Johnny Got His Gun (1971)

'Powerful antiwar' film—at least that’s what they say.  What I stayed around for a crazy mess.

The Hurt Locker (2009)

It’s hard to tell if SFC William James (Jeremy Renner) has an addiction to adrenaline or if his cocky attitude is a coping mechanism. As part of the U.S. Army’s explosive ordanance disposal team, James lives on the edge. After his first foray into the city, the rest of the team is beginning to wonder if they will survive the countdown to going home.

The tension found inside The Hurt Locker is the kind that makes your pace the floor. It’s also what makes this film mezmerizing. Apolitical and essentially devoid of a soundtrack, the film focuses on the sights and sounds as it applies to James. Thus I don’t think it is particularly accurate judging by how well rounded the IED-diffusing trio is.  I didn't know the bomb squad moonlights as snipers.

Renner’s performance is tight, but ultimately his character is an enigma.You're never quite sure what makes him tick, nor does director Kathryn Bigelow seems to bother with key elements that would make these characters more relatable. We get shallow looks into internal conflicts, personalities, and Army life that often seem cliché.

As I see it, The Hurt Locker wouldn’t get my vote for Best Picture. But it is an interesting war drama that is worthy of viewing.  Cameos by Ralph Fiennes and Guy Pierce are cool.

Inglourious Basterds (2009)

I’m at a loss to describe the spectacle I have just beheld. Perhaps Quentin Tarantino’s most honest film to date, Inglorious Basterds feels unusual, yet familiar. Truly, I don’t know how to react—it’s like a smash up of Spaghetti Westerns and Band of Brothers.

My biggest issue with Tarantino is his inability to check his ego and create something original—it’s always an homage to something. Inglorious Basterds is that—an homage—but somewhere along the way, this story of Jewish-American soldiers who brutally attack (and scalp) Nazis transcends the brutality to become, well, interesting.

This film is balanced. That’s what I like. The QT flourishes are there, but underscored. The viewer isn’t smacked in the face with references, the gore and violence refrained, and dialogue subtle. Combined with inspired casting, Inglorious Basterds is audacious, egregiously inaccurate, and wonderfully entertaining.

As Lt. Basterd Aldo Raines Brad Pitt is simply inspired—brilliant with is Appalachian twang and Eastwood swagger. Oscar winner Christoph Waltz as SS Col. Hans Landa is equally fascinating. Waltz commands every scene with smarmy theatrical energy and obnoxious self confidence.

Typical of Tarantino there are WTF moments including David Bowie’s Gasoline and Heinz Steiglitz’s introduction but these patches of random don’t quite reach the silliness of his previous fare. I loved the nod to French cinema and the use of foreign languages becomes an event onto itself. The opening sequence is by far my favorite and is quite misleading of what is to come.

As I see it, Inglorious Basterds stands alongside Reservoir Dogs as my favorite QT films. Strong dialogue and brilliant casting make it work. The success herein is thanks to Tarantino’s strong dialogue and brilliant casting. One doesn’t know whether to laugh, cheer, or run for the exits. But you will be entertained.

Joyeux Noel (2005)

Inspired by the true events of WWI, Joyeux Noel recounts Christmas Eve 1914 when French, German, and scottich soldiers found common ground in thoughts of home. Building up to the Eve, we follow a French Lieutenant, a drafted world-class tenor, a Catholic priest, and a pair of brothers. The French receive champagne to celebrate the holiday on the front lines. The Scottish receive bagpipes, the Germans miniture Christmas trees much to chargrin of their commandant. From each foxholes rises a celebration uniquely their own.

On the strains of Silent Night a truce is made. The harsh realities of war are forgotten if only for a day. The soldiers share drinks and pictures of home. They pause soccer games and singing to bury their dead. As friendships emerge, each man resolves himself as when morning breaks they are to become enemies once more.

