PURE GARBAGE
Added 11/19/2009
This movie was a waste of money and time, bad actors and plot. What a waste of time, over rated on other reviews what were they thinking onless they were making a profit on this movie... I waste my money dont waste yours.
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Hard-Boiled High School
Added 11/15/2009
This film isn't for everyone, and those with no knowledge of (or taste for) film noir and especially the Hard-Boiled Detective Fiction sub-genre will likely be confused or even bored by it. If you like either, though, you're in for a real treat.
A high-school student gets a cryptic call from an ex, and when she turns up dead a few days later, he launches his own investigation into the matter. Matters spiral from there.
I call this "hard-boiled high school" because it ingeniously takes a standard pulp setting and updates it to a modern high school: instead of the D.A. breathing down the detective's neck, it's the vice-principal, etc. Clever stuff.
The plot's complexity is almost Chandleresque and requires paying attention to dialogue and background details. The dialogue is straight out of a '30s copy of that pulp classic, Black Mask magazine. Hammett would be proud, especially since some of the slang is encased in some truly witty dialogue.
You have to like this sort of thing, of course, but if you do, it's surprisingly well-done, especially given the limited budget and that this was the director's first effort.
Highly recommended for fans of this sort of thing.
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only my fav movie
Added 9/4/2009
what can i say its my fav movie i can watch it 100 times. it has the feel of an inde film with the art style and more
moose
1 out of 1 people found this helpful.
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PRETENTIOUS GARBAGE
Added 8/6/2009
Watch the movie "Havoc" with Anne Hathaway to see how a teen drug/murder drama SHOULD be done. the teen actors in brick had little to work with...flimsy cluttered plot, mindless aimless violence, silly manipulation and macho posturing. the dialogue sounds like a 7th grade computer geek's impersonation of bogart or cagney. nobody of ANY generation speaks the way these kids do. half the time you are scratching your head at what these quasi-hipsters are even trying to say.
1 out of 6 people found this helpful.
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110 minutes of film-school cleverness
Added 6/14/2009
Not bad, but not good either. Why? Because every scene, every shot, every line of dialogue is overdone by Art. It doesn't take long before you realize you're saying to yourself, well, look how the blood is artfully arranged...hey, one side is all wearing black, the other white...notice how all the actors are standing, carefully posed in the culvert...listen how cheerleaders are saying "push 'em back," only you can't see them and the hero is being chased around by a madman with a knife...etc. All the cleverness absolutely overwhelms the film.
One other oddity I noticed: it's rated R, and yet I'm fairly sure I heard not a single obscenity, something that even some PG movies have. There was barely a hint of sex, and no exposed skin. As for violence, the hero gets punched a lot, and there's one--yes, arty--scene involving a gun. I guess that's what got it the R rating. Strange.
1 out of 2 people found this helpful.
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A heist film with humanity
Added 8/9/2009
With the rise of Quentin Tarantino and Guy Ritchie, the ever popular crime and heist films genres have grown more outlandish, as seen in the baffling nightmare "Running Scared" and the out and out parodies of "Shoot `em Up" and the "Crank" films. Released into such a market, the contemplative "The Lookout" was likely doomed to a lukewarm public reception. Fortunately, DVD has been kind to many overlooked films, and hopefully "The Lookout" will find a second-life in the coming years. While few will find the hair-raising thriller they probably expected, "The Lookout" is one of the more engrossing and moving human dramas in recent memory, though given a crime/heist sheen that will make it palatable to testosterone-oriented audiences, like myself.
Though heist films most often hinge on labyrinthine plots, "The Lookout" is rooted in the terrific lead performance of Joseph Gordon-Levitt. Long best known as "that one kid in the sitcom with aliens" (Third Rock From the Sun), Gordon-Levitt transitioned to film a few years ago and has earned surprising accolades. Though I can't speak for his work generally, his Chris Pratt is a remarkably sympatheic and compelling protagonist, and he gives the films a human quality rare to contemporary crime and heist films. The general story offers no great surprises, but the film's humanity makes the final result more personally moving than any elaborate plot machinations could.
