Black Mass

With the first three Pirates of the Caribbean movies, Johnny Depp went from well-known but quirky actor to a huge star, an actor who embraced the weird, the odd and the deranged and was the better for it. He was a big star and he still is, but his film choices since have been more hit or miss. Some decent performances but nothing too crazy and not a whole lot of box office success (yeah yeah, I know that's not the end-all, be-all). Well, 2015's Black Mass is getting all sorts of positive buzz, much of it surrounding Mr. Depp himself. Onward Boston gangsters!

It's 1975 and in south Boston -- AKA Southie -- James "Whitey" Bulger (Depp) is a small-time gangster (but an extremely dangerous one) with a tight-knit crew of like-minded crooks called the Winter Hill Gang. Their Irish territory is under pressure from the other end of town where the Italian mafia is muscling in, forcing Whitey's hand. He gets an out in the form of FBI agent John Connolly (Joel Edgerton), a local boy done good, returning to Boston swearing he'll leave his mark. Connolly convinces Whitey to be an FBI informer, giving him any dirt he can on the seemingly unstoppable Italian mafia. As both men discuss, it isn't ratting anyone out. It's simply business. It's an alliance that helps both sides. Well, it may help one side more than the other. Connolly intends to do something good -- while turning a blind eye in other places -- while Whitey sees the vast potential in front of him. He was dangerous before. Now what can he accomplish with the FBI's protection?

No point in beating around the bush. Johnny Depp or more appropriately...JOHNNY DEPP. An always reliable actor basically no matter the movie, script or subject matter, Depp makes the average usually pretty interesting. When he's working with really good material? Here we sit, Depp stealing the show in director Scott Cooper's film that's based on the true story of infamous Boston gangster James "Whitey" Bulger (<--- about="" actually="" and="" as="" be="" but="" can="" could="" cover="" crazy="" decades.="" details="" don="" exploits="" happened="" help="" his="" how="" i="" if="" in="" is="" it="" itself="" keep="" knew="" little="" moving="" multiple="" obvious="" of="" p="" people="" performances="" read="" s="" some="" sorts="" spoilers="" story="" stupid="" t="" terms="" that="" the="" things="" thinking="" throughout.="" type="" want="" watching="" without="" you="">
Depp is an excellent actor, but here he's really working with a worthy character. The physical transformation is startling and chilling, Depp wearing icy blue contact lenses, donning a pointed prosthetic nose and makeup that thinned his hair. He looks evil. Like really evil, and the story helps develop that with ease. It is an intimidating, frightening performance, full of foreboding and doom that show the depths one man will go to in maintaining his hold on the power he has. Stay local? You'll be fine. Start to look for a way out? Start looking for a bullet with your name on it. Some attempts are made to humanize Bulger early on and it works to a point, but you really do get a sense of the evil in the man as the years pass and the body count rises. A testament to Depp's ability is that he does it with ease. You never get the sense he's trying too hard or hamming it up. He just dives in headfirst and goes for it full-bore.

An excellent performance, one that deserves the early Oscar buzz Depp is generating. There isn't a weak performance in the entire film, all the actors hitting the right notes one after another. It just shows you how good Depp is that not much else in the cast is being mentioned. The names though...those names. As he showed with Crazy Heart and Out of the Furnace (liked it a lot), some very talented actors want to work with Mr. Cooper. He's a talented director, getting the most out of his cast, both major supporting parts and smaller but still essential parts. Edgerton is excellent in a part that defies reality. No one could be both this dense and high-reaching, could they? I would have liked some more development of Agent John Connolly, but you get a picture of a man who wants results, the means be damned. Not as frightening as Whitey, but scary in a different way that puts into perspective how far some will go to get the job done.

Lots and lots of other very talented actors to check out. Benedict Cumberbatch -- getting third billing -- plays Whitey's younger brother, Billy, a state senator in Massachusetts in spite of what his brother is up to. A small but essential and layered performance. Whitey's crew includes Jesse Plemons, Rory Cochrane (excellent) and W. Earl Brown, all part of Whitey's madness and power. David Harbour steals his scenes as Morris, Connolly's right-hand man in their doings with Whitey, with Kevin Bacon, Adam Scott and Corey Stoll as other office representatives at the D.A. and FBI. Because that's not enough, also look for Dakota Johnson (shaking off the awful Fifty Shades of Grey), Peter Sarsgaard, and Julianne Nicholson in key supporting parts.

