Looper Review

Rated R (Strong Violence, Language, Some Sexuality/Nudity and Drug Content)

Running Time: 1 Hour & 58 Minutes

Cast-

Joseph Gordon-Levitt-Joe Simmons

Bruce Willis-Old Joe Simmons

Emily Blunt-Sara

Pierce Gagnon-Cid

Jeff Daniels-Abe

Paul Dano-Seth

Noah Segan-Kid Blue

Piper Perabo-Suzie

Qing Xu-Old Joe's Wife

Tracie Thoms-Beatrix

Garret Dillahunt-Jesse

Frank Brennan-Old Seth

Directed by Rian Johnson

Note: There may be some unintentional spoilers contained within this review.

Joseph Gordon-Levitt and Bruce Willis battle for their own future in Rian Johnson's futuristic sci-fi thriller, "Looper," one of the best films of 2012.

If you had the power to go back in time and prevent a terrible event from happening, would you do it despite the consequences? It's the kind of heady question that is explored in Rian Johnson's "Looper," a twisty sci-fi mind bender in which a young man confronts his future self. Films involving time travel are a dime a dozen in Hollywood but without a skilled writer and/or director at the helm, the story can quickly devolve into a confusing mess of unanswered questions and gaping plot holes. Fortunately, Johnson rises to the challenge with aplomb and while "Looper" tackles some familiar themes, it remains a thought-provoking and compelling character study that transforms a tired sci-fi concept into something truly original, earning its place as one of 2012's best films. 

Opening in the middle of an empty field in Kansas, a young man named Joe Simmons (Joseph Gordon-Levitt) silently waits with his Blunderbuss in hand. A man wrapped in a hooded sack appears out of thin air a few feet away and without any hesitation, Joe kills him. He then loads the body onto the back of his beat-up truck and rips open the sack, revealing four bars of silver. Driving to an industrial furnace, Joe disposes of the body and explains via voiceover that time travel will be invented thirty years from now in 2074. Outlawed almost immediately, only the most powerful criminal organizations use it by sending their victims backward in time to the year 2044, where a specialized assassin known as a 'looper' eliminates them and gets rid of the body, which is impossible to do in the future due to advanced tagging techniques. After killing his target, Joe cashes in two of his silver bars in a heavily-fortified pawn shop and drives to Club Belle, encountering a fellow looper named Seth (Paul Dano) on the way. Unable to start his slat bike (a hover bike), Seth asks for a ride. During the drive to the club, it is revealed that Seth possesses rudimentary telekinetic abilities. Dubbed as 'TK,' these people were once believed to be the next step in human evolution but it ended up being nothing more than a cheap party trick. Joe and Seth arrive at the club to learn that one of their own has 'closed his loop,' which means a looper has unwittingly killed his future self and earned thirty years of 'retirement,' until that predetermined point where he will be sent back in time to be killed by his younger self. After spending the night getting 'dropped' (using eye droppers filled with drugs to get high), Joe returns to his job as a looper. Some time later, a frantic pounding outside his apartment window wakes him up from his sleep. It is Seth, who has 'let his loop run' and is now being chased by the mob's 'gat-men.' Joe reluctantly agrees to let him hide out at his apartment but is forced to give him up after a tense meeting with his boss, Abe (Jeff Daniels), who was sent from the future to manage the loopers and uses the gat-men as enforcers. A rumor begins to spread of a powerful crime boss in the future called 'The Rainmaker' ordering the closure of all loops. Joe is confronted by his older self (Bruce Willis), locking them onto a path that will have widespread consequences in both the present and the future. 

Despite its sci-fi premise, "Looper" follows in the same vein of Rian Johnson's previous work, where the director would take a familiar genre and inject new life into them. His 2005 directorial debut of "Brick" (also starring Joseph Gordon-Levitt) was a thriller that utilized elements of film noir but in a high school setting. Following the mixed reception of 2008's caper flick "The Brothers Bloom," Johnson has bounced back with his best film yet. Utilizing a what-if time travel scenario that involves changing the future through a single act (e.g. killing Hitler when he is just a child), Johnson's script explores the philosophical and moral implications that come with committing such an action. In the film, Bruce Willis' Joe escapes from the year 2074 to 2044 with the intention of killing the child who will grow up to be the Rainmaker but does the ends justify the means? What of the child himself? Is his fate set in stone or can he be changed through a positive influence? There are so many questions that "Looper" presents and not one of them is about an unresolved plot hole but about exposing our true selves through a seemingly impossible situation. Sure, the overall story won't come as a total surprise to sci-fi veterans yet Johnson manages to hold our interest with several twists and his attention to detail, taking a very 'indie' approach with his vision of the future. At first glance, 2044 feels remarkably similar (four-wheel vehicles remain the chief form of transportation) to 2012 but you soon notice some subtle differences. Hover bikes are now common place, cell phones are little glass touch-screens, drugs are now taken as eye drops, and crop dusters are programmable drones. It does contain shades of Ridley Scott's seminal "Blade Runner" with its downtrodden masses and omnipresent police but the effects used to bring the future to life never descend into the flashy mess that most Hollywood productions suffer from; it is simply a backdrop in which the film's ideas are presented. The trailers are somewhat misleading, promising an abundance of action when this is really a slow-burn feature that focuses on character drama and big ideas. However, there is one scene in which Old Joe is captured by Abe's gat-men and to escape, he guns them all down in a bloody showdown that had the crowd roaring with applause. 

Johnson has gathered an impressive cast and it's one of the reasons why "Looper" works so well. Delivering a nuanced performance and cementing his status as one of the most talented actors working today, Joseph Gordon-Levitt may not look quite like Bruce Willis in his younger days despite the make-up but he perfectly captures his mannerisms, including that trademark smirk and chuckle, with uncanny detail. He imbues Joe with a cold-blooded nature yet maintains a strong sense of morality, making him an anti-hero. The choice of giving up his friend to his boss is clearly a hard one and we see him later filled with regret. Bruce Willis is just as good, if not better, as Old Joe. His screen-time is limited but he taps into a sense of world-weariness and self-loathing that allows us to sympathize with him even as he commits some terrible acts of violence. Levitt and Willis share this amazing scene in a roadside diner, with both voicing their clear contempt for each other. Emily Blunt is suitably tough as a shotgun-toting farmer caring for her only son Cid, played by Pierce Gagnon, who weaves between moments of cute precociousness and a frightening rage. Paul Dano and Jeff Daniels have small roles that help fleshes out the world that Johnson has created. 

Premiering at this year's Toronto International Film Festival, "Looper" was released on September 28, 2012 to widespread critical acclaim with 93% on Rotten Tomatoes. Critics hailed it 'as thought-provoking as it is thrilling, [the film] delivers an uncommonly smart, bravely original blend of futuristic sci-fi and good old-fashioned action.' Unfortunately, the advance screening I attended had one too many noisy patrons, with some laughing at inappropriate moments or making comments that was neither funny nor clever. You always get the dregs of society at these free events sadly. A number one debut at the box office was never in the cards for "Looper" due to its competition from Sony's animated flick "Hotel Transylvania" but it should gross a solid $20 million and turn a healthy profit since its production budget was only $30 million. Sony wins either way as Johnson's film was distributed by their subsidiary TriStar Pictures. When I left the theater, I thought "Looper" was merely a 'great' film due its somewhat predictable story but what really elevates it is the approach. Johnson breathes new life into a well-worn subgenre, creating one of the most interesting films of the year, one that will likely be talked about for years to come.

