Posts Tagged ‘Naomi Watts’

This week’s releases include: a bird watching adventure; a Canadian hockey movie; a quality prison drama; a spy thriller; an exceptional haunted house story; a look at crime in L.A., a fantastic sci-fi narrative; a grown-up bully; a cold war documentary; an extraordinary biopic; a mischievous monkey finds a new way to make trouble; a baseball movie; and a band of misfits. (more…)

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This week’s releases include: a sci-fi tour de force; a famous, tragic love story; a plunge into darkness; the true story of a kind-hearted drug dealer; the ultimate public, political betrayal; an entrancing mafia tale; a new Charlie Brown narrative; an amazing crime drama; an appalling future; an HBO series about the New Orleans; and a documentary that demonstrates one man’s trash is another’s treasure. (more…)

This week’s releases include: a captivating tale of envy and ambition; the epitome of love stories; a single location murder mystery; the third chapter in a Muay Thai extravaganza; a missile on rails; the latest Woody Allen picture; and a gorier sequel to a serial killer flick. (more…)

Naomi Watts and Sean Penn in Fair GameNext year will mark the 10th anniversary of 9/11, which eventually led to the deployment of American soldiers in Iraq. Of course, as everyone is well aware of, the main reason for the invasion was to disarm Saddam Hussein’s “weapons of mass destruction.” When none were found, many people questioned how the government could make such a serious error – wasn’t there intelligence to backup their claims? Fair Game tells the true story of how this conclusion was made and how the truth ruined a woman’s life and nearly broke up her marriage. (more…)

It’s surprising such an intriguing mystery could miss the mark so completely.

Eleanor Whitman (Naomi Watts) is a U.S. district attorney working with various foreign authorities to bring down a massive money laundering operation that fronts as a bank. She is teamed with Interpol agent Louis Salinger (Clive Owen), who has been on the financial institution’s trail for years but never permitted to get this close. Lou is supposed to deal in information but he has trouble just sitting at a desk so he joins the physical hunt. As they dig deeper, Eleanor and Lou discover the bank funds civil and international wars to control the country’s debt and thus control the country – and everyone’s hands are dirty.

The premise is attractive and the story is loosely based on a 1980s scandal. But it’s just not enough. The narrative is seriously lacking in what one would have thought to be inherent intrigue. The espionage element of the film is far weaker than expected for this style of narrative. In addition, save for an exciting extended shootout at the Guggenheim, the film’s action falls flat.

For the most part, the dialogue is horrendously laughable. Yet, Owen and Watts manage to rise above it and turn-in respectable performances. They are genuinely serious about their task and struggle with the tough decisions, despite their cheesy exchanges. The rest of the cast is okay, delivering their lines equally straight.

The film’s conclusion is simultaneously fitting and anti-climactic. The protagonists’ goals are only minimally realized despite their tremendous efforts and sacrifice, which is typical of the business but not a mode of narrative closure.

Director Tom Tykwer’s previous endeavour, Run Lola Run, was such an accomplishment in pace and style; it would have been nice to see some of that translated to The International.

The special features include commentary by Tykwer and writer Eric Singer, as well as “The International Experience: Picture-in-Picture,” which provides additional information while the movies screens. The extended scene centred on Salinger and Whitman adds little to the feature film. The featurettes are technically interesting but not entirely what was expected. “Shooting at the Guggenheim” is less about the actual shootout and more about the logistics of building a replica of the museum. “Architecture of The International” is much of the same. “The Autostadt” briefly highlights the production’s position as the first film permitted to shoot within the Volkswagen headquarters. The disc is also BD-Live enabled and equipped with Cine-chat.


If it had just a little more anything, it could have been a better film.

Eleanor Whitman (Naomi Watts) is a U.S. district attorney working with various foreign authorities to bring down a massive money laundering operation that fronts as a bank. She is teamed with Interpol agent Louis Salinger (Clive Owen), who has been on the financial institution’s trail for years but never permitted to get this close. Lou is supposed to deal in information but he has trouble just sitting at a desk so he joins the physical hunt. As they dig deeper, Eleanor and Lou discover the bank funds civil and international wars to control the country’s debt and thus control the country – and everyone’s hands are dirty.

The premise is attractive and the story is loosely based on a 1980s scandal. But it’s just not enough. The narrative is seriously lacking in what one would have thought to be inherent intrigue. The espionage element of the film is far weaker than expected for this style of narrative. In addition, save for an exciting extended shootout at the Guggenheim, the film’s action falls flat.

For the most part, the dialogue is horrendously laughable. Yet, Owen and Watts manage to rise above it and turn-in respectable performances. They are genuinely serious about their task and struggle with the tough decisions, despite their cheesy exchanges. The rest of the cast is okay, delivering their lines equally straight.

The film’s conclusion is simultaneously fitting and anti-climactic. The protagonists’ goals are only minimally realized despite their tremendous efforts and sacrifice, which is typical of the business but not a mode of narrative closure.

Director Tom Tykwer’s previous endeavour, Run Lola Run, was such an accomplishment in pace and style; it would have been nice to see some of that translated to The International.