'Mass' covers a lot of ground in its 122-minute running time, but it never feels rushed. The time jumps are never too severe and find a decent rhythm. If there's an issue -- and it ain't a crippling one -- it's that Cooper's film is missing that one special something to make it a classic. The story is always interesting, the casting pretty spot-on and the musical score from Junkie XL adds something to the tension and sense of foreboding. It's missing that final ingredient to take it up to the next level though, and I can't quite put my finger on it. The story is familiar, a tad predictable, and at times feels a little too influenced by The Departed, The Town and any number of Scorsese crime dramas. It's tough to criticize a movie for something like that. This is a true story that no doubt influenced those movies, but those movies hit theaters first. Make sense? Nah? I'm not even sure!

An easy movie to recommend, especially for the acting from top to bottom, especially Johnny Depp, Joel Edgerton and Benedict Cumberbatch. An excellent lead performance from Depp, one of the first to gain some Oscar buzz as we fast approach the end of the year and the beginning of award season. Definitely worth seeking out if not a classic.

Black Mass (2015): ***/****

Transcendence

So it seems that it is only a matter of time before technology completely takes over the world, huh? Yeah, Terminator 2: Judgment Day predicted it years ago! More and more though, that prediction is becoming frighteningly true with our reliance on all technologies from smart phones to iPads to all those new-fangled gadgets (I'm not a techie). Ripped apart critically last year, 2014's Transcendence tries to explore that premise.

A brilliant intellectual with quite a following -- some good, some bad -- Dr. Will Caster (Johnny Depp) has long wondered about the potential of artificial intelligence. One of his theories has that A.I. eventually growing to the point that it supersedes all human intelligence (his Transcendence theory) and then who knows what will happen? It is a theory that produces quite a counter, people scared of that potential, people who pull off an assassination attempt on Will because of what he might be up to. As he slowly dies from radiation poisoning, Will begins to work with his wife, Evelyn (Rebecca Hall), and a friend and associated, Max (Paul Bettany), about uploading his consciousness into a potentially thinking computer that will act as his brain and be that missing link in human intelligence turned into A.I. Max sees the potential but also the inherent threat in what they're doing. Evelyn on the other hand, simply wants to preserve her husband in whatever way she can. What will become of this potentially world-altering scientific development?

Talk about a movie that you think 'What could have been.' I loved the idea of 'Transcendence,' what first-time director Wally Pfister and writer Jack Paglen are going for. The execution at times, falls a bit short. For what they set out to do, this is a scenario that at times feels rushed, feels goofy, feels like we're missing something. There's some plot holes I feel an 18-wheeler could drive through comfortably. How does the government not realize what Will's A.I. is doing? How does no one notice millions and millions of dollars changing hands on Wall Street? If the answer is 'Will's A.I. stopped the passing of knowledge,' that's just not a good reason. In a way I can't put my finger on, there's something missing from this tech thriller. It's something that stops it from truly being all it can be. The Marines!

Now that said...I enjoyed this flick. I didn't love it, but whatever. Reviews were universally negative, and 'Transcendence' did struggle in theaters, especially in the U.S. There's an impressive cast put together, and Pfister's background is working as cinematographer on Christopher Nolan's Batman movies so we see some familiar faces in that case. If it doesn't develop as well as it should, so be it. I was intrigued by the premise, the build-up and even if there are holes along the way, I was entertained throughout. It gets goofy -- downright goofy, even stupid -- in the final act but I was invested in it to the end...even if it uses one of those ominous final shots that feature a twist that makes literally NO SENSE. That's for you to decide though. Feels like a lot of folks really disliked this one, but there's enough positive going on to give it a mild recommendation.

Johnny Depp has been in a rut for a couple years now so give him credit here for taking a unique, out of the ordinary lead role. It's not really a SPOILER, but his Dr. Caster is dead 30 minutes into the movie only to see his brain and consciousness uploaded into a computer. In just about every role he's in, Depp -- say whatever else you want -- is a likable on-screen presence. It's a solid part, his monotone delivery as A.I. Jack adding a creepy dimension to the second half of the flick. What is the A.I.'s goal? Is it well-meaning or is there a darker intent? The answer in the end surprised me for sure, but Depp is one of the best parts of the movie. Hall is very good too as his wife, Evelyn, working as the audience is to try and figure out what her husband (or at least her husband's mind) is up to.

