DVDpedia : Library : Genre : Action & Adventure

Theatrical:

Studio: Magnolia

Genre: Action & Adventure

Duration: 127

Summary: A movie that exudes affection and goodwill, "The World's Fastest Indian" is an unabashed mash note to a lovely character from New Zealand's recent past. Burt Munro, played by Anthony Hopkins, is a cantankerous Kiwi with an obsession: he's been tinkering with his 1920s-era Indian brand motorcycle for years, pushing it to ever-faster speeds. It's the 1960s, and Burt has the utterly mad idea of taking the bike to the Bonneville Salt Flats in Utah, site of world records for speed racing. The movie takes a while to get to the journey--and then the journey takes a while--but the genial atmosphere prevails. (People of a certain age, for whom the word "Bonneville" evokes pleasant associations with hotrods and world-speed records, will not be disappointed in the film's location shooting, or its sense of awe.) Hopkins is not quite on-the-money casting for the jovial, happy-go-lucky Munro, and his accent wavers, but he nails the emotional scenes and the fascination with speed. Smaller bits are well-filled by Diane Ladd and Christopher Lawford (son of Peter), who looks uncannily of the era. New Zealand director Roger Donaldson doesn't take any chances here, but the story clearly means something to him, and that sense of commitment carries the film through its sleepier moments. "--Robert Horton"

Theatrical: 2003

Studio: Paramount

Genre: Action & Adventure

Duration: 118

Summary: The brainy, paranoid science fiction of writer Philip K. Dick has inspired one visionary classic ("Blade Runner") and two above-average action movies ("Total Recall" and "Minority Report"). "Paycheck" aspires to follow in their footsteps: An engineer (Ben Affleck, "Chasing Amy") routinely agrees to have his memory erased after every job so that he doesn't know what he's done. But after the biggest job of his life, he discovers that not only has he refused a $90 million paycheck, he's sent himself an envelope full of things he doesn't recognize--and he doesn't remember doing any of this. As he unravels the plot, he discovers he's also fallen in love (with Uma Thurman, "Kill Bill") and invented a dangerous device for his former boss (Aaron Eckhart, "Erin Brockovich"). Affleck is bland, the script ruins a cunning idea, and the direction--from the normally dynamic John Woo ("Face/Off")--plods along, aimless and bored. "--Bret Fetzer"

Theatrical: 2005

Studio: Dreamworks Video

Genre: Action & Adventure

Duration: 136

Summary: When you add up all the best things about "The Island", you might just conclude that there's hope yet for Hollywood's most critically reviled hit-maker, Michael Bay. Recruited by Steven Spielberg to direct this lavish and often breathtaking sci-fi action thriller, Bay rises to the occasion with an ambitious production that is, by his standards (and compared to Bay's earlier hits like "The Rock" and "Armageddon"), surprisingly intelligent as it explores the repercussions of cloning in a sealed-off society where humans are cultivated for spare parts, surrogate parenthood, and full-body replacements for wealthy clientele. But when two of the clones (Ewan McGregor, Scarlett Johanssen) begin to question their fate and the motives of their keepers, they escape into the real world and "The Island" becomes just another Michael Bay action extravaganza, albeit an impressively exciting one. With elaborate chase scenes and a high-tech feast of CGI to dazzle the eye, "The Island" recycles much of the plot from 1979's "Clonus" while borrowing elements from "Logan's Run", "Gattaca" and "Minority Report", and while it's not as smartly conceived as those earlier films, there's no denying that, in many ways, it's Bay's best film to date. "--Jeff Shannon"

