Robin Hood (Ridley Scott, 2010) UR

I tend to enjoy Ridley Scott’s work, so his addition to the several films that tell the story of Robin Hood, was met with some anticipation. In Ridley Scott’s Robin Hood, the director does not let us down. No stranger to filming epic battle sequences, Ridley Scott’s film is visually appealing.

Robin Hood and his comrades stand up to an abusive government to create a better quality of life for the common people. Robin Longstride comes across Robert Loxley, who on death’s door asks Robin to deliver his sword to his father. In order to accomplish this task, Robin decides to assume the identity of the fallen knight, and once home Robert’s father sees no reason to stop the charade. A corrupt sheriff and king add to the villagers’ frustration.

Russell Crowe (Body of Lies) once again teams up with director Ridley Scott, only this time as Robin Longstride. For a darker and grittier retelling of the story of Robin Hood, Russell Crowe does a good job playing the lone-wolf Robin Longstride. Cate Blanchett (The Curious Case Of Benjamin Button) plays Marion Loxley, Robin’s love interest Cate Blanchett balances out Russell Crowe’s performance expertly. The chemistry between the two makes me wish they were in a better written movie. William Hurt (Endgame) also joins the cast as William Marshal.

While the directing and the acting are superb, the story does not deliver. The first half of the film brilliantly set up the political atmosphere of the time with the Crusades and the local authorities taking advantage of the villagers with all the men gone. Robin Hood examines Robin Hood before he became Robin Hood, more so than any other film. However, shortly after the halfway point, the storyline shifts from Robin Hood and his story to the story of a French invasion of Britain. Instead of Robin taking back what was stolen by the government, he is now leading an army against France; the second half of Robin Hood looks and feels just like Braveheart (Mel Gibson, 1995). In the first half of the film, Robin and company are talking about wanting to be able to keep the fruits of their individual labor, while at the end of the film, they switch to a socialist propaganda message, where everybody shares the collective wealth.  The writers obviously did not have a clear objective when sitting down to write this film; they couldn’t decide if it was going to be a character-based story about Robin Hood or an epic war story.


Rating: 3/10

© 2010 Nate Phillipps

Killers (Robert Luketic, 2010) PG-13

With the exception of 21 (2008), Robert Luketic’s career is built upon romantic comedies.  While the title may lead you to believe otherwise, Killers is first and foremost a romantic comedy, and on a secondary level, an action film. Robert Luketic may have several rom-coms under his belt, but that does not guarantee a good movie.

An insecure robot, er, woman meets a hunk while on vacation and they get married. Three years into the marriage a hit contract is placed upon the husband’s head, which leads the wife to discover that the man she married can kill with more than his good looks.

Ashton Kutcher (Spread) plays Spencer Aimes, the deadly-yet-charming contract killer who falls for Jen Kornfeldt, played by Katherine Heigl (Knocked Up). Joining the duo, Tom Selleck (Jesse Stone) and Catherine O’Hara (Where The Wild Things Are) as Mr. and Mrs. Kornfeldt, respectively. I liked Ashton Kutcher in The Butterfly Effect, but can’t say that he has what it takes to pull off a witty assassin. Kutcher’s performance outshines Katherine Heigl’s by far. Katherine Heigl’s portrayal of Jen Kornfeldt feels like it would be something acting students would watch in a class called, “How not to act on camera.” Tom Selleck and Catherine O’Hara are alright as the parents and in-laws; nothing to write home about on the acting front.

It’s easy to blame the actors, but the real blame rests with the writers. The concept of Killers is not that original, which could be overlooked if it played off of strong characters, strong dialogue, and interesting obstacles. Killers is a movie you might watch to appease your wife or girlfriend, but it is not something you will want to buy or watch ever again. If you like the concept, check out Mr. & Mrs. Smith (Doug Liman, 2005).

Rating: 4/10

© 2010 Nate Phillipps

Halloween Films Part 1: The Classics

Halloween (John Carpenter, 1978)

Matching John Carpenter, Jamie Lee Curtis and Donald Pleasance sounds like a winning combo in any book, but Halloween is one of those movies that has not aged well.  Sure it's a classic, but it does not deliver the thrills and frights as well as it did when it first came out in 1978.  The first time I watched it I knew exactly who was going to die and when.  Of course it is only predictable because it pioneered the genre.  Only watch this one if you are a die hard fan of John Carpenter, otherwise check out The Thing or even scarier, Nightmare On Elm Street.