Who else to look for? There's some solid names if not necessarily well-written parts, several sticking with Pfister from the Batman flicks. I thought Bettany was good if underused as Max, a researcher who immediately sees the threat of uploading Will's mind who also possibly maybe probably has a thing for Evelyn. Also look for Cillian Murphy (FBI), Morgan Freeman (necessary wise older man role), Kate Mara (cute extremist who hates technology), Cole Hauser (mean-looking army officer), and Clifton Collins Jr. (dupe for Will's ever-building power).

As I look back on 'Transcendence,' I'm remembering all those goofy moments that could have used a little more development, a little more time to breathe. The story has a ton of potential, maybe enough to justify a two-part miniseries that could have explained the science in more depth. As is though, it's a slightly above average technological thriller. Worth a watch/rent.

Transcendence (2014): ** 1/2 /****

Public Enemies

In the age of the gangsters, the 1930s in Depression-era America, one name stands out above the rest. Sure, there's Pretty Boy Floyd, the Barkers, Baby Face Nelson, Machine Gun Kelly, Alvin Karpis, even Bonnie and Clyde. But the name John Dillinger stands out, Public Enemy No. 1, a gangster, bank robber and possible killer who rose to notoriety in the early 1930s. I reviewed this movie from 2009 that works as a quasi-biography, but rewatched it recently and updated the review. Here were go with 2009's Public Enemies.

It's 1933 in Crown Point, Indiana and John Dillinger (Johnny Depp) has been caught and is just being brought to prison, or so his guards think. Instead, the notorious bank robber has arranged a breakout, a group from his gang busting out with him. With his gang back together again, Dillinger goes on a spree, robbing banks all over Chicago and into Indiana and Wisconsin. The gangster feels the noose tighten around his neck, his notoriety forcing the government's hand in bringing him to justice. The Bureau of Investigation (the FBI) is in its infancy, J. Edgar Hoover (Billy Crudup) placing a young but capable agent, Melvin Purvis (Christian Bale), in charge of bringing Dillinger to justice. Using all the technology available to them, Purvis and his agents do everything they can to capture Dillinger, but can the notorious bank robber continue his crime spree?

This 2009 crime thriller is based off a book of the same name, Public Enemies, by author Bryan Burrough. It's a great read, non-fiction at its best. Burrough's book covers a ton of ground about one of the more violent, turbulent times in American history. The 1930s were the time of the gangster, killers, bank robbers and thieves working on a grand scale with a trail of fast cars, money and riches and dead bodies. Almost every single one of them died bloody and violent. It was a bloody, violent, fascinating time in American history. Originally thought of as a miniseries, Burroughs turned his research into a book. With so many people, places and incidents, the film version was condensed to John Dillinger vs. Melvin Purvis. It's a wise choice because Burroughs' novel as is would have been overwhelming.  

We meet other people, but this is Johnny Depp's movie as he brings John Dillinger to life. A sympathetic character? No, not quite. It is on the other hand a fascinating character to watch. The people who met him during his crime reign of terror, a lot of witnesses said he was charming, likable and friendly. One of the biggest movie stars around, Depp is the best thing going in this movie, making Dillinger a human being, not just a historical name. Depp's Dillinger seems to know the life he's chosen necessitates a live-fast, live-hard mentality. Knowledge of the historical facts or not, you just know Dillinger is leading a doomed life. Sooner or later, his luck will run out. It's really the only character here given any sort of development or characterization too, John given a love interest in Billie Frechette (Marion Cotillard), a coat check girl from a poor background who falls hard for the gangster, as does he for her. Depp and Cotillard have a believable, real chemistry, giving the story that necessary human element.

Who best to direct a high-arcing crime thriller? How about a director with movies like Heat, Thief, Last of the Mohicans and The Inside to his name? Michael Mann takes the helm here for this style-heavy period piece.  'Enemies' was filmed on location in Chicago and around the Midwest where much of the story actually took place. Chicago serving as a backdrop for a story is never a bad thing, giving an air of authenticity here. The suits, the hats, the gentleman gangsters, the cars, it all adds up a to a more than worthy time capsule to 1930s Depression-era America. If there's a fault, Mann is too interested in the style, not the substance. He shot with a digital format, giving those scenes an odd, fuzzy look. The editing is fast and hard -- almost schizophrenic -- to the point the movement is hard to follow. Replace some of that aggressive style which doesn't necessarily work with some more story and characterization, and then we're talking.

