I was lucky enough to go to the Triple M preview of Miami Vice tonight, and what can I say, this was one of the better films I have seen this year. Michael Mann, who directed one of the original 1984 TV series episodes as well as some Starsky and Hutch before moving onto the big screen (as writer and director) with Heat, the Insider, and Ali to name a few, has bought this classic back with a fresh style and intensity to match.

I have to say I was almost expecting pink suits and cocktails, but this new Miami Vice is dark and gritty, and very much draws you into the reality of the action rather than portraying a shiny clean Hollywood version of a cop show that you might expect from a remake of such a cheesy classic (although they do drive a rather nice Ferrari). The acting was balanced and never over done; there were no stupid one-liners or comic relief. The illusion of reality was complete.

The photography was very nice, using slow film with a very grainy finish, and balanced light throughout worked well. The music was perfect, with only a single “song” in the movie (the opening), the score was very well chosen and served to enhance each scene rather than plug the soundtrack. Otherwise, the music they did utilise was live, and appropriate.

One other curious little technicality was the noticeable absence of obligatory swearing, and I was almost expecting the violent angry revengeful rampage – but it never happened, and it was better for it. The film was dramatic, lively and kept the level of pace, intensity and action fine without any of the cliche good cop angry cop.

Rating: 4.5

Mark Sholtez debut album “real street” has already spent an amazing ten weeks in the number one position of the ARIA Jazz Chart. With eleven original tracks ranging in style from 50’s jazz to soulful New Orleans tunes, to more modern romantic, and even tongue in cheek pieces. Mark Sholtez has proven his talent as a contemporary writer, with a musical and lyrical sophistication to match his savvy style.

I was lucky enough to catch this boy from Brisbane at Bennets lane (for his second performance there), and was pleasantly surprised by the personal and charismatic performance. No longer a stranger to attention, Mark has become one of the hottest Jazz performers in the country, with over 1000 gigs under his belt over the last five years, ranging from up close and personal like Bennets Lane style venues, to the Sydney Opera House. Mark has recently opened for Diana Krall on her Australian tour, as well as Italian newcomer Patruzio Buann, while in the country.

Watch this one closely – from the preview of his new music at his latest performance, the next album is bound to be a big hit! Can’t wait.

see Mark’s website: http://www.marksholtez.com/

Superman finally returns to the big screen 28 years after the hugely successful original movie, and director Bryan Singer (who also directed The Usual Suspects, X-Men 2, and produced House, M.D. amongst others) has done a nice, if not “safe”, job of reviving the most supreme of super-heroes.

Superman Returns is set 6 years after Superman II. After returning from a soul searching journey to his home galaxy to find other survivors of his race when scientists announced they may have found the remnants of Superman’s home planet, six years have passed and the people of Metropolis have become a little more than disillusioned with the world without Superman, perhaps most of all Louis Lane, who took his disappearance rather personally.

Crime is rampant, Sir Richard Branson is chief engineer of the worlds’ first civilian commercial space shuttle fleet, and of course, Lex Luther (still obsessed with real estate) has been released from prison, and even more determined to remove Superman than ever before, this time with the secret of Superman’s own alien technology at his behest.

Superman Returns, sees newcomer Brandon Routh take the red cape, as a quiet, reserved and loveable Clarke Kent, and perhaps a less confident, but more empathic (and very well pressed) Superman than previously seen. The character has definitely had some development since leaving his only true love to find himself, only to return to find Louis Lane has found another love, and had a child to top it off. But of course she still loves him in her own way.

Superman and Lex Luthor have lost a lot of the comedic interaction from the first two movies – the new world is a much darker place, and Lex can even seem down right scary at times. But other than that, a spectacular revival of the worlds most loved super-hero.

This movie really is an orgy of special effects that truly bring the believability of the Superman character in to the 21st century, with effects from slow motion impacts, to sonic boom, to the weightless drifting of his cape in space. I’m not sure if it was entirely worth the $300 million they spent on it, but it was good!