Filmed in German, French,and English, Joyeux Noel is a rare foreign film that transcends agendas in part to writer/director Christian Carion.  He keeps from the sentimental and chooses to celebrate humanity and showcase the futility of war.  He is steadfast in finding the beauty among the ugly.

Joyeux Noel is a more than a holiday film.  It is a drama of significance, celebrating a unique brotherhood.

The Last Castle (2001)

The impetus for seeing The Last Castle is simply my fascination with the former Tennessee State Penitentiary. Filmed almost entirely on location at the aging fortification, this film is a surprisingly OK drama. The prison looms large onscreen and is threatened only by Redford.

Robert Redford is General Eugene Irwin--a highly decorated and revered Army hero. The former POW is court-martialed for disobeying direct orders and is sentenced to time at The Castle, run by Colonel Winter (James Gandolfini). Upon his arrival, Winter is immediately threatened by Irwin's natural leadership. A castle can have only one king. So the battle begins.

The Last Castle asks a philosophical question. What makes a leader? Director Rid Lurie answers his question with action and average performances. Redford--looking horribly aged--is a stoic Army officer who has seen and been scarred by it all. In grave contrast is Winter--an overcompensating bully who rules by fear, not respect. As Redford plots to overthrow him, Winter pushes back with violence.

Back to the location, the prison is an integral part of the film. Restored for key shots, the brooding Gothic architecture is beautiful. Lurie is cognizant of this and allows for wide, sweeping angles--of the outer walls, at least.

As I see it, The Last Castle is a nice drama. The film maintains its simply integrity though the wheels often threaten to fall off. Careful examine of The Last Castle will result in the discovery of clichéd, underdeveloped characters and some dumbfounding leaps of faith. The Bridge of River Kwai it is not.

G.I. Joe: The Rise of Cobra (2009)

Inspired by the Hasbro line of toys from the 80s comes G.I. Joe: The Rise of Cobra. Lucky for us, the franchise is in the perfect hands of director Steven Sommers. The movie is perfect summer fare. When kept in perspective it's a blast.

The ensemble cast of Tatum Channing, Sienna Miller, Marlon Wayans, Dennis Quaid, Christopher Eccleston, Ray Park, and Joseph Gordon-Levitt won't win any Oscars for the performances here, but they will win the adoration of a generation. The film strikes the perfect balance of action and camp to create an adventure fantasy worth seeing.

The Rise of Cobra sets the tone for building a franchise with limitless possibilities. Sommers wisely weaves back stories for the players: Duke (Channing), Snake Eyes (Parks), Baroness (Miller), Destro (Eccleston) and Zartan. The movies could go anywhere from here.

Back to the task at hand. G.I. Joe: The Rise of Cobra follows an elite paramilitary group that sets out to stop a rogue military organization determined to bring the world to it's knees. The film rolls out like a non-stop action sequence with corny one-liners {hearkening to the original cartoon series}, awesome weaponry, and a dash of romance.

Snake Eyes is easily the most complex of our American Heroes. The fully clad ninja and his vow of silence speaks boldly. His action sequences, a la, Ray Parks are a highlight. Equally fascinating is Sienna Miller as Baroness. Almost unrecognizable, her average execution of dialogue works. Surprisingly Marlon Wayans wasn't the killjoy I expected. Instead of sucking the air out of the room, he complimented the wooden Channing beautifully.

*SPOILER AHEAD* It's unfortunate that McCullen/Destro's evolution begins so late in the film. You knew it was going to happen; I was so psyched for the moment that upon it's delivery I was spent. Now I really have something to look forward to. Christopher Eccleston (The Others, 28 Days Later) plays the hybrid villain well with an accent that is laughably over-the-top. *SPOILER END*

Brendan Fraser cameos in The Pit sequences as Duke and RipCord are initiated in the Joes. What a riot! These sequences alone really set the tone of the film.

As I see it, G.I. Joe: The Rise of Cobra is exactly what I wanted. It's pitch-perfect entertainment that I unabashedly enjoyed. Check reality at the door; embrace your childhood and enjoy!

J4T: 4 stars