Movie Reviews

Leave No Patient Behind

I have a friend who walked out of the screening of Sicko and pronounced it the best film of the year.  I won’t go that far, but I will say Michael Moore’s latest documentary is an eye-opener and a sad commentary on the American healthcare system as it exposes the a truth many in power don’t want you to realize: socialized medicine just may not be as evil as we have been led to believe.  Moore’s documentary will make you astonished and ashamed at just how willing insurance companies and the US Government, are to let their citizens die without proper medical coverage, which they could receive in a number of other countries, simply to make a fast buck.  Go see Sicko and then get organized people; this problem is not going away.

Sicko
4 Stars

I like Michael Moore the filmmaker and respect him as a political advocate, but man can he get on my nerves!  Though I have enjoyed may of Moore’s films the one complaint I always come away disappointed with how he forces himself into the story and tends to showoff for the camera with crazy publicity stunts he forces into each film.  Sicko is no exception to that rule, though for the first time in a long time Moore takes on an important issue without clear-cut “heroes” and “villains” on either side of the political landscape.  The United States, he shows us, is one where Americans are guaranteed the right to liberty and the pursuit of happiness, just not always the right to live.  Though he paints a dark view of the insurance industry, they aren’t the real villains in the film.  The villains, and the victims, it seems are both the American people who tolerate the broken healthcare system because for so long they’ve been sold a bill of goods that there’s nothing better available and have been made so fearful of the government they don’t dare demand something better.  Well, for those people especially, here’s a look at how healthcare systems are flourishing in other countries and the devastating effect of America’s poor healthcare on its citizens.

The documentary is straightforward as Moore establishes his premise of examining the healthcare industry and spends the film showcasing those who are left behind, either to lack of health insurance or to the insurance companies which cover them refusing coverage for necessary, and possibly life-saving, treatment for their medical conditions.

For me the most interesting parts of the film are the travels to other countries including Canada, England, France, and Cuba and examining how the healthcare systems in those countries work.

One of the biggest lies ever told in the history of this country is that socialized medicine could never work and that government run healthcare would be too expensive and less reliable that privatized healthcare.  Moore’s documentary proves this to be a bald-faced lie as he looks at the creation of the insurance industry and the reasoning behind it, and presents a refreshing realization that there may indeed be a better way.

One of the most intriguing moments is when Moore sits down for dinner with a group of Americans living and working in Paris.  Together they discuss the ease and high-level of medical care and wellness and sick prevention given to them by their companies.  It seems so implausible given the American system it will leave many Americans stunned.  Along with the sobering realization that Americans, due to its current broken system, are falling further and further behind in terms of health and life expectancy.  We’re getting sicker and dying as others are flourishing under systems deemed too expensive and impractical, and politicians still tout our healthcare system?  That takes some kind of nerve, or a great deal of stupidity.

Moore does stumble once or twice while trying to showboat by rounding up a large group of Americans in need of healthcare, all ignored by their own insurance companies for treatment they have paid premiums for, and renting boats to take them to Guantanamo Bay.  Why Guantanamo you ask?  Well, it seems the worst terrorists in the world get better healthcare than any average American citizen can ever hope to achieve, no matter the policy.  While it makes a good point, Moore, as he is often prone to do it these stunts, goes too far in showboating for the camera.  Thankfully it is one of the few moments where it occurs.  By comparison, taking a small group into a Cuban hospital to get the care they need is a remarkable and touching scene that shows both the level of competence and training in their doctors, but also the need and responsibility to help those who are sick which seems to be missing in many US hospitals.  Compared to the horror stories Moore relays from many thousands of Americans, including 9/11 workers denied benefits for years, it will leave you ashamed.

Let them eat asprin. Heh, heh, heh.

In a world where Republicans shout “No Child Left Behind” we are leaving millions of Americans, many who are children, at a terrible disadvantage by refusing them the proper medical treatment they need, and would receive in other countries.  Could socialized medicine work it this country?  Yes, though it would mean paying taxes which many are reluctant to do.  However, imagine the alternative of sending the money you currently spend on your health insurance directly to taxes, and then when you need medical care getting anything and everything you need free of charge.  No charge for the hospital stay.  No charge for aspirin or medication, no charge for test or surgery.  No charge for an emergency room visit or a ride in an ambulance.  No hassle of bargaining or threatening an insurance agency who refuses or balks to pay for treatment.  No hassle, just walk in, get the medical care you need and walk out.  So simple; it’s hard to believe we aren’t willing to give it a try.

Government run healthcare works in many developed countries around the world and their citizens are healthier and with longer life expectancies than current Americans.  The truth is that Americans have a guaranteed right not only to liberty and the pursuit of happiness, but also to life and until they are willing to fight for the right to adequate health resources that citizens from other countries are given simply by paying taxes rather than putting our faith into an insurance industry that wants to bleed us dry and kill us without ever putting up money for expensive procedures, we will be a sick country for a long time.