Depp's movie, no doubt, but in star power, Christian Bale isn't far behind. It's just star power though. Bale is a really good actor, but he's given little to do here. The real-life Melvin Purvis was a bit of a dunce, the movie choosing not to delve too much into that angle. Bale is okay, but it's a necessary, workmanlike part, nothing more. Crudup does a good job with his quick scenes as Hoover, a glorified cameo. As for Dillinger's gang, look for Jason Clarke, Stephen Dorff, David Wenham and another violent gangster, Stephen Graham as maniacal Baby Face Nelson. Stephen Lang is memorable as a Texas lawman, Charles Winstead, brought in to help Purvis, Rory Cochrane playing one of his fellow Chicago FBI agents. There's also quick parts for Channing Tatum, Carey Mulligan and Giovanni Ribisi, and in the case of Tatum and Mulligan, don't blink or you'll miss them. There's plenty of other appearances that probably deserve some attention, but they're not around long enough to mention.

That's one of the weaknesses in Mann's film. Condensing Burroughs' book and doing so with just one focus -- Dillinger -- is still a daunting task. I think it tries to accomplish too much. A year-plus of story, countless speaking roles, and a whole lot of history. Depp is excellent, that's not in question. The action is very exciting, especially the infamous Little Bohemia shootout. Mann does action and does it well. The heavy, automatic machine guns, the B.A.R.s, the heavy pistols, these are guns that pack a punch so there's something visceral and adrenaline-pumping in the action scenes. Something is missing though. It's cool, but the movie doesn't have a ton of heart. The last 30 minutes are the movie at its best, Purvis and the FBI closing in on Dillinger. One what-if scene has Dillinger walking into the Dillinger Squad office, surreal and cool. The same for Dillinger's death, a stylish, cool scene aided by Elliot Goldenthal's musical score.

A good movie but with some serious flaws. It could have been a classic, and maybe with a miniseries it would have been. Still, Johnny Depp is cooler than you.

Public Enemies (2009): ** 1/2 /****
Rewrite of July 2009 review

The Lone Ranger

It is a character who's name is instantly recognizable, the Lone Ranger. First appearing in radio serials in 1933, the Lone Ranger has seen has his own very successful TV show in the 1950s, a brief run as an animated star in the 1960s, a disastrously bad (so I've heard) film version in 1981, and most recently, a reboot of the character of sorts, 2013's The Lone Ranger. Where does it stand? Well, it was one of the biggest financial disappointments of the year. Give it a try though, keep an open mind and I think you'll like it. I did.

It's 1869 in Colby, Texas and a young, naive, idealistic new district attorney, John Reid (Armie Hammer) arrives in town ready to clean up the area. The country is expanding, the railroad racing across the state, and Reid wants to be a part of it, to bring some civilization to the area. A problem has arisen though, a sadistic outlaw, Butch Cavendish (William Fichtner), escaping from custody. Reid heads out with a posse of Texas Rangers to catch Cavendish, but they're ambushed and Reid is the only one to survive, albeit getting shot in the process. He awakes to find a Comanche warrior, Tonto (Johnny Depp), looking out for him, claiming that Reid is now a Spirit Warrior, a man who passed to the other side and come back to normal life. Tonto too is searching for Cavendish with his own reasons for revenge. Forming an unlikely partnership, Reid -- disguising himself because Cavendish believes he's dead -- and Tonto decide to work together to find Cavendish, all amidst the railroad issues and cavalry intervening with a possible Comanche uprising.

Released last summer in theaters, 'Lone' had quite the checkered history in actually getting to theaters. When it did reach audiences, it flopped. Odd to think of any movie that earned $260 million internationally being a flop, but when a film had a budget somewhere between $225-250 million and another $100-plus on promotion, well, it's a flop. Well.....I liked it. For me, my enjoyment started because it is an entertaining movie. Plain and simple, it's entertaining. More than that though as a western, it knows where the genre has come from. Hans Zimmer's musical score is solid if not up there with his best, but it samples spaghetti western master composer Ennio Morricone's scores from Once Upon a Time in the West and The Good, the Bad and the Ugly in some nice nods to genre classics.  'Lone' was also filmed in Monument Valley, made famous by director John Ford, and even some of the shots are reminiscent of iconic Ford shots. It's nice little touches that this that start 'Lone' off on the right foot.

