Release Date: June 21st, 2002

Running Time: 2 hours and 25 minutes

Written by: Scott Frank and Jon Cohen

Directed by: Steven Spielberg

Starring: Tom Cruise, Colin Farrell, Samantha Morton, Max von Sydow

By: Michael “MovieBuff801″ Dennos

Great science fiction always has the ability to make us ponder about the implications and ideas behind the world it creates while simultaneously entertaining us with all the cool toys inherent. In that regard, Steven Spielberg’s Minority Report is most definitely a piece of great science fiction, brimming with thought-provoking ideas that are infused with intense and exciting action sequences, but most importantly, the film contains a real emotional hook at its center that makes it an even more gripping experience. This is quite frankly a masterwork from Spielberg, who’s certainly no stranger to genre films, but in Minority Report, there’s a clear mindset on display from Spielberg for a desire to elevate the material past its straightforward genre roots and deliver something much more rewarding, and it’s successful. After every re-watch of this movie, it always makes me long for another Spielberg film this great made these days.

Set in the year 2054, Minority Report follows John Anderton (Tom Cruise), chief of the highly controversial Precrime Task Force in Washington, D.C. The Precrime unit’s mandate is simple: to stop crime — specifically murder — before it happens. This is achieved through the use of special individuals known as “PreCogs”, who have the ability to foresee such horrific acts, and it’s said that they’re never wrong. Anderton is an avid supporter of the system, but his faith is tested after he witnesses the latest PreCog vision, which shows Anderton himself carrying out the murder of a man he’s never even met. This supposed hiccup comes at a critical juncture when the PreCrime division is being audited by the watchful Danny Witwer (Colin Farrell), a representative of the U.S. Justice Department, so the government can get a glimpse of the unit’s effectiveness. Of course, Anderton is compelled to go on the run and prove that this is all some kind of elaborate set-up, but in order to do so, he’ll need to do a few questionable things. And one of those involves stealing Agatha (Samantha Morton), one of the PreCogs, so Anderton can find the minority report, i.e. the potential future where a predicted killer could do something different.

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Boyhood Review

Posted: August 12, 2014 by PG Cooper in PG Cooper's Movie Reviews

6a00d83451d77869e201a3fd3de7ad970bWritten by Daniel “PG Cooper” Simpson

Richard Linklater has long been one of the great, under appreciated American filmmakers. Since the early 90s, the man has made a string of films catered for adults which tap into very relatable human drama. He’s done more commercial fare too, such as The Bad News Bears and School of Rock, but most of his career has been defined by movies about intimate human relationships like Dazed and Confused, and especially his Before trilogy. His newest film, Boyhood, is in many ways the cullmination of this type of storytelling. Filmed over twelve years and chronicling the fictional story of a boy growing from age 7 to 19, Boyhood is the film Linklater is worked towards throughout his career.

Boyhood opens in 2002, with the image of a seven year old boy looking up at the clouds. That boy is named Mason (Ellar Coltrane), and the film will proceed to follow him as he grows up for the next twelve years. At the start of the film, he is living with his mother Olivia (Patricia Arquette) and older sister Samantha (Lorelei Linklater). Another important family member is Mason and Samantha’s father (Ethan Hawke), who maintains a relationship with his kids. As we move through time, we see the family move from place to place, coming in contact with many different people how affect their lives in interesting ways.

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Release Date: July 15th, 1994

Running Time: 2 hours and 20 minutes

Written & Directed by: James Cameron

Starring: Arnold Schwarzenegger, Jamie Lee Curtis, Tom Arnold, Art Malik

By: Michael “MovieBuff801″ Dennos

I seem to have an interesting relationship with writer/director James Cameron’s movies. The ones that are almost universally hailed as great, such as Terminator 2 and Aliens, are films I certainly like, but don’t love. Then there are those like Titanic, of which opinions have gotten either subdued or middling over the years, yet I respond to more strongly. His 1994 action flick, True Lies starring everybody’s favorite Austrian action hero Arnold Schwarzenegger, falls somewhere in the middle. To start off with, this movie isn’t quite as good as I remember it being (of course, I last watched it in my late high school years, a time when admittedly most action movies I saw seemed pretty awesome, dude), but it’s still a helluva good time, basically the kind of movie we expect to get once the pitch of, “it’s a big, inconsequential spy action movie starring Arnold Schwarzenegger and directed by James Cameron,” is uttered. I’ve certainly seen better offerings from both mentioned parties, but True Lies doesn’t really have high aspirations to begin with, and it achieves those it does have quite well.