Final Rating: 4.5 out of 5

Joe: We both know how this has to go down. I can't let you walk away from this diner alive. This is my life now. I earned it. You had yours already. So why don't you do what old men do and die?

Old Joe: Why don't you just take your little gun out from between your legs and do it, boy?

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Trouble with the Curve Review

Rated PG-13 (Language, Sexual References, Some Thematic Material and Smoking)

Running Time: 1 Hour & 51 Minutes

Cast-

Clint Eastwood-Gus Lobel

Amy Adams-Mickey Lobel

Justin Timberlake-Johnny Flanagan

John Goodman-Pete Klein

Matthew Lillard-Phillip Sanderson

Robert Patrick-Vince

Joe Massingill-Bo Gentry

Jay Galloway-Rigo Sanchez

Directed by Robert Lorenz

Clint Eastwood returns to acting after a four-year hiatus in Robert Lorenz's baseball drama, "Trouble with the Curve."

While I'm not privy to every detail when it comes to the politics of our country, I have to say that the current presidential election has been a major source of amusement but nothing can compare to Clint Eastwood's rambling ten-minute speech at this year's Republican National Convention, where the venerable actor began addressing an empty chair representing President Obama. The bizarrely ad-libbed speech immediately went viral online and led to the creation of a Twitter handle called 'Invisible Obama' where people began posting pictures of themselves pointing at empty chairs under the hashtag 'Eastwooding.' Honestly, even I don't know what he was talking about but the audience at the convention ate it up whenever a disparaging remark about Obama was made. Whatever his political beliefs may be, Eastwood remains an accomplished actor and director in my eyes but his latest film, "Trouble with the Curve," is not the comeback we were all hoping for. Last year saw the release of "Moneyball" from Columbia Pictures/Sony, a baseball drama that went on to earn widespread critical acclaim with 95% on Rotten Tomatoes and six nominations at the 84th Academy Awards, including Best Actor and Supporting Actor nods for Brad Pitt and Jonah Hill. Warner Brothers is clearly hoping to replicate that same success with "Trouble with the Curve," which marks Eastwood's first starring role after a four year hiatus. Although Eastwood, Amy Adams, and even Justin Timberlake give solid performances, "Trouble with the Curve" suffers from a formulaic and clichéd script that fails to differentiate itself from similar sports dramas. 

Gus Lobel (Clint Eastwood) is an aging baseball scout for the Atlanta Braves in Georgia who's in danger of losing his job as others in his profession increasingly rely on computer programs to keep track of player performance. His best friend and colleague Pete Klein (John Goodman) tries to defend Gus but an up-and-coming hotshot named Phillip Sanderson (Matthew Lillard) finds the veteran scout clinging to an obsolete system and calls for his removal. Gus learns that he is slowly losing his sight to glaucoma yet continues to insist that there isn't anything wrong with him. Letting him prove that he can still do his job, the Atlanta Braves send Gus to a small town in North Carolina to scout a promising young high school player named Bo Gentry (Joe Massingill). Worried about his friend's declining health, Pete pays a visit to Gus' estranged daughter Mickey (Amy Adams) and convinces her to accompany her father on the trip to make sure he is all right despite the fact that she is in the middle of an important case at the law firm she works for. If she succeeds, she'll be made partner. Arriving in North Carolina, Gus and Mickey run into another baseball scout named Johnny Flanagan (Justin Timberlake), a former pitcher that Gus had initially scouted for the Braves. Traded to the Boston Red Sox, Johnny's career came to an abrupt end when he tore his rotator cuff. Now he is a scout like Gus and aspires to be a sports broadcaster. Despite resenting her father for neglecting her all these years, Mickey decides to take this opportunity to try and mend her relationship with him but Gus continues to keep his daughter at arm's length. Meanwhile, Johnny takes a liking to Mickey and tries to win her over despite her unresolved family issues. 

Clint Eastwood may not be talking to an empty chair but his character does something equally as strange in the beginning of the film: whispering to his penis in an attempt to urinate due to an inflamed prostate. Performances notwithstanding, "Trouble with the Curve" features a thoroughly predictable story where its characters are little more than clichés, or worse, caricatures. Unlike "Moneyball," which focused on the Oakland Athletics' general manager fighting against an outdated system, Robert Lorenz's film instead outright rejects any new ideas in favor of maintaining the status quo, where scouts judge potential prospects by intuition alone rather than using statistics or computer algorithms. Having served as both producer and assistant director to a number of Clint Eastwood films, Lorenz is making his directorial debut along with rookie writer Randy Brown. While the script isn't terrible per se, it's just so generic and by-the-numbers. The drama never rings true because it reeks of artifice, as if Brown was just ticking boxes off a checklist. Used as a backdrop, audiences do not have to familiar with the intricacies of baseball to follow the film as it's primarily concerned with the estranged relationship between Gus and his daughter, Mickey (named after Mickey Mantle). Similar to Walt Kowalski from 2008's "Gran Torino" but without the edge, Gus' old man grouchiness leads to some repetitive scenes where he will get into an argument with his daughter, she gets frustrated and storms off, and minutes later she's back with him to do it all over again. That summarizes all the drama in a nutshell. Mickey at least has some measure depth thanks to the charming Amy Adams but her character arc offers no surprises. She's the standard emotionally-unavailable workaholic, an ambitious lawyer who wants to be made partner at her law firm but you just know that she's going to be forced to choose between her job and her family. That's not even a spoiler! The romance between her and Johnny hits the expected beats with the two bonding over their love of baseball and yes, the script even throws a wrench in their growing relationship to make way for the tacked on, completely unrealistic, 'happy ending.' 

Despite its all-star cast, "Trouble with the Curve" is no better than all the manufactured, generic tripe that appears on the Hallmark Channel. Clint Eastwood is a living Hollywood legend and while his character of Gus is nothing more than a giant walking caricature, he's still fun to watch as he grumbles about the 'Interweb' and refers to yoga as 'voodoo.' However, I just find it disappointing that he would cap off his 50-year acting career with this film as such material is really beneath him. I sincerely hope that he comes out of hiatus fast enough and star in a film that will remind audiences of what a great and talented actor he is, just to show the young ones how it's done! Amy Adams actually manages to partially rise above the clichéd material, giving an honest performance and trying hard to make Mickey come across as a real individual. Justin Timberlake's acting certainly pales in comparison to his co-stars but he makes up for it on sheer enthusiasm alone. The rest of the cast includes Matthew Lillard, who dials up Phillip's douchiness to cartoonish levels and John Goodman in a thankless role as Gus' staunchest supporter. 

