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by Blender Dumbass
Aka: J.Y. Amihud. A Jewish by blood, multifaceted artist with experience in film-making, visual effects, programming, game development, music and more. A philosopher at heart. An activist for freedom and privacy. Anti-Paternalist. A user of Libre Software. Speaking at least 3 human languages. The writer and director of the 2023 film "Moria's Race" and the lead developer of it's game sequel "Dani's Race".
7 Minute Read
What is it with Jerry Bruckheimer of the late 90s and early 2000s and with Nicolas Cage? First in 96 we get Michael Bay's The Rock. A year later in 97 Jerry puts Cage in Simon West's Con Air. And then in 2000 Dominic Sena under the supervision of Bruckheimer puts Nicolas out of his Cage and into a driver's seat of 1967 Ford Shelby GT500, in the subject of this review, the loose remake of H. B. Halicki 1974 film Gone in 60 Seconds.
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26% Rotten Tomatoes rating doesn't seem like a good indicator. The film must have been stupidly terrible. Right? Well if you read my other reviews you sometimes may see that ratings are not necessarily the best predictor of enjoyment. A lot of the "best movies" are dull as fuck. And a lot of the "worst" ones are entertaining as hell. And Gone in 60 Seconds is not an exception. Yes it is a bit rough. But so is Con Air and so is The Rock and so are most Jerry Bruckheimer produced films. But Jerry Bruckheimer is Jerry Bruckheimer and Jerry Bruckheimer has a very fucking good sense for entertainment value.
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Like in Con Air this film has an ensemble cast. We obviously get Nick Cage showing us the unbearable weight of his massive talent. We get Robert Duvall who helped Cage's uncle Francis Ford Coppola win some Oscars on The Godfather films. We get Angelina Jolie who you may know from other Angelina Jolie movies. We get Giovanni Ribisi who worked with Steven Spielberg on Saving Private Ryan and will work with James Cameron on Avatar. We get Will Patton who had the most emotional arc in another Bruckheimer movie, Michael Bay's Armageddon.
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We get an evil British character in the form of Christopher Eccleston who played an evil British character in a Danny Boyle's 28 Days Later. We get a nice British character ( that sometimes can be a little intimidating ) in a form of Vinnie Jones who you may know from early Guy Ritchie films like Lock, Stock and Two Smoking Barrels and Snatch. Which is by the way an interesting Bruckheimer moment here. I discussed on my review of Bad Boys how Michael Bay apparently got inspired by Tarantino to change the dialogue in the movie. And that prompted Bruckheimer to actually hire Tarantino for dialogue touch-ups for Tony Scott's Crimson Tide and Bay's The Rock ( giving us a film where Michael Bay directs Tarantino dialogue spoken by Nicolas fucking Cage ). But then Tarantino apparently had enough of this job and quit working on other people's movies. So poor Jerry has a problem now.
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In that same time, on the other side of the globe, young Guy Ritchie was imitating not just the dialogue of Tarantino, but his entire writing style altogether with his first few films. Which coincidentally are also starring... you guessed it, Vinnie Jones, who gets then hired by Bruckheimer, probably chasing some remains of the Tarantino sauce. Even if it's Pepsi.
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But the cast doesn't stop there. We get Scott Caan who appears throughout the Steven Soderbergh's Ocean's Eleven franchise. We get Timothy Olyphant who actually ended up working with Tarantino on Once Upon The Time In Hollywood. We get Chi McBride who worked with the legendary Alex Proyas alongside Bad Boy's Will Smith on I, Robot. We get Frances Fisher who worked with Cameron on Titanic and we even get Arye Gross who played the husband character Howard Marks in 2002 Steven Spielberg epic ( which ended up being the cause for Michael Bay to quit Bruckheimer and join Spielberg ) called Minority Report.
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The plot of the movie is simple: our protagonist needs to GTA 50 rare cars in one night, for a mafia boss, unless he wants his brother to die. It feels a little bit like Ocean's Eleven heist, but not because of some big game money ambitions. The reason is personal, in an attempt to paint the characters as morally right. Maybe that was what the critics thought was kind of weak. The entire cast of thieves are either inexperienced teenagers who didn't start doing anything illegal yet. Therefor they are innocent. Or old car thieves who decided long time ago that this sort of thing isn't for them. And now are forced to do it, to save a live of somebody near and dear to them. Perhaps the movie could work emotionally a lot better if the protagonists just wanted to steal those cars, because they just wanted to steal those cars.