Schwarzenegger plays Harry Trasker, an operative of some vague secret spy organization called Omega Force — we learn this only because in one scene, the camera tilts down at the floor of their headquarters to show the seal, which contains the sub-line “The Last Line of Defense.” As the film opens, Harry, aided by his wise-cracking partner Gibson (Tom Arnold) is in the middle of a mission that seems right at home in a James Bond movie: he has to crash the black-tie party of an arms dealer in order to gain information about the latest deal, which involves a terrorist organization known as the Crimson Jihad, led by the elusive Salim Abu Aziz (Art Malik). But Harry’s life isn’t all about covert affairs; he’s married to a woman named Helen (Jamie Lee Curtis), who has no idea about Harry’s spy life, thinking that her husband is merely a computer salesman. But, to Harry’s great surprise, Helen soon gets caught up in his other life in a most unexpected fashion, right as he learns that Crimson Jihad is in possession of nuclear warheads, which, in true terrorist fashion, they plan to use against the U.S. unless their demands aren’t met. All of a sudden, the boring and ordinary life Helen believed her husband to lead doesn’t seem so boring or ordinary anymore.

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Star Trekking X: Nemesis

Posted: August 5, 2014 by PG Cooper in PG Cooper's Movie Reviews

star_trek_nemesis_ver2Written by Daniel “PG Cooper” Simpson

It’s kind of amusing how the first three “Next Generation” films have oddly mirrored the original Star Trek films. You have a first film which is a daring and divisive entry, a more action-packed and well-liked sequel where the captain faces a villain from their past, and the third film being a more restrained adventure akin to what might be seen on the TV show. This is probably coincidence, and each does require a fair bit of generalization, but it’s still an interesting pattern, one which suggests the fourth entry should be a more light-hearted and more off-beat romp. This couldn’t be further from the truth. Star Trek: Nemesis is a dark and very violent film, at least by Star Trek standards. Given how Insurrection underperformed, it makes sense that the filmmakers would try to return to some of the elements which made the best “Next Generation” film, First Contact, so good. Were they successful? Given that Nemesis killed the franchise for seven years, what do you think?

On the planet Romulus, a military coup has occured which has put the second class citizens known as Remans and their leader Shinzon (Tom Hardy) in charge. They claim they want peace, though it is quickly revealed the Romulans have only allowed them to lead because Shinzon is planning war with the Federation. Picard and the Enterprise are sent to negotiate with Shinzon, where it is revealed Shinzon is actually a clone of Picard. The two talk, and Picard wants to believe that Shinzon’s peaceful goals are accurate, but he suspects something more sinister is going on. Of course, he’s right, and conflict between the two soon breaks out.

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Guardians of the Galaxy Review

Posted: August 4, 2014 by PG Cooper in PG Cooper's Movie Reviews

Guardians_of_the_GalaxyWritten by Daniel “PG Cooper” Simpson

I have something of a love-hate relationship with the Marvel Cinematic Universe, though it’s probably closer to a like-don’t like. In general I like that they’ve built a universe of related characters and I’ve enjoyed most of their films, but I also think they play things very safe and formulaic. That said, I had high hopes for Guardians of the Galaxy. The film looked a departure from the typical superhero film and was filled with all sorts of strange elements, like a talking raccoon and a tree/humanoid thing being two of the main characters. I had hoped Guardians would be a fresh take on a very over saturated genre, and the early reviews seemed to indicate just that.

In 1988, a young boy named Peter Quill is abducted from Earth by a mysterious space shift. Jump ahead 26 years and Peter (Chris Pratt) is an intergallactic thief who goes by the alias Star Lord. On an abandoned planet, Quill attempts to steal a valuable artifact sought after by many powerful forces. Quill succeeds, though he barely makes it out alive. Soon he finds himself being hunted by many, including the powerful alien warlord Ronan (Lee Pace), who himself has ties to Thanos, the villain teased during the mid-credits scene of The Avengers, played here by Josh Brolin. Eventually, this will lead Quill to a collection of oddballs; the assassin Gamora (Zoe Saldana), the warrior Drax (Dave Bautista), and the bounty hunter pair of Rocket and Groot (Bradley Cooper and Vin Diesel). Though they will start off at odds, they soon form quite the team.

