Showing posts with label tom cruise. Show all posts
Showing posts with label tom cruise. Show all posts

A Few Good Men (1992) Review

A Few Good Men  (1992)
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How much critical thought can the military allow its rank and file? Certainly most orders must be followed unquestioningly; otherwise ultimately the entire Armed Services would collapse. But where do you draw the line? Does it matter how well soldiers know not only their military but also their civic duties? Does it matter whether trials against members of the military are handled by way of court-martials, or before a country's ordinary courts?
I first saw "A Few Good Men" as an in-flight movie, and after the first couple of scenes I thought that for once they'd really picked the right kind of flick: A bit cliched (yet another idle, unengaged lawyer being dragged into vigorously pursuing a case against his will), but good actors, a good director and a promising storyline.
Then the movie cut from the introductory scenes in Washington, D.C. to Guantanamo Bay, Cuba, and Jack Nicholson (Colonel Nathan Jessup) inquired: "Who the f**k is PFC William T. Santiago?"
And suddenly I was all eyes and ears.
Director Rob Reiner and Nicholson's costars describe on the movie's DVD how from the first time Nicholson spoke this (his very first) line in rehearsal he had everybody's attention; and the overall bar for a good performance immediately rose to new heights. Based on my own reaction, I believe them sight unseen. Or actually, not really "unseen," as the result of Nicholson's influence is there for everybody to watch: Never mind that he doesn't actually have all that much screen time, his intensity as an actor and the personality of his character, Colonel Jessup, dominate this movie more than anything else; far beyond the now-famous final showdown with Tom Cruise's Lieutenant Kaffee. Nobody could have brought more power to the role of Jessup than Nicholson, no other actor made him a more complex figure, and nobody delivered his final monologue so as to force you to think about the issues he (and this film) addresses; and that despite all the movie's cliches: The reluctant lawyer turning out a courtroom genius (as lead counsel in a murder trial, barely a year out of law school and without *any* prior trial experience, no less), the son fighting to rid himself of a deceased superstar-father's overbearing shadow, and the "redneck" background of the victim's superior officer Lieutenant Kendrick (Kiefer Sutherland, who nevertheless milks the role for all it's worth).
Screenwriter Aaron Sorkin, who adapted his own play, reportedly based the story's premise - the attempted cover-up of a death resulting from an illegal pseudo-disciplinary action - on a real-life case that his sister, a lawyer, had come across in the JAG Corps. (Although even if I take his assertion at face value that assigning the matter to a junior lawyer without trial experience was part of the cover-up, I still don't believe the real case continued the way it does here. But be that as it may.) Worse, the victim is a marine serving at "Gitmo," the U.S. Naval Base at Guantanamo Bay, where *any* kind of tension assumes an entirely different dimension than in virtually any other location. In come Lt. Daniel Kaffee (Tom Cruise) and co-counsels Lt. Sam Weinberg (Kevin Pollack) and Lt.Cmdr. JoAnne Galloway (Demi Moore), assigned to defend the two marines held responsible for Santiago's death; L.Cpl. Harold Dawson (Wolfgang Bodison) and PFC Louden Downey (James Marshall), who claim to have acted on Kendrick's orders to subject Santiago to a "code red," an act of humiliating peer-punishment, after Santiago had gone outside the chain of command to rat on a fellow marine (none other than Dawson), attempting to obtain a transfer out of "Gitmo." But while Kendrick sternly denies having given any such order and prosecuting attorney Captain Ross (Kevin Bacon) is ready to have the defendants' entire company swear that Kendrick actually ordered them to leave Santiago alone, Kaffee and Co. believe their clients' story - which ultimately leads them to Jessup himself, as it is unthinkable that the event should have occurred without his knowledge or even specific direction.
By the time of this movie's production, Tom Cruise had made the part of the shallow youngster suddenly propelled into manhood one of his trademark characters (see, e.g., "The Color of Money," "Top Gun" and "Rain Man"); nevertheless, his considerable skill (mostly) elevates Kaffee's part above cardboard level. Demi Moore gives one of her strongest-ever performances as Commander Galloway, who would love to be lead counsel herself in accordance with her rank's entitlements, but overcomes her disappointment to push Kaffee to a top-notch performance instead. Kevin Pollack's, Kevin Bacon's and J.T. Walsh's (Jessup's deputy Lt.Col. Markinson's) performances are straight-laced enough to easily be overlooked, but they're fine throughout and absolutely crucial foils for Kaffee, Galloway and Jessup; and so, vis-a-vis Dawson, is James Marshall's shy, scared Downey, who is clearly in way over his head. The movie's greatest surprise, however, is Wolfgang Bodison, who, although otherwise involved with the production, had never acted before being drafted by Rob Reiner solely on the basis of his physical appearance, which matched Dawson's better than any established actor's; and who gives a stunning performance as the young Lance Corporal who will rather be convicted of murder than take an unhonorable plea bargain, yet comes to understand his actions' full complexity upon hearing the jury's verdict.
"Unit - corps - God - country" is the code of honor according to which, Dawson tells Kaffee, the marines at "Gitmo" live their lives; and Colonel Jessup declares that under his command orders are followed "or people die," and words like "honor," "code" and "loyalty" to him are the backbone of a life spent defending freedom. Proud words for sure: But for the "code red," but for the trespass over that invisible line between a legal and an immoral, illegal order they might well be justified. That line, however, exists, and is drawn even in a non-public court-martial. I'd like to believe that insofar at least, this movie gets it completely right.
Also recommended:
Basic
Rules of Engagement
The Firm
The Border
Guantanamo: 'Honor Bound to Defend Freedom'
The Caine Mutiny (Collector's Edition)