"Trouble with the Curve" was released on September 21, 2012 to mixed reviews with 53% on Rotten Tomatoes. Critics agreed that it was 'predictable and somewhat dramatically underwhelming, [but the film] benefits from Clint Eastwood's grizzled charisma and his easy chemistry with a charming Amy Adams.' While it was expected to lead the box office despite three other competing films, "Trouble with the Curve" instead landed in third place with a middling $12.2 million debut. No, it was not that people were turned off by his shenanigans at the Republic National Convention but more likely to do with general audience disinterest. Plus, the baseball movie genre has never attracted huge crowds despite being called 'America's Favorite Pastime.' Still, this little setback is unlikely to hurt Eastwood as there are plenty of people in Hollywood ready and willing to work for and with him. "Trouble with the Curve" is neither a good film nor a bad one but its strict adherence to formula will elicit little more than a shrug from viewers. Those looking for simple escapism will enjoy it but for others, you'd best go see something else like "The Master." As for Clint Eastwood, he's proven himself as an actor and director but I'm still waiting for that career capping performance that will make my day.

Final Rating: 2.5 out of 5

"What are you fella's starin' at? I'm not a pole dancer!"

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House at the End of the Street Review

Rated PG-13 (Intense Sequences of Violence and Terror, Thematic Elements, Language, Some Teen Partying and Brief Drug Material)

Running Time: 1 Hour & 41 Minutes

Cast-

Jennifer Lawrence-Elissa Cassidy

Max Thieriot-Ryan Jacobson

Elisabeth Shue-Sarah Cassidy

Gil Bellows-Officer Weaver

Eva Link-Carrie Anne Jacobson

Allie MacDonald-Jillian

Nolan Gerard Funk-Tyler Reynolds

Krista Bridges-Mary Jacobson

John Healy-John Jacobson

Directed by Mark Tonderai

Here she is, the best part of the film.

Sometimes it's hard to review a film that elicits little more than a shrug. That film is "House at the End of the Street" starring Max Thieriot and…Jennifer Lawrence. Now I know what you're thinking: why would a critically acclaimed actress like Lawrence appear in such a bland and generic PG-13 horror film? Well, "House at the End of the Street" was actually completed over two years ago in 2010 and at the time, Lawrence was still an unknown, forced to pay her dues by accepting any role that came her way. The release of "Winter's Bone" that same year changed everything, as Lawrence's performance as seventeen-year-old Ree Dolly earned her a Best Actress nomination at the 83rd Academy Awards in 2011, the second-youngest actress to date to be nominated for that category. Since then, Lawrence's fame has risen significantly and she cemented her newfound celebrity status by accepting the role of Katniss Everdeen in the film adaptation of Suzanne Collins' best-selling novel, "The Hunger Games." Directed by Gary Ross and released back in March, "The Hunger Games" reaped a massive $685 million worldwide, turning Lawrence into the highest-grossing action heroine of all time. Relativity Media decided to capitalize on her current popularity by delaying the release of "House at the End of the Street" to late-September 2012. Shelved for the past two years, "House at the End of the Street" is a clichéd, mediocre teen horror flick that blatantly rips off of Alfred Hitchcock…and I bet those same teens have not even heard of him. Lawrence would be wise to omit this terrible film from her résumé when pursuing future roles. 

Moving away from Chicago in an attempt to seek a fresh start, recent divorcee Sarah Cassidy (Elisabeth Shue) and her teenage daughter Elissa (Jennifer Lawrence) settle into a peaceful, upscale neighborhood in rural Pennsylvania when they find the house of their dreams for a surprisingly low rental price. The reason for this is that four years ago, in the house next door, a young girl named Carrie-Ann (Eva Link) murdered her own parents in their beds and subsequently fled into the woods. Although her body was never found, it is believed that she drowned in a nearby dam. The family is survived by their son, Ryan Jacobson (Max Thieriot), who now resides in his deceased parent's house and goes to school at the local community college. The neighbors, angry about their lowered property values, seek to demolish the Jacobson house and sell it but Ryan refuses to leave despite the local's hostile reactions toward him. While walking home one night from a high school party, Elissa encounters Ryan, who offers her a ride home. She initially refuses but is forced to take his offer when a freak thunderstorm occurs. The two are immediately taken with each other and embark on a relationship despite Sarah's suspicions. However, Ryan isn't as innocent as he looks and harbors some dark secrets, ones that put Elissa in danger as she continues to grow closer and closer to him. 

As a horror film, "House at the End of the Street" is rather old-school, focusing on character drama and suspense but the problem is that director Mark Tonderai fails spectacularly on both accounts. Based on a story by Jonathan Mostow, the script from David Loucka (who was also responsible for the disastrous "Dream House" last year) is just one tired cliché after another. The so-called 'drama' almost put me to sleep due to the weakly-written characters, which can be simplified to the rebellious teenage daughter, her exasperated mother, and the emotionally distant boy-next-door. Ryan's secret is revealed fairly early, which is a big mistake from Tonderai as any suspense he could've wrung out of the film is now gone as it devolves into a series of eye-rolling red herrings and predictable twists. Scares are often telegraphed way in advance and consist of loud noises to jolt the audience. After all these years, I still cannot wrap my head around the fact that there are directors who still do not understand the difference between being afraid and being startled. There are also some unintentionally laugh-out-loud moments as certain characters behave in an asinine manner, investigating strange noises by stepping outside the safety of their home and vulnerably standing out in the open. "House at the End of the Street" liberally borrows many of its cues from Alfred Hitchcock's 1960 seminal classic "Psycho," and that includes ripping off from its story while dumbing it down for today's teenage audience. Tonderai tries to build tension by mixing a number of filmmaking techniques but the differing styles messily clash with each other. Simple dialogue scenes suffer from an errant camera and are choppily edited together. The climax devolves into a generic cat-and-mouse game that is blatantly stolen from "The Silence of the Lambs" but by then you just don't even care anymore. 

The acting is sub-par, with Jennifer Lawrence giving a sleepy performance as rebellious teenager Elissa. Of course, it's not entirely her fault as the blame really lies with the weak script from Loucka. Male teenagers will probably get a kick out of seeing her in a tank top, which is just sad if you're willing to pay $13.00 for something you can find online. Elisabeth Shue never looks at ease as Sarah and the mother-daughter relationship with Lawrence never feels authentic. Max Thieriot's role is the most difficult to pull off and not surprisingly, he proves that he's not up to the task as he spends much of the film with a strained, constipated expression, much like Robert Pattinson in "Twilight"! Finally, there's Gil Bellows as a police officer named Weaver, who must hold the record of fastest death from a stab wound. 

Released on September 21, 2012, "House at the End of the Street" has received negative reviews with 12% on Rotten Tomatoes. Critics called it 'poorly conceived, clumsily executed, and almost completely bereft of scares.' I attended an advance screening of the film last Thursday and the audience treated it like it was a comedy, which is never a good sign. Unfortunately, people still came out in droves, allowing it to turn a small profit with its $12.3 million weekend debut as the production budget was only a mere $7 million. Honestly, I'm absolutely flabbergasted but then again, I shouldn't really be surprised considering the tastes of today's teenagers. There really is nothing more that I can say except for the fact that Relativity Media should've just shelved this crap forever. "House at the End of the Street" isn't the worst film I've seen all year but it's just so lifeless. If you're not going to put in the effort into creating something remotely original, why should I even bother?