Theatrical: 2003

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 87

Summary: In addition to boasting one of the most astonishing opening sequences in the history of extreme-sports filmmaking, "Billabong Odyssey" offers a breathtaking survey of big-wave surfing at a pivotal stage in its evolution. With the advent of Jet-Ski Waverunners used for "tow-in" access to gigantic waves that paddle-surfers could never reach, this three-year, globe-trotting quest for the world's biggest waves is nothing less than spectacular. As documentaries go it's a bit cruder than 2003's other surfing movie, "Step Into Liquid", and many of the same world-class surfers appear in both films (including 49-year-old Ken Bradshaw, still going strong). But "Billabong" is unrivaled in its abundance of jaw-dropping footage--most of it shot from helicopters hovering in close proximity--showing the sheer, terrifying scale of breaking "tubes"--some reaching 100 feet--at the most challenging big-wave locations on the planet, including Maverick's at Santa Cruz, California; Cortes Bank off the Pacific Coast; "Cyclops" in Australia; Mundaka, Spain; and the treacherous "Jaws" reef on the coast of Maui, Hawaii.
While touching on various hot topics such as safety training, serious wipe-outs, swell-tracking technology, female surfers (like the great Layne Beachley), and hydrofoil surfboards (billed as "the future of the sport"), director Philip Boston applies a casual, competitive structure that's too diffuse and lightweight to have much impact. But when the film focuses on the climactic "Jaws" showdown between Carlos Burle and Mike Parsons, "Billabong Odyssey" achieves a state of raw power and spiritual intensity, culminating in Parsons' best-ever 10-point ride on a massive tube that constantly threatens to consume him. As dozens of adrenaline-junkie surfers strive for new horizons of unprecedented skill, "Billabong Odyssey" chronicles their efforts with amazing bird's-eye cinematography. For surfers and non-surfers alike, this movie must be seen to be believed. "--Jeff Shannon"

Theatrical: 2005

Studio: New Line Home Video

Genre: Action & Adventure

Duration: 128

Summary: Does it really matter what's true or false in "Domino" if the movie's so deliriously hard to resist? Tony Scott's dizzying film about his late friend, former model and famous bounty hunter Domino Harvey (1969-2005), is more tribute than biography, riffing on Harvey's action-packed exploits and brief reality-TV celebrity in a fractured, manic style that's so visually over-stimulating that it could throw vulnerable viewers into "grand mal" seizures. Scott's barrage of audio-visual hyperactivity is ultimately exhausting, and Richard Kelly's fragmented screenplay does nothing to discourage Scott's relentless MTV "style" (and we use that word oh-so-loosely here). And yet, with Keira Knightley so ferociously alluring in the title role, and Mickey Rourke (as her boss and bounty-hunting mentor, Ed Mosbey) serving up a second dose of his "Sin City" comeback, "Domino" grabs you by the throat and never lets go. Scott's embrace of nihilism is typically facile but it propels a vision of wretched humanity that pulls you in with train-wreck intensity. The movie's bracing humor also makes fine use of a large supporting cast including Christopher Walken, Jacqueline Bissett, Dabney Coleman, Edgar Ramirez, Mo'Nique, Delroy Lindo, Mena Suvari, Lucy Liu, and former "Beverly Hills 90210" stars Ian Ziering and Brian Austin Green (the latter two poking good-sport fun at themselves as "celebrity hostages"). The accidental overdose death of the real Domino (daughter of "The Manchurian Candidate" star Laurence Harvey) in the summer of 2005 threw a sad shroud of irony over this movie's theatrical release, but for all its reckless indulgence, "Domino" is a fitting eulogy for a troubled woman whose credo ("Heads you live, tails you die") is reflected in Scott's fictionalized rendition of the dangerous life she lived. "--Jeff Shannon"

Theatrical: 2007

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 117

Summary: Like "Sin City" before it, "300" brings Frank Miller and Lynn Varley's graphic novel vividly to life. Gerard Butler ("Beowulf and Grendel", "The Phantom of the Opera") radiates pure power and charisma as Leonidas, the Grecian king who leads 300 of his fellow Spartans (including David Wenham of "The Lord of the Rings", Michael Fassbender, and Andrew Pleavin) into a battle against the overwhelming force of Persian invaders. Their only hope is to neutralize the numerical advantage by confronting the Persians, led by King Xerxes (Rodrigo Santoro), at the narrow strait of Thermopylae.
More engaging than "Troy", the tepid and somewhat similar epic of ancient Greece, "300" is also comparable to "Sin City" in that the actors were shot on green screen, then added to digitally created backgrounds. The effort pays off in a strikingly stylized look and huge, sweeping battle scenes. However, it's not as to-the-letter faithful to Miller's source material as "Sin City" was. The plot is the same, and many of the book's images are represented just about perfectly. But some extra material has been added, including new villains (who would be considered "bosses" if this were a video game, and it often feels like one) and a political subplot involving new characters and a significantly expanded role for the Queen of Sparta (Lena Headey). While this subplot by director Zack Snyder ("Dawn of the Dead") and his fellow co-writers does break up the violence, most fans would probably dismiss it as filler if it didn't involve the sexy Headey. Other viewers, of course, will be turned off by the waves of spurting blood, flying body parts, and surging testosterone. (The six-pack abs are also relentless, and the movie has more and less nudity--more female, less male--than the graphic novel.) Still, as a representation of Miller's work and as an ancient-themed action flick with a modern edge, "300" delivers. "--David Horiuchi"

