Sam Jackson is a skilled actor who will be in any movie. Doesn't matter the content or size of role, he has never said no. He has lent his body or voice to 115 productions of all calibers. The Cleaner is one of the small caliber films. He plays a former detective, now bio hazard cleaner (cleans up blood from murders, dead cats...you get the idea, he didn't go to college) who cleans up after a murder....that didn't exist!!! Within 2 minutes of Ed Harris coming on screen you will guess the entire plot with all of it's weak angles and supposive twists. Let's see if you can guess the plot!! Ed Harris is Sam's former partner that still works in the department that ordered the cleanup...and it's Ed's girlfriends husband that got killed!!! Who dunnit?!? Go!!!

....

....

I was going to tell you the answer but instead, leave a comment and tell me who..that's much more fun, at least more fun than the movie was. D+

El argumento del thriller 'Cleaner' nos habla de un especialista en la limpieza de las escenas de los crímenes. Quien llega al lugar de los hechos una vez la policía termina su trabajo de investigación. Pero todo se complicará en lo que parecía ser una de sus limpiezas de rutina.

Título Original: "Cleaner".
Género: Thriller.
País y Año: EE.UU. - 2007.

Dirección: Renny Harrlin. . .

Reparto principal: Samuel L Jackson, Ed Harris, Eva Mendes...

Fotografía: Scott Kevan.

Producción: Steve Golin. Avi Lerner. Alix Madigan.

Duración: 93 minutos.

"A morte... é trágica. Mas também é um grande negócio. Algumas pessoas lidam com a morte espiritualmente, outros lidam com ela legalmente. Mas, o que a maior parte das pessoas não sabe, é que, quando alguém morre em nossa casa, nos cabe... limpar a porcaria."

Primeiro, registrando que esse filme é mais um a mostrar que não precisam alongar para se levar uma boa história. Em "Evidências de um crime" a trama ficou amarradinha. Com princípio, meio e fim. A atenção não se dispersa.

Esse filme, a mim, trouxe algo interessante: a profissão do protagonista. É, é preciso ter estômago forte para limpar aquilo tudo. E ficarei um tempo sem colocar as caldas caramelizadas de morangos, chocolate por sobre o sorvete. Vendo o filme, saberão o porque.

Outro ponto positivo, estar em ver Samuel L. Jackson como protagonista. Por curtir suas atuações. E gostei da dobradinha com Ed Harris. Deu química! Assim como gostei da jovem, Keke Palmer, mostrou que tem futuro.

Agora a história do filme... Mas antes, não vejam o filme já pensando no final. Aproveitem todo o percurso dessa trama.

Tom (Samuel L. Jackson), um tira aposentado, tem uma firma que limpa a cena do crime nas casas, escritórios... Tão logo a justiça libera o local, caso algum responsável pelo imóvel queira, ele entra em ação. Os próprios ex-colegas se encarregam de intermediar o contato. E nossa! Ele limpa mesmo!

Tudo ia bem, até que se vê como o principal suspeito de uma das suas últimas limpeza. Pois em vez de sangue, a polícia encontrou vestígios de fortes materiais de limpeza; algo mais industrializado. Usaram-no para encobrir o crime. Mas quem matou? Quem morreu? O porque daquele assassinato... Ele então começa uma investigação paralela para provar a sua inocência. Havendo muito mais coisas por trás dessa história. Sujeira grossa!

Ainda citaria mais um ponto relevante nesse filme. Que é o dar uma oportunidade de emprego a um ex-detento. Algo ainda visto com receio e no mundo real. Logo, quando isso é mostrado nas telas, fica uma expectativa de que o assunto seja novamente debatido. Que tenha mídia. Levando uma chance de reabilitação a quem de fato merece. Que tenham como limpar suas fichas sujas.

Eu gostei do filme! Nota: 8,5.