Final Rating: 2 out of 5

*None of the dialogue stands out so no quote is included.*

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Dredd 3D Review

Rated R (Strong Bloody Violence, Language, Drug Use and some Sexual Content)

Running Time: 1 Hour & 35 Minutes

Cast-

Karl Urban-Judge Joseph Dredd

Olivia Thirlby-Judge Cassandra Anderson

Lena Headey- Madeline Madrigal/Ma-Ma

Wood Harris-Kay

Warrick Grier-Caleb

Langley Kirkwood-Judge Lex

Edwin Perry-Judge Alvarez

Karl Thaning-Judge Chan

Michele Levin-Judge Kaplan

Domhnall Gleeson-Clan Techie

Rakie Ayola-Chief Judge

Directed by Pete Travis

"I am the law!" Karl Urban prepares to dispense some justice in "Dredd 3D."

When it comes to remakes, sometimes I wonder if Hollywood studio executives are actual people or really monkeys wearing expensive suits. For instance, take August's "Total Recall," a totally unnecessary remake that spectacularly failed to capture the nuance of the Arnold Schwarzenegger original or the Philip K. Dick short story that it's based on. Instead, director Len Wiseman opted to throw a deluge of meaningless CG effects in a transparent attempt to mask his film's shortcomings. I just do not understand why Hollywood insists on remaking good movies but not the bad ones. The recent release of "Dredd 3D" is one of those rare examples where a remake actually makes sense, as the original was downright terrible. Based on the U.K. 2000 AD comic book character created by John Wagner and Carlos Ezquerra in 1977, 1995's "Judge Dredd" starred Sylvester Stallone as the titular character but the film was a massive flop with critics (16% on Rotten Tomatoes) and audiences, grossing a paltry $34.7 million at the domestic box office, although it was modest success overseas with $78.8 million. Expressing his dislike for the original, Wagner remarked in a recent interview with Empire magazine that it 'had nothing to do with Judge Dredd, and Judge Dredd wasn't really Judge Dredd.' Even Stallone admitted that it was 'a real missed opportunity.' Although writer Alex Garland began working on the script as early as 2006, development on a new film adaptation wasn't formally announced until December 2008 as an independent project under British studio DNA Films. With director Pete Travis at the helm and Karl Urban as Dredd himself, filming finally commenced in Cape Town, South Africa in November 2010. Brutally violent yet grounded in realism, "Dredd 3D" may not break any new ground or offer anything that can be called original but it remains a tightly edited and highly entertaining piece of genre filmmaking. 

In the distant future, a devastating nuclear war has transformed much of the United States into an irradiated wasteland known as the Cursed Earth. The surviving human populations now reside in massive metropolis' called mega-cities, with the largest being Mega-City One, which covers much of the east coast of North America from Boston to Washington, D.C. and is home to over 800 million residents. Cesspools of crime, unemployment, and poverty, the only people who are able to contain the violence are the Judges, law enforcement officers granted with the powers of judge, jury, and executioner. After taking down a group of thugs in a high-speed chase, Judge Dredd (Karl Urban) is ordered to return to the Hall of Justice and meet with the Chief Judge (Rakie Ayola), who tasks him with evaluating a rookie named Cassandra Anderson (Olivia Thirlby), a psychic who failed her exam to become a full Judge. Meanwhile, a drug kingpin named Madeline Madrigal, nicknamed Ma-Ma (Lena Headey), who rules the 200-story slum tower block Peach Trees with an iron fist and controls the distribution of a powerful narcotic known as 'Slo-Mo' (which slows the user's perception of time to 1% of actual speed), decides to make an example of three small-time dealers by flaying and throwing their bodies from the top of the tower. Dredd and Anderson decide to investigate the triple homicide, busting up a drug den for information and arresting Kay (Wood Harris), one of Ma-Ma's key distributers of Slo-Mo. Anderson psychically learns that Kay was involved in the murders but just to be sure, Dredd decides to bring him to the Hall of Justice to be interrogated. When Ma-Ma learns of his capture, she has her henchman Caleb (Warrick Grier) seize control of the tower's security control room and seal the building using its blast shields under the pretense of doing a test on their security system. Trapped inside the tower, Dredd and Anderson must now battle against Ma-Ma's army of thugs and bring her to justice if they are to escape. 

I think it goes without saying that "Dredd 3D" is a massive improvement over the laughable Stallone version. Part of the reason that the film works so well lies in its simplicity. After a short narration from Dredd that provides just enough background information on the world he lives in, the plot immediately segues into the character dispensing violent justice in the streets of Mega-City One. It's not long before he and his protégé Anderson find themselves trapped inside a 200-story tower in the Peach Trees housing block, forcing them into a desperate battle for their lives in order to escape. It bears a passing resemblance to last year's Indonesian action film "The Raid: Redemption" (although this one was completed way before director Gareth Evans began production on his) and even "Attack the Block" but "Dredd 3D" avoids being a carbon copy by using its limited setting to emphasize the brutality that exists in this dystopian vision of the future. Writer Alex Garland chooses to avoid fleshing out Dredd, allowing his actions to speak for themselves in lieu of traditional character development and depicting him as a relentless force of nature. The interactions between him and rookie Anderson and the situation they find themselves in provide further insight into their respective personalities. There are some hints of Dredd hiding something behind his gruff exterior but he remains an enigma, as it should be. Anderson functions as an effective audience stand-in and Garland often uses her as a way to ease viewers who may not be familiar with the source material rather than blunt the action with awkward exposition. 

Compared to similar genre fare like the recent "Resident Evil Retribution," the action in "Dredd 3D" is low-key and relies on practical effects over CG. Grounded in realism despite the film taking place in the future, Dredd isn't presented as some superman that can engage in massive shootouts and expect to survive. He uses his environment to his advantage and rations his ammunition but even then, we are reminded that he is mortal and can be killed. The only action scene that approaches being over-the-top is when Ma-Ma's men uses three Gatling guns in a futile attempt to kill the two Judges, completely destroying an entire floor in the tower and reducing it to a pile of rubble. "Dredd 3D" is quite violent but never in a way that approaches parody. In terms of visuals, the scenes that stand out are the ones where various characters take a hit of Slo-Mo, where the slowing down of time creates these beautiful images that are both surreal and unnerving at the same time. The overall aesthetic was managed by British cinematographer Anthony Dod Mantle, who creates a stylish yet foreboding atmosphere within the tower. The design of the Judge's weapon also deserves a special mention. Dubbed the 'Lawgiver' and resembling a mini-submachine gun, the firearm has a variety of voice-activated modes such as armor-piercing rounds or explosives. Hell, I half-expected it to make Dredd a sandwich! While the film was shot in native 3D, the confined space in which "Dredd 3D" takes place in doesn't allow for much depth and the added effect only benefits the Slo-Mo scenes. Still, it's utilized in a creative and subtle enough manner to justify the ticket surcharge. 

