127 Hours (2010) Quotes

Cover of Slumdog Millionaire [Blu-ray]

Movie quotes:
"Did I say the weather is great? Well, it is. Though flash floods potential is still present. There's four-prong major canyons upstream from me that all converge in this 3 foot wide gap where I am. The rock I pulled down on top of me, it was put there by flood. Still, I'd get a drink."
- Aron Ralston

At a glance:
ataglance

Our review (with spoilers):
Aron Ralston (James Franco) is an outdoor adventurer (you know, mountain biker, climber, canyoner, and general risk taker) who lives life for the rush of experience and sees little need to maintain relationships. It’s not that he’s a bad person – he just doesn’t see the value of parents or girlfriends or mates. So when his right arm is pinned benath a boulder while he is canyoning in a remote area, no one knows he is there. He spends the next 127 hours trapped, reflecting on life, and trying to use his ingenuity and limited on-hand tools to free himself.

Danny Boyle stamps the film with his inimitable style, but still allows the story to stand for itself. James Franco delivers an impressive performance. Based on a true story, the real Aron Ralston is briefly featured at the end of the film.

Rating: 2.75 of 4

Other reviewers said:
"As a follow-up to Slumdog Millionaire, 127 Hours shows Danny Boyle at the top of his form -- it's not a story many filmmakers would want to tackle, and few would handle it as well."
- David Stratton (At the Movies [Australia])

"It doesn't matter how disarming Franco's single-handed performance is; there is simply not enough dramatic meat on the bones of Ralston's true story to distract us from where it is heading."
- Anders Wotzke (Cut Print Review)

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The Bourne Identity (2002) Quotes

Movie quotes:
Jason Bourne: Look. You drive, I pay, it's that simple.
Marie: Scheisse. I got enough trouble, okay?
Jason Bourne: Okay. Can I have my money back?
[Marie looks down at the wad of bills in her hand. Cut to Marie driving Jason in the car]

"How could I forget about you? You're the only person I know."
- Jason Bourne

"I can tell you the license plate numbers of all six cars outside. I can tell you that our waitress is left-handed and the guy sitting up at the counter weighs two hundred fifteen pounds and knows how to handle himself. I know the best place to look for a gun is the cab of the gray truck outside, and at this altitude, I can run flat out for a half mile before my hands start shaking. Now why would I know that? How can I know that and not know who I am?"
- Jason Bourne

At a glance:
This rare character-driven thriller combines tense action, exotic locations, and a stellar cast, anchored perfectly by Matt Damon as the boyishly innocent-looking but still-deadly Jason Bourne

Our review (with spoilers):
A half-drowned man (Matt Damon) awakens on an Italian fishing vessel, rescued from the ocean, with two bullet holes in his back. He remembers nothing. Slowly, pieces come together; an implant leads him to a safe deposit box that contains cash, numerous passports with a variety of names, and a gun. When threatened, he is surprised to observe himself dispatching two or more armed men with ease. The puzzle takes time to unravel, but what is immediately clear is that many people want him dead. Through convenience, he teams with a troubled, free-spirited woman (Franka Potente) who initially provides transport out of a touchy situation.

This thriller provides plenty of action, but it is, more importantly, character-driven, with strong performances across the board. Matt Damon provides a perfect blend of surface innocence, intelligence, and boyish charm; he is as surprised as we are to find out he is a trained assassin with all the skills of a top secret agent. Franka Potente provides this thriller with an unusual luxury: a strong female lead. Chris Cooper is excellent as Bourne’s boss. Clive Owen is also particularly effective in a small role as an assassin known as The Professor. This nail-biter is laced with occasionally shockingly cold violence (made even more effective by Potente’s heartfelt reactions to it) and lavish European locations; there’s even  a two-second throwaway shot of assassin ‘Castel’ (Nicky Naude) vespa-ing through Rome with the Coliseum in the background. Rating: 3.5 of 4

Other reviewers said:
"Efficient set pieces come neatly spaced every ten to 15 minutes -- just often enough to keep you credulous -- and the trans-European settings lend a classy backdrop."
- Time Out

"Liman can uncork leap-out-of-your-seat shocks, draw out suspense scenes with malicious finesse and even ease a touch of romance and droll humor into the yarn."
- Colin Covert (Minneapolis Star Tribune)

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Quench (2007) Quotes

At a glance:
Writer/director Zack Parker takes a miniscule budget and wrings a captivating story of a grieving young man who may find solace within a tightly knit circle of Goths

Our review (with spoilers):
There is no peace for the grieving Derik (Bo Barrett). His film-opening visit to a grave informs us that someone close to him has died. But we don’t know who or how close, since he chooses not to share this with anyone. He doesn’t even tell Jason (Ben Schmitt), an old school friend who he visits now because he doesn’t want to go home and has no one else to turn to. To Derik, Jason has changed so much since the two of them were close in high school. Ben now is a full-fledged Goth, having been influenced by his live-in Goth girlfriend, Veronica (Samantha Eileen DeTurk). Jason and Veronica are part of a very tight knit group of Goth friends who attend weird, dark parties where drugs and sex are exchanged. Derik is only partially accepted into these circles. Eventually, Derik’s lethargy and inability to deal with his grief causes conflict between he and Jason, and Derik moves out.

