Dorathen Better Late Then Never

HottWwjdIam There is just so much movie here. For some it may be too much. But in the same secretly sarcastic way most telemarketers say the phrase, the title of this one is particularly apt.

StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Delight Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

Andres-Camara This movie is a great adrenaline rush. Because I've put a nine, so many critics have suspended it. It is not the law of the jungle, at all, that misunderstood. If we asked people on the street, no one would, but everyone would agree that we must do it.I usually like this director because his characters are always very liberal and that is very badly seen today, especially in Europe.The movie itself is no wonder, but when you see it you can not stop thinking that justice has been done. You have a good taste, but of course, it's a movie.From the posters, to the movie, the actors are very well. As Jodie Foster is changing her way of being. As the policeman assumes a cost because he thinks he deserves it.Photography, not that I count a lot, is normal. The address is neither more nor less than normal. It entertains, simple plans, but if it takes well.In short is one of those films that does not back down at the end of the film and leaves us with that joy that did not leave me much.

tieman64 This is a review of "The Miracle", "The Brave One" and "Mona Lisa", three films by director Neil Jordan.Released in 1991, "The Miracle" stars Niall Byrne as Jimmy, a teenager living in coastal Ireland. Jimmy spends his days wandering about town, inventing fantastical personal histories for the various strangers who catch his eye.Jimmy's fantasies spiral out of control when he meets Renee (Beverly D'Angelo), a stylish older woman. Jimmy stalks Renee, visits her at the theatre houses at which she works, and becomes increasingly infatuated with her; he's in love. These desires quickly become perverse, untenable and then collapse, the film eventually revealing that Renee is in fact Jimmy's mother.The majority of Jordan's films clash fairy tales and fantasies with a "reality" that is squalid, criminal and perverse. Rather than clear cut demarcations between "fantasy" and "reality", however, Jordan finds the fairy tale conventions lurking within crime narratives, and finds the crime conventions lurking within familiar fairy tale narratives. Elsewhere his characters are often unable to be together thanks to national, sexual or biological differences which make romance impossible. Filled with fantasy objects who are revealed to be different genders, species (vampires, werewolves, mermaids etc), incestuous relatives, homosexuals or transsexuals, Jordan's objects of affection are almost always off limits.For most of its running time, "The Miracle" is beautifully unhurried. Low-key, atmospheric and filled with interesting sea-side locales, the film unfolds like a noirish dream, complete with stalking sequences evocative of Alfred Hitchcock's "Veritgo". Unfortunately the film's relaxed approach eventually gives way to much uninteresting Oedipal melodrama.Similar to "The Miracle" is Jordan's "Mona Lisa". Released in 1986, the film stars Bob Hoskins as George, an ex-convict who is hired to ferry a call girl, Simone (Cathy Tyson), around London. Though they initially feud, George quickly becomes infatuated with Simone, and begins to see himself as her guardian angel, her white knight, her lover. Simone nurses these fantasies, but eventually reveals that she is in fact not attracted to George; she's homosexual."Jordan's use of the fairy tale is not a correction or parody of their supposedly outdated values," writer and professor Carole Zucker once wrote, "rather, he investigates what it means to listen to fairy tales, what it means to trust narrative and what it means to follow their paths. His films often show the messy results of fairy tales, the awkward ways in which we interact with our shared store of narratives and the complex interrelation of past and future that make fairy tales such vivid material for impassioned pastiche." We see this in "Mona Lisa", as George imposes upon Simone a fairy tale that she shares, allows and secretly wishes to make real. Together the duo warp London – a perverse hell-hole filled with shadowy spaces, monsters, prostitutes and violence – turning it into their own magical fantasy-land, complete with modern chariots, damsels, white-knights and noble quests. Simone eventually abandons this charade, leaving George disillusioned.Perhaps because she is bisexual, and fond of Jordan's past explorations of sexuality, actress Jodie Foster approached Jordan with a script in the mid 2000s. This would evolve into "The Brave One", a 2007 work-for-hire which Jordan struggled to make his own.Set in New York City, "The Brave One" stars Foster as Erica. In love with her city, Erica spends her days fawning over New York's past, admiring its spaces, recording the city's sounds and praising it on her live radio show. This idyll is shattered when Erica's lover is violently murdered, a murder which is give racial/political connotations given the victim's ethnicity and given the films nods to the infamous 9/11 terror attacks. Jaded, disillusioned and seeking to resurrect her fantasy, Erica buys a gun and becomes a vigilante; she begins taking the law into her own hands.Vigilatees and angelic defenders are common in Jordan's filmography (see his debut, "Angel"). In "The Bave One", however, Erica is herself defended by the police detective (Terrence Howard) tasked with taking her down. The duo thus rekindle Jordan's obsession with impossible love, the criminal and the cop locked in unholy passion.Fittingly, "The Miracle", "The Brave One" and "Mona Lisa" all contain major characters who are writers and so tireless fantasists. In "Mona Lisa", George's best friend is a crime fiction writer. In "The Bave One", Erica herself strings words lovingly together, and in "The Miracle", two aspiring writers spend their days constructing wild tales. For Jordan, human beings are rarely more than heart-broken delusion machines.7/10 - Worth one viewing.

OllieSuave-007 This is a movie where criminals and street thugs get more than they bargained for when radio hostess Erica Bain (Jodie Foster) buys a gun and turns into a vigilante after her fiancé was brutally attacked in the New York streets.Foster gave a credible performance as Bain, mixing in drama and her hunger for revenge, but generating sympathy from the audience after the very unfortunate incident her character experiences in the film. This makes you root for her throughout the movie as she downs scumbag criminals left and right - before law enforcement could intervene.Caught in the fray is Detective Mercer (Terrence Howard), where he has to choose between arresting Bain for her activities or give in to her sympathetic plight. He gives the movie an enticing subplot and generates enough intrigue for the audience, letting them wonder which way he will choose.The script and plot are well-paced, with a dark but riveting atmosphere that is sure to keep the audience engaged. There are much disturbing scenes as well, and is certainly not a movie for everyone (I myself cringed a few times). But, it's still a riveting film nonetheless, with a satisfying "good guy vs. bad guy" element.Grade B

FlashCallahan The day that DJ Erica Bain selects wedding invitations, her fiancé is murdered and she brutally assaulted while walking their dog in Central Park. Upon discharge from hospital, she buys a handgun. When she witnesses a shooting in a convenience store and is chased by the killer, she kills in self-defence but flees. She then walks the night streets as a vigilante, a stranger to herself. Mercer, a detective, becomes her friend as he hunts for the killer, but also begins to suspect that she is on a vengeance quest.....Its a weird movie to be directed by Jordan, as it's not anything new or special, especially when you know he made masterpieces like Company Of Wolves, and The Crying Game.The same can be said for Foster, it's basically an exploitation movie. The writer has just seen Winners Dirty Weekend and Death Wish, took out the comedy from the former and made it more gritty.Its watchable though, seeing Foster walk the streets and killing people doing the wrong thing, but you'll have a nasty sense of déjà Vu throughout.Howard adds some acting chops to rival Fosters, but he does just spend the majority of the movie giving Foster suspicious looks and purposely staying one step behind.A much better revenge film 'Death Sentence' was released around the same time, and ironically the book was a sequel to Death Wish.