As the titular character, Karl Urban is simply perfect in the role. Never removing his helmet once, Urban actually creates a rather nuanced performance, showing Dredd as harsh but never impractical and even displaying a dry sense of humor. His gruff delivery of 'I am the law' sends chills down your spine. The youthful Olivia Thirlby also handles herself pretty well, her character determined to use violence when necessary yet remains sympathetic to the plight of others, a trait that impresses even the stoic Dredd. Finally, there's Lena Headey as the violent drug kingpin Ma-Ma. With her facial scars and wild hair, Headey is a delight to watch even though her confrontation with Dredd proves to be underwhelming. 

"Dredd 3D" was released on September 21, 2012 to surprisingly positive reviews with 77% on Rotten Tomatoes. Praising the 'bombastic violence and impressive special effects,' critics concluded that it was 'a rare example of a remake that actually works.' Although the film received strong reviews and tons of online buzz during a screening at this year's San Diego Comic Con, it ended up bombing at the box office with a measly weekend debut of $6.3 million. The problem lies with the fact that mainstream audiences do not read comics and are not as invested compared to so-called 'fanboys.' Strangely, people seemed to be more interested in the generic PG-13 horror flick "House at the End of the Street" rather than a legitimately good film. Granted, the production budget was only an estimated $45 million so it may yet turn a modest profit overseas, enough to warrant a sequel. "Dredd 3D" does not reinvent the wheel but the direction, the tone, and the violence all combine to create one highly entertaining action film.

Final Rating: 4 out of 5

"In case you have forgotten, this block operates under the same rules as the rest of the city. Ma-Ma is not the law...I am the law."

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Resident Evil: Retribution Review

Rated R (Sequences of Strong Violence Throughout)

Running Time: 1 Hour & 36 Minutes

Cast-

Milla Jovovich-Alice

Sienna Guillory-Jill Valentine

Michelle Rodriguez-Rain Ocampo

Li Bing-Bing-Ada Wong

Johann Urb-Leon S. Kennedy

Boris Kodjoe-Luther West

Kevin Durand-Barry Burton

Oded Fehr-Carlos Olivera

Colin Salmon-James 'One' Shade

Shawn Roberts-Albert Wesker

Aryana Engineer-Becky

Megan Charpentier/Ave Merson-O'Brian-The Red Queen

Ali Larter-Claire Redfield (archive footage only)

Wentworth Miller-Chris Redfield (archive footage only)

Directed by Paul W.S. Anderson

Milla Jovovich suits up again to kick some zombie butt for "Resident Evil Retribution," the fifth installment in this never-ending series.

Like clockwork, Activision releases a new Call of Duty video game annually every November with only the smallest of changes between new installments; only the time period in which the game takes place in changes. Despite the increasing disillusionment among gamers with the franchise, Call of Duty continues to sell millions of copies around the world and it's due to the fact that there are many people out there who only play this one game year after year. Just to put this in perspective, last year's Call of Duty Modern Warfare 3 sold over 6.5 million copies across all platforms in the first 24 hours in the U.S. and U.K. alone, grossing a massive $400 million and making it the biggest entertainment launch of all time. Call of Duty is a series that will never end so long as there is money to be made. Similarly, the "Resident Evil" film franchise, based upon the video games owned and published by Capcom, continues to soldier on like the Energizer Bunny with the latest installment "Resident Evil Retribution." The series has always managed to turn a profit at the box office for Screen Gems/Sony Pictures thanks to the modest production budgets, with 2010's "Resident Evil Afterlife" earning $296 million worldwide. The previous four films have grossed $754.5 million combined. Frankly, I'm amazed that "Resident Evil" managed to even last this long and while it has always provided some cheap thrills thanks to the action scenes, the series is now way past its expiration date. Lacking any coherent plot or even worthwhile characters, "Resident Evil Retribution" offers more of the same and not much else. Those who are already fans of the films will be satisfied but for everyone else, this is just a lazy, cynical cash-grab. 

Picking up immediately after the events of "Afterlife," Alice (Milla Jovovich), Claire and Chris Redfield (Ali Larter and Wentworth Miller) are under attack by soldiers employed by the unscrupulous Umbrella Corporation, led by a mind-controlled Jill Valentine (Sienna Guillory). They storm the freighter Arcadia and during the ensuing battle, Alice is knocked unconscious into the ocean while Claire and Chris are captured. Waking up deep inside an Umbrella facility, Alice is interrogated by Jill but a sudden power failure allows her to escape. Alice finds herself in downtown Tokyo and is forced to battle with a horde of zombies. She makes her way to the facility's control room and encounters Ada Wong (Li Bing-Bing), an assassin for Umbrella who now works for Albert Wesker (Shawn Roberts). Wesker explains to Alice that she is currently trapped in an underwater facility in what was formerly Russia where Umbrella would run simulations for prospective customers who were curious in how people would react to a particular outbreak. However, the facility is now under the control of the Red Queen (voice of Ave Merson-O'Brian), an advanced artificial intelligence now hell-bent on destroying the remnants of humanity. Despite his sinister intentions, Wesker wants to help Alice escape and has a sent a small strike team, led by Leon S. Kennedy (Johann Urb), to assist her. To prevent their escape, the Red Queen sends Jill and a group of Umbrella soldiers consisting of clones of Carlos Olivera (Oded Fehr), Rain Ocampo (Michelle Rodriguez), and James 'One' Shade (Colin Salmon) to recapture Alice: dead or alive. 

Written and directed by Paul W.S. Anderson (not Paul Thomas Anderson!), "Resident Evil Retribution" has absolutely zero plot and is basically a string of repetitive action scenes. The whole affair comes off as labored because the film spends an inordinate amount of time recounting all the events of the previous installments while setting this one up, resulting in clunky scenes of exposition that buckle under the weight of all that back-story. Obvious logic gaps are peppered throughout the film, such as the fact that there's a combat suit located within a drawer in Alice's cell or the inexplicable two hour time limit before Umbrella's reinforcements arrive. You would think such an important facility would have a standing army or something but Umbrella's security measures have always been confusingly lax. Anderson even rips off of "Aliens" by throwing a deaf little girl (Aryana Engineer) who believes Alice is her mother but its inclusion just feels ham-fisted and pointless because there is no attempt at developing any of the characters. 

Structured like the video games it's based on, "Retribution" puts Alice in a massive underwater Umbrella facility that is able to produce lifelike simulations of New York City, Moscow, and Tokyo, all populated by clones. In order to escape, Alice must advance through each simulation like levels in a video game, complete with obligatory boss battles. However, Anderson just recycles the same old monsters from the previous installments. Instead of one Executioner, now there are two but both are beaten just as easily, along with an Uber-Licker that makes an appearance late in the film. The set-pieces also feel rather constrained despite its attempts to aim for a bigger scope. To appease the fans, Anderson randomly throws in a couple of characters from the video games like Ada Wong and Leon S. Kennedy but they're just dropped into the plot with little to no introduction. The action is non-stop and while Milla Jovovich looks good in her form-fitting suit, these scenes ultimately grow tedious because it's the same damn thing we've been watching for the past ten years! The only element that I can praise without reservation is the score from Tomandandy, which is reminiscent of Daft Punk's work on "Tron Legacy." "Retribution" was shot in native 3D using the cheaper Red Epic camera instead of the Sony F35 like in "Afterlife" but I opted for the 2D version. I could still tell that the 3D is nothing more than a gimmick as all manners of blood and projectiles fly out of the screen. The entire film also exhibits a cheaper vibe despite having a similar production budget as the previous one. 