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The director Dominic Sena is actually quite good. The opening sequence moves with pretty compositions. And the action in this film is a bit less rough than the stuff Bay and West were putting out in those days. I do think, though, there is one major flaw to Dominic Sena. He tries to take the characters seriously and then goes for a Bruckheimer action scene with them, with a cool techno track playing as the characters chase each other or something. This doesn't quite work. Bay uses a more traditional score which works a lot better. At least at that time. If you look at something like 6 Underground ( a fairly recent Michael Bay film with a very mature action direction from Bay ), you can hear him use a mixture of no-music, a score or a known pop-song, for the most interesting moments. Dominic Sena in Gone in 60 Seconds just uses a bad techno-beat bullshit which is just cringe to listen to.
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There are good music action scenes in the film. The ending with the Ford Mustang is scored properly. And the main moment of that sequence ( the jump ) has some proper tension building score which explodes into a crescendo of orchestral magic. Good stuff. But sometimes you just roll your eyes from the tonal whiplash the music gives you in this movie.
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The movie is far from being a bad film. It doesn't have this bad movie vibe, that something like Ultraviolet, or The Room might have. It looks and feels like a proper summer blockbuster ( from that time ). And yet there is this feeling of slight weirdness to it. I cannot put it into words. Some shots and sometimes entire sequences feel a bit strange. I have this gut feeling that something about it doesn't quite work. But I can't see what exactly.
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Perhaps it is the lack of tension building, for most of the action scenes. We just go-go-go, but why be excited about it? Good film-makers will always build toward something like this, even a little bit. Here oftentimes we have nothing at all. The action just starts out of nowhere. It doesn't mean that the movie isn't ever building to anything. It surely does. But not as well as other Bruckheimer films. Not as well as Simon West did in Con Air. And surely not as well as Michael Bay does.
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Happy Hacking!!!
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Is Idiocracy 2006 intentionally stupid?
![[thumbnail]](https://upload.wikimedia.org/wikipedia/en/6/6b/Idiocracy_movie_poster.jpg)
Blender Dumbass
👁 11 ❤ 2 💬 2
We all know about absolute cinematic masterpieces like The Room by the legendary Tommy Wiseau. Films that were intended to be great works of cinema, but that failed so miserably at achieving their goal, that they spawn all the way around the scale and became great works of cinema, by mistake, anyway. But then there are films like The Grindhouse movies, or Black Dynamite, or Wiseau's sequel to Samurai Cop, who's goal was to be those intentionally terrible pieces of crap, from the get go. Is Idiocracy by Mike Judge from the first type of terrible movies, or from the second, intentional one? Is Idiocracy intentionally stupid?
#idiocracy #film #review #movies #cinemastodon
Déjà Vu 2006 is Tony Scott's Minority Report
![[thumbnail]](https://upload.wikimedia.org/wikipedia/en/c/cf/DejaVuBigPoster.jpg)
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Tony Scott famously didn't care about the time travel plot of Déjà Vu which freaked out the writers of the film. As they said, he cared more about the action and surveillance aspects of the movie. He famously cared a lot about surveillance, as visible from his previous Jerry Bruckheimer collaboration Enemy of the State. And that means, that a sort of sci-fi surveillance movie, marks Déjà Vu as the closest thing Tony Scott did to Steven Spielberg's Minority Report.
#dejavu #tonyscott #DenzelWashington #film #review #movies #cinemastodon
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![[thumbnail]](https://upload.wikimedia.org/wikipedia/en/thumb/8/81/Zero_Motivation_POSTER.jpg/250px-Zero_Motivation_POSTER.jpg)
Blender Dumbass
👁 10 ❤ 3 🔄 1 💬 8
Due to the renewed interest of the public in the conflict at the middle east, some filmmakers tried pushing and pulling a political pendulum when it comes to accepting / boycotting Israeli film-makers. It is known that film-makers ( being in the art of empathy ) usually tend to be on a progressive side. That makes a concept of an "Israeli filmmaker" a rather strange thing to fathom. But since we see filmmakers from far more restrictive parts of the middle-east find ways to speak their true minds about complex topics, despite heavy censorship, there is no shortage of progressive Israeli films. One of them Zero Motivation ( אפס ביחסי אנוש ), a tale about IDF itself, has some rather interesting points. No... Not the ones you might expect.
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Angel's egg boils my heart
![[thumbnail]](/pictures/user_upload/Troler/Y1NOR6V3VL1PHG3L.png)
Troler
👁 18 ❤ 1 💬 3
It is far too easy to drown in the flow of information we have to endure. Most with to take a break from it by rejecting it all together. I say, one ought to train themselves by entertaining to a slow dance. It can be a book, or... a movie. One of such movies is Angel's Egg
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So what is the meaning of Kill Bill?