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The Outsiders: The Complete Novel (1983) Review

The Outsiders: The Complete Novel (1983)
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Coppola's original version was quite faithful to Hinton's book and this new edit is even more so. He has put back in 22 more minutes, most noticeably at the beginning and end of the movie. This new footage opens up the film more. We are introduced to the greasers much earlier on now that Coppola isn't reigned in by the dictates of test screenings. He is able to take the time to immerse the audience in this richly textured world shot in glorious widescreen by Stephen Burum who adopts a look that evokes another epic about troubled youth, Rebel Without A Cause (1955). The film is drenched in the golden hues of warm sunrises and sunsets like something right out of Gone with the Wind (1939).
Another significant change has Coppola replacing all of his father's beautiful, classical score in favour of period rock `n' roll music. In some cases, like the opening scene where Ponyboy is jumped by some Socs, it works and in others, like the whimsical surf music that plays over the scene where the Socs jump Johnny and Ponyboy, it feels awkward and out of place. Part of the film's original charm was its moments of `50s style melodrama, as epitomized by the film's orchestral soundtrack, and this diminished by the newly inserted period music that could be right out of an episode of Crime Story. Hinton's books are timeless with their universal themes and the original music reflected that. This new music, while accurate for its time period, contributes to a loss of some of the timeless feel.
On the first DVD is an audio commentary with director Francis Ford Coppola. He addresses the changes in the soundtrack by saying that after all these years he wanted to move away from a score that commented on what was happening to music that the characters would actually be listening to. The filmmaker delivers another top notch commentary full of smart observations and talks at length about why he prefers this cut.
There is an additional commentary featuring Diane Lane, Ralph Macchio, Patrick Swayze, C. Thomas Howell, Rob Lowe and Matt Dillon. Coppola invited all of them back to see this new cut of the film with Lowe and Dillon recorded separately. This is an entertaining track that fans will love. It's great to hear these actors talk about this movie after all these years.
The second disc kicks things off with a retrospective look at the movie, entitled, "Stay Gold: A Look Back at The Outsiders." In a nice touch, we see Lane, Macchio, Swayze and Howell being reunited with Coppola at his ranch where they recorded their commentary. This is an excellent look at the movie with all kinds of good, on set footage.
"S.E. Hinton on Location in Tulsa" features the publicity-shy author revisiting the locations that Coppola used in the movie, including the drive-in which still exists. She talks about how Coppola worked closely with her on the set to make sure that the script was true to her book.
"The Casting of The Outsiders" has casting director now producer Fred Roos take us through the casting process with audition footage from back in the day. People like Kate Capshaw and Adam Baldwin tried out for the film. Anthony Michael Hall even read for the role of Ponyboy!
A nice addition is "Readings," with some of the cast who came back for these featurettes reading their character descriptions from Hinton's novel.
"NBC News Today Segment: The Outsiders Started by School Petition." This is a new story done during the film's original release about how a class of California school kids wrote a letter to Coppola asking him to make Hinton's book into a movie.
There are six "Additional Scenes" with more footage from the opening that is even more faithful to the book but the rest of the scenes amount to extensions of existing ones.
Finally, there is a theatrical trailer.