Besides looking good during the numerous shootouts, none of the cast is really required to actually act. Li Bing-Bing's Ada Wong is a victim of some poor voice dubbing but Milla Jovovich continues to be a bad-ass and prove she has good genes thanks to her youthful appearance. Her 'performance' leaves much to be desired yet she's still the best out of the bunch as everyone else is reduced to shouting all their dialogue. Since Anderson can't be bothered to include at least some character development, the cast is left with very little to work with. 

Opening in 2D, 3D, and IMAX 3D, "Resident Evil Retribution" was released on September 14, 2012 to largely negative reviews (to no one's surprise) with 27% on Rotten Tomatoes. Critics once again wrote if off as 'another predictable entry in the Resident Evil franchise that seems to get more cynical and lazy with each film.' Due to the slow box office, "Retribution" underwhelmed during opening weekend with only $21.05 million, down from the $26.7 million that "Afterlife" earned two years ago. It also plummeted by 77% during its second week, which means the film will barely top 2002 original but sell far fewer tickets. Audience attendance was also rather sparse during the afternoon showing I attended. If you're in the mood for some mindless action, "Resident Evil Retribution" will scratch that itch but this is a series that should've been put out to pasture long ago…but it won't so I'll see you all back here in two years for "Resident Evil 6."

Final Rating: 2 out of 5

"Everyone I've ever known, everything I've ever done, it's being used against me and now Umbrella can manipulate the world. And only I can stop them. My name is Alice and retribution is here."

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End of Watch Review

Rated R (Strong Violence, Some Disturbing Images, Pervasive Language including Sexual References, and Some Drug Use)

Running Time: 1 Hour & 49 Minutes

Cast-

Jake Gyllenhaal-Police Officer II Brian Taylor

Michael Peña-Police Officer II Miguel 'Z' Zavala

Anna Kendrick-Janet

Natalie Martinez-Gabby Zavala

America Ferrera-Police Officer Orozco

Cody Horn-Police Officer Davis

David Harbour-Police Officer Van Hauser

Frank Grillo-Sarge

Maurice Compte-Big Evil

Yahira 'Flakiss' Garcia-La La

Richard Cabral-Demon

Everton Lawrence-Man Friend

Directed by David Ayer

Jake Gyllenhaal and Michael Peña are two regular LAPD cops who find themselves in the crosshairs of a Mexican drug cartel in David Ayer's latest film, "End of Watch."

Despite what you see in the movies, most police officers go through their entire law-enforcement careers without ever firing their weapons. If you've ever watched an episode of "COPS," you'll notice that most conflicts are resolved through negotiation; there might be a physical struggle or a chase but the use of firearms is considered to be a last resort. Some people may find the average police officer as an annoyance who only cares about meeting his or her traffic ticket quota but it's immediately clear that writer/director David Ayer has a tremendous amount of respect for the men and women in blue who risk their lives every day, all for a lousy paycheck. Born in Champaign, Illinois and kicked out of his house by his parents when he was only a teenager, Ayer's experiences living in South Central Los Angeles have become the inspiration for many of his films. Ironically, his writing debut was Jonathan Mostow's submarine thriller "U-571" but Ayer is best known for his work on 2001's "Training Day." Directed by Antoine Fuqua, the film received largely positive reviews but Denzel Washington's performance as a corrupt LAPD narcotics officer (a departure from his usual roles) earned the actor an Academy Award in 2002. As a director, Ayer has drawn a mixed reception but that's about to change with his latest film, "End of Watch," his best work since "Training Day" eleven years ago. In an attempt to differentiate itself from similar police dramas, Ayer utilizes a found-footage style that is currently all the rage in the horror genre but it ultimately proves to be an unnecessary gimmick. Viscerally entertaining and boasting excellent performances from Jake Gyllenhaal and Michael Peña, "End of Watch" is a surprisingly poignant tribute to not just the LAPD but to every law-enforcement officer working the beat, serving as a reminder that these people are just normal folks who put their lives on the line day after day to protect their fellow man. 

Police officer II Brian Taylor (Jake Gyllenhaal) and his partner Miguel 'Z' Zavala (Michael Peña) of the LAPD patrol the mean streets of South Central Los Angeles, maintaining law and order on their daily rounds while each tries to lead some semblance of a normal life. A former United States Marine, Taylor is currently studying pre-law and decides to take filmmaking as part of his art elective. Carrying a hand-held HD camera and also pining mini-cameras on his and Zavala's uniforms, Taylor goes about documenting his professional life as a cop. Taking place over the course of several months, the two officers spend their days swapping stories about their loved ones and generally poking fun at each other while thwarting the efforts of every two-bit thug and gangbanger that they come across. Back at home, Zavala is expecting a baby with his wife, Gabby (Natalie Martinez), whom he married right after high school. At the same time, Taylor strikes up a relationship with Janet (Anna Kendrick), with the two growing close despite the constant danger his job entails. Meanwhile, South Central Los Angeles is currently gripped in a turf war between the Latino and African American populations. One of these 'curbside gangs' led by a man nicknamed 'Big Evil' (Maurice Compte) comes into the employ of a major Mexican drug cartel and begins to set their sights on Taylor and Zavala when they find the two officers interfering with their plans. 

"End of Watch" is one of those films that took me completely by surprise when I initially saw it at an advance screening back in May. With the exception of "U-571," writer/director David Ayer has built his career by concentrating his stories on the LAPD with films like 2002's "Dark Blue" (a dramatization of the 1992 Los Angeles Riots) and 2008's "Street Kings" but his latest work explores a new perspective, focusing on two police officers trying their best to do some good in a crime-ridden area of South Central Los Angeles. The plot is a little on the thin side due to its episodic structure so what Ayer emphasizes is the brotherly bond that Taylor and Zavala share, bringing to the audience's attention on what motivates these two men to do what they do. Their relationship is by far the strongest element in the film and many of the best (and funniest) scenes simply involve Taylor and Zavala driving around in their squad car joking around and being all-around immature jerks. That sense of camaraderie is captured so well that the dialogue had to have been improvised. These two characters have a lot of heart despite their reckless behavior at times, as the film also depicts how their respective families and loved ones keep them grounded given the daily violence and harsh choices that they face. During Taylor and Janet's wedding, Zavala tells every officer in the room that they are also their family now and must protect each other. Taylor and Zavala may carry a gun and a badge but underneath their uniform are still two ordinary men; they aren't perfect and may sometimes make morally questionable decisions but their decency is never put into question. 

