28 Weeks Later (2007)

28 Weeks Later is a sequel I never thought I\'d see, and quite frankly, I didn\'t want to see it. 28 Years Later is a perfect little horror movie, and the melodic theme of a follow up really steamed me. I\'m tired of rehash, merely, as it turns out, this isn\'t a rehash at all. It actually expands on ideas developed in the first film and moves it forrader with an inspired story of it\'s own. As the film opens, we\'re introduced to Don. He and his wife bear found good haven in an English language country slope cottage during the first film\'s deadly outbreak. The couple share the belongings with a small band of survivors. Of form all well things moldiness come to an end, and before long, the infected find the peaceful little utopia, and tone-beginning without warning. Somehow, Don manages to escape (in a horrifying bit of visceral terror), but some of the other survivors aren\'t so lucky. Months pass, and the plague appears to have been contained. Dependable havens have been limit up passim the state, but the military maintains a watchful eye in the case of another outbreak. Don is finally reunited with his children and put up in a new home. Life begins once more. That is, until the inevitable happens. To the military\'s shock, the virus resurfaces, and in a matter of minutes, it spreads like wild fire turning harmless folk into rabid monsters. 28 Weeks Later takes it\'s predecessor\'s concept and amplifies the tension, and while it lacks the drama and character of the first-class honours degree film, it does carry the story in new horrifying directions while maintaining that same ominous signified of dread. One of the most interesting aspects of this follow up is how the virus re-surfaces. Without giving excessively much away, let\'s just say it\'s at the dramatic core of the movie. What\'s more, we discover that some individuals have developed an immunity to the plague and this takes the moving-picture show in a very interesting direction. 28 Weeks After is a pure horror movie, only it\'s a great deal different than, say, Zack Synder\'s take on Dawning of the Dead (although the openings of both films are comparable). As was the case with that moving picture, this is a film in which any type might die at any time, just the tension in 28 Weeks Later is far more invariant. Be it a terrific scene in which threesome survivors experience to make their manner through a pitch dark subway burrow filled with dead bodies, to a sequence in which the military fire bombs the city, in that location is no shortage of sweat inducement thrills in this movie. What\'s more than, 28 Weeks Later doesn\'t shy forth from the unexpected, no matter how shocking (one character dies in an unpredictable and brutal fashion). Not to be outdone, 28 Weeks Later ups the gore factor, and there\'s nada cheesy or b-movie-ish around any of this hooey save for a eggbeater sequence that might receive been more effective had not Grindhouse pulled the same stunt a month and a half before. Director Juan Carlos Fresnadillo has much in common with Danny Boyle in terms of the way he\'s shoots a motion picture. 28 Weeks Later was shot digitally, and much of it was hand held. The difference is, Fresnadillo\'s film takes a while to find it\'s footing. Some of the shaky photographic camera work and quick clipping choices in the former goings on of the movie, make it unmanageable to discover what\'s passing on. Things do opened up as the film progresses. The screenplay does feature some silly dialog and stock characters, and certainly falls into typical horror film cliches. For example, I found it a bit inane that two children decide to break out of the safe zone, and go cruising through a serious area by means of a bike. What\'s even more farcical is how easily they pull this little stunt off. There are former flaws to be establish in the movie. The biggest involves an septic civilian (and a key character in the plastic film) who handily manages to pop up in the perfect stead at just the right time. I\'m being a wee bit vague here, because this happens to be a pretty big plot point. For the most role though, the movie plant. It\'s fast paced and full of enough thrills and chills to sex fans of the genre, and it gets incentive points for a gutsy ending. 28 Weeks Later is provocative and haunting, and I was completely surprised by it.

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21 Grams (2003)