Rating: 4

A breathtaking look at yet another world that could very well be our future givent the right (or wrong) wrong set of circumstances. Æon Flux, originally an MTV Liquid Television Experimental Animation (almost a Manga) by Korean American animator Peter Chung, is a citizen of the last city on earth after a biological mishap wiped out the other 99% of the worlds population before they could find a cure. After 400 years, civilisation has reached the breaking point. The utopian society that has been created is plagued by a growing sense that something is wrong, and subversives are quick to blame the ruling class.

The anime version definitely lost some of its ugliness and angular “tech” feeling when converted to film, along with the love hate tension between the two main characters. However ignoring the differences in style that could not feasibly be transferred, there was still an impressive attempt to keep some of the more obscure traits of the original, for instance, the water technology.

An enjoyable film on its own, it captured a nice balance of action and special effects , and still managed to slip in a little character development, and give you some sense of apathy with both sides of the line, and realise that the needs of all of the characters sometimes have to conflict for things to work out.

Rating: 3.5

Very much a politically motivated story in this comic adaptation from DC, brilliantly converted to the big screen, by bringing to life some very current and relevant fears of today’s masses.

The future of our world, through war and terrorism, lead to a big-brother style totalatarian regime bringing the only escape from the hight of global disarray.

Unfortunately as the addage goes, absolute power corrupts absolutely, and the citizens of this new utopian bubble they have allowed to be created for them, have lost more than they are prepared to admit. To choose the lesser of two very different evils is a choice that is not easily made by a society as a whole. A dictatorship for a government, or the possibility of global war and terrorism coming back into life, as it did to bring about the situation in the first place.

Ultimately this turned out to be a very relevent remake of an age old story, playing on the audiences fears that the same thing may be looming for us if we don’t watch our step.

Rating: 4

After the moderate let down for John Woo fans with Mission Impossible 2, MI:III was a refreshingly thoughtful, well paced revitalisation to the series.

In this instalment, Ethan Hunt (Tom Cruise) is brought back from semi retirement as an IMF field agent instructor to rescue his prodigy student from her first assignment after a botched infiltration of an arms dealer’s inner circle. His unsuccessful rescue brings himself and his new bride directly into harms way as he and his team battle enemies from all sides of the fence.

With a darker plotline than previously, and much more emphasis on story rather than special effects, but still keeping an exciting and adrenaline pumping pace by engaging the audience in the plight of the characters for a change. JJ Abrahms has delivered a masterful piece for those who want a fun action flick with an engaging character story, but without offending the Mission Impossible series by delving too deeply into emotional sub-plots which could very well have ruined the overall film, striking a nice overall balance.

Bringing back the lovable sidekick Luther Strickell (Ving Rhames), and introducing Lawrence Fishburn to play the new Director of the IMF, and Phillip Seymore Hoffman as the protagonistic foe, lifted the film a few notches.

Rating: 3.5

As far as Heist movies go, Inside Man is probably up there with Oceans Eleven, and Swordfish for style. After incorporating the twist of motivation of the would-be thieves due to the clandestine past of the apprehensive victim, Spike Lee has added a certain flare to the film that without perhaps may have left this story a little flat. However the all-star cast and with Spike Lees masterful directive overtone, Inside Man comes across as more of an intellectual challenge than usual for the genre.

Clive Owen is particularly suited to the roll of the intelligent innocuous mastermind, and in his unique American accent, narrator. Denzel Washington is his usual self, and Jodie Foster plays a less politically correct role than usual, while Willem Dafoe, as small as his role may be, performs brilliantly as usual, as does Christopher Plummer. Additionally, Chiwetel Ejiofor (Serenity, Love Actually) portrays a convincing New York detective.

Rating: 4

This modern remake of the 1977 Wes Craven classic features the extended family of an ex-cop on a dysfunctional cross-country road trip, only to find themselves stranded in the middle of the desert, fighting for their lives against the deformed and twisted forgotten children of a nuclear test range, whose means to survival has become preying on lost tourists.

A total psychological mind-job, Craven (who co-produced the remake) definitely went a tad overboard with the gore on this one. Casual audiences will definitely cringe – and don’t take a date to see this one, they’ll think you’re a freak!

Hard-core horror fans will enjoy it though, as it really breaks all boundaries of horror and gore, but there are some psychologically disturbing scenes that may even make the most adventurous adrenaline seeker cringe.

Rating: 3