Theatrical: 2004

Studio: Universal Studios

Genre: Action & Adventure

Duration: 127

Summary: The beauty of the South American landscape and of Gael Garcia Bernal ("Y Tu Mama Tambien", "Bad Education") gives "The Motorcycle Diaries" a charisma that is decidedly apolitical. But this portrait of the young Che Guevara (later to become a militant revolutionary) is half buddy-movie, half social commentary--and while that may seem an unholy hybrid, under the guidance of Brazillian director Walter Salles ("Central Station") the movie is quietly passionate. Guevara and his friend Alberto Granado (Rodrigo de la Serna, a lusty and engaging actor) set off from Buenos Aires, hoping to circumnavigate the continent on a leaky motorcycle. They end up travelling more by foot, hitchhiking, and raft, but their experience of the land and the people affects them profoundly. No movie could affect an audience the same way, but "The Motorcycle Diaries" gives a soulful glimpse of an awakening social conscience, and that's worth experiencing. "--Bret Fetzer"

Theatrical: 2003

Studio: Miramax

Genre: Action & Adventure

Duration: 111

Summary: Quentin Tarantino's "Kill Bill, Vol. 1" is trash for connoisseurs. From his opening gambit (including a "Shaw-Scope" logo and gaudy '70s-vintage "Our Feature Presentation" title card) to his cliffhanger finale (a teasing lead-in to 2004's Vol. 2), Tarantino pays loving tribute to grindhouse cinema, specifically the Hong Kong action flicks and spaghetti Westerns that fill his fervent brain--and this frequently breathtaking movie--with enough cinematic references and cleverly pilfered soundtrack cues to send cinephiles running for their reference books. Everything old is new again in Tarantino's humor-laced vision: he steals from the best while injecting his own oft-copied, never-duplicated style into what is, quite simply, a revenge flick, beginning with the near-murder of the Bride (Uma Thurman), pregnant on her wedding day and left for dead by the Deadly Viper Assassination Squad (or DiVAS)--including Lucy Liu and the unseen David Carradine (as Bill)--who become targets for the Bride's lethal vengeance. Culminating in an ultraviolent, ultra-stylized tour-de-force showdown, Tarantino's fourth film is either brilliantly (and brutally) innovative or one of the most blatant acts of plagiarism ever conceived. Either way, it's hyperkinetic eye-candy from a passionate film-lover who clearly knows what he's doing. "--Jeff Shannon"

Theatrical: 2004

Studio: Touchstone / Disney

Genre: Action & Adventure

Duration: 139

Summary: It's got a round table, some knights, and a noble warrior who rises to become King Arthur, but everything else about this revisionist legend is pure Hollywood. That's not such a bad thing if you enjoyed "Rob Roy", "Braveheart", "Gladiator", and "Troy", and there's some intriguing potential in presenting the "real" Arthur (played by Clive Owen) as a 5th-century soldier of Rome, assigned to defend Roman-imperial England against a hoard of invading Saxons (led by Stellan Skarsgård in hairy villain mode). As revamped history and "archaeological findings" would have us believe, Guinevere (Keira Knightley) is a warrior babe in face-paint and Lancelot (Ioan Gruffudd) is a nonentity who fades into the woodwork. Never mind! Best to enjoy the harsh, gloomy atmosphere of Irish locations, the ruggedness of Owen and his hearty supporting cast, and the entertaining nonsense of a Jerry Bruckheimer production that strips battle-ready Guinevere down to leather-strap S&M gear while all the men sport full-body armor. Hail to the queen, indeed! "--Jeff Shannon"