With a film directed by Gore Verbinski and starring Johnny Depp, my worry was that I would be watching a western version of Pirates of the Caribbean: Western Style. The end result is a positive and negative. Yes, it is in the same vein of the Pirates movies. It's big and loud and colorful and schizophrenic at times. There's a lot of characters, a lot going on, blending in the drama with some laughs and some action. In other words, 'Lone' tries to be that perfect summer blockbuster, succeeding for the most parts. What then are the biggest issues? A framing device in the story department comes up short, an aged, wrinkly Tonto in 1933 San Francisco telling the Lone Ranger's story to a little boy, is forced and tries to lighten the mood too much. The elements of the mystical and spiritual are overdone as well, Tonto's insistence that John is a Spirit Warrior good but just used too much. Also, is Tonto a spirit himself? Just have fun with the story. Don't overdo it like that.

One of the original hero/sidekick duos, the Lone Ranger and Tonto are two pretty cool characters no matter what Ranger incarnation we're talking. I wasn't sold on Hammer (The Social Network) as John Reid, but he grew on me with each passing scene. The same for Depp, the casting looking like he'd play Capt. Jack Sparrow in the west. His Tonto is quirky, a little off in the Capt. Jack vein, but it is most definitely a fun part. He definitely doesn't deserve the flak he's received, including a Razzie nomination for Worst Actor. I also don't think it's fair to criticize Depp for being cast as a Native American. Is it in poor taste? It's a movie. Cool your jets. Above all else, I liked the chemistry between Hammer and Depp. Hammer's John is somewhat suspicious of Tonto, wanting to do things his way. Depp's Tonto thinks John is a little off himself, his idealistic motivations having no place in the wild west. They're funny together, both given some background to humanize them a bit, Tonto's background providing some of the emotional background.

Who else to look out for? Fichtner is very creepy as the infamous outlaw Butch Cavendish who enjoys eating his victims' hearts as they die. Look for James Frain and Leon Rippy in small parts as members of Butch's gang. Tom Wilkinson plays Latham Cole, the railroad executive placed in charge of advancing the rails as fast and far as possible. It's Wilkinson so you know he's up to something. Otherwise, why would he be here? Ruth Wilson is solid too as John's sister-in-law, a past love, who married John's brother, a Texas Ranger, played in a nice supporting part for James Badge Dale. Also having some fun is Helena Bonham Carter as Red, a brothel owner with an ivory leg, siding with John and Tonto in their troubles while Barry Pepper plays a God-fearing, gung-ho cavalry officer working with Cole to control the Comanches. Even Stephen Root makes an appearance late as a higher-up in the railroad company who's checking on the progress his company is making.

Again in the vein of the Pirates series is the rollover in the action department. What's there is surprisingly gruesome in terms of on-screen violence, if not particularly graphic. So be forewarned, this may not be the movie for younger kids. Mostly though, the action is flashy and fun, big and entertaining, gigantic action sequences full of CGI, crazy stunts and scenarios that no real-life human being could accomplish. The opening sequence where John and Tonto meet is pretty cool, the duo chained together and trying to stop a runaway train. The same for the finale, a train packed with silver lode being chased by another train, anyone and everyone jumping on and off one train and then the next, one ridiculous thing after another. It's goofy and fun right from the start, keeping things entertaining throughout the 149-minute running time.

Fans of the Lone Ranger will hopefully enjoy this one. I didn't come in as a huge fan with high expectations, just looking for a fun movie. It is, doing the Lone Ranger justice from his capable, maybe super-horse, Silver (his "Hi-yo, Silver, away! providing a good laugh), and of course, the Lone Ranger theme -- listen HERE -- from the William Tell overture, all those touches you're looking for in a movie with this iconic character. It's a reboot, but because of the financial struggles, this will probably be it for the series/franchise. So what are we left with? A movie that is overindulgent, goofy, schizophrenic and a whole lot of fun with some great characters, good laughs and lots of entertaining moments.

The Lone Ranger (2013): ***/****

21 Jump Street

Running for five seasons on FOX in the late 1980s and early 1990s, 21 Jump Street is mostly and fondly remembered now for giving Johnny Depp a starring role, one he turned into a hugely successful career. I was never a fan of the show, but I'm at least familiar with it so I was naturally a little confused when I saw it was being remade...as a comedy to be released in theaters. Skeptical, but a trailer sold me on it, and 2012's 21 Jump Street does not disappoint.