Por: Valéria Miguez (LELLA)

Evidências de Um Crime (Cleaner). 2007. EUA Direção: Renny Harlin. Elenco: Samulel L. Jackson, Ed Harris, Eva Mendes, Keke Palmer, Luis Guzmán, Jose Pablo Cantillo. Gênero: Drama, Crime, Thriller. Duração: 88 minutos.

Que los paparazzis son más pesados que una vaca en brazos es algo que salta a la vista. Aquí en España hemos visto multitud de ejemplos de gente famosa (a algunos no se les estaba mal empleado la verdad) en los cuales perdían los estribos ante tal acoso.

Lo más extraño en este caso es que en el punto de mira estuviese Ed Harris. Lo habría entendido de otro actor o actriz, ¿pero qué carajo pueden buscar en Ed Harris? quizás me he perdido algo y no nos ha llegado la información correspondiente.

A mí me ha dejado helado la frialdad (Ed no es tonto y se ha contenido bastante) con la que coge la cámara al paparazzi de turno. Y por otra parte me ha soprendido el cachondeo que se llevaban con el actor. Parecían que estaban en un encierro o algo así.

ED HARRIS ACOSADO POR LA PRENSA

Fdo: Snake  

There are some  actors who just have to act, even if the movie is a stinker. But, then again, in whose opinion?  So here are my thoughts on the Cage movies I own. Starting alphabetically and some in more depth than others:

8mm: Very good movie and performance by Cage. It is, however a dark and disturbing movie about an "obsessive search for the truth." Cage handles it well and you walk away haunted. I highly recommend it.

Adaptation: Cage does a good job of becoming a weak, simpering, overweight fool twin. Why in God's name he would want this is beyond me. This movie doesn't deserve either Cage or Meryl Streep. It cons you into buying it because it was by the creator of Being John Malkovich, an excellent film. The best thing about Adaptation is the cover photo of Cage's face on a broken flower pot.

Captain Corelli's Mandolin: Okay one of the top Chick-Flick, wish you were his co-star, movies of all times. And, he learned to play the Mandolin for it. It's a great romantic story with a sexy lead. Men ask, why the heck is Nicholas Cage considered sexy? I don't know guys, maybe it's the fact that he doesn't hesitate to throw himself into everything he does. He's not afraid to look foolish or dance or learn to play the Mandolin. I don't want men fighting over me. I want a man who keeps living life to the fullest, without shame or fear of looking stupid, and Cage has got that down.  YUMMM!

City of Angels: One of my absolute favorite movies of all time. Talk about living life to the fullest.  There is a line in this movie about rather living a life with you than an eternity without you. Wouldn't we all give anything to have that kind of love? In this movie, the Protagonist gives up immortality for the woman he loves. When you are watching this film you realize that maybe you haven't been living life to the fullest, yourself.  Close your eyes and tell me what a pomegranite tastes like, but tell me with your sense of touch and sound and eyes, not your taste. Just watch it and you will understand.

Con Air: Why I had to buy this is unknown, because Starz plays it about every three months. It's a movie that when nothing else is on, including Two and a Half Men, you can watch it over and over and over and over. And, I have. Cage looks fantastic in long curly hair and jeans. He hasn't overdone the accent. You want him fighting for your friends and coming home to you. There are some great other actors in this: John Cusack, John Malkovich, and an awsome performance by Steve Buscemi.

The Family Man: This is a movie for when a group of friends are half watching. You won't mind them talking during it. It's good and funny. He goes from being a wealthy womanizing bachelor to a married man. He learns to love his kids and get more out of life than the almighty dollar. Just average stuff.

Guarding Tess: I have no idea why I like this, but I do. Shirley MacLane does an excellent job as a crudgy retired first lady; escaping her guards and giving Cage a hard time. He's a reluctant body guard but when the chips are down, he's there for her.