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Paprika

I’m not a big anime fan, but the idea behind this film of a machine that could invade your dreams brought the sci-fi geek ready and willing to give this film a a shot.  Paprika isn’t a great film, but it is an entertaining one with terrific animation, a strong story, and some intriguing ideas about dreams and reality.  For fans of the genre should be pleased, and it might even satisfy a few others, who like me, aren’t big fans of anime but are just looking for new and interesting stories told in a compelling way.

Paprika
3 & 1/2 Stars

“This is your brain on anime.”

Scientists have created a new experimental dream machine which allows therapists to enter a person’s dreams in an attempt to help them with their problems from inside their own mind.  When several of the machines are stolen, however, everyone who has ever used the machine becomes susceptible to its influence, whether asleep or awake, and the walls between reality and dreams break down.

Attempting to retreive the device and stop the criminal are a beautiful scientist (Megumi Hayashibara) who lives as ‘Paprika” a sort of guide and savior for those trying to understand and overcome their fears and doubts in their dreams, and a cop (Akio Otsuka) who is haunted by dreams of a recent case.

The film is a more straightforward mystery than many anime films, which is probably why I enjoyed more than most.  In the final act however as the walls between reality and dreams breakdown it marches proudly into crazywackofuntown as the higher ideas and discussions of the film are lost in unleashed chaos.

The ideas of invading one’s dreams and then having the ability to inflict others with the fevered dreams and nightmaes of strangers is a terrific hook for the film.  A dream machine might be a wonderful thing, but, as shown here, in the hands of the wrong person it could a terrible weapon.  The film succeeds as a sci-fi film and as mystery, and although I got a little bored when the story started to drag as the craziness took over in the final third of the film, it comes together in a satisfactory ending.  It is not a must-see, but for fans of something different and more thought-provoking than the usual summer fare you might want to invite Paprika into your dreams.

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One Disappointing Evening

Evening isn’t a disaster.  It contains several good performances from its talented cast and does a fair job of recreating the time period of the 1950’s.  I know that I’m not exactly the target audience for this film, which I assume is white women over the age of 60 with much more time and patience than I was willing to give, but the film wastes its talent, and the audience’s time, on a long, tedious, and drawn-out story that just left me bored.

Evening
2 Stars

The late great film critic Gene Siskel had a simple standard he held all films to when he judged whether or not they were worth seeing.  He would simply ask himself, “Is this film more or less interesting than watching the same people (the actors in the film) eat dinner?”  Well, according to that criteria, and others, Evening is a real letdown.

The untold story of Ann Grant (Claire Danes) is told to us through a series of flashbacks to the 1950’s and a fateful weekend which changed her life forever.  Balanced against the past events is the present where a much older Ann (Vanessa Redgrave) is dying and being cared for by her two daughters, the responsible married mother Constance (Natasha Richardson) and the spirited screw-up Nina (Toni Collette).  The pair seem to only agree on one thing, that they don’t agree.

The balance of the film is odd, as much of the middle of the film is one long flashback ignoring the life and death struggle of Ann, and the individual struggles of her daughters.  The whole set-up seems strange as we are allowed to view Ann’s past, but her daughters are not.  Ann doesn’t tell them the story of her life; she only dreams it in her drug induced state.  Also troubling is the drama unfolding in the present, which finally comes to fruition in the films closing moments, is much more interesting than any of the flashbacks.

This film feels like a book which was adapted by someone unwilling to accept the necessary changes in the format.  The story may work well in the original novel by Susan Minot, but comes off here unfocused and more than a tad boring on screen.

Even with these problems there are several nice performances, mostly by the women in the cast including Danes, Collette, Regrave, and Mamie GummerGlenn Close and Meryl Streep also stop by in what are little more than cameos with little to no impact on the main plot of the film.  One huge casting fault is to cast a pair of leading men in Patrick Wilson and Hugh Dancy who are about as exciting as watching paint dry.  No, paint drying would be a party to these guys.  Nor do either fit their roles particularily well, though the each give a respectable performance.  Dancy, as the madcap alcoholic, provides some cheap laughs but is impossible to take seriously, and nothing about Wilson’s character gives us any clue to why the women find him so charming or desirable.

A final note about the script which calls for Danes’ character to be a nightclub singer.  Danes’ has a nice enough voice, but hardly one that would generate the oohs and ahhs she receives when performing or would allow her to make a career out of doing so.  The flashbacks are meant to imply she was a good singer who never made it because of her life’s tragedies, but due to Danes limited singing ability it comes off quite differently.