Having graduated from the police academy, screw-up cops Jenko (Channing Tatum) and Schmidt (Jonah Hill) are wasting away on bike patrol. When they finally do make a bust, it's for nothing, Jenko forgetting to read the suspect his Miranda rights. Instead they're given one last chance; go undercover as high school students with an undercover police outfit stationed at 21 Jump Street. A new synthetic drug has popped up at the school, and the outfit's captain, Capt. Dickson (Ice Cube), wants the duo to not only stop the mini-ring, but find out who the dealers and suppliers are. With no other option, they agree, but even in just six years, high school has changed drastically, and Jenko and Schmidt are in over their heads immediately.

Are there no original ideas out there? That's basically the point of a monologue delivered by the police captain (great one-scene part for Nick Offerman), asking why "the police" keep going through the same old things, the same old procedures. In other words, why do we keep watching the same shows and movies over and over again? It's a surprisingly funny, quick, little scene, one that helps this 2012 success poke a little fun at itself. Thankfully though, directors Phil Lord and Chris Miller don't just go through the motions here. Instead of doing a straight remake of the 1980s cult and fan favorite, Lord and Miller tweak the formula. The "drama" and "mystery" are so far gone, it's a remake in name only. This is a comedy through and through, and it executes. It is a very funny -- sometimes smart, sometimes stupid, but always producing laughs -- comedy that doesn't go for status quo.

Some of my initial surprise came from the casting of Hill and Tatum as the two leads. It just didn't sound like a match made in heaven. Go figure. I couldn't have been more wrong. Hill and Tatum as the two leads is by far the best thing going here. It's like the Odd Couple on steroids, the buddy cop like we haven't seen previously in movies. In a brief intro, we see Schmidt as a nerd, Jenko as the cool athlete. Meeting again at the police academy, they strike up a genuine friendship, both helping the other out with a weakness (Schmidt with the physical, Jenko with his studies). Yes, the movie is funny, and dirty funny much of the time, but this surprisingly believable, very genuine brother-like relationship develops. I can honestly say I didn't see that coming. Tatum shows he can do comedy effortlessly -- both physical humor or selling a line -- and Hill again shows a knack for both the more exaggerated and the more subtle. He underplays some of his lines and really jumps into others as needed. Whatever they're doing, they do it well.

Tweaking the TV show jumping off point, 'Jump Street' has some fun with the teenage sex comedy. We've all seen enough of them to know the cliques, cliches, stereotypes and genre gimmicks. A nerd in school, Schmidt becomes one of the cool kids while Jenko bonds with the nerds. It is Jenko who blames Glee for changing the high school they both knew. The laughs come at you from all sides though, some smart, some dumb. A running gag about expecting more explosions as a cop is priceless, especially the pay-off in a high-speed freeway chase. Jenko and Schmidt sampling the synthetic drug is a high point as they go through the stages of the acid-like drug. And then there's the fact that neither looks like high school students...even a bit. Tatum is 32 years old, Hill is 28. The whole premise is ridiculous. Of course they don't look like high school students, and people notice but only to a point. They notice, but not enough to do anything about it. Moral of the story? Funny stuff from beginning to end.

Joining the cast are some surprising faces, almost all of them working perfectly. Ice Cube plays the cliched character; the angry black commanding officer and veteran cop, swearing at every opportunity and cursing his "officers" out. Dave Franco (James' brother) plays Eric, the head dealer at the school who hits it off immediately with Hill's Schmidt, while Brie Larson plays Molly, Eric's girlfriend who likes Schmidt for everything that Eric isn't. Dax Flame plays Zack, the most visible of the three science geeks Jenko bonds with. Also look for Rob Riggle, Chris Parnell and Ellie Kemper as three faculty members, Riggle the overzealous gym teacher, Parnell the bored drama teacher, and Kemper the science teacher drawn to Jenko. Riggle especially stands out. And yes, the original Jump Street cast shows up for cameos including Depp, Holly Robinson Peete and Peter DeLuise. Depp and DeLuise especially don't disappoint in a very funny appearance. See if you can spot Depp before the reveal.