LORD OF WAR: Okay, notice the caps. This is my vote for Oscar winning performance and movie. I love this movie. I think this movie should be a must see for high school kids. It's based on a real story of an actual illegal gun dealer, who was arrested a year after this was out. Cage is fantastic in it. The story is worth the watch. I don't know why it didn't get better reviews, but it deserved them.

 Matchstick Men: Billed as an "ingenious, wonderful movie." Not to me. Cage's take on an Obsessive Compulsive does not come close to Tony Shalub's, in Monk.  But, then on the back it says he is "agoraphobe, a germaphone" so obviously the acting did not say anything clear to me. It's an okay movie, when you are sick, have chicken soup and are too tired to read.

Red Rock West: Here's a little known Cage movie that I fell in love with. He's just so human in this movie.  It's a great story about a guy who has one thing after another that literally brings him back to a town he would just as soon leave; and for his own safety he needs to leave. It will keep you guessing and entertain you too.

The Rock: Okay, if you get Starz, this is the other Cage movie that plays every three months. Sean Connery and Ed Harris are in it with him and they are a great team of actors. I love the opening scene where Cage, as a bored chemical weapons specialist, sits making a rube goldberg contraption to set fire to a toy Hula Dancer. I've watched The Rock a bazillion times (on Starz) and enjoy it every time.

The Weather Man: This one is so good that I barely remember what it is. That's NOT a good sign, especially when Michael Caine is in it too. The billing, to get you to watch says it is part, American Beauty and part About Schmidt. Well, that says it all. It's a waste of time movie. Must have been in the $5.00 bin. I think Cage mailed in his performance too.

Windtalkers: I thought about making this it's own Blog. I do think that Cage deserved an Oscar for this movie. He plays damaged soldier, brave soldier, caring soldier, human soldier excellently. It's all those things and more. Highly recommend!

Film controvertido y audaz, Beethoven, monstruo inmortal ha provocado rechazo y admiración a la vez. Yo me cuento entre los últimos. Es evidente que a la señora Holland no le interesaba hacer una biografía filmada del músico alemán. Eso que ahora llaman biopic. Le importaba más narrar el proceso de transformación y de conflicto que anida en la personalidad de un creador, en los momentos más difíciles de su existencia como artista y como ser humano. Dicho de otra forma, Beethoven se sabe cercano a la muerte física pero a lo que más teme es a la muerte creadora. En su mente convergen ideas religiosas heterodoxas con actitudes megalómanas que acompañan su trabajo frenético y su batalla contra la sordera. Ha perdido prestigio en la corte del archiduque y de las autoridades espirituales. La capital musical del mundo de entonces lo mira con desdén, lo piensa acabado. Y en eso aparece un ángel que le otorga una tregua a su lucha incesante. Incluso, un ángel con figura de mujer que se atreve a corregirlo. Ese elemento femenino se torna medular a lo largo del relato en la medida en que Anna no sólo tiene que batallar para lograr la aceptación del maestro sino para hacer valer su condición de mujer. Esta es la cuarta idea de la película.

Narrativamente, el film se construye como un largo flashback —tiene más de back que de flash pues dura casi toda la película— que parte de lo conocido —la muerte del músico en 1827— para remontarse a 1824 e introducir elementos y personajes catalizadores de la trama. A buen resguardo de las intenciones biográficas, la autora de Europa Europa y Olivier Olivier propone una ficción que ningún historiador puede avalar pero que funciona como factor dramático para la comprensión del genio. O para su rechazo. O para su admiración. O para lo que sea. Holland literalmente zarandea a Beethoven y llama la atención sobre su sufrimiento, su angustia, su genialidad. Parte de sus limitaciones —la sordera, la vejez, la arrogancia— para establecer un contraste entre creación y ausencias. La música del silencio es la obra de un sordo genial. El artista como campo de batalla en sí mismo. Una vieja y persistente idea que ha desplegado en otros de sus filmes.