Evening isn’t a bad film, and I have no doubt that there will be many who will look past its obvious flaws and enjoy the movie for the strong female performances and the overall style and look at the film.  I appreciate both, but no film this drab and boring, no matter how well dressed or performed, is one I can recommend.  Although I enjoyed moments in the film, mostly in the final twenty-five minutes, overall I was left with a sense of disappointment and regret that the film couldn’t find a way to engage me in any real way.

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The Best Movie Ever?

  • Title: Live Free or Die Hard
  • IMDB: link

live-free-or-die-hard-posterOkay, probably not.  In fact, it’s definitely not the best movie ever, but it’s a summer movie chock-full of over-the-top thrill moments perfect for the season.  It’s a stupid, stupid movie, but don’t let its mindlessness fool you – Die Hard kicks enough ass to make up for it.

It’s the 21st Century, and war ain’t what it used to be.  The armies only comprise of a few dozen hackers and a handful of guys carrying guns, and the good guys only have their information stolen – never their lives.  But Bruce Willis still knows how an stick his boot up a pooper or two, and movie-goers should be thankful for it.  After an often lackluster-ish Spider-Man 3 and the complete failure of Pirates of the Caribbean: At World’s End, summer has finally given us a good ol’ fashioned, buffet-of-explosions action flick that we can enjoy for just being a fun waste of time and thinking.

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The Story So Far

In 1988 Bruce Willis starred in a action flick which changed both his career and the formula for this genre.  Die Hard became an instant hit, and remains so today (ranked #155 on IMDB’s Top 250 Films of All-Time).  From that point other films “borrowed” the formula to give us Die Hard on a Plane (Passenger 57), Die Hard on a Boat (Under Siege) and Die Hard on a Train (Under Siege 2: Dark Territory), among countless others.  So with the dormant franchise that spawned so many imitators getting a new lease on life in Live Free and Die Hard out tomorrow (come back for our review) we thought we’d take a look back at the first three films in the series and give you a look at the story so far…

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Die Hard

NY Police Detective John McClane (Bruce Willis) travels to Los Angeles to reconnect with his estranged wife (Bonnie Bedelia).  At the company party terrorists arrive and take everyone hostage.  McClane manages to loose himself in the building, call for backup, and spends the night discovering the terrorists real agenda and killing them off one by one until the final showdown with the mastermind Hans Gruber (Alan Rickman).  Great supporting performances from William Atherton as a slimy reporter, Paul Gleason as a schmuck of a Deputy Police Chief, and Reginald VelJohnson as Sgt. Al Powell, the only friend McClaine has on the outside.  Memorable for many moments including McClane toying with the terrorists, the revelation the terrorist are in fact bank robbers, the ill-fated FBI team of Johnson (Robert Davi) and Johnson (Grand L. Bush) – no relation, a lesson why you should always wear shoes in public, and the famous catch-phrase “Yipe-Ki-Yay, motherfucker.”

 


Die Hard 2

Shaking of the ridiculous promotional title of “Die Harder,” and an overly convoluted conspiracy plot with unnecessary twists, the second film in the series finds McClane working in Los Angeles as a cop and on Christmas vacation with his wife’s family in Washington.  Waiting for his wife’s plaine to land McClaine uncovers a merecnary plot to take over the airport runways and force the release of a Latin American drug dealer (Franco Nero) whose plane is secheduled to soon arrive.  Though not as good as the first film, it does have built in suspense as McClane is forced to stop the terrorists, led by a former military hero (William Sadler), before his wife’s plane runs out of fuel and crashes into the earth.  Nice supporting performances from Dennis Franz as the pain-in-the-ass airpot cop and John Amos as the military commander brought in to deal with the situation.  And don’t forget the stun-gun scene between Atherton and Bedelia’s characters miles above the ground.


Die Hard: With a Vengeance

The third film, and the last entry into the franchise for a dozen years, finds the once great hero down on his luck, separated from his wife, and back in New York.  With the help of shop owner (Samuel L. Jackson) McClane is forced to play a deadly game of cat and mouse with a mad bomber who has placed a bomb inside a school somewhere in the city.  As McClane and Zeus are sent on mindless errand after errand, and the police scattered across the city looking for bombs in schools, the villain (Jeremy Irons) pulls off a heist of the Federal Gold Depository and laughs all the way home, except for the fact he can’t seem to kill McClane who keeps surviving his traps!  A good film with some intriguing plot twists and a nice return to the swerve bank robbery formula of the first film.  Memorable moments from the film include the revelation of the true identity of Simon and the reason behind his hatred of McClane, the many riddles Willis and Jackson have to solve and some fun buddy-cop moments between the pair, and a chase scene which involves garbage trucks.

 

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