sydow), Gideon (Tim Blake Nelson), Agatha (Samantha Morton), and, one of my favorites, Dr. Solomon Eddie (Peter Stormare).  Audiences across the board will appreciate this film.

REVIEW DATE: 02/27/06

Theatre Release: 11/05/03
DVD Release: 04/06/04

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THOUGH the final chapter of this epic is not as strong or imaginative (on a scale relative to the first two), The Matrix Resolutions is a must-see in order to have resolution.  (POSSIBLE SPOILER ALERT)  Some of the computer animated scenes are remarkable, such as the attack of the machines upon Zion, as well as  the final battle between The One (thesis), his other half (antithesis), and the merging of the two (synthesis) at the end of the film..  But, overall, it was lacking the crisp and fresh bite invoked by the first two.  It seemed as if some of the loose ends were simply and loosely tied together in order to keep the story from dragging out any further.  The themes of sacrifice, redemption, salvation, Hegelianism, and Christianity exuded until the end, but not as potently as in the first two movies.  And there was a lack of introduction of new characters in order to focus primarily upon Zion, the evolution of Agent Smith, and the final journey of Neo.  I can understand it is wiser to focus upon the main characters rather than developing new ones, especially in a highly anticipated finale, but that was one of the charms of the make-believe world to which we were introduced in the first two films.  Some of the ideas and portrayals of them lean toward the cheesy side, but it serves the purpose of "closure."  Interestingly enough this film somewhat allows for further storylines, but I highly doubt any will be produced in the near future.  If we see any additions to the Matrix Trilogy, I'm certain they will serve the legacy more along the lines as did the latest trio of Star Wars films (not necessitating any of the original actors).  It is still a remarkable conclusion to one of the finest and most creative series of movies ever recorded, but the die-hard fans will long for something more even without hope of ever seeing it.

REVIEW DATE: 02/27/06

Theatre Release: 05/15/03
DVD Release: 10/14/03

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THE sequel to The Matrix provides the second installment of one of the greatest line of trilogies ever put on film.  The Matrix Reloaded delves further into the conflict of the human and machine world, the captivity and bondage of mankind, the philosophical and mathematical intricacies of the two worlds, and the resolution sought by the rebellious humans whom the machines cannot seem to stop.  Neo (Keanu Reeves, Thumbsucker, The Matrix), after his transformation in the fist movie, is even more spectacular and powerful.  Yet, not only must he battle the regular agents, but now he faces foes only existent in fairytales (i.e. werewolves) and a mutated, evolved, super-powerful Agent Smith (Hugo Weaving).  The Oracle (Gloria Foster), Trinity (Carrie-Anne Moss, Chumscrubber), Morpheus (Laurence Fishburne), return to the big screen while others such as Seraph (Collin Chou), the Architect (Helmut Bakaitis), the Keymaker (Randall Duk Kim), Niobe (Jada Pinkett Smith), and the Merovingian (Lambert Wilson) add intrigue, twists, conflicts, and an in-depth story far beyond the imagination of any cinematic epic from this generation.  In order for the story to progress, so must have the technical abilities and special effects within the film.  And, once again, the Wachowski brothers paved a new road in the advancement of such computer manipulation and wire-acrobatics that are beyond any movie which preceded it.  One will love the advancement of the story and the light it shines on the first movie in this trilogy.

REVIEW DATE: 02/27/06

Theatre Release: 03/31/99
DVD Release: 09/21/99

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ONCE in every generation or so--since the birth of the cinema--there comes a ground-breaking, life-altering, industry-changing film that is sure to leave its mark for decades to come.  Some might argue we see such films when we watch Citizen Kane, The Wizard of Oz, Gone with the Wind, Psycho, Easy Rider, American Graffiti, The Exorcist, Jaws, or Star Wars.  What can be said of The Matrix is that this film single-handedly redefined and reconfigured the entire landscape of science-fiction and action/adventure movies when it hit the screen in 1999 with its philosophical subconscious, spiritual imagery, and pioneering special effects.  Mr. Anderson (Keanu Reeves, Thumbsucker), or Neo, is a computer programmer by day and a computer hacker by night.  Meeting fellow notorious hackers, Morpheus (Laurence Fishburne), Trinity (Carrie-Anne Moss), and the rest of the team manning the Nebuchadnezzar, revelation of a world only known to Neo through vague notions of eeriness and suspicion due to his dream-like existence he cannot quite explain comes to the forefront.  Morpheus leads Neo down the rabbit-hole in Wonderland in order to rescue Neo from the imprisonment of his mind and body.  Through Hegelian dialecticism (thesis, antithesis, and synthesis), biblical names, imagery, and themes, the Wachowski brothers' writing, directing, and producing created one of the most significant cinematic contributions to the world in this tale of rebellion, war, and redemption.  It is a magical world where reality is brutal and the dream world defies reality.  The Matrix is one of the most brilliant, imaginative, and ground-breaking films of all time.

REVIEW DATE: 12/29/05

Theatre Release: 12/09/05

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I must say this movie was remarkable.  The earlier reports I heard were quite misleading.  Adamson's adaptation of Lewis' The Lion, the Witch, and the Wardrobe was a faithful interpretation of the short novel.  There were some scenes I felt could have been adapted differently, and a few extra filler-ins that I do not recall from the book, but overall it is a must-see on the big-screen with surround sound.  The acting from the children was adequate, but I did not detest the film Edmund (Skandar Keynes) much as the book Edmund, which is a detriment to the film; the character development was a bit hurried in the movie, but believable just the same.  Lucy (Georgie Henley) absolutely stole the screen with her cute-factor.  The White Witch (Tilda Swinton, Thumbsucker) could not have been more fierce, more beautiful, more glorious, more looming, and more savage (throughout the whole film).  I was apprehensive regarding Liam Neesn's voice-over work of Aslan, but it was very satisfying.  The special effects were on par with The Lord of the Rings epics, though, of course, there were some weak moments when the CGI was noticeable.  I was happily surprised with the true-to-novel violence and battles within the film.  Though no blood and gore were shown, it was quite stimulating and exciting to watch.  Do not miss this movie on the big screen.