Heredera dilecta de la llamada escuela polaca —hay que recordar que fue asistente de Krystof Zanussi y Andrej Wajda y colaboradora estrecha de Krystof Kieslowsky, además de autora de una filmografía brillante tanto en Polonia como en Francia—, la señora Holland disfruta escandalizando a los conservadores. A la manera del Amadeus de Milos Forman, su film transita caminos osados, arriesgados, no complacientes. Con sesenta años a cuestas le importa una pamplina frita lo que puedan criticar de su visión irreverente del orden. Su puesta en cámara es audaz —especialmente en la escena memorable del estreno de la Novena— pero lo es más su mirada femenina para cuestionar la dominación. Otra de sus antiguas obsesiones. La fotografía del británico Ashley Rowe contribuye de manera importante en la creación de las atmósferas dramáticas de esa relación de admiración y rechazo que se establece entre maestro y alumna. Y, sobre todo, Holland no incurre en la estupidez de la "salida romántica", es decir, de la invención de una relación amorosa entre Beethoven y Anna. Más que un romance, lo que la directora propone es un proceso de conflictos y afinidades que no pasan por los clichés al uso.

Muchos admiran la actuación de Ed Harris como Beethoven —algo que es imposible negar en un intérprete esencial de la escena norteamericana de las últimas décadas— pero en este caso me inclino más por el trabajo de Diane Kruger, una actriz alemana de mucho menor trayectoria que ha logrado superar el reto de su personaje pero sobre todo ha superado la limitación que le impone su belleza física, aunque esto suene contradictorio. Me explico. Es muy poco frecuente que una ex top model se convierta en una buena actriz. Poco frecuente pero posible, a juzgar por su trabajo como Anna Holtz, con su mirada, sus gestos, su dicción y su "traducción" del personaje. Al fin y al cabo, ella es el motor central de la historia y el título original del film —Copiando a Beethoven— se refiere más a su actividad que a la del genio. Y en esto Agnieszka Holland estaba muy clara. Que la disfruten.

BEETHOVEN, MONSTRUO INMORTAL ("Copying Beethoven"), Estados Unidos, Reino Unido y Hungría, 2006. Dirección: Agnieszka Holland. Guión: Christopher Wilkinson y Stephen Rivele. Producción: Sidney Kimmel, Christopher Wilkinson, Stephen Rivele y Michael Taylor. Fotografía: Ashley Rowe. Montaje: Alex Mackie. Música: Maggie Rodford. Elenco: Ed Harris (Ludwig van Beethoven), Diane Kruger (Anna Holtz), Nicholas Jones (archiduque Rudolph), Matthew Goode (Martin Bauer), Ralph Riach (Wenzel Schlemmer), Joe Anderson (Karl van Beethoven), Bill Stewart (Rudy), Angus Barnett (Krenski). Distribución: Cinematográfica Blancica.

Unbelievable? Dude, aren't you the same guys who raved about the Lord of the Rings trilogy? What, and you thought the Hobbits were REAL?

This movie is 100% popcorn summer movie fun. Yes, the premise is utterly ridiculous -- do I really believe that Mt. Rushmore was commissioned by President Coolidge so as to disguise the location of Cibola, one of the seven Lost Cities of Gold? Do I actually need to answer that question? But at the same time, lighten up, people -- it's a comic action movie! Just relax and go with the flow already!

Book of Secrets brings back the four main characters from the first film: Ben Gates (Nicolas Cage), his hilarious geeky sidekick Riley (Justin Bartha), his now-wife Abigail (Diane Krugar), and his father, Patrick Gates (Jon Voight). (Oh, actually, there's a fifth returnee too -- Harvey Keitel as the Feebie who is having WAY too much fun chasing after the Gates family.) Added to the mix this time include the always-awesome Helen Mirren as Patrick's estranged ex-wife (Ben's mother) and Ed Harris as Mitch Wilkinson, the sorta-bad guy who sets the whole story in motion by accusing one of the Gates's ancestors of being involved in the assassination of President Lincoln.