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Release Date: June 12th, 1981

Running Time: 1 hour and 55 minutes

Written by: Lawrence Kasdan

Directed by: Steven Spielberg

Starring: Harrison Ford, Karen Allen, John Rhys-Davies, Paul Freeman

By: Michael “MovieBuff801″ Dennos

As far as traditional blockbusters go, they just don’t get much better than Raiders of the Lost Ark. And rarely are they made with this level of quality anymore, either. Can we trace the origins of the term “non-stop thrill ride” back to this film? Quite possibly, because once the film gets to about its halfway point, it hardly lets up for one moment. It’s a prime example of purely exhilarating action filmmaking at its finest, an experience which has stood the test of time and is still just as thrilling now as it no doubt was when it was first released thirty-three years ago. It’s also the work of a filmmaker who clearly understands the needs and desires of an audience (most of the time), and as such, is definitely worthy of being regarded as a classic. This is how it’s done, Hollywood.

We all know the story, but for those who remain in the dark: Indiana Jones (Harrison Ford) is a famous archeologist who divides his time between teaching in the classroom and engaging in actual archeology, which in this case entails navigating death traps like a giant rolling boulder. His latest quest finds him on the trail of the long-lost Ark of the Covenant, the golden casket that the ancient Hebrews used to hold and transport the Ten Commandments. But in order to find it, Indy must first enlist the aid of Marion Ravenwood (Karen Allen), a scorned former love who still harbors ill feelings toward Indy and who was left a vital clue in finding the Ark by her father, who was searching for the artifact himself and thus disappeared. Things get really complicated, however, when Indy and Marion discover that the Nazis have their own search party digging in the desert of Cairo for the Ark, a search party headed over by Belloq (Paul Freeman), Indy’s nemesis who has aligned himself with the Nazis. It all culminates into a series of chases, explosions, daring escapes and close calls that distinguish this series as one of, if not the best action movie series in existence.

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By: Michael “MovieBuff801″ Dennos

The stakes just keep on getting higher with each of these Mission: Impossible films. First, it was a matter of compromised secret agent identities, then came biological chaos, followed by Ethan Hunt’s personal life being put in peril, and now finally we’ve arrived at the threat of mass nuclear destruction; a rather logical progression, really. But the thing about Mission: Impossible – Ghost Protocol is that it feels like it’s late to the party, almost as if it’s the cool kid at school thinking they’re making a grand entrance when in reality, the real cool kid has already shown up to the party and this is the arrival of that kid who’s desperately trying to fit in and be hip. For me, the best way to sum up this movie is to call it a victim of over-hyping, and while I certainly can’t call Ghost Protocol a BAD movie, I also can’t embrace it like a lot of other people seem to have — especially with the number of issues I have with it.

It seems the honeymoon didn’t go so well for Ethan (Tom Cruise), because as Ghost Protocol opens, we find him locked up in a Moscow prison for mysterious reasons, and fellow IMF operatives Jane Carter (Paula Patton) and Benji Dunn (Simon Pegg) are in charge of breaking him out. They of course do, giving the excuse that they need Ethan’s help in handling the fallout of a failed mission involving the death of a fellow agent while trying to procure information concerning someone code-named “Cobalt.” This leads to another quick mission, this one involving a break-in to the Kremlin to protect nuclear codes from falling into the wrong hands and also to identify Cobalt. But since this is the movie’s inciting incident, things go horribly wrong and the Kremlin crumbles in the wake of a mass bombing, for which the IMF is framed. As if things couldn’t get worse, the IMF is soon thereafter disbanded, leaving Ethan, Jane, Benji and intelligence analyst William Brandt (Jeremy Renner) the only ones left to clear the IMF’s name and catch Cobalt, now revealed to be Kurt Hendricks (Michael Nyqvist), a Swedish-born Russian nuclear strategist who wants to start a nuclear war. But this time, all the elements seem to conspire against Ethan and his team, as they find that this mission is more impossible than any they’ve embarked on before. Read the rest of this entry »

Release Date: November 5th, 2004

Running Time: 1 hour and 55 minutes

Written & Directed by: Brad Bird

Starring: Craig T. Nelson, Holly Hunter, Jason Lee, Samuel L. Jackson

By: Michael “MovieBuff801″ Dennos

Ah, the glory days. That seems to be the topic at hand when discussing The Incredibles, in more ways than one. Not only do the characters in the film, former superheroes forced into early retirement by citizens who’ve experienced said heroes’ destructive collateral damage, sit around and reminisce in some form about their own glory days, the film itself is a pleasant reminder of when Pixar Studios could do no wrong. Just to clarify, though: I don’t mean that to be taken as they’ve gone down the toilet in most recent years, but I still think there’s no denying that ever since after the release of Toy Story 3, Pixar has seemed to lose that magical spark which made them put out so many great movies, and I’m sure I’m not the only one who longs to see that spark return. Quite frankly, The Incredibles remains one of Pixar’s finest achievements to date, a movie filled with creativity, excitement, heart and humor, but that’s not where my praises end for it. I also consider it to be one of the best superhero films ever made, period, a title which The Incredibles is more than worthy of.

