To read my review, visit Cinebanter.com.
Sunday, June 12, 2011
Sunday, May 29, 2011
The Hangover Part II
Last night I saw The Hangover Part II, starring Bradley Cooper and Ed Helms.
When I saw the first one a few years back, I went in with amazingly low expectations. It was a 'guy' movie with potential bathroom humor and I quite frankly wasn't interested. But the universal love for the film got me to the theater and I'll admit, I laughed my head off.
Fast forward to last night—two of my friends have declined seeing the movie with me (though I had free passes and they wouldn't have had to pay for their ticket). I'm told the second will "ruin" the first and asked why I'm even bothering to go.
Why? Because I like spending time with these characters.
Did I think it would be as great as the first? Of course not. But I don't go to a film like The Hangover Part II to have my life changed. I go to lose myself in the humor and enjoy the ride.
And that's just what I did.
After a slow start (the boys have to convince Stu (Helms) to invite Allen (Zach Galifianakis) to his wedding), the film soon picks up once the wedding party reaches Thailand.
Stu's soon-to-be father-in-law hates him, Allen hates Stu's soon-to-be brother-in law, Teddy, because he's compromising the bond of the Wolf Pack, and Stu is unbelievably paranoid about celebrating his last days of bachelorhood because of what happened last time.
Phil (Cooper) finds a solution in beer bottles that are sealed (so Stu can approvingly open them) and the boys settle in for an innocent campfire two nights before the big day.
When they wake up in Bangkok the fun really begins.
Stu has a large tattoo on his face, Allen's head is shaved and all that is left of Teddy is is severed finger, which they ultimately give to a drug-dealing monkey. I'm not kidding.
Mr. Chow (Ken Jeong), who kidnapped them in the first movie, is also back.
From here we see guns firing, cars chasing and more full-frontal male nudity than I've seen in any movie in recent years.
There are an abundance of laughs, though none as powerful or unexpected as the first film.
It's clear the actors love playing these characters and that's part of what makes them such a joy to watch.
If you're anticipating something greater or more over-the-top than the first film, you'll undoubtedly walk out disappointed, but if you just go in wanting to have a good time, I'm pretty sure you will.
~~~
When I saw the first one a few years back, I went in with amazingly low expectations. It was a 'guy' movie with potential bathroom humor and I quite frankly wasn't interested. But the universal love for the film got me to the theater and I'll admit, I laughed my head off.
Fast forward to last night—two of my friends have declined seeing the movie with me (though I had free passes and they wouldn't have had to pay for their ticket). I'm told the second will "ruin" the first and asked why I'm even bothering to go.
Why? Because I like spending time with these characters.
Did I think it would be as great as the first? Of course not. But I don't go to a film like The Hangover Part II to have my life changed. I go to lose myself in the humor and enjoy the ride.
And that's just what I did.
After a slow start (the boys have to convince Stu (Helms) to invite Allen (Zach Galifianakis) to his wedding), the film soon picks up once the wedding party reaches Thailand.
Stu's soon-to-be father-in-law hates him, Allen hates Stu's soon-to-be brother-in law, Teddy, because he's compromising the bond of the Wolf Pack, and Stu is unbelievably paranoid about celebrating his last days of bachelorhood because of what happened last time.
Phil (Cooper) finds a solution in beer bottles that are sealed (so Stu can approvingly open them) and the boys settle in for an innocent campfire two nights before the big day.
When they wake up in Bangkok the fun really begins.
Stu has a large tattoo on his face, Allen's head is shaved and all that is left of Teddy is is severed finger, which they ultimately give to a drug-dealing monkey. I'm not kidding.
Mr. Chow (Ken Jeong), who kidnapped them in the first movie, is also back.
From here we see guns firing, cars chasing and more full-frontal male nudity than I've seen in any movie in recent years.
There are an abundance of laughs, though none as powerful or unexpected as the first film.
It's clear the actors love playing these characters and that's part of what makes them such a joy to watch.
If you're anticipating something greater or more over-the-top than the first film, you'll undoubtedly walk out disappointed, but if you just go in wanting to have a good time, I'm pretty sure you will.
~~~
Page One: Inside the New York Times
On May 25, I screened the documentary Page One: Inside the New York Times.
You can read my capsule review on Cinebanter.com.
You can read my capsule review on Cinebanter.com.
Saturday, May 14, 2011
Bridesmaids
This morning I saw Bridesmaids, starring Kristen Wiig and Rose Byrne.
Though it's tempting to compare the film to all of its male counterparts, I'll refrain from doing so because while it may have similar scenarios, it's definitely its own comedic beast.
The trouble begins when Lillian (Maya Rudolph) tells her best friend Annie (Wiig) that she is engaged.
The two have been BFFs since childhood, so naturally Annie is chosen to be her Maid of Honor, and naturally Annie represents the typical, pathetic, Single White Female who is incapable of having a successful relationship, etc.
Of course nothing is going Annie's way: the man she's sleeping with treats her terribly, she hates her job, has obnoxious roommates and a crappy car. If I hadn't been a similar version of Annie in real life just a few short years ago (I had everything but the roommates), I wouldn't have believed her. But having been there, I get that life can be that sad.
Enter Helen (Byrne), an equally miserable, yet undeniably gorgeous, wealthy married woman who is threatening to steal Lillian away from Annie amidst the grand plans for the wedding.
It's all highly predictable (women behave like women and back-stab each other until someone's asked to leave), but that doesn't mean that it's not enjoyable.
With the exception of a completely unnecessary food poisoning scene, most of the laughs you'll get from the film are quite original. The presence of Mike and Molly's Melissa McCarthy as Megan, sister of the groom, adds a tremendous spark to the ensemble and the added bonus of Chris O'Dowd as a police officer who keeps running into Annie is also a joy to watch. Plus, who doesn't enjoy a good Jon Hamm sex scene?
I scratched my head at the Wilson Phillips inclusion (didn't these SNL girls see Spring Breakdown, a film starring OTHER SNL girls who used the same song?), but do admit to tearing up just a little in the end.
It really is a fun, hopeful film for all the single ladies. And I bet that guys will laugh too.
~~~
Though it's tempting to compare the film to all of its male counterparts, I'll refrain from doing so because while it may have similar scenarios, it's definitely its own comedic beast.
The trouble begins when Lillian (Maya Rudolph) tells her best friend Annie (Wiig) that she is engaged.
The two have been BFFs since childhood, so naturally Annie is chosen to be her Maid of Honor, and naturally Annie represents the typical, pathetic, Single White Female who is incapable of having a successful relationship, etc.
Of course nothing is going Annie's way: the man she's sleeping with treats her terribly, she hates her job, has obnoxious roommates and a crappy car. If I hadn't been a similar version of Annie in real life just a few short years ago (I had everything but the roommates), I wouldn't have believed her. But having been there, I get that life can be that sad.
Enter Helen (Byrne), an equally miserable, yet undeniably gorgeous, wealthy married woman who is threatening to steal Lillian away from Annie amidst the grand plans for the wedding.
It's all highly predictable (women behave like women and back-stab each other until someone's asked to leave), but that doesn't mean that it's not enjoyable.
With the exception of a completely unnecessary food poisoning scene, most of the laughs you'll get from the film are quite original. The presence of Mike and Molly's Melissa McCarthy as Megan, sister of the groom, adds a tremendous spark to the ensemble and the added bonus of Chris O'Dowd as a police officer who keeps running into Annie is also a joy to watch. Plus, who doesn't enjoy a good Jon Hamm sex scene?
I scratched my head at the Wilson Phillips inclusion (didn't these SNL girls see Spring Breakdown, a film starring OTHER SNL girls who used the same song?), but do admit to tearing up just a little in the end.
It really is a fun, hopeful film for all the single ladies. And I bet that guys will laugh too.
~~~
Sunday, May 08, 2011
Meek's Cutoff
Today I saw Meek's Cutoff, starring Michelle Williams and Paul Dano.
It will be the topic of Cinebanter #104, so tune in later in May for our review.
UPDATE: It in fact will not be the topic of Cinebanter, we have decided instead to review the new Woody Allen film, Midnight in Paris.
It will be the topic of Cinebanter #104, so tune in later in May for our review.
UPDATE: It in fact will not be the topic of Cinebanter, we have decided instead to review the new Woody Allen film, Midnight in Paris.
Monday, May 02, 2011
Top Gun
Tonight I saw Top Gun, starring Tom Cruise and Val Kilmer.
Sometimes the 25th anniversary of a film can spark nostalgia; other times it can reveal to your older self how cheesy a movie really is, and tonight I experienced both.
When Tom Cruise's Maverick struts into flight school, his smirk is so smug he owns the room. Everyone forgets that he's just over 5 feet tall and has crooked teeth because his eyes sparkle and his dimples glow. He even comes with his own sidekick, a when-he-had-hair Anthony Edwards (Goose).
Yet I did then (and I do now) still find Val Kilmer's Iceman a hell of a lot sexier. Never mind that both actors would grow up to be kooks in their own right, but in 1986 they were the stuff naughty dreams were made of.
All the posing and the smart remarks aside, this is an action film. With Bruckheimer's stamp all over it, the flight scenes hold up, and if you follow the camera faithfully enough, you can probably still get dizzy.
It's a romance too—the hot older woman, Charlie (Kelly McGillis) falling for the young pilot after just one public song. The steamy sex and tongue hockey to the famous song by Berlin. It's almost all too much in retrospect.
But I still got teary when Goose had his accident, and I clapped along with everyone else when the "wingman" quotes were exchanged at the end.
So I guess if you're into cheesy 80s movies, this one deserves its spot in heartthrob history.
~~~
Sometimes the 25th anniversary of a film can spark nostalgia; other times it can reveal to your older self how cheesy a movie really is, and tonight I experienced both.
When Tom Cruise's Maverick struts into flight school, his smirk is so smug he owns the room. Everyone forgets that he's just over 5 feet tall and has crooked teeth because his eyes sparkle and his dimples glow. He even comes with his own sidekick, a when-he-had-hair Anthony Edwards (Goose).
Yet I did then (and I do now) still find Val Kilmer's Iceman a hell of a lot sexier. Never mind that both actors would grow up to be kooks in their own right, but in 1986 they were the stuff naughty dreams were made of.
All the posing and the smart remarks aside, this is an action film. With Bruckheimer's stamp all over it, the flight scenes hold up, and if you follow the camera faithfully enough, you can probably still get dizzy.
It's a romance too—the hot older woman, Charlie (Kelly McGillis) falling for the young pilot after just one public song. The steamy sex and tongue hockey to the famous song by Berlin. It's almost all too much in retrospect.
But I still got teary when Goose had his accident, and I clapped along with everyone else when the "wingman" quotes were exchanged at the end.
So I guess if you're into cheesy 80s movies, this one deserves its spot in heartthrob history.
~~~
Sunday, April 17, 2011
Scream 4
This morning I saw Scream 4, starring Neve Campbell and David Arquette.
There are sequels that forever ruin beloved characters and there are sequels that spark a nostalgic feeling that makes you happy to be in the room with the characters again. Thankfully, Scream 4 falls into the latter category.
The main three survivors of the Woodsboro murders, Sydney Prescott (Campbell), Dewey Riley (Arquette) and Gale Weathers-Riley (Courteney Cox) have all moved on. Dewey has been promoted to sheriff; Gale has retired from reporting to write books full time; Syd's just completed her memoir and she's ending her book tour in her home town.
Syd's cousin Jill (Emma Roberts) is a popular teen who wants no part of the fan fare surrounding her famous cousin's return. When copycat murders begin to happen, she and her friends are thrust into high alert thinking their turn to die may be next.
This installment in the series feels most like the first. The quick-wit dialog and younger actors commanding the story works just as it did in the original, with the famous three acting as elder statesmen throughout.
It's admittedly awkward to see David Arquette and Courteney Cox weather troubles in their marriage on-screen as the world now knows they were doing in reality at the time of the filming. But they still bring their A game to their characters and the original chemistry is evident.
It's hard to say more about this one without spoiling it, so I will just say this: if you liked the original film (and maybe even the second), you're bound to be entertained by the sharp dialog and fast pace of the fourth. The ending is good too.
~~~
There are sequels that forever ruin beloved characters and there are sequels that spark a nostalgic feeling that makes you happy to be in the room with the characters again. Thankfully, Scream 4 falls into the latter category.
The main three survivors of the Woodsboro murders, Sydney Prescott (Campbell), Dewey Riley (Arquette) and Gale Weathers-Riley (Courteney Cox) have all moved on. Dewey has been promoted to sheriff; Gale has retired from reporting to write books full time; Syd's just completed her memoir and she's ending her book tour in her home town.
Syd's cousin Jill (Emma Roberts) is a popular teen who wants no part of the fan fare surrounding her famous cousin's return. When copycat murders begin to happen, she and her friends are thrust into high alert thinking their turn to die may be next.
This installment in the series feels most like the first. The quick-wit dialog and younger actors commanding the story works just as it did in the original, with the famous three acting as elder statesmen throughout.
It's admittedly awkward to see David Arquette and Courteney Cox weather troubles in their marriage on-screen as the world now knows they were doing in reality at the time of the filming. But they still bring their A game to their characters and the original chemistry is evident.
It's hard to say more about this one without spoiling it, so I will just say this: if you liked the original film (and maybe even the second), you're bound to be entertained by the sharp dialog and fast pace of the fourth. The ending is good too.
~~~
Saturday, April 09, 2011
Certified Copy
Today I saw Certified Copy, starring Juliette Binoche and William Schimell.
It will be the topic of Cinebaner #103, so tune in later this month for our review.
It will be the topic of Cinebaner #103, so tune in later this month for our review.
Sunday, March 27, 2011
The Lincoln Lawyer
Tonight I saw The Lincoln Lawyer, starring Matthew McConaughey and Ryan Phillippe.
Mick Haller (McConaughey) is the type of defense lawyer the really, really bad guys call when they've done something really, really bad.
Lewis Roulet (Phillippe) is an attractive rich man whose mother foots the bill for his many toys and indiscretions. He's also been accused of a violent crime, so he hires Haller to ensure he won't serve jail time.
But is he guilty?
The audience is told fairly early on in the film what the answer to that is, and the result sends the maybe-not-so-slimy-after-all lawyer back to the drawing board to make his case, protect his family and mourn the loss of the innocent who get caught in the danger zone.
There are predictable twists and turns leading up to the final courtroom scenes, which seem to last the duration of a real trial.
Marisa Tomei is along for the ride as Maggie, a prosecutor and the most nurturing ex-wife anyone has ever seen. She takes care of drunken Mick nearly more than she does their young daughter and even goes for the occasional roll in the hay with him (even if he has to put up with a harsh, out-of-nowhere scolding the morning after).
All of the actors are well cast (though Tomei is somewhat wasted in low cleavage and excessive giggles) and it is especially pleasurable to watch Phillippe act menacing versus saintly (as most of his roles would dictate).
McConaughey was tailor-made for his part: he's slimy, sexy, beautifully frustrated and able to show off his gorgeous biceps at a moment's notice. This was especially evident as he exits the hospital after an incident in a wife beater, and carries his suit jacket alongside him.
There is an undeniable element of cheese that permeates the film, with its too-perfect dialog and shots that speed up a la Guy Ritchie at the drop of a hat.
The film is enjoyable, but that's really all it is.
~~~
Mick Haller (McConaughey) is the type of defense lawyer the really, really bad guys call when they've done something really, really bad.
Lewis Roulet (Phillippe) is an attractive rich man whose mother foots the bill for his many toys and indiscretions. He's also been accused of a violent crime, so he hires Haller to ensure he won't serve jail time.
But is he guilty?
The audience is told fairly early on in the film what the answer to that is, and the result sends the maybe-not-so-slimy-after-all lawyer back to the drawing board to make his case, protect his family and mourn the loss of the innocent who get caught in the danger zone.
There are predictable twists and turns leading up to the final courtroom scenes, which seem to last the duration of a real trial.
Marisa Tomei is along for the ride as Maggie, a prosecutor and the most nurturing ex-wife anyone has ever seen. She takes care of drunken Mick nearly more than she does their young daughter and even goes for the occasional roll in the hay with him (even if he has to put up with a harsh, out-of-nowhere scolding the morning after).
All of the actors are well cast (though Tomei is somewhat wasted in low cleavage and excessive giggles) and it is especially pleasurable to watch Phillippe act menacing versus saintly (as most of his roles would dictate).
McConaughey was tailor-made for his part: he's slimy, sexy, beautifully frustrated and able to show off his gorgeous biceps at a moment's notice. This was especially evident as he exits the hospital after an incident in a wife beater, and carries his suit jacket alongside him.
There is an undeniable element of cheese that permeates the film, with its too-perfect dialog and shots that speed up a la Guy Ritchie at the drop of a hat.
The film is enjoyable, but that's really all it is.
~~~
Sunday, March 20, 2011
Taxi Driver
Last night I screened the 35th anniversary re-release of Taxi Driver, starring Robert De Niro and Jodie Foster.
All the lonely people, where do they all come from?
That line from The Beatles'"Eleanor Rigby"fits this film like a glove, as its main character, Travis Bickle (De Niro), tries to find companionship and contentment in 1970s New York.
He's a veteran of Vietnam (though that detail is not overblown) who has alienated himself intentionally from his family and taken on a job as a cab driver, working extended hours to combat his insomnia.
As he drives the streets of the gritty city, he witnesses horrific acts of violence and deviance. And though he's judgmental of these behaviors, he himself has a porn habit and thinks nothing of taking the woman of his dreams, Betsy (Cybill Shephard), to an adult film on their second date.
When Betsy up-and-leaves near the beginning of the film, Travis is baffled by her reaction and continues to attempt to connect with her, though she rejects him.
He becomes obsessed with righting wrongs in his own way, tries to rescue a not-yet-teenage prostitute, Iris (Foster), and purchases an arsenal of weapons to execute his plan. He is a fully functional, mentally ill mess of a person.
Having watched this film a handful of times on VHS and DVD doesn't compare for a moment to experiencing it on the big screen. Hearing the crowd react to the 'surprises' in the storyline and seeing repeated close-ups of the young De Niro acting primarily through expression truly reveals the genius of director Scorcese's depth.
Iconic lines are delivered with conviction; tension is built through the continuous loop of saxophone; just enough comic relief is introduced to allow the audience to breathe.
A pre-Giuliani New York City is the second most important character to De Niro's Travis, showed as the dangerous, dark place that it once was.
Something must also be said for Jodie Foster's amazing performance as a young hooker who knows no other life. The wisdom of this then-future Oscar winner shines through as she holds her own with De Niro and Harvey Keitel. It's a role all young actors should be forced to watch.
35 years later, Scorcese's masterpiece remains just that—a brilliant character study and master class on portraying mental illness.
~~~
All the lonely people, where do they all come from?
That line from The Beatles'"Eleanor Rigby"fits this film like a glove, as its main character, Travis Bickle (De Niro), tries to find companionship and contentment in 1970s New York.
He's a veteran of Vietnam (though that detail is not overblown) who has alienated himself intentionally from his family and taken on a job as a cab driver, working extended hours to combat his insomnia.
As he drives the streets of the gritty city, he witnesses horrific acts of violence and deviance. And though he's judgmental of these behaviors, he himself has a porn habit and thinks nothing of taking the woman of his dreams, Betsy (Cybill Shephard), to an adult film on their second date.
When Betsy up-and-leaves near the beginning of the film, Travis is baffled by her reaction and continues to attempt to connect with her, though she rejects him.
He becomes obsessed with righting wrongs in his own way, tries to rescue a not-yet-teenage prostitute, Iris (Foster), and purchases an arsenal of weapons to execute his plan. He is a fully functional, mentally ill mess of a person.
Having watched this film a handful of times on VHS and DVD doesn't compare for a moment to experiencing it on the big screen. Hearing the crowd react to the 'surprises' in the storyline and seeing repeated close-ups of the young De Niro acting primarily through expression truly reveals the genius of director Scorcese's depth.
Iconic lines are delivered with conviction; tension is built through the continuous loop of saxophone; just enough comic relief is introduced to allow the audience to breathe.
A pre-Giuliani New York City is the second most important character to De Niro's Travis, showed as the dangerous, dark place that it once was.
Something must also be said for Jodie Foster's amazing performance as a young hooker who knows no other life. The wisdom of this then-future Oscar winner shines through as she holds her own with De Niro and Harvey Keitel. It's a role all young actors should be forced to watch.
35 years later, Scorcese's masterpiece remains just that—a brilliant character study and master class on portraying mental illness.
~~~
Thursday, March 17, 2011
No Woman, No Cry
Last night I attended the Seattle premiere of the documentary No Woman, No Cry.
Most folks know Christy Turlington Burns from her successful career as a supermodel, but few know the serious complications that occurred after the birth of her first child.
Luckily, Mrs. Burns was in a birthing center inside of a respected hospital and was given the necessary medical attention to heal safely, but what she learned following her ordeal is that many women aren't so fortunate. In fact, women without access to similar care could have died in a the same situation.
This inspired her to learn more about women's health (she's currently earning her Master's of Public Health at Columbia University) and travel to different countries to examine maternal health through a closer lens.
She and her film crew visited Tanzania, Guatemala, Bangladesh and also a clinic within the United States. In each place they found challenges that no pregnant woman should have to face: proximity to care, access to care, money to pay the hospital, etc.
The film spotlights various expectant mothers in each setting and chronicles the pain and suffering they sometimes endure just to bring a new life into the world. In what was the hardest part for me to watch, she also visits an American widower who lost his wife during a natural childbirth in what he describes as both the best and worst day of his life. Absolutely devastating.
The film is currently 'on tour' with Mrs. Burns presenting after the screenings, and will make its television debut on OWN on Mother's Day.
It's something everyone should see, regardless of gender or economic status.
To learn more about the film, visit everymothercounts.org.
Most folks know Christy Turlington Burns from her successful career as a supermodel, but few know the serious complications that occurred after the birth of her first child.
Luckily, Mrs. Burns was in a birthing center inside of a respected hospital and was given the necessary medical attention to heal safely, but what she learned following her ordeal is that many women aren't so fortunate. In fact, women without access to similar care could have died in a the same situation.
This inspired her to learn more about women's health (she's currently earning her Master's of Public Health at Columbia University) and travel to different countries to examine maternal health through a closer lens.
She and her film crew visited Tanzania, Guatemala, Bangladesh and also a clinic within the United States. In each place they found challenges that no pregnant woman should have to face: proximity to care, access to care, money to pay the hospital, etc.
The film spotlights various expectant mothers in each setting and chronicles the pain and suffering they sometimes endure just to bring a new life into the world. In what was the hardest part for me to watch, she also visits an American widower who lost his wife during a natural childbirth in what he describes as both the best and worst day of his life. Absolutely devastating.
The film is currently 'on tour' with Mrs. Burns presenting after the screenings, and will make its television debut on OWN on Mother's Day.
It's something everyone should see, regardless of gender or economic status.
To learn more about the film, visit everymothercounts.org.
Saturday, March 12, 2011
Cedar Rapids
This morning I saw Cedar Rapids, starring Ed Helms and Anne Heche.
Tim Lippe (Helms) is a small-town insurance agent who honestly believes in his work and does his best to do right by his clients. After all, most of them are his friends and family.
Dean Ziegler (John C. Reilly) is the used-car-salesman of the insurance industry. He offers bribes, tries to spook the competition and lacks respect—for himself and others.
The two meet at an annual conference, where Tim is a classic fish-out-of-water in the "big city" and has trouble acclimating to the group mentality.
Joan Ostrowski-Fox (Heche) is a married mother of two who treats this yearly outing as an excuse to let loose. She immediately targets Tim as a plaything and soon has him loosening up among his new friends.
Though Helms is charming and well-cast in this role, the screenwriters didn't bring much "fresh" to the novelty of him being a rookie conference attendee. The joke of him figuring out a room key card and in the same breath, being startled by the presence of a black man just don't play funny.
Reilly is practically a caricature and even less funny than Helms because he has the added bonus of bathroom humor on his plate.
Alia Shawkat from Arrested Development provides the most refreshing laughs in her turn as a prostitute, and Isiah Whitlock, Jr. as the token black character also lights up the screen with the best lines in the movie referring to his obsession with The Wire.
I was disappointed that the film never 'picked up' and paid off the two romances it began for its main character, but it's certainly not the fault of the actors.
With a better script, they'd have done just fine.
~~~
Tim Lippe (Helms) is a small-town insurance agent who honestly believes in his work and does his best to do right by his clients. After all, most of them are his friends and family.
Dean Ziegler (John C. Reilly) is the used-car-salesman of the insurance industry. He offers bribes, tries to spook the competition and lacks respect—for himself and others.
The two meet at an annual conference, where Tim is a classic fish-out-of-water in the "big city" and has trouble acclimating to the group mentality.
Joan Ostrowski-Fox (Heche) is a married mother of two who treats this yearly outing as an excuse to let loose. She immediately targets Tim as a plaything and soon has him loosening up among his new friends.
Though Helms is charming and well-cast in this role, the screenwriters didn't bring much "fresh" to the novelty of him being a rookie conference attendee. The joke of him figuring out a room key card and in the same breath, being startled by the presence of a black man just don't play funny.
Reilly is practically a caricature and even less funny than Helms because he has the added bonus of bathroom humor on his plate.
Alia Shawkat from Arrested Development provides the most refreshing laughs in her turn as a prostitute, and Isiah Whitlock, Jr. as the token black character also lights up the screen with the best lines in the movie referring to his obsession with The Wire.
I was disappointed that the film never 'picked up' and paid off the two romances it began for its main character, but it's certainly not the fault of the actors.
With a better script, they'd have done just fine.
~~~
Monday, March 07, 2011
The Adjustment Bureau
Yesterday I saw The Adjustment Bureau, starring Matt Damon and Emily Blunt.
It will be the topic of Cinebanter #102, so tune in later this month for our review.
Monday, February 21, 2011
Unknown
Today I saw Unknown, starring Liam Neeson and Diane Kruger.
An upper-class American couple arrives in Berlin to find some of their luggage didn't make it from the airport, so the husband catches a Taxi to return to the airport and retrieve it. Unfortunately, during that ride, he's in a terrible car accident and ends up in a coma for four days. When he wakes up, he remembers everything about his life, but no one will confirm it—not even his wife of five years.
So here we have the story of Martin Harris (Neeson). A supposed brilliant scientist who is in Germany to give a presentation at an intellectual conference until he is made to believe that his life is not his own after all.
There are folks who swear they don't know who he is. His wife Liz (January Jones) and the alleged real Martin Harris (Aidan Quinn), for starters.
Then, there are those sympathetic like his doctor and nurse, who just want proof before they agree that he is indeed Dr. Harris.
The folks at the hotel and the conference don't know what to believe, but the police are called multiple times just in case he's nuts.
Left without any options, Dr. Harris tracks down the taxi driver (Kruger) who saved him after the accident for additional answers and seeks the help of a former spy who is now a private investigator. As this is happening, at least two people (not those two) die trying to help him.
To say that it's boring would be unfair, to call it "smart" would be equally unfair.
Liam Neeson is his usual good "desperate" character. There are car chases and flashed knives and guns pulled and men in black leather jackets there to let you know they are bad guys.
There is also sexual tension (with the taxi driver) and enough flashback shots of a flirtatious Liz to make you wish you were watching re-runs of Mad Men instead.
As for figuring out the mystery, after a certain point I quit caring about Dr. Harris.
Unfortunately, the box office returns didn't, so more empty action films like this are sure to be made.
~~~
An upper-class American couple arrives in Berlin to find some of their luggage didn't make it from the airport, so the husband catches a Taxi to return to the airport and retrieve it. Unfortunately, during that ride, he's in a terrible car accident and ends up in a coma for four days. When he wakes up, he remembers everything about his life, but no one will confirm it—not even his wife of five years.
So here we have the story of Martin Harris (Neeson). A supposed brilliant scientist who is in Germany to give a presentation at an intellectual conference until he is made to believe that his life is not his own after all.
There are folks who swear they don't know who he is. His wife Liz (January Jones) and the alleged real Martin Harris (Aidan Quinn), for starters.
Then, there are those sympathetic like his doctor and nurse, who just