This movie has something for everyone: comic banter (for me), history that is probably outrageously inaccurate (for history buffs who like to bitch about how everybody gets it wrong -- you know who you are), a cute geek (again, for me), a U.S. president who isn't a total butthead (for all of us), kissing (ahem, also for me), chase scenes (for the boys), and nary a gratuitous naked boobie to be seen anywhere (for the girls).

Oh, and it also has Bruce Greenwood, who I have an enormous crush on, as the aforementioned non-butthead president. And is it just me or does Greenwood play the President of the United States rather a lot in movies? Bruce, I hear Obama is still looking for a running mate -- throw your hat in the ring, man! From what I've seen, you're absolutely smashing at running a country AND you look totally adorable while you do it. I was going to vote for John Edwards for roughly the same reason, after all. I think you have a shot! Call me -- we'll get started on the campaign plan.

And as for the rest of you, if you didn't enjoy a single moment of this movie -- not one funny line from Riley, not one action moment, not one scene with Helen Mirren -- it's time for you to pack up your UFO and return to your home planet. Here on Earth, we like to have FUN sometimes. And this? This is one of those times, people. Word.

[Netflix me | Buy me]

Genre: Action, Comedy
Cast: Nicolas Cage, Jon Voight, Justin Bartha, Diane Krugar, Helen Mirren, Bruce Greenwood (p.s. will you marry me?), Ed Harris, Harvey Keitel

Fueron 90 días en los que los guionistas hollywoodenses pararon actividades. Esa huelga arrojó poco más de dos mil millones de dólares en pérdidas.

La recesión económica en Estados Unidos -mil y una veces negada por George W. Bush- también está presente en Hollywood. La revista Variety dice que la tasa de empleo ha bajado, que cayó el número de rodajes y que, en lo que va del año, aumentaron considerablemente las peticiones de actores afiliados al sindicato y que necesitan de una ayuda económica para sobrellevar la crisis.

Por ello, se habla de una posible huelga por parte de los actores. Según Variety, el sindicato no ha llegado a ningún acuerdo con la Alianza de Productores de Cine y Televisión (AMPTP).

La Federación Americana de Actores de Radio y Televisión (AFTRA) ya se separó del SAG (Screen Actors Guild) y pudo ponerse de acuerdo con los productores al menos en lo que atañe a la explotación de películas y a las regalías que les darán. Éste aún está sujeto a la votación de 70 mil miembros de sus sindicato de entre los que destaca Susan Sarandon: "44 mil (actores) son comunes a los dos sindicatos. Como actriz tengo que pertenecer a todos si quiero trabajar".

Figuras como Alec Baldwin, Tom Hanks, Kevin Spacey, George Clooney, Sally Field, Calista Flockhart y muchos más están urgiendo a los miembros del AFTRA para que acepten el acuerdo con los estudios, de esta manera el llamado a huelga por parte del SAG se debilitaría.

Por el otro bando, el del SAG, se sabe que Jack Nicholson, Ed Harris, Martin Sheen, Nick Nolte, Viggo Mortensen, Ben Stiller y Josh Brolin defienden a dicho sindicato a capa y espada, por lo que difieren de la propuesta del AFTRA.

La incertidumbre se ha apoderado de los círculos creativos y dramáticos de Hollywood. Algunas producciones ni siquieran han arrancado, mientras que otras aceleran sus pasos para que, en caso de estallar la huelga, la avancen lo más posible o, en el mejor de los casos, la terminen. En ese caso se encuentran Tom Hanks, quien está filmando Ángeles y Demonios, del polémico autor del Código DaVinci, y Sigourney Weaver que cuenta ya con la seguridad de que Crazy on the outside, título de su más reciente trabajo, se rodará haya o no huelga.

El 1 de agosto llega a las pantallas españolas Cleaner, un inquietante thriller criminal dirigido por Renny Harlin y protagonizado por Samuel L. Jackson, Ed Harris y Eva Mendes, entre otros.