![[thumbnail]](https://upload.wikimedia.org/wikipedia/en/thumb/1/1c/Kill_Bill_The_Whole_Bloody_Affair_poster.jpg/250px-Kill_Bill_The_Whole_Bloody_Affair_poster.jpg)
Blender Dumbass
👁 18 ❤ 3 🔄 1 💬 1
In December of 2025, my neighbor, Quentin Tarantino finally released Kill Bill: The Whole Bloody Affair. The film that was originally meant to be, but that was unfortunately cut into two volumes upon its original release, 2 decades ago. Therefore for this review I will be treating Volume 1 and Volume 2 as one film, even though it has a rather substantial intermission in its not-directors-cut version. Re-experiencing the story of the Bride and her revenge, for this review, filled me with some rather profound questions. Questions that I believe I started asking in my review of Once Upon a Time... In Hollywood. Questions as to: what is the meaning of Kill Bill?
#killbill #quentintarantino #tarantino #film #review #movies #cinemastodon
Piranha II 1982 taught James Cameron how not to make sequels
![[thumbnail]](https://upload.wikimedia.org/wikipedia/en/f/f1/Piranha_II_-_The_Spawning_%28movie_poster%29.jpg)
Blender Dumbass
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We all know that James Cameron is a master when it comes to making sequels. His films like Terminator 2, Avatar 2 and Aliens are extremely good examples of how to make a sequel right. Unlike Steven Spielberg that avoids sequels. Steven avoided doing the second Jaws movie. James Cameron goes for it and wins. Speaking of Steven Spielberg's Jaws, not only sequels from that film were produced. Rip-offs, like the 1978 Piranha by Joe Dante also were produced. Those were parody material B-movie exploitation films. And so writer / director James Cameron decided to take the project of making a sequel to that Jaws rip-off, with his 1982 Piranha II: The Spawning.
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Footnote 2011 is a suprisingly good Israeli film
![[thumbnail]](https://upload.wikimedia.org/wikipedia/he/thumb/5/58/Footnote.jpg/250px-Footnote.jpg)
Blender Dumbass
👁 14 ❤ 1 💬 99
Footnote originally הערת שוליים is an Israeli film written and directed by Joseph Cedar. The film is about a very strange dramatic bureaucratic situation, where two professors, a father and a son, are in the same field, and one of them gets a honorary award for his achievements. But the bureaucrats made a mistake and told about the award to the wrong one of them.
#footnote #הערתשוליים #JosephCedar #LiorAshkenazi #Israel #film #review #movies #cinemastodon #jews
Max Fleischer's Superman flew to the Sun and didn't fall
![[thumbnail]](/pictures/user_upload/Troler/HZP91B02YOJ1O5W3.jpg)
Troler
👁 23 ❤ 1 💬 1
Oh Superman, who hasn't heard the story of the classic American superhero? Even in this coming-to-close year Superman still stories are being told. Knowing that 2038 the superhero is going to be a century old, it would be good to reflect on history, where it really started. It was born in the head of then 24 Jerry Siegel, child to American immigrant Lithuanian Jews, who fled oppression. Growing up in a Jewish neighborhood, made up of immigrants who fled oppression, meant he heard a lot of stories about their suffering. The competitive character common amongst Judaic culture, is not always well regarded. In a negative environment, they had to adapt and blend in the crowd. This sort of environment together with his love for Science Fiction meant the young Siegel had a particular worldview, a Jewish one. To what extent it was present can be seen in his first major breakthrough — Superman.
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Vicious 2025 is a cool little therapy movie
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A lot of horror films are therapeutic in nature. They let you see and examine some dark things about yourself or the world. And that is a good thing. For example, some people were "cured" from suicidal thoughts by watching the Saw franchise. A running theme in those films, is that Saw would choose some rather depressed, suicidal individuals for the "games". Where they need to do some utterly bad shit crazy things to themselves, to survive. That puts the whole suicide thing into perspective. Making you really understand how pointless it is, as a solution. The 2025 film Vicious written and directed by Bryan Bertino and starring Dakota Fanning is also a therapy horror film.
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Ambulance 2022 is a fucking masterpiece
![[thumbnail]](https://upload.wikimedia.org/wikipedia/en/thumb/d/d2/Ambulance_film_poster.jpg/220px-Ambulance_film_poster.jpg)
Blender Dumbass
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Critics often think Michael Bay doesn't give a damn about characters, but how can you believe that when everything in the film is shut deliberately to be from a perspective of a character? Michael Bay is Lars Von Trier of action. Lars uses strange chaotic camera work and weird editing choices to elevate the emotion on screen and Michael Bay uses chaotic camera work and weird editing choices to elevate the emotions too. If you take him seriously everything clicks into place. It's just Michael Bay likes it louder.
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Last Breath's story is too short for a feature film
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#lastbreath #film #review #movies #cinemastodon
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