While plot elements are sprinkled throughout the film, it doesn't come into play until the last twenty or so minutes. Ayer instead creates an 'a day in the life' vibe by following these two officers answering calls, filing paperwork, and handling disputes. Each situation brings its own set of challenges and "End of Watch" continuously ups the ante by exploring some pretty dark territory. At one point, Taylor and Zavala come across a house full of human trafficking victims but are unable to really help since it's not their jurisdiction. Amidst all the violence, Ayer still manages to include some simple acts of heroism such as Zavala rushing into a burning house to rescue the children trapped inside without any hesitation, with Taylor not far behind. The found-footage style has exclusively remained as a horror subgenre but has begun to expand into others, such as Josh Trank's "Chronicle," released back in March. Unfortunately, Ayer never utilizes it in a consistent manner and it ultimately becomes a needless distraction. It does bring a sense of urgency, especially during the last twenty minutes as Taylor and Zavala are trapped in an apartment complex by Big Evil and his gang, forcing them to shoot their way out to survive. This is an intense action set-piece as the camera chaotically shakes and switches to a first-person view like a video game. However, Ayer randomly throws in establishing shots and there are some scenes where you're left scratching your head as to who exactly is filming all this. Also, I find it hard to believe that everyone just happens to have a hand-held HD camera and is documenting themselves all at the same time. 

Jake Gyllenhaal and Michael Peña are both underrated actors but they put in some of their best work here. With their quick-witted banter and natural chemistry, not once did it ever occur to me that they were playing police officers because they embody their respective characters completely. You might even mistake them for real cops given how convincing they are when handling all the technical police jargon. There are a number of secondary characters and again, I am amazed at how the cast created such a sense of familiarity with each other. Looking at the way Peña and Natalie Martinez interact, it's as if they've known each for their whole lives. Bringing a nice sense of levity is Anna Kendrick and I have to say, she is just so irresistibly adorable. America Ferrera and Cody Horn also play two LAPD officers but they largely exist peripherally. The gangsters themselves aren't played by any recognizable actors but they sadly fall into a tired stereotype, their dialogue often filled with the words 'sh*t' and 'fu*k.' This film has to hold some kind of world record for F-bombs per second! 

Released on September 21, 2012, "End of Watch" has received largely positive reviews with 85% on Rotten Tomatoes. Critics hailed that its 'energy, devotion to characters, and charismatic performances [allows the film to] overcome the familiar pitfalls of both its genre and its handheld format to present a fresh and exciting thriller.' I actually saw this film way back in May, ahead of its world premiere at this year's Toronto International Film Festival but I decided to see it again this past Tuesday to refresh my memory for this review. The screening didn't exactly draw a large crowd but I could tell that the audience was deeply engrossed by the film and I swore I heard a couple of sniffles. As for its box office prospects, it faces some tough competition from three other films so it'll probably settle for fourth place with $10 to $12 million, unless "Dredd 3D" flops hard despite its equally positive reviews. "End of Watch" is easily David Ayer's best work since "Training Day" and while the plot is simplistic to a fault, the film manages to make up for it with an emotional complexity that's absent from most police dramas. I have to say that I have earned a newfound respect for the law-enforcement officers that keep our streets safe from criminals.

Final Rating: 4 out of 5

"I am fate with a badge and a gun, protecting the prey from the predators, the good from the bad. We are the police."

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There Will Be Blood Blu-Ray Review

Rated R (Some Violence)

Running Time: 2 Hours & 38 Minutes

Cast-

Daniel Day-Lewis-Daniel Plainview

Paul Dano-Paul Sunday/Eli Sunday

Dillon Freasier-H.W. Plainview

Ciarán Hinds-Fletcher Hamilton

Kevin J. O'Connor-Henry

David Willis-Abel Sunday

Sydney McCallister-Mary Sunday

Hans Howes-William Bandy

David Warshofsky-H.M. Tilford

Directed by Paul Thomas Anderson

Daniel Day-Lewis delivers another powerhouse performance in Paul Thomas Anderson's "There Will Be Blood."

What is capitalism? According to HowStuffWorks.com, the 'essence of capitalism is economic freedom.' Stemming from eighteenth century European Enlightenment beliefs that 'each human being is individually unique and valuable,' capitalism characterized individuals as not only 'free to pursue self-interested goals [but that] they should pursue self-interested goals.' Frequently referred to as the father of modern economics and capitalism, Scottish philosopher Adam Smith suggested two fundamental concepts in his 1776 magnum opus An Inquiry into the Nature and Causes of the Wealth of Nations. The first was that producers, guided by their own self-interests, benefitted society as a whole by creating exactly what people wanted while the second stated that the economy had a 'natural design' and should be left to its own devices, completely separate from politics, religion, and all other pursuits. Guided by an 'invisible hand,' the economy will regulate itself and work as it should as long as there were no disturbances to this process. Ideally, this would entail social wealth for everyone but this was far from the reality. True capitalism ended during the Industrial Revolution in the 1800's as the rise of social protest forced the United States government to intervene. What we call capitalism now is actually a mixed economy that includes some elements of socialism. The perceived incompatibility between 'pure' capitalism and religion is brought to the forefront in director Paul Thomas Anderson's 2007 film, "There Will Be Blood," a loose adaptation of the 1927 novel Oil! by famous muckraker Upton Sinclair. Backed up by a powerful performance from Daniel Day-Lewis, "There Will Be Blood" is the "Citizen Kane" of the twenty-first century, a bold and thoroughly engaging modern-day American masterpiece that explores the darkest corners of the human heart. 

In 1898, a lone mineral prospector named Daniel Plainview (Daniel Day-Lewis) suffers a broken leg while mining for silver. Four years later, Plainview is excavating on a new dig site with some men when they accidentally discover a large oil deposit underneath. The workers collect the oil in a shallow pool but one of them is fatally struck in the head as debris comes crashing down the well due to a broken pulley. Plainview adopts the worker's now-orphaned son as his own and names him H.W. (Dillon Freasier). Establishing a small drilling company, Plainview and his young 'son and partner' spend the next several years traveling around the country looking for new sites to drill. They manage to secure a number of contracts thanks to Plainview's pitch on the importance of family in a business and his use of H.W.'s presence as a selling tool. In 1911, a man named Paul Sunday (Paul Dano) approaches Plainview and his associate Fletcher Hamilton (Ciarán Hinds) about an oil deposit under his family's property in Little Boston, California. Plainview and H.W. make their way toward Little Boston under the pretense of hunting for quail. They discover oil seeping through the ground and attempt to buy the Sunday ranch at the bargain price of $3700. However, Paul's twin brother Eli (also Paul Dano) is aware of how valuable the oil is and demands $10,000 as a donation to The Church of The Third Revelation, of which he is the minister. Plainview negotiates the price down to $5000 and begins to buy up all the land in the surrounding area on the cheap. Eli learns that the official start of drilling will be a public event and asks Plainview to allow him to bless the well but his request is ignored at the opening ceremony. This sparks a vicious power struggle as each tries to humiliate the other. Plainview also faces a personal tragedy when H.W. loses his hearing during a blowout that occurs on his drilling rig. This proves to be a turning point for Plainview as he further succumbs to his lust for wealth and power. 

