Daily Archives: September 21, 2008
21 (2008)
Glitzy, breezy, and 100 percent predictable, 21 is a simple con movie that goes through the motions with hyper realism. The most interesting part of the film, by far, is learning the systems that help these coeds fleece Vegas for thousands of dollars. In fact, the true story is far more interesting than this typical tale about a good kid who gets a big ego, pushes his true friends away, is humbled, and then learns a lesson while getting the girl too. What’s a MIT engineer want to go to Harvard med school for? And for that matter, you’re telling me there are no scholarships out there to brainy MIT students? Whatever the case, 21 will pass the time nicely without damaging your brain. The card games are ramped up with zooming camerawork and flashy special effects by director Robert Luketic (Legally Blonde), but it’s all window dressing to an interesting story that was white washed into a bland but undeniably commercial movie. It’s a fine time but, like Vegas, will leave you empty in the end. Still, you could do worse than overly stylized con movies about math whiz card sharks.
Nate’s Grade: C+
Street Kings (2008)
This is a wildly overwrought and sleazy drama is hoping to come across as edgy but everything is so overdone. It fulfills all the requisite elements of the modern crime picture; double crosses, forlorn anti-heroes, bloody violence, but Street Kings misses the mark big time when it comes to any nuance. Every beat of this murky, convoluted dirty cops mystery is plain and obvious. If you cannot guess within minutes who the eventual culprits will be then you haven’t seen enough movies. Every character is a cliché of a cliché, every unrestrained actor is constantly speaking in nothing but exclamation marks, and the dialogue is some of the worst I’ve heard all year. Keanu Reeves is a listless leading man who is blank and lifeless, unable to wrestle the dark and complicated emotions needed for a “cop on the edge” role. I can practically feel Forest Whitaker’s spittle every time he speaks. Street Kings feels like a route retread of rogue cop pictures, which are director David Ayer’s specialty. It wants to shine a light on the seedy underbelly of the law but it can’t stop from feeling like a lobotomized version of L.A. Confidential (Note to Ayer: Jay Mohr + mustache = an arrangement that benefits neither party).
Nate’s Grade: D




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