Theatrical: 2005

Studio: Lions Gate

Genre: Action & Adventure

Duration: 121

Summary: The lethal business of arms dealers provides an electrifying context for the black-as-coal humor of Andrew Niccol's "Lord of War". Having proven his ingenuity as the writer of "The Truman Show", and writer-director of "Gattaca" and the under-appreciated "Simone", Niccol is clearly striving for Strangelovian relevance here as he chronicles the rise and inevitable fall of Yuri Orlov (Nicolas Cage), a Ukrainian immigrant to America who makes his fortune selling every kind of ordnance he can get his amoral hands on. With a trophy wife (Bridget Moynahan) who's initially clueless about his hidden career, and a younger brother (Jared Leto) whose drug-addled sense of decency makes him an ill-chosen accomplice, Yuri traffics in death the way other salesman might push vacuum cleaners (he likes to say that alcohol and tobacco are deadlier products than his), but even he can't deny the sheer ruthlessness of the Liberian dictator (a scene-stealing Eamonn Walker) who purchases Orlov's "products" to expand his oppressive regime. Niccol's themes are even bigger than Yuri's arms deals, and he drives them home with a blunt-force lack of subtlety, but Cage gives the film the kind of insanely dark humor it needs to have. To understand this monster named Yuri, we have to see at least a glimpse of his humanity, which Cage provides as only he can. Otherwise, this epic tale of gunrunnng would be as morally unbearable as the black market trade it illuminates. "--Jeff Shannon"

Theatrical: 1930

Studio: Universal Studios

Genre: Action & Adventure

Duration: 132

Summary: If a classic movie can be measured by the number of indelible images it burns into the collective imagination, then "All Quiet on the Western Front"'s status is undisputed. Since its release in 1930 (and Oscar win for best picture), this film's saga of German boys avidly signing up for World War I battle--and then learning the truth of war--has been acclaimed for its intensity, artistry, and grown-up approach. Director Lewis Milestone's technical expertise is already stunning in the great opening sequence, as a professor exhorts his students to volunteer for the glory of the Fatherland while troops march past the windows. Erich Maria Remarque's novel is faithfully followed, but Milestone's superbly composed frames make it physical: the first battle scene, with the camera prowling the trenches as they fill with death and chaos, was surely the "Saving Private Ryan" of its day. The cast is strong, with little-known Lew Ayres finding stardom in the lead (Ayres became a pacifist and conscientious objector during World War II; although he served in battle as a medic, the stance harmed his career). This DVD has no extras beyond a vintage re-release trailer and Robert Osborne's useful introduction, but the main draw is the excellent picture and sound quality of the print--the movie looks better than it has in years. Those indelible images are now clear enough to cut glass: Ayres' lonely look back at the disappearing troop truck; the blinded soldier who runs into enemy fire at night; the fine pair of boots wasted on a boy with an amputated leg; and the final, devastating seconds, arguably the defining cinematic image of war in the 20th century. "--Robert Horton"

Theatrical: 2006

Studio: Walt Disney Video

Genre: Action & Adventure

Duration: 150

Summary: Take the first "Pirates of the Caribbean" film, add a dash of "20,000 Leagues Under the Sea" and a lot more rum. Shake well and you'll have something resembling "Dead Man's Chest", a bombastic sequel that's enjoyable as long as you don't think too hard about it. The film opens with the interrupted wedding of Will Turner (Orlando Bloom) and Elizabeth Swann (Keira Knightley), both of whom are arrested for aiding in the escape of Captain Jack Sparrow (Johnny Depp) in the first film. Their freedom can only be obtained by getting Captain Jack's compass, which is linked to a key that's linked to a chest belonging to Davy Jones, an undead pirate with a tentacle face and in possession of a lot of people's souls. If you're already confused, don't worry--plot is definitely not the strong suit of the franchise, as the film excels during its stunt pieces, which are impressively extravagant (in particular a three-way swordfight atop a mill wheel). It may help to know that Dead Man's Chest was filmed simultaneously with some of "Pirates 3", so don't expect a complete resolution (think more "The Empire Strikes Back") or the movie will feel a "lot" longer than it really is.
Bloom shows a tad bit more brawn this time around, but he's still every bit as pretty as the tomboyish Knightley. (Seriously, sometimes you think they could swap roles.) Bill Nighy ("Love, Actually") weighs in as Davy Jones and Stellan Skarsgård appears as Will's undead father. But the film still belongs wholly to Depp, who in a reprise of his Oscar-nominated role gets all the belly laughs with a single widened eyeliner-ed gaze. He still runs like a cartoon hen and slurs like Keith Richards--and he's still one of the most fascinating movie characters in recent history. "--Ellen A. Kim "