Acclaimed Spanish director Alejandro Gonzalez Inarritu (the splendid Amores Perros) makes his American debut with 21 Grams, an intensely dramatic character report starring Sean Penn, Naomi Watts and Benicio Del Toro. The title of the film refers to a myth that suggests that when a person dies, they lose just 21 Grams. The title is, of course, a metaphor. This movie is a rather sprawling fictional character study in which trey separate lives are profoundly impacted by a single, tragic event; a horrific car crash (this is interesting given that this is the same sort of case that effects the characters in Amores Perros). 21 Grams does not unfold through a straight ahead narrative, as scenes from the past, present and future are all revealed out of order so that we the audience witness the outcome of certain events before we actually see what leads up to them. As was the case in films like Memento, Irreversible and Mush Fiction, this makes for an intriguing time at the moving-picture show because it forces us to quell on our toes as viewers - constantly beingness challenged by a new revelation. What\'s most interesting is that this technique never feels gimmicky in 21 Grams, because this isn\'t a mystery, it\'s pure drama. Inarritu is an amazing talent and he has an interesting eye for human behavior. Many characters in this picture do things they know they shouldn\'t ( i.e. Penn\'s character continues to smoke like a chimney even though he\'s in desperate need of a heart transplant). And even though 21 Grams never quite becomes as important and powerful as it aspires to be, much of the picture moved me. Keeping 21 Grams from reaching it\'s full potency are some sequences and background stories that don\'t quite occur together. The moments betwixt Penn and actress Charlotte Gainsbourg, didn\'t seem to have a great deal depth to them. At that place is a history there (the two play husband and wife), and even though the turmoil in their relationship is somewhat resolved, I somehow felt underwhelmed by it. There are besides other moments in the film where I didn\'t buy into the way specific characters were reacting towards sealed events. It\'s hard to elaborate on this without giving key plot points away (I friggin\' hatred spoilers), simply I will say I had issues with key moments 'tween Del Toro\'s character and his married woman (played by Melissa Leo the Lion). 21 Grams has cold moments merely it has uplifting ones as well. This is a picture that deals with themes of sacrifice, addiction, guilt trip, redemption and religion, and they\'re all dealt with in interesting ways, some predictable and some virtually unexpected. Naomi Watts is outstanding here and truly lets herself go emotionally as a woman wHO, despite forever being told; \"Life goes on\", can\'t seem to break out of a downward spiral caused by tragedy. It\'s a role that reminded me a morsel of Halle Berry in Monsters Globe, only I felt this part was more fully realized. Her grieving is painfully material. Sean University of Pennsylvania is upstanding as a man wHO feels his life would not be possible were it non for a sacrifice made by some other. He is passionate and sincere and I was even more than moved by his make here than by his terrific turn in Secret River. Del Toro is, once once more, a absorbing screen force, this time playing a God fearing man with a wreckless past. He\'s intense and unpredictable, and absolutely compelling to look on. Like Cold Mountain, 21 Grams is a motion-picture show I greatly admire, just I wouldn\'t call it greatness. With shades of Talk to Her and even the light quixotic comedy Return to Me, this is a worthy second exploit by Innarritu but it wasn\'t as involving as Amores Perros. Somehow, after this picture was over, I felt as if there was something missing. Still, 21 Grams is much more than thought agitating than some of the other dogshit playing right now, and if you can handle an intense time at the movies, it\'s more than than charles Frederick Worth a appear.

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2 Fast 2 Furious (2003)

Of all the sequels being released this summer, it seemed that this follow-up to Rob Cohen's moderately enjoyable Fast and the Furious would be the most pointless. Surprisingly, I not only enjoyed this silly little slice of commercial entertainment, I also found it much more lively than the original.

Paul Walker returns as Brian O'Conner, but Vin Diesel is nowhere to be found. This time around, O'Conner is no longer with the L.A. police force. After letting Diesel go at the end of the first film, Walker begins a new life in Miami where his love for street racing continues to grow. Before long, he's told by law enforcement that his record will be wiped clean if he's able to help them catch a local drug lord who's causing mischief in the area. Along with the aid of a childhood friend whom he hasn't seen in years (played with vibrant glee by Tyrese), the two go undercover in attempt to help bust the bad guys.

I'm not going to sit here and tell you that 2 Fast 2 Furious is original--nor am I going to have you believe that the film is smart. We've seen this drug lord plot in several other pictures and as far as smarts--lets just say that this movie is really dumb. But in a good way.

The fact is, 2 Fast 2 Furious is exactly what the title suggests. Very fast and very furious. The car chases are plentiful and extremely exciting, and for what it's worth, I had a much better time during this movie than I did in the incredibly dull Italian Job.

Perhaps the biggest shock surrounding this movie is that it was directed by John Singleton who, as of late, seems to be trying to break into mainstream success (Shaft anyone). While this film hardly seems as relevant as Boys in the Hood, it works because it doesn't aspire to be anything more than dumb, loud fun. Mr. Singleton is a true craftsman and even though most of this screenplay is somewhat ridiculous, the director's style is very slick. The chase sequences in this picture are outstanding and extremely smooth.

I probably would have given this picture a better rating had Paul Walker not been in it. This guy just isn't dynamic enough. Everyone around him is so much livlier, and much of the time, Walker seems to keep the movie from reaching it's true, over the top sensibility. It helps that Tyrese is around to bring some excitement to the screen. This tough guy showed much potential in Singleton's Baby Boy, but here, he fully realizes it, commanding the screen everytime he's on it. In fact, I enjoyed his smooth talking, bad boy shenanigans much more than Vin Diesel's. Watch for an entertaining bit part by rapper Ludacris as well. The rest of the performances range from fun (Cole Hauser has a giddy time as the drug lord) to positively dreadful (Devon Aoki seems to be reading from cue cards).

It always helps going into a summer movie with low expectations and no doubt, that's part of the reason I think I enjoyed 2 Fast 2 Furious so much. Add to that Singleton's breakneck pacing, an energized Tyrese, and some truly spectacular car chases and you have a fun summer movie.