Sinopsis

Tom Cutler (Samuel L. Jackson) es un hombre cuyo trabajo consiste en limpiar escenas de crímenes después de que la policía haya recabado todas las pruebas y haya retirado a las víctimas. Cutler, el limpiador, elimina todo rastro de sangre, olor y manchas y se considera a sí mismo capaz de eliminar también el dolor al borrar cualquier vestigio de una tragedia. Pero todo se complica cuando Cutler limpia por error el escenario de un asesinato antes de que la policía haya actuado en él, de modo que se convierte en el involuntario encubridor de un crimen que tratará de resolver.

::Mentes Inquietas::

A man has only one life time. But history can remember you forever. -Mitch Wilkinsin

• Nicolas Cage as Ben Gates
• Justin Bartha as Riley Poole
• Diane Kruger as Abigail Chase
• Jon Voight as Patrick Gates
• Helen Mirren as Professor Emily Appleton
• Ed Harris as Mitch Wilkinsin
• Harvey Keitel as Agent Sadusky
• Bruce Greenwood as The President

There were great performances by everyone involved but Helen Mirren's role as Ben's mom was particularly noteworthy.  The chemistry between herself and Jon Voight put Krugers and Cages to shame.  Ed Harris playing the bad guy is always fun and Bruce Greenwood as the President was an excellent interpretation.  The character's and actor's that played them were outstanding.

Ratings And Suggestions

National Treasure: Book Of Secrets felt like it was quickly rushed together so the filmmakers could capitalize on a sequel so the parallel stories involving the cities of lost gold from Indiana Jones And The Kingdom Of The Crystal Skull and itself would not be released simultaneously. While Book of Secrets beat Indy 4 to the release date, Indy 4 was compiled together in an elegant, love taken fashion whereas Book Of Secrets was not.  It was stamped and mailed before it was even finished.  It suffers the worst kind of fate of mediocrity in it's ability to have been a much better movie if not rushed.  Nonetheless, it was delivered as a mundane film that by it's finale the outcome was no longer even relevant to me.  I simply wanted to see the end credits. Book Of Secrets receives 1.5 out of 4 Stars.

There was a scene when Ludwig Van Beethoven (played by Ed Harris) in a premiere with a chorale. I can't help but felt like my soul soared and danced. His compositions were really amazing and do connect human's soul.

In the movie he said that in the silence of our life, we can hear the music. He was deaf and he said he hears music all the time in his head.

It was in Vienna, Germany.

Also in the movie is Diane Kruger who plays his copyist.

"Everyone Wants The Truth... Until They Find It."

Gone Baby Gone is one of those movies that you watch, you feel kind of urked and then you discuss for a while afterward because it challenges your morals and beliefs. When you ask yourself, "what would I do in that situation...?" your answer will not come automatically, no matter how black and white you think you are.

The movie starts out with 4 year old Amanda McCready's sudden disappearance from her Dorcester home. Out of desperation, her Aunt [who's not happy with the police's progress on the case] hires a reluctant private eye [Casey Affleck] and his partner/girlfriend [Michelle Monaghan] to help bring her home. At first they turn the case down, but after pleas from the family, they feel obligated to help one of their own. In their search for the girl, they cross paths with some pretty unsavory characters and ultimately the truth, which tears them apart.

This movie takes place in South Boston/Dorcester. Anyone who knows Boston, knows these are pretty tough neighborhoods, with accents that can be tough to understand. My only problem with this movie is how much Casey Affleck mumbles. I was glad we watched this at home vs. the theater, because I could rewind and turn the volume up. And I live in Boston and am very good with accents... [maybe I'm going deaf. lol]. Some of the people in the movie weren't actors, but people they came across when they started filming and felt compelled to use in the film to make it that much more realistic. Amy Ryan, who plays the little girl's mother does an excellent job with the role - and the accent - considering she's not from Boston. 