Poking some fun at the cliches and stereotypes, 'Jump Street' doesn't stop at the comedy. In the finale as Schmidt and Jenko go toe-to-toe with the drug dealers, the action gets ratcheted up too. Loud, bloody and surprisingly still funny. Lots of slow motion (Tatum athletically avoiding obstacles, Hill stumbling over couches) and a shootout in a bunch of prom limos. Can't say you've seen that before, can you? I haven't. And the final scene certainly leaves the door open for a sequel, one I'll most likely go see too. For now, enjoy this one. It's a surprising success.

21 Jump Street <---trailer (2012): ***/****

The Ninth Gate

Based on a novel called The Club Dumas by Arturo Perez-Reverte, 1999's The Ninth Gate is an oddity among books-turned-movies. It's rare -- for me at least -- to like a book more than its source novel, but this definitely qualifies. More stream-lined and sinister than the novel, this relatively low-key thriller is a trippy, even odd, movie but in the end a good one.

An unscrupulous individual willing to work for the highest bidder, Dean Corso (Johnny Depp) is a book detective, specializing in tracking down and "acquiring" rare and expensive books. His most recent hire though is both lucrative and highly dangerous. A millionaire, Boris Balkan (Frank Langella), has hired Corso to track down and compare the three known, existing copies of The Nine Gates, a book believed to have been co-authored by the Devil himself. Balkan wants to know which one is authentic sending Corso on his way, but this detective has no idea what awaits. People around him are suddenly brutally murdered, and Corso can't help but feel he's next. What exactly has he stumbled into?

Quick comparison to the novel, and then we'll put that aside. In the novel, there are two storylines. One, Corso is investigating a copy of a supposedly lost chapter from Three Musketeers writer Alexandre Dumas, and two, similarly searching for the three copies of The Nine Gates. The book has a bit of a literary snob feel to it, showing off how smart it is. It's good, but some passages get bogged down in the details. Even skipping these passages, I felt like I missed little. Now the movie wisely and thankfully sticks to the darker Devil plot so here we go with that.

From controversial and highly talented director Roman Polanski, 'Ninth' is a smart thriller. Like its main character in Corso, it is low-key and rarely obvious while also being able to pick its moments as to when to scare or at least surprise you. With its basis in aged literature going back to the 1500s, there is a Gothic feel to the developing story. The globe-trotting investigator rings similar to a more intellectual Indiana Jones, and the shadowy, sinister characters has the feel of a film noir. Composer Wojciech Kilar's score is a gem, especially the main theme which I can only describe as playful. Give it a listen HERE. The whole score has a knack for lulling you to sleep, only to pull the rug out from under you. From Polanski's score to Kilar's score, the movie has a smart style to it, a self-assured feeling of knowing where it wants to get.

Part of that easy-going style comes from Johnny Depp as Dean Corso. Depp is a little too young to play the character, but he makes it work. Some of that stems from his look, his appearance. He has graying hair, a cigarette is always hanging from his lip, he always wears a bag over his shoulder, and his unkempt college professor look has a way of disarming whoever he's talking to. Underplaying the part of this very intelligent, conniving mercenary, Depp's talent still allows him to be at least a tiny bit likable. He's in it for the money but quickly sees he's getting more than he bargained for.

Because it is Corso's investigation, the other players are smaller, supporting parts, but they don't disappoint. Langella is basically there for three scenes, giving off such a decidedly and even evil air that the impression is a lasting one. Lena Olin plays Liana Telfer, a rich widow Corso meets in his investigation. Emmanuelle Seigner (Mrs. Roman Polanski) is the Girl, a mysterious woman who keeps popping up in Corso's travels. She clearly knows more than she's letting on, and the reveal doesn't come as a complete surprise, but it's a good one nonetheless. Also look for James Russo as Bernie, a dealer in rare books and friend of Corso. The odd thing with the casting is that Depp is too young for his part while Olin and Seigner are too old -- according to the novel anyways -- but all three put their own spins on their characters.

What has appealed to me on repeated viewings here is the unique feel to the whole movie. With the story, you're never quite sure where it's going. Is it really just a search for an ancient book supposedly written by Satan? If it's more, what's the end result? Go along for the ride because it's a good one. The acting and performances are uniformly good, the filming locations in Portugal and Paris are perfect, the score a great scene-setter, and the ending a whopper that is left open to your interpretation. A noir-Gothic thriller, and how often can you see one of those?

