Death Race (2008)

Jensen Ames (Jason Statham) is a wrongly convicted man who's been framed for his wife's grisly murder. In order to win his freedom, Ames must complete in a brutal three-day car race against fellow inmates. Behind the wheel of a car framed with metal plate, machine guns, spikes, and missile launchers, Ames is competing in a race for his life.

This Mad Max-Le Mans hybrid is remarkably lame. Death Race is a train wreck despite director Paul W.S. Anderson's best intentions. A cast led by Statham also includes Joan Allen as the evil warden, Ian McShane in a role best suited for Morgan Freeman, and Tyrese Gibson can't do anything with this mess.

I'm fine with a plot that is summed up in a few opening title cards and one short sequence. An informed viewer doesn't expect character development here. All moviegoers expected entertainment. Three stages of death racing later and I'm ready to take my own head off. This isn't entertainment. Inept action sequences, graphic-nonsensical mutilations, and monosyllabic dialogue causes boredom to set in quickly.

Death Farce, er Race lumbers along in ignorance. What puzzles me more is how Stephen 'Pop Culture' King can say the film is biting satire of reality TV. As I see it, the only thing this film bites is the dust.

Willie Wonka and the Chocolate Factory (1971)

My adoration for the odd story of chocolatier/candy man Willie Wonka (Gene Wilder) and five naughty, nasty kids is no secret. Tonight, I caught my favorite version on Telemundo. Si. Telemundo.

Even dubbed in Spanish, Willie Wonka and the Chocolate Factory is a treat. It holds up surprisingly well in translation. The one disappointment? Musical number are conveniently edited during commercial breaks. I was really looking forward to Grandpa Joe (Jack Albertson) singing, too.

Knowing the film as I do, there was no language barrier, it was just strange to hear those words coming from these beloved characters.

As I see it, there's no good reason to see the film in Spanish. But fans of classic will delight no matter the language.

Sleepwalking (2008)

Joleen (Charlize Theron) is a messed up mother to 11 year old daughter, Tara (AnnaSophia Robb). She ditches the kid with her brother James (Nick Stahl) who's trying to get his life together. James is unprepared for the new role. Tara is a child trying to cope with the abandonment of her mother. With the threat of child services at the door, the pair hit the road, and I think, probably discover what 'family is all about'--I don't know as I could not stomach more than 30 minutes of this self-important messterpiece.

Directed by Bill Maher, written by Zac Stanford (readers of my early reviews will remember The Chumscrubber, same guy), Sleepwalking is a mess. The parallels to Chumscrubber are obvious, but this movie falls flat. Casting seems to be a huge issue here. Robb was great in Charlie and the Chocolate Factory and a wonderful surprise in Bridge to Terebithia. This role seems beyond her emotional scope. Theron seems genuinely disinterested in the role. Stahl... well, I gave up. Woody Harrelson and Dennis Hopper cameo.

I enjoy bleak and morose human drama more than the next person. Depressing, despairing, melancholy--I'm in. This was simply ugly. Sleepwalking is a disappointing waste of time.

Domino (2005)

"My name is Domino Harvey. I am a bounty hunter." The blessed offspring of Laurence Harvey and supermodel Pauline Stone, Domino Harvey had a beautiful life. Blue bloodmodel turned sexpot bounty hunter, Keira Knightley stars in this roughly based story of Harvey's glamourous, but gritty life. Mickey Rourke and Edgar Ramirez co-star as Domino's mentor/friend.

Tony Scott directed this crazed non-linear tale. Spastic editing and choppy roughshod cinematography do nothing to save or stylize this convoluted story. Knightley narrates the film, as it flashes back from present day to clue the viewer in as to how Harvey finds herself bloody, battered, and in FBI custody. An interrogation by FBI agent Taran Mills (Lucy Lui) serves as our catalyst.

Domino is intriguing mainly because of the engaging cast. Knightley--in an unlikely role--delivers with grace and substance. Pouty, dangerous, and extremely self-aware, Knightley plays Harvey as confused, looking for escape. She's broken and wants to be fixed. Rourke and Ramirez stand by to affirm Knightley's kick ass-ness.

This film is a mess! Chrisopher Walken, Mira Suvari, Ian Ziering, Brian Austin Green are all involved in a crazy subplot.

Who knows what Scott was aiming for?! Shock value? Media distortion? Redemption? Whatever... I'm pretty sure it's not here.

Less indulgence and cohesive editing would have greated a thriller to rival the Man on Fire aesthetic. Instead, we're stuck in an overstyled headache that just doesn't end soon enough.

In Bruges (2008)

After accidentally killing an innocent boy in London, hit men Ray (Colin Farrell) and Ken (Brendan Gleeson) are sent to lay low in Bruges, Belgium. Told to act like sight-seeing tourists by their boss, Harry (Ralph Fiennes), the two professional have a difficult time adjusting to the fairytale town. Bored and trying to cope, Ray is spending his time drinking while Ken takes in the sites. Waiting it out begins to take its toll and the eclectic locals of Bruges soon have them in trouble.

Director and screenwriter Martin McDonagh's black comedy has a very human heart. Farrell and Gleeson have brilliant chemistry. Both trade barb for barb wonderfully. Farrell is the real surprise as Ray. The young man, sick and despairing after killing the little boy is reexamining his existence. Farrel plays him with real emotion and sardonic wit. Farrell is at the top of his game; he's moody, but his comedic sense of timing is spot-on. Ken is the seasoned professional and Gleeson plays him a cold mentorly-type until Bruges unlocks the tender, fatherly side of things. Ralph Fiennes, in a role as perverse as Amon Goeth, plays up his quirky crime boss perfectly.

Adding to the mayhem is a varied low of townsfolk, a midget, and couple of angry Canadians. McDonagh works every angle and it's easy to see the cast is relishing the work. Bruges is a character in its own right. The cobbled streets and medieval history of castles, spires, and churches is an odd setting. But under McDonagh's direction, it's alive and plans to sock you in the mouth.

The screenplay is existential, almost nihilistic, in nature, but McDonagh tempers the philosophy with sharp humor and brutality. By allowing our protagonists to stew on their recent actions, McDonagh opens the door for coping and each hit man does it his own way for hysterical, but decidedly morbid results. The film is simply full of crazy goodness with it's unexpected turns, provoking laughter or tears when their shouldn't be and causing the viewer to care for our conflicted criminals.

As I see it, In Bruges is brilliantly executed with top-notch performances, strong direction, and thought-provoking humanity amid memorable dialogue and stunning cinematography. What makes it a must see is the absurdity of it all.