For the twists and turns and moral dilema, this movie is a definite 4 out of 5 and worth seeing. Ben Affleck does a great job behind the camera, too.  

Add'l Info: Released: Oct 19, 2007 • Runtime: 114 minutes • Rated R for violence, drug content and pervasive language

Talk about formulaic.

Seriously, the acts are virtually the same, just with different little puzzles and similar parts. It's like watching the first movie, but not. I certainly don't mean that in a good way, quite frankly.

I can imagine the meeting of the minds on this one:

Jerry Bruckheimer: Okay, guys - what did we not cover in the last National Treasure movie?

Nicolas Cage: Ooh, the Civil War!

Crazy Jon Voight: That's right! We didn't talk about the Civil War at all!

Jerry Bruckheimer: Hmm, I like where this is going. Throw some buzzwords at me. Give me some ideas, gentlemen.

Nicolas Cage: Abraham Lincoln!

Crazy Jon Voight: John Wilkes Boothe!

Nicolas Cage: Mount Rushmore!

Crazy Jon Voight: Queen VICTORIA!

Nicolas Cage: PARIS!

Jerry Bruckheimer: I like all this, I like it. I think it's going to be hot, gentlemen. Let's just work all this into a script and see what we get.

Someone needs to have an intervention with Nic Cage. And by "intervention", I mean, "stop him for his own good", because heavens to Betsy, my instinctual reaction to someone's face should not be to cower under the chair in terror and scream "Dear GOD, what is that THING?!" When I first saw Cage, my first reaction was some pseudo pearl-clutching followed by "...What's wrong with his hair? No, really...what's wrong with his hair?" He looks disgusting. I don't just mean in the stinky, looks like he could use a shower or ten kind of department, although that's part of it. He looks like he's about to be slapped on an embalmer's table somewhere after his liver's exploded during a rough weekend in Vegas.

So, Ben Gates is back - and this time, he and Riley are in all sorts of trouble. Riley owes a ton of back taxes to the government after a shady accountant does him wrong; Ben has lost Abigail after a rocky relationship. Then a odd character comes forth, stating that he has the missing page of John Wilkes Boothe's diary, implicating a family member of Ben's in the plot to assassinate Abraham Lincoln. Of course, Ben and his father are determined to clear their family member's name, but the shady character (Ed Harris) is using Ben to help him find a treasure. (Are you shocked yet? No? Really?!)

The problem is that National Treasure 2 is the exact same movie as the first. Literally you can pretty much track the second from the first, right down to the discoveries timed simultaneously, Riley offering up pertinent information at exactly the right time, hidden compartments, etc. It feels like an odd sense of déjà vu watching this one, because it feels like it's the same movie, but it's not.

You kind of have to mentally shake yourself a bit to remember that you didn't accidentally take too much NyQuil or something when you weren't looking.

Jon Voight is so remarkably atrocious in this. He's playing the doddering old fool, but he's Jon Voight, so he's a little crazy to begin with. And add in the fact that it looks like someone gave him a strong sedative before sending him to film his parts and you have a slightly stunted, completely slow looking performance.

What in the hell was Helen Mirren doing in this movie? And could Ed Harris have phoned it in even more? Both of them look like they're slightly dazed all the way through it, as if they're trying to mentally communicate, "Bruckheimer hypnotized me and forced me to be in this movie; send help. For the love of God, send help". Ed Harris isn't very convincing as a bad guy, mainly because he doesn't do that much bad stuff, and I think it's practically a contract stipulation with Harris that if you write him in as a villain, he must have a "conscience" or whatever that thing's called that gives you a moral compass - or at least a damn good reason for doing whatever the character's doing.

Even at the end, the discovery of the "treasure" is so cheap - because you know from the start exactly how it's going to happen because you watched the first movie already (probably). The first movie was a fun cheese-tastic kind of thrill ride, and this one falls flat, mainly because you already know what twists and turns are coming for you right around the bend.

