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Brooklyn’s Finest
My 0-10 rating: 7
Genre: Crime, Drama
Director: Antoine Fuqua
Screenwriter: Michael C. Martin, Brad Caleb Kane
Starring: Richard Gere, Ethan Hawke, Don Cheadle, Jesse Williams, Ellen Barkin, Wesley Snipes, Lili Taylor, Will Patton, Vincent D’Onofrio
Time: 2 hrs., 13 min.
Rating: R (for bloody hostility throughout, strong sexuality including graphic sex, nudity, drug content and pervasive vulgarity)

Gushing with bloody shootings, with enough of it to satiate even the most bloodthirsty hostility aficionado for the next year, Brooklyn’s Finest is immersed, almost drowned, in its gripping delivery.

This is by director Antoine Fuqua who did the similarly mega-powered photographic juggernaut, the 2001 Training Day,  a film which set a fairly unreachable standard of shadowy seeable elaboration of everything dropping within the reach of the camera.

Again, drugs are the basic generators of all the evil, and fearless humans are the drivers of a plot that amounts to little more than a wearisome commonplace in itself but is belowground under case close-ups of much scorching intensity that your attention is riveted mercilessly. Fuqua’s method to his insanity comes at you like a tsunami of human hostility, leaving your senses immobilized possibly for hours afterwards.

From the beginning, it’s obvious that the crime and corruption-ridden East Brooklyn streets are cellars of sudden death where no man crapper make the aforementioned mistake once — and a man’s shadow strength not be his own. Burning suspicions, catastrophically greedy motives, instant revenge and the erasing of individuals with chilling efficiency make the expression lifestyle irrelevant and deathstyle the only point.

Performances are uniformly unpaid with a virility of rare compulsion with each male and female player going at it as though this will be the eventual judgment of his or her career.

Plot values are kinda inconsequential. The trend power of the portrayals of the hostility are the pore of darkest artistry.

As the story makes country immediately, things do seem kinda like inferno itself on East Brooklyn. Our key characters — three cops — are Eddie (Richard Gere) who is stumbling through his last seven days on the job, Tango (Don Cheadle) who’s an undercover pig whose wife has mitt him over related issues, he now facing issues with his honcho (Will Patton) and a hard-driving, snarling and snapping federal agent Smith (Ellen Barkin) who want him to set up his buddy Caz (Wesley Snipes) who’s a drug dealer with Tango to be rewarded with a desk job, and narcotics pig Sal Procida (Ethan Hawke), an undeserving father who’s forever complaining that his house is too small for his family even as he loafs around in a Brobdingnagian basement entertainment room playing poker with his friends.

Avatar is about how excessive desire drives people to err. They go a long way to achieve what they want. Pity, Mercy and Regret is forgotten all along while nature is patient, forgiving until a moment where It has no other option.

The hero (Sully) is a human who goes into the body of an artificially created Navi, the tribal people. The story is about how Sully saves the tribe from the hands of the humans, who are ready to destroy anything that would prevent them from getting what they want. Here, the humans are referred to as aliens and the Navis are referred to as the HUMANS - the referral being done based on the attitude of the respective race.

The sequence of events is perfect and there is not a moment you would be able to turn your eyes away from the screen. The creatures, the portrayal of the Navis - their lifestyle being so close to nature is wonderful. So absorbing and so much real is the film that in the end you would wish that you were one among the Navis.

Like history has told us the downfall of great leaders because of their excessive ambition in expansion, so does this humdinger from James Cameroon and the way it has told us is exemplary and deserves a charm. Well, I see this message from the film:

No matter how much we fear, we keep coming back for more. Moviegoers for over a century now have become increasingly demanding, and moviemakers have never stopped stretching the possibilities of visual entertainment. There are two reasons why the cinema screen is so big, explained one movie critic. One: it’s because there’s a lot of people watching it. Second: it’s to put each individual into movie itself, as if he were wearing a pair of virtual reality goggles and it was him in the lead role. Imagine if this technology were applied to the horror genre.

Imagine putting yourself in the lead role of these horror films, known for their most creative plots of sudden twists. Shall you survive the virtual realm of terror?

In 2007, a film adaptation of the comic book mini-series “30 Days of Night” (IDW Publishing, 2002) sent shudders up and down the spine of viewers across the United States. It starred U.S. heartthrob Josh Hartnett and Australian actress Melissa George. The story begins in the northernmost town of Barrow, Alaska, known for its 67 days of winter darkness. A tribe of vampires aboard a seaborne tanker stranded amidst thick ice floes stumble into the peaceful town and, taking advantage of the prolonged darkness, wreak havoc and feast upon its inhabitants. A handful of survivors trapped in Barrow huddle and scurry to escape detection by hiding in the attic of one of the abandoned homes. What makes this film very fascinating is not the vampires, but the predicament that compels the human spirit to preserve and protect its own even when bleached under insurmountable supernatural odds. This Senator International-Columbia Pictures film was directed by David Slade and Sam Raimi, the director who worked on the “Spiderman” pictures starring Tobey McGuire and such horror classics like the “Evil Dead” trilogy and “The Grudge.”

In the 2006 movie “Silent Hill” (TriStar Pictures), imagine yourself a mother frantically searching for her missing child. You skulk around a mysterious town you thought was empty but, when darkness falls, brings out malevolent creatures that only exist to inflict sadistic torture. The darkness, unlike in the normal world that rules the night, unpredictably comes in intervals after a few hours of daylight. Although the movie merely made mild success in the box office, critics hailed it for its stunning imagery and visual effects. But its most impressive feature is its rendition of the afterlife. While we have always envisioned Hell in chaotic fire and brimstone, “Silent Hill” portrayed it as an abandoned mining town of rising toxic fumes ruled by a vindictive evil spirit.