The Ninth Gate <---trailer (1999): *** 1/2 /****

Donnie Brasco

Al Pacino has done countless characters that all are applicable answers when fans are asked for their favorites.  But over three movies, my favorite Pacino character has and always will be cold-blooded Michael Corleone.  The Godfather movies are on the whole classic movies -- okay, maybe not Part 3 -- and a huge reason for the classic status is Pacino's Corleone. Michael is cold, calculating, brutal and seemingly without emotion as he makes decisions to protect both his family and himself.

It is a character that has stuck with him throughout his career and in some ways typecast him.  He's too good an actor to be pigeon-holed though, always experimenting with new, unique parts.  Similar in story and background to The Godfather but different in every sense in looking at Pacino's character is 1997's Donnie Brasco. He plays Benjamin 'Lefty' Ruggiero, a mid-level thug who is stuck in his long-time position within organized crime, but because he does his job and doesn't cause trouble, he's not a threat either.  So basically, the anti-Michael Corleone, a fast climber on his way to the top.  It's an underrated and even a little under-appreciated performance from Pacino in an underrated movie.

It's 1973 in New York and FBI agent Joe Pistone (Johnny Depp) has been working undercover for two years trying to get in with the local hoods. He gets his chance when he's approached by Lefty Ruggiero (Pacino), a made man working for one of New York's big-time mafiosos.  Lefty takes to Pistone -- cover name Donnie Brasco -- immediately and begins to show him how things are done, the ways of the business.  One of Lefty's associates, Sonny Black (Michael Madsen), is making a positive impression wherever he goes, and he's bringing his crew with him to the top, including Donnie. But as the days turn into months and years, Donnie acclimates to the life to the point he likes his fake life better than his own.  No matter how he feels though, it only takes one slip up and the whole ruse will come crashing down.

Mafia movies could have their own wing of a movie library all to themselves with all the quality entries over the year.  Surprisingly enough though, Donnie Brasco is rarely mentioned with some of the classics.  And to be fair, maybe it isn't a classic, but it's pretty close.  It doesn't settle for the accepted stereotypes and never tries to make the mafia look like anything other than a low-down, dirty, bloody, extremely violent life where anyone and everyone could turn on you.  Director Mike Newell gets the little things right from the 1970s style of cars and clothes to the camaraderie that develops among this tight-knit group. The writing is pitch-perfect (including THIS absolute classic discussing the meaning of 'Forget about it') and keeps the story flowing. The violence is kept to a minimum for the most part with one big exception, a hit attempt late in the movie, but don't go in expecting buckets of blood.

One of the coolest things a casting director can do is pair established mega-stars with up and coming stars on the rise.  You get combinations of great acting duos across movie generations, and the audience almost always comes out on top.  Above all else in Donnie Brasco is this relationship between Donnie and Lefty, the mafia made man eventually becoming a mentor to the new guy, almost like a big brother or even a father figure.  Through all the trials and tribulations, the two remain friends.  As the situation escalates, Donnie even begins to feel guilt at what he's doing.  Sure, he's doing his job in the line of duty, but Lefty, Sonny, Nicky (Bruno Kirby) and Paulie (James Russo) have genuinely become his good friends. Of course, as an undercover agent, he knows there is no way it can all end pleasantly, but that's to worry about when the time comes.

Neither Pacino or Depp were nominated for their parts, but I can see how both could have earned at least an Oscar nomination if not a win.  Pacino's part is a nuanced one as he somehow makes this very unlikable character into a likable one.  He gives Lefty all these little personality traits that alone would seem odd, but combine them and they work as this great red-blooded character.  Lefty's final scene -- while insinuating a fictional fate -- is Pacino at his best, a silent scene as he knows he's met his end in one way or another.  For Depp, this was before his huge movie star parts, but he shows that no matter the movie he can nail the part.  Depp always comes across as very watchable, very personable, even when his character isn't.  Teamed with legendary Pacino, and you've got a real winner.

The only thing keeping Donnie Brasco from being a classic in my eyes was the subplot involving Donnie/Joe and his struggles at home with his wife (Anne Heche). These scenes have a been there, done that feel because we have been there and done that with these homefront fights.  It's not that they're awful scenes, but compared to anything with Donnie and his infiltration of the mob, they just don't have the same impact.  Still, this is a hidden gem, and one that I'm sorry I missed all these years.

Donnie Brasco <---trailer (1997): ***/****