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In 1983, Francis Ford Coppola's film of S.E. Hinton's novel struck a powerful chord with audiences, capturing the intense feelings of being caught between childhood and adulthood, and not belonging anywhere. Decades later, Coppola has revisited the film and reintegrated 22 minutes of character-enriching footage, including a new beginnning and ending more true to the book. A rousing new rock-n-roll soundtrack featuring six songs from Elvis Presley and other music greats make this new version of The Outsiders one of movie history's great rediscoveries.



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Knight and Day (Three-Disc Blu-ray/DVD Combo+ Digital Copy) (2010) Review

Knight and Day (Three-Disc Blu-ray/DVD Combo+ Digital Copy) (2010)
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Knight & Day is about a rogue agent (Tom Cruise) that hides a powerful battery in a normal woman named June's (Cameron Diaz) carry on case at an airport. He thought that would be it and he'd never see her again, but he finds himself having to protect her from the people he used to work with.
The movie is just fun and it may be silly that Cruise and Diaz talk casually during shoot-outs but that's one of the things I enjoyed about the movie. The movie isn't meant to be taken seriously, just sit back and enjoy all the entertaining non-sense. Out of a so far lackluster summer season, Knight & Day is one of the better summer movies. Don't listen to the idiots on At the Movies, this is a fun flick and I highly doubt the Killers is a better movie like they said!

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Big screen superstars Tom Cruise and Cameron Diaz come together in this fun, action-packed thrill-ride that will keep you on the edge of your seat. When a small-town girl named June (Diaz) meets a mysterious stranger, she thinks she's found the man of her dreams. But she soon discovers he's a fugitive super-spy, who thrusts her into a thrilling cat-and-mouse chase that spans the globe. As the bullets and sparks fly, June must decide if her "Knight" in shining armor is a dangerous traitor or the love of her life.

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The Last Samurai (Full Screen Edition) (2003) Review

The Last Samurai (Full Screen Edition) (2003)
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As a Japanese living in the United Staes, I can say totally, that this film is amazing. There're some critics says Tom Cruise's acting and so on, however, this film sucessfully depicts the history of Japan, and people's traditional lives and the end of samurai era.
This is a spectacular movie with sweeping sword actions and it is based on the true history events in japan, I've seen a lot of samurai movies(made in japan for japanese) but i can say this one is GREAT as the other movies, plus this is not usual hollywood movies that awfully depicts samurais and even Yakuzas and brush off the truth.
I can say, however, without Tom Cruise, this movie could have also been great as well. But i would guess that it is because of him, this movie gained more attention among people and so typical americans can get the idea of what samurai really is and what they really think.
so overall i gave this movie 5 stars. I plan to go watch it again.

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Epic Action Drama. Set in Japan during the 1870s, The Last Samurai tells the story of Capt. Nathan Algren (Tom Cruise), a respected American military officer hired by the Emperor of Japan to train the country's first army in the art of modern warfare. As the Emperor attempts to eradicate the ancient Imperial Samurai warriors in preparation for more Westernized and trade-friendly government policies, Algren finds himself unexpectedly impressed and influenced by his encounters with the Samurai, which places him at the center of a struggle between two eras and two worlds, with only his own sense of honor to guide him.DVD Features:Audio Commentary:Commentary by Edward ZwickDVD ROM FeaturesDeleted Scenes:The Beheading (Behind the Beheading) Algren and Katsumoto Documentaries:History vs. Hollywood: The Last Samurai {History Channel Documentary)Featurette:Tom Cruise: A Warrior's Journey Edward Zwick: Director's Video Journal {Behind-the-scenes production journal - narrated by Ed Zwick and Tom Cruise A World of Detail: Production Design with Lilly Kilvert Silk and Armor: Costume Design with Ngila Dickson Imperial Army Basic Training: From Soldier to Samurai: The Weapons Interviews:Making an Epic: A Conversation with Edward ZwickOther:Japan Premieres {Tokyo & Kyoto red carpet)


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