Paul Thomas Anderson's "There Will Be Blood" left me completely speechless once the end credits rolled. With a running time of 2 hours and 38 minutes, it's bound to leave audiences emotionally drained as it explores the slow descent of a man who realizes the American Dream but transforms into a deranged sociopath. Loosely adapted from Upton Sinclair's 1927 novel Oil!, the film is essentially a morality play on the nature of greed as two stubborn egos clash with disastrous results, one representing unadulterated capitalism and the other religious fanaticism. Containing shades of 1941's "Citizen Kane," 1948's "The Treasure of the Sierra Madre," and 1956's "Giant," it's not so much the plot that stands out but the character drama. Anderson creates one of the most fascinating, multi-faceted individuals in American cinema, establishing Daniel Plainview as a simple man just trying to make a living as he slowly mines for silver under the grueling sun in the middle of nowhere during the film's opening scene, which is bereft of any dialogue save for the harsh, discordant score from Jonny Greenwood of Radiohead. Plainview's accidental discovery of an oil deposit in 1902 kick-starts his slow rise as an oilman but it's not until years later in 1911 when a chance meeting with Paul Sunday leads to his big break. Even before this happens, there are hints of Plainview's forceful personality, specifically with the declarative way he speaks. When he introduces himself during a town meeting, he remarks that 'if I say I'm an oil man you will agree,' not 'if I say I'm an oil man you will probably agree.' Plainview always communicates in a matter-of-fact manner in an indicative mood, using his words to win over his audience by leaving no room for interpretation because what he says must be true. This is again evident when a clearly changed Plainview confronts H.M. Tilford of Standard Oil in a restaurant and proudly proclaims, 'I told you what I was gonna do.' 

For much of the first hour, Anderson paints a sympathetic portrait of Plainview. He comes across as somewhat clueless in his newfound role as a father but he clearly cares for H.W. when he reveals his ambition to build a pipeline 'to the sea' and getting rid of shipping costs, imparting his shrewd business acumen. There's a scene where Plainview stares at H.W. as a baby, who curiously grabs his adopted father's mustache. Now contrast this with how he treats him at the end of the film. H.W. allowed Plainview to retain some semblance of his humanity but the loss of his son's hearing marks a major turning point as he fully succumbs to his own arrogance, devoting himself only to the acquisition of wealth. In a telling moment with his supposed half-brother Henry (Kevin J. O'Connor), Plainview tells him that 'I have a competition in me. I want no one else to succeed. I hate most people.' He closes with the following remark: 'I see the worst in people. I don't need to look past seeing them to get all I need. I've built my hatreds up over the years, little by little.' To Plainview, people are nothing more than tools and cannot be trusted. In his eyes, he is superior to everyone around him. 

Although the central conflict in the film revolves around Plainview and Eli Sunday, the two are actually more alike than they realize which lends a certain irony to the proceedings. Both are ultimately greedy, selfish individuals who use their words to sway people to their cause. For Eli, his congregation is not used as a way to espouse a moral way of living but to feed into his own ego. Notice that he also speaks in an indicative mood like Plainview. He is basically making a demand when he says that 'I will bless the well,' not 'I want to bless the well.' Eli then proceeds to tell Plainview how he should introduce him. To Plainview, this is the worst offense. The film's title, "There Will Be Blood," becomes a self-fulfilling prophecy as in order to get his way and to prove that he is superior, Plainview resorts to the extremist of methods. While it's easy to view the film as simply a battle between capitalism and religion, the truth is much more subtle and it's the fact that the two are much more intertwined than we are led to believe. Plainview's fortune was only made possible through his forced 'confession' at the church and Eli's rise is due in no small part to the money that Plainview's oil drilling operation brings. The complex themes in "There Will Be Blood" can span an entire book but let's not forget the gorgeous cinematography from Robert Elswit that captures the simple innocence of the American frontier that stands in stark contrast to the conflicts that brew underneath. The score from Jonny Greenwood is highly unusual, its dissonantly harsh sounds lending the film a horror aspect that may fill viewers with a sense of unease, almost as if it's signaling the birth of a monster. From top to bottom, "There Will Be Blood" is nothing but perfection, a modern day masterpiece that tells a uniquely American tale. 

All of the performances are of the highest caliber but it is Daniel Day-Lewis that makes the film so memorable. Speaking with a Sean Connery-like inflection, Lewis sucks you in with his honeyed-words as the unscrupulous Daniel Plainview, his calm and cultivated manner makes his sudden outbursts of violence all the more shocking. Handling the often theatrical dialogue with aplomb, Lewis once again proves himself to be one of the finest actors working in Hollywood today. Paul Dano is just as amazing as Eli Sunday, a spiritually avarice preacher who delights in stroking his own ego. The film crackles with energy whenever he and Lewis are on-screen; their characters' hatred of each other further engrosses you into the film. Dillon Freasier projects a wide-eyed sincerity as H.W. while Kevin J. O'Connor creates a pitiful figure within Henry, Daniel's supposed half-brother. The only actor that gets the short end of the stick is Ciarán Hinds' Fletcher Hamilton, Plainview's business associate. 

Arriving on Blu-Ray in 2008, "There Will Be Blood" will never be considered as demo material but this is by no means a knock against the disc's quality. Containing a fine veneer of grain, the transfer boasts exceptional detail punctuated by naturalistic colors. Outdoor scenes dazzle with an amazing amount of depth where every weed, rock, and pebble is noticeable. Flesh tones take on a slight reddish hue as individual beads of sweat fall from every character's face during close-ups. Since this is a dialogue-driven film, the audio track is more subdued. While it won't turn heads at the local Best Buy, the oil gusher that knocks H.W. back proves to be a highlight as you can feel the full, explosive force of the blowout as crude oil spouts from the ground like a geyser. Dialogue is crystal clear, ambient sounds are perfectly replicated, and Jonny Greenwood's horror-like score both enthralls and fills you with apprehension. Disappointingly, this release offers precious few extras; there is neither an audio commentary nor a behind-the scenes look at the making of the film. There is an interesting photo montage that compares images from Anderson's extensive research to scenes in the film, revealing the set designer's attention to detail in recreating America at the turn of the twentieth century. A few deleted scenes are also included, plus a 1923 silent film titled "The Story of Petroleum" that chronicled the rapid rise of the oil industry. 

Released on December 26, 2007, "There Will Be Blood" received widespread critical acclaim with 91% on Rotten Tomatoes. Critics hailed it 'as a masterpiece, [a] sparse and sprawling epic about the underhanded 'heroes' of capitalism [that] boasts incredible performances by leads Daniel Day-Lewis and Paul Dano, and is director Paul Thomas Anderson's best work to date.' Given its almost three-hour running time and niche subject matter, the film only grossed $40 million at the domestic box office with a total of $76 million worldwide. Mainstream audiences will hate it while the rest of the world probably isn't familiar with that specific time period in the United States but for those with a true love of cinema, this sprawling epic is the equivalent of a summer blockbuster, except it won't turn your brain into mush. The film was nominated in eight categories at the 80th Academy Awards, tied with the Coen Brother's "No Country for Old Men" but only won two: Best Actor (Daniel Day-Lewis) and Best Cinematography. Powerfully acted and thematically rich, a film like "There Will Be Blood" only comes along once in a blue moon; this is a rare masterpiece that everyone should have the chance to experience.

Final Rating: 5 out of 5

"Here, if you have a milkshake, and I have a milkshake, and I have a straw. There it is, that's a straw, you see? You watching? And my straw reaches across the room, and starts to drink your milkshake. I...drink...your...milkshake!"

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