More "Pirates" at Amazon.com
Johnny Depp DVDs"
Buy "Pirates of the Caribbean: Curse of the Black Pearl"
Buy the Soundtrack

Theatrical: 2007

Studio: Paramount

Genre: Action & Adventure

Duration: 96

Summary: The weirdness of actor Nicolas Cage and the weirdness of science-fiction author Philip K. Dick seem like a natural fit. The premise, taken from a short story by Dick, is a good one: A mediocre Las Vegas magician named Chris Johnson (Cage) can see into the future--but only about two minutes at the most. Just enough to pull off his act and to make some money at the gambling tables, so long as he's discreet. Unfortunately, he hasn't been discreet enough; a government agent (Julianne Moore) has sussed out his precognitive talent and wants to use him to track down terrorists. But all Johnson cares about is a beautiful young woman (Jessica Biel, "The Illusionist") that he can see in his future--much further in his future than he's ever seen before. "Next" has flashes that point to a much, much better movie than it turned out to be. A sequence in which Johnson, clairvoyantly explores all the different permutations of how he might approach his mystery woman is both funny and thought-provoking, and when Johnson avoids pursuers by knowing just the right moment to turn a corner or duck his head, it's smart and suspenseful. Unfortunately, the terrorist part of the plot is utterly perfunctory and precognition is reduced to an action movie gimmick. Somewhere in there is the kernel of a romantic comedy about precognition that's just waiting to be made. Cage gives a solid if unsurprising performance, Moore is basically earning a paycheck, but Biel is unexpectedly good (and her part is considerably better-written than your usual romantic interest); her performance suggests a better future than anyone might have predicted. "--Bret Fetzer"

Beyond "Next"
More Nick Cage on DVD
The Author that Inspired the Movie
The Soundtrack Stills from "Next" (click for larger image)

Theatrical: 2007

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 140

Summary:
How does "Spider-Man 3" follow on the heels of its predecessor, which was widely considered the best superhero movie ever? For starters, you pick up the loose threads from that movie, then add some key elements of the Spidey comic-book mythos (including fan-favorite villain Venom), the black costume, and the characters of Gwen Stacy and her police-captain father. In the beginning, things have never looked better for Peter Parker (Tobey Maguire): He's doing well in school; his alter ego, Spider-Man, is loved and respected around New York City. And his girlfriend, Mary Jane Watson (Kirsten Dunst), has just taken a starring role in a Broadway musical. But nothing good can last for Spidey. Mary Jane's career quickly goes downhill; she's bothered by Peter's attractive new classmate, Gwen Stacy (Bryce Dallas Howard); and the new "Daily Bugle" photographer, Eddie Brock (Topher Grace), is trying to steal his thunder. Enter a new villain, the Sandman (Thomas Haden Church), who can transform his body into various forms and shapes of sand and who may be connected to Peter's past in an unexpected way. There's also the son of an old villain, Harry Osborne (James Franco), who unmasked Spidey in the previous movie and still has revenge on his mind. And a new black costume seems to boost Spidey's powers, but transforms mild-mannered Peter into a mean and obnoxious boor (Maguire has some fun here).
If that sounds like a lot to pack into one 140-minute movie, it is. While director Sam Raimi keeps things flowing, assisted on the screenplay by his brother Ivan and Alvin Sargent, there's a little too much going on, and it's inevitable that one of the villains (there are three or four, depending on how you count) gets significantly short-changed. Still, the cast is excellent, the effects are fantastic, and the action is fast and furious. Even if "Spider-Man 3" isn't the match of "Spider-Man 2", it's a worthy addition to the megamillion-dollar franchise. --"David Horiuchi "





















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Stills from "Spider-Man 3" (click for larger image)

Theatrical: 1986

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 106

Summary: A hotshot stockbroker bets it all--and loses it all--in one day, effectively ruining all his customers while ending his career. So, naturally, he turns to that old stockbroker standby: he becomes a bicycle messenger. Kevin Bacon may have made this film simply to extend the strands of the Six Degrees of Kevin Bacon game; it's hard to imagine any other reason. Otherwise, this mid-'80s film stands as yet another example of a movie influenced by MTV without understanding what MTV does. Eventually, Bacon leads the exploited masses of messengers in an uprising against unfair labor practices by the evil bosses. There's an original concept. Notable as yet another film to give a role to the dazzlingly untalented Jami Gertz. "--Marshall Fine"