We're first introduced to Chris Pratt as a teenager, where he's the quintessential promising youth, a Midwestern hockey star and the son of a well-to-do family. Whatever advantages Pratt had, however, he was not spared teen idiocy, which he uses in causing a senseless car crash which kills and cripples his friends while leaving Pratt with a severe head injury. We next see Pratt a half-decade later, where he struggles with impulse control, aphasia and a general inability to mentally organize his life. His previous dreams shattered, Pratt works alone as a bank's night janitor, and confides only in his blind ex-hippie roommate Lewis, (Jeff Daniels) and his case worker Janet (Carla Gugino). Pratt, though functioning (barely), hopes for more out of life, and soon meets Gary Spargo (Matthew Goode), a shifty but sympathetic local character. Spargo is Pratt's only friend apart from Lewis, and the tie is cemented when Pratt falls for Spargo's friend Luvlee (Isla Fisher). Spargo's friendship is indeed superficial, as he eventually reveals his plan to rob Pratt's bank, with Pratt as the titular lookout. Though Pratt has no natural inclinations towards crime, he can't help but see this as an opportunity to escape his seemingly hopeless life, and, especially, to maintain a relationship with Luvlee.
In further contrast to conventional crime films, "The Lookout" has compactm limited form that makes it much more plausible and personal than other flims. Just as how the bank heist is not especially elaborate, neither are Pratt's motivations grandiose. He does not dream of wealth or a life of luxury, but wants an unassuming middle class life and some small sense of control over his destiny. He is not, however, a plaster saint: the terrible accident is wholly his fault, and Pratt can be quite cold or hostile towards those who would help him. Equally impressive is the cast of secondary characters, none of whom play as cliched crime films types. Goode, a Brit best known for playing cold and effete roles in "Match Point" and "Watchmen," creates a lively, surprisingly charismatic lowlife in Spargo, while Daniels adds a lot of humor and sympathy to Pratt's roomie Lewis in what could've been a throwaway role. The film handles the middle American characters with surprising care, portraying even the more dimwitted figures with realism and understanding. (I'm thinking particularly of Fisher's ex-stripper Luvlee and Di Zio's Deputy Ted, a local cop who checks in on Pratt in a manner both friendly and condescending.)
After an hour of background and character development, the standard plot machinations come into effect with the requisite action scenes, complications and betrayals. First-time director Frank uses an appropriately distant, icy look for a the frigid Midwestern setting, and the film wholly lacks the self-conscious stylization of most modern crime pics. (Those of you who hate shakycam and schizoid editing will prefer this to most contemporaries.) The actual heist elements are not especially stunning, but they provide punctuation to the inner struggles that consumed the rest of the film. "The Lookout", ultimately, is not really about the heist, but about Pratt's oppressive and monotonous day-to-day life and how we come to understand his desperate need to escape. The heist was not the best option, needless to say, but we can understand both how he could give into such temptations and his misgivings and second thoughts that play heavily into the actual robbery.
In the end the film is wrapped up in a rather clean, tight manner. This is a somewhat inappropriate, considering the sprawling, free-form nature of the early narrative. That said, it offers a certain satisfaction. In the real world the narrative would not likely resolve itself as it does in "The Lookout." But damned if we often don't wish that it would.
Grade: A-
1 out of 1 people found this helpful.
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Impressive first feature. Recommended.
Added 6/18/2009
I would definitely recommend this film to those who're into intelligent 'crime' thrillers.
Sure there are certain elements within the screenplay that remind us of Nolan's "Memento", but that's where the comparison's end. "The Lookout" is shot and edited in a totally different fashion, with confident direction from Scott Frank which gives the film its own style and voice.
In my mind, Joseph Gordon-Levitt is quickly becoming one of the more consistent & talented actors of his generation. You have to hand it to him, he has chosen his post-TV roles wisely, (it's clear he has a solid agent working for him).
Jeff Daniels delivers one of his most interesting performances to date; the guy owns it whenever he's on screen here.
1 out of 1 people found this helpful.
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Instant Neo-noir classic.
Added 6/9/2009
The Lookout is an instant Neo-noir classic. The kind of film that you can tell everyone involved took a full swing at in making. Career acting performances, haunting cinematography and a story that will stick with you for a while. A true diamond in the rough. Don't pass on this one!
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