Bronson (Nicolas Winding Refn,2008) [rating]2[/rating]
Great performance by Tom Hardy and nice, energetic filmmaking by Refn. Bronson does do well with the topic of exploitation-meets-art, but it doesn't feel cohesive. One could argue that the superficial nature of the film is intentional, where we only see a "circus" like performer, but whether or not this works completely is what is up for debate. It fails to fully engage the viewer where we're inside of his head; instead, we're sort of left out in the cold. Again, this may be on purpose, but it didn't work completely for me. Bronson is definitely good and worth watching for Hardy's engaging and psychotic performance, but it falls a little short.
Kick-Ass (Matthew Vaughn,2010) [rating]3.5[/rating]
There are some very violent scenes which may be off-putting to many, but I think the violence brings down the "superhero myth", so, in that way, it is effective. For most of the film, Dave spends his time being beaten up. This was a pretty nice touch to the film: harsh, violent reality meets comic books. Of course, many could say that this may be done to death, but Kick-Ass still brings some refreshing material to the idea. However, Kick-Ass does feel a little clunky at times; it attempts to delve into the relationship between Dave and Katie which comes off as contrived and forced, or when the voice-over basically states what is happening in the scene. But, that might not be the center of attention when one is viewing this type of film, though it does become distracting. Putting all that aside, Kick-Ass works well in entertainment and orchestrating some pretty cool action sequences.
Chloe (Atom Egoyan,2009) [rating]2[/rating]
Egoyan directs a pretty decent sexual thriller, but it ultimately doesn't quite live up to its full potential. All of the acting is solid, with the exception of Max Thieriot. Chloe is dramatized a little too much with saccharine music and other manipulations that feel a little too calculated. There is definitely some nice photography and a few good scenes, but the first act is bland, which doesn't altogether work. Also, there is a pretty nice touch to the story and reveal, which certainly makes things difficult for the viewer. Egoyan shows strong direction with motifs and good set design, however the film isn't nearly as powerful as his masterpiece, The Sweet Hereafter (1997). Chloe feels hurried and incomplete, but it is worth viewing, if not just for the good acting and strong theme.