                Reese Holdin (Zooey Deschanel) is a twenty-something year old misfit living in New York City with her kitten, who’s dying of Leukemia.  When she’s not performing on the stage (in unknown plays) she works as a bartender.  Reese spends her free time drinking, smoking, snorting crack-cocaine, having sex with men who are practically strangers, and slamming her hand in drawers to punish herself for mistakes; this is until she meets a book editor in a bar.  The editor, (Amy Madigan) wants her to go to her childhood home and dig up a box of old love letters sent between her parents, to be published.  At first, Reese is unwilling to oblige the editor’s requests, however, after some consideration, she decides to get on a bus for Michigan.  When she returns home, much to her surprise, nothing is as she left it.  Her father (Ed Harris) is busy grieving the recent death of her mother in some of the oddest ways possible, and two other people have moved in with him; Shelly (Amelia Warner) a grad student of his, and Corbit (Will Ferrell) an odd wanna-be musician.  As the days drag by, Reese starts to come to terms with who she is, what her life has become, and why her parents always acted the way they did.  By returning home, Reese certainly doesn’t find what she wanted, but she does find what she needs.

                In my opinion, Zooey Deschanel and Will Ferrell have never given better performances in their entire careers.  Deschanel is extraordinary in the leading role.  She plays the part with such grace and ease that it is hard to believe that she really isn’t Reese Holdin.  I truly believe that half the reason this movie is so unforgettable is because of all the different emotions and feelings Zooey is able to conjure up, simply by her facial expressions.  She brings the character to life.  Whether we snort drugs in our free time or use self-mutilation as a form of punishment or not, everyone, in some way, can relate to Reese.   She is on a journey; a journey to find her purpose in life, a journey to realize why she is the way she is and if she’s even okay with that.  Throughout the entire film, Reese has many not so happy confrontations with her father and with Shelly, the grad student living in her father’s home.  Corbit (Ferrell), the not-so-stereotypical, “Christian rocker” is the comic relief in this dramatic representation of a could-be real life story.  His odd way of dressing, his extreme way of protecting Reese’s father, and his quirky way of saying grace before dinner all add to this film, both comedically and emotionally.  Outstanding performances are also given by Ed Harris, Amelia Warner, Amy Madigan, and all other minor actors in this film.  

                Winter Passing is unlike any film I’ve ever seen before.  It touched me in a way that no other film has been able to touch me, since Andrew Largeman went searching for his life’s purpose after his mother’s death in, Garden State.  I, wholeheartedly, give this movie five out of five stars and suggest that everyone, whether you’re searching for life’s meaning and your true self or not, sees this film.  It is well worth an hour and a half of your time.  

On a lazy Saturday afternoon, rummaging through a close-down sale, I picked up this DVD instinctively -- only because I saw Ed Harris and Cuba Gooding Jr. on the Sleeve. And I am happy, I did.

There will be many movies that use sport as the backdrop of motivational matter. Jerry Maguire, Any Given Sunday and such. And they are always an interesting watch, at least once.

Radio captured my imagination for a different reason altogether. Ed Harris, who I admire, is his usual steely self, not giving away anything, playing the character without hogging screen presence. He does that without exception, almost always. In that sense, he doesn't quite qualify as a good actor -- lack of versatility and variability, I will say. Yet, there is something very unique about his presence on the screen, which I enjoy, without exception.

The surprise, was Cuba Gooding Jr. But, then it wasn't really so. Cuba has been able to demonstrate time and again that he is versatile. Take Jerry Maguire (again) and Men of Honor. What he did with the role of Radio, however, came across as most sincere and profound. The movie is based on a true story and a real person, so it follows that Cuba got a chance to study the character. Even then, to be able to bring in consistency in a character, especially a retarded one, I believe is a mark of a good actor.

Cuba has moved several notches up, as far as I am concerned and I had a wonderful time watching this one.