Rating: 5/10



Nightmare On Elm Street (Wes Craven, 1984)

Johnny Depp's first film, Nightmare On Elm Street is almost as aged as the original Halloween is, but this one is less predictable.  Aside from Peter Jackson's DeadAlive, this film probably has one of the strangest ways to die captured on film.  Where Halloween is predictable and borderline boring, Nightmare On Elm Street leaves us with enough mystery to be a successful horror film.

Rating: 6/10






Night Of The Living Dead (George A. Romero, 1968)

For a really good time, be sure to watch Night Of The Living Dead.  George A. Romero pioneered the zombie film and a franchise with his 1968 film.  As strange as it may be to say, this film is more exciting than the original Halloween.  I don't mean to pick on John Carpenter, because I love his other films, but somehow he fell short with Halloween.  Night Of The Living Dead features some classic dialogue, of course the sort of dialogue only people who have seen the movie, or those people in their late 60s would understand.  Best line of the film, "They're coming to get you Barbara..."

Rating: 8/10




The Texas Chainsaw Massacre (Tobe Hooper, 1974)

Of all the horror films, and actually all the other films, I have ever seen, this is definitely one of the best shot films around.  It simply looks gorgeous.  My dad told me this film was super disgusting and made Saw look like a happy musical.  Despite being rated R, this film has no gore, no profanity and no nudity.  However, the filmmakers were so adept at conveying the grisly horror that happens off-screen that it still got the R rating.  If you watch one movie this Halloween, make it the original Texas Chainsaw Massacre.  It really is that good.

Rating: 9/10





Psycho (Alfred Hitchcock, 1960)

With Alfred Hitchcock's Psycho, we get some name actors Anthony Perkins, Vera Miles and Janet Leigh.  The horror of Psycho does not necessarily happen on-screen, but as with most Hitchcock it happens in your mind.  What sets Psycho apart from the other movies reviewed in this blog is the characters.  The characters in this film are developed to the max.  Just about everything about this film is perfect.  This movie spawned a remake and three sequels.  Anthony Perkins' performance is fantastic.  This is how horror movies should be made.

Rating: 10/10

Hot Tub Time Machine (Steve Pink, 2010) R

Steve Pink’s second feature film as a director, Hot Tub Time Machine, is about a group of four guys who travel back to time in, yes you guessed it, a hot tub.  Between Accepted (2006) and Hot Tub Time Machine I would say Steve Pink has been fortunate to work with some fairly talented actors, but talent isn’t everything as Hot Tub Time Machine proves.

Four guys who pretty much suck at life decide to take a weekend trip to their favorite resort from their youth.  When they arrive, they realize that they are not the only ones who have gotten older and duller, as the town is in disrepair and now a senior citizen hotspot and a shelter for cats.  After a lot of alcohol and illegal substances, the four stumble into the hot tub, where they short circuit the controls and travel back to 1986.  Presented with the opportunity to relive their fondest memories they are challenged to get back to present-day while changing as little as possible.

John Cusack (2012) plays Adam, the main character, an insurance agent who just got dumped.  I haven’t seen many of Cusack’s films, but I never pegged him as a comedic actor, and this film proves me right.  John Cusack is talented, don’t get me wrong, but he just isn’t a comedic lead.  Craig Robinson (The Office) plays Nick, a failed musician and emasculated man.  Rob Corddry (Operation: Endgame) plays Lou, a suicidal loser with a drinking problem (and not the funny kind of drinking problem like in Airplane!).  Clark Duke (Kick-Ass) plays Jacob, the stereotypical modern teenager/young-adult who is more comfortable with a computer than with people.  With average performances, even Chevy Chase’s appearance did nothing to improve the film, which left the viewer with a sense that the actors were underutilized.

As far as raunchy comedies go, Hot Tub Time Machine wastes no time being raunchy but it takes too long to find the comedy, if it even manages to find it at all.  Within the first twelve minutes of the film there are two gross-out jokes and no other jokes.  I almost turned it off after the second one involving a catheter, but I let it play.  The writers of Hot Tub Time Machine love movies because there are several obscure references to other films throughout this one.  The best moment of the film is when Craig Robinson looks directly at the camera and says, “It must be some sort of hot tub time machine.”  Not only where the characters flat, but the events in the film weren’t interesting and Hot Tub Time Machine never presented us with a sense of urgency for the characters to return to the present.*  If you enjoy seeing bodily fluids in movies, by all means check out Hot Tub Time Machine.  If you demand a little more sophistication from your comedies, skip this one and watch Superbad (Greg Mottola, 2007) or The Hangover (Todd Phillips, 2009) as they achieve the right balance between crass and comedy.