As Derik is about to board a bus to anywhere, fate intervenes; he crosses paths with Gina (Mia Moretti) a Goth girl who has taken a fancy with him. Derik moves in with Gina, and, again, is accepted into the group. This time, however, the extremes of the group’s practices cause Derik to reject them, which leads to disastrous consequences.

Quench is a quiet, thoughtful, slow-paced film, with many moments of silence. This is no Gilmore Girls patter; the characters think, and the story is intriguing enough that we don’t mind wondering, in those silences, what they are thinking about. Since the movie is classified as ‘horror’, horror fans looking for gore may be disappointed (this might account for the 3.9 of 10 rating on IMDB). Conversely, virtually all reviews of the film are overwhelmingly positive. The acting is occasionally amateurish, but Mia Moretti is very good. Bo Barrett proves that though it is difficult to play the role of an almost comatose grieving person without appearing truly wooden, it is not impossible. I’m looking forward to more from Zack Parker.

Rating: 2.75 of 4

Other reviewers said:
"Usually when dealing with darker subjects, movies will take a wild turn into fantasy or horror, Mr. Parker keeps his movie firmly grounded in reality, and the horror of that is more than enough…"
- Brian Morton (Rogue Cinema)

"A chilly examination of decaying hope, Zack Parker’s Quench exemplifies the drive and spirit that embodies truly independent filmmaking."
- Collin Armstrong (Twitch)

"Quench" is a rich tapestry of sub-genres, moral questions, and undertones that ends as a great indie horror picture that works against being another typical horror entry."
- Felix Vasquez Jr. (Cinema Crazed)
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Franklyn (2009) Quotes

Movie quotes:

"If a god is willing to prevent evil, but not able, then he is not omnipotent. If he is able, but not willing, then he must be malevolent. If he is neither able or willing then why call him a god?"
- Jonathan Preest

At a glance:
Writer/director Gerald McMorrow creates a beautiful mystery, told across parallel universes, where the stories of four seemingly unconnected strangers intersect

Our review (with MAJOR SPOILERS):
Somewhere in a sci-fi future, the dark, architecturally-complex city of Meanwhile possesses laws that require every citizen to join a religion, even if that religion is as obscure as the Seventh Day Manicurists, or has a preacher that reads care instructions from clothes tags as if they were Holy Scriptures. In this madness, one masked man, Jonathan Preest (Ryan Phillippe) has defied the government and belongs to no church but his own. Preest is imprisoned for his ‘crime’; after four years, he is granted freedom if he will kill The Individual (Bernard Hill), a particularly dangerous religious leader who, years earlier, was responsible for the death of a girl that Preest was contracted to protect. Running parallel to this universe, in present-day London, are our other protagonists. Emilia (Eva Green), is a troubled young woman who makes monthly failed attempts at suicide as part of her art project. During her previous art project, when she was following strangers with a video camera, she tracked Milo (Sam Riley), a young man whose fiancée recently dumped him on the eve of their wedding. Milo, for his part, has seen glimpses of Emilia in a red wig and believes she is his childhood sweetheart, Sally. Unfortunately, Sally was not a real person, but an imaginary friend that Milo created when his father died. This becomes even stranger when he meets this Sally, and she remembers him.

There is also an older man who is searching for his son, David. Deep into the film, we discover that David is really Preest, and that the girl whom Preest failed to protect was his sister Sarah. As impossible as it may seem, all of these people’s stories will intersect and be resolved.

Franklyn requires heightened levels of concentration and observation to avoid losing interest or missing telltale clues and plot points. In my case, this was not an issue; the acting and the lost-souls love story that is at its core held my attention, as did the beautiful and often poetic production design. Franklyn is the type of film that polarizes viewers and reviewers. This often means that the director was trying to do something ambitious, inscrutable, and original that did not connect with the majority Typically, I rate these types of films at the high end of the scale, with extra points awarded for the effort of creating something that has not been done hundreds of times before. So if some parts do not work (like the occasional cumbersome prose), that’s okay; we can appreciate the many scenes that do.

Rating:  3 of 4

Other reviewers said:
"Franklyn is wonky and self-defeating: there are lots of gauche moments. Still, it’s entertaining, and commendable for its strangeness."
- Edward Porter (Sunday Times [UK])

"If ambition and flair were the only hallmarks of a five-star film then Franklyn would be top of the class."
- Allan Hunter (Daily Express)
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