The film takes place in a world where superheroes are a part of the fabric of everyday life, but as already mentioned, begins when the public has become fed up with the costs of their day-saving. Specifically, the focus is on Bob Parr (Craig T. Nelson), formerly Mr. Incredible, who’s become an office drone working for an insurance company and very bored with his ordinary life. He’s also a family man, having married Elastigirl/Helen (Holly Hunter) and fathering three children with her: Violet (Sarah Vowell), Dash (Spencer Fox) and infant Jack Jack. Like their parents, Violet and Dash possess super powers; Violet has the ability to disappear and create forcefields, while Dash, as his name suggests, can run super-fast. The Parrs’ suburban lifestyle is interrupted, however, when Bob receives a cryptic mission to dispose of an experimental robot running amok on a secluded island. He does, but it opens up a whole new set of problems, at the center of which is Syndrome (Jason Lee), a vindictive supervillain with nefarious plans for all remaining superheroes in the world. Suddenly, the Parr family finds themselves the only ones who can put a stop to Syndrome’s schemes and in the process, give the public a good reminder of the benefits of having superheroes around.

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*Spoilers aheadĀ MPW-29235Written by Daniel “PG Cooper” Simpson

I don’t know if there’s anything more discouraging than apathy. With previous Star Trek films, there seems to be strong opinions going one way or the other. Whether it be the love for The Wrath of Khan or the hatred for The Final Frontier, or even the divisive opinions of The Motion Picture, all of the films had a certain level of passion which made things interesting. With Star Trek: Insurrection however, most people don’t really care. Some people don’t like it, some do, but nobody is really willing to jump up and defend it, or tear it down for that matter. Having seen Insurrection, I must say, I understand the lack of passion. While far from the worst Star Trek film, Insurrection is certainly the most mediocre.

In the Briar Patch of space, where communication is blocked, there is a planet inhabited by a race known as the Ba’ku. The Ba’ku are humanoid aliens who, having rejected technology, have lived on this planet for over three hundred years. Due to particles in the planet’s rings, the Ba’ku adults have ceased ageing. In fact, all have been physically improved and are even in a state of mental bliss. However, a dying race known as the Son’a see this planet as their last shot at survival and thus want the Ba’ku relocated. They attempt to do this subtlety, but are not above taking the planet by force. Picard sees this as wrong and is willing to fight for the challenged race.

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Labor Day Review

Posted: July 23, 2014 by PG Cooper in PG Cooper's Movie Reviews

labor_day_xlgWritten by Daniel “PG Cooper” Simpson

Back when I first started my blog, I went through a phase of seeing as much films from whatever the contemporary year as I could. Not just films I thought looked good, or even okay, I would literally watch anything. Even movies that I thought looked terrible, I’d still watch. Why? Well, because I would review it, and would justify it by getting the film free from my local library. As time went on, I started to realize how stupid this was and gradually become more selective in my contemporary viewing choices. I’ll still give some questionable films a chance mind you, but I generally avoid anything that looks truly bad to me. There are exceptions however, for example, if a film is from a director I’m fond of, I usually give it a chance. Such was the case with Labor Day, the January release from director Jason Reitman. Reitman seemed to be a fresh new talent coming off of films like Juno and Up in the Air. Then in 2011, I released a film which no one seemed to care about called Young Adult. After that, the man fell off the radar and his newest effort did little to bring him back.

Adele Wheeler (Kate Winslet) is a single mom living alone with her young son, Henry (Gattlin Griffith). Following divorce from her former husband Gerald (Clark Gregg), Adele has fallen into a severe deppresion, rarely leaving the house. Henry does his best to keep his mom happy, but he can tell something is missing in her life. One day, the two are out shopping when they come across Frank (Josh Brolin), an escaped prisoner who forces his way into the Wheeler home to hide out. Once there, a kinder side of Frank begins to show and a romance begins to blossom between he and Adele over the labor day long weekend.

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