Rating: 4/10

*Possible spoiler*
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*With the exception of the character of Jacob, I don’t see why any of the other characters had to return to the present.  In fact, there is more motivation for them to stay behind, like Lou did, and relive their youth.  That way they’d not only be able to become closer as friends, but they would be able to remember important events, instead of being surprised when they arrived back in the future.

© 2010 Nate Phillipps

Citadels - Galt Aureus

In 2006, a California-based indie rock band showed up on the scene with their debut album Heralds To The Sun. After three years of waiting, Galt Aureus is back with Citadels.


01. Overture Of Legion - 'Overture Of Legion' is a short, intro track reminiscent of Heralds To The Sun, but it foreshadows something completely new and exciting.

02. The Cavalcade - This is the first taste listeners get of Saher and Susan's voices complimenting each other on this album.  The piano magnificently contrasts with the heavy guitars. If you've seen any of their Youtube videos, you'll recognize that the style of 'The Cavalcade' is similar to their song 'Haunted Mind.'  The blend of Saher's screaming, and the silence at the end show the musical adeptness of Galt Aureus.

03. At Dawn - This track is one of my favorites.  Saher really paints the imagery of an early morning duel, and the confidence that each party required in themselves to partake, and win a duel.  With the layering of the different instrumentation beneath the guitars, as well as the harpsichord phrases, combined with lyrics like, "No need for words at all," this track is incredibly powerful.

04. Our Own Versailles - Saher's voice on this track is just amazing. The percussion is featured a bit more than in their other songs. 'Our Own Versailles' features interplay between the strings and percussion with Saher's voice soaring above.  This is an incredibly romantic and uplifting track.

05. Citadels - 'Citadels' opens with a melodic, almost melancholy piano. A waterfall-start follows; piano, voice, percussion. This song is a roller coaster of dynamics and instrumentation, very moving and depressing at the same time, especially with the lyrics, "The sky presses down."  'Citadels' features a triumphantly epic instrumental break, followed by a gorgeous ending.

06. The Armada - This track started out as one of the first videos Galt Aureus posted online.  It's interesting to hear the differences between the first version and the final version.  The guitars brilliantly underscore Saher's voice, with the piano singing through underneath.  'The Armada' contains an especially mournful, "You took everything..." section.  The ending is upbeat with great piano and guitar work.

07. Spiral Stile - This song is excellent and is almost lost among the other fantastic tracks on the album.  The opening of 'Spiral Stile' is excellent. There is a delightful faint techno feel beneath Susan's vocals.  The harmonies are amazing as always. Like all the tracks, there is a great blend of instrumentation throughout. The lyrics for 'Spiral Stile' are terrific, as is Susan's voice fading out to end the track.

08. Eight - The standout track of the album features a laid back feel, melodic intro, and great, subtle vocals. This song sounds like something hear in a private or intimate setting.  'Eight' is very personal; you can tell Saher put a lot of himself into it.  The result is a mix of happy memories, internal angst, and bitter regret at things long gone.

09. Before The Fall - The horn crescendo is an awesome start, followed by the drastic shift to Susan softly singing. Saher's voice sounds like a blanket I'd pull around myself on a cold winter day. I like the whispering, soft singing, and falsetto from Saher.  Susan shows off an impressive range and voice as well.  This is the most I've heard her sing; she has a gorgeous voice. This song is similar to the style/feel of their Youtube songs, 'Is There Anyone Left' and 'Beautiful Longing Words.'

10. Conquerors - What a contrast from the previous song.  "I will wipe you off this earth."  'Conquerors' is incredibly powerful and gritty.  The piano starts out with a theme, and the guitar picks it up and finishes.

11. Nocturne Carceris - Ambient noises give way to the piano, strong and true, elegant and wise. After the musical ecstasy I just heard, it's hard to believe the album is over, and then I accept that it is, and start over with track 1.

I don't remember ever being as excited for any album as I was for Citadels.  Not only did Galt Aureus meet all my hopes and expectations, but they far far overshot them.  Heralds to the Sun is a great album, Citadels is even better. Their sound has matured beyond belief.  I can hear the amount of thought, effort and skill that went into this album.  The fact that Saher and Susan did every aspect of creating this album, recording, performing, mastering, etc, is a real testament to human achievement.  Citadels is life-affirming.

Album rating: 10/10

For more information on Galt Aureus, check out their website: http://www.galtmusic.com/
Or follow them on Twitter: @GaltMusic

© 2010 Nate Phillipps

Inception (Christopher Nolan, 2010) PG-13

Christopher Nolan’s latest film lives up to the expectations of his previous films. Inception is in the same vein as Memento (2000) and The Prestige (2006). While all three of these films have action sequences, the majority of the action takes place in your mind. Christopher Nolan takes us deep into the world of dreams with Inception.
A team of thieves, who steal information locked in the darkest recesses of the mind, are offered the job of a lifetime, with a reward to match. Cobb, played by Leonardo DiCaprio (Shutter Island), is the mastermind of the dream world.  Cobb is trying desperately to get back home to his children, and is offered the chance with a new job, inception. Instead of stealing ideas from unsuspecting dreamers, his team will plant an idea.

Joining Leonardo DiCaprio; Joseph Gordon-Levitt (500 Days of Summer) as Arthur, Ellen Page (Whip It) as Ariadne, and Cillian Murphey (The Dark Knight) as Robert Fischer, the mark. The acting in this film is top-notch. Leonardo DiCaprio is excellent as the tortured hero, and Ellen Page shows she can do something Michael Cera can’t, which is play somebody older than a high schooler. Ellen Page does a terrific job balancing out Leonardo DiCaprio’s character. Joseph Gordon-Levitt is his usual role, the logical and somewhat uptight, straight man. It was nice to see Cillian Murphey as something other than the villain.

The lush visuals of Inception fit perfectly with the elaborate plot. Not only has Christopher Nolan created an alternate world, but he has created such depth that it is easy to go for a swim. It is easy to accept the premise that other people can join in on your dream, but when they start adding dreams within dreams everything starts getting complicated. Luckily, unlike most films, you never feel that this film is trying too hard to be something it’s not. Inception is complicated, but in a way that can be followed. The editing of Inception really illustrates how important a fraction of a second is. If the last scene was cut one second earlier or one second later, it would lose its meaning. If you like a film that spells everything out for you, skip this one. If you like a film that lets you make up your own mind, you will love Inception.

Rating: 10/10

Grown Ups (Dennis Dugan, 2010) PG-13

No stranger to working with Adam Sandler (Funny People), Dennis Dugan directs this ensemble comedy about five friends who reconnect after the death of their basketball coach. Dennis Dugan’s directing is nothing special, nor does it really make itself prominent. This film is more about five comedians being comedians.

Joining Adam Sandler are Kevin James (The King of Queens), Chris Rock (Everybody Hates Chris), David Spade (The Benchwarmers), and Rob Schneider (Deuce Bigalow). Each one of these characters is joined by a supporting female character, whether it is a wife, girlfriend, or attractive daughters. Adam Sandler plays Lenny, whose wife is Roxanne, played by Selma Hayek (Bandidas). What is unfortunate is that the female characters do not really factor into the plot in a meaningful way. They affect some minor things, but really they are just there as a vehicle for the comedians, which takes away from the depth of this film.

The opening of the film is almost painfully cheesy. Thinking back on the film, the only thing I remember about the plot is that their old elementary school coach died, they all attend the funeral, after having been separated for years, and then spend the weekend at the old cabin they used to spend time at as kids. There are some minor relationship/family issues thrown in that need to be resolved, but they are incredibly minor and are treated very lightly. Grown Ups contains several good jokes, a lot more decent jokes, and a few bad jokes. The main problem with the humor is that all the characters laugh after every joke. They laugh for 10-20 seconds each time somebody tells a joke. The choice to show the characters’ laughter only distracts from the plot and messes up the pacing of the film.

All the actors turn in a decent performance, but the lack of a substantial plot, or a well-defined antagonist, makes Grown Ups a decent distraction, but prevents it from being something absolutely hilarious.
Rating: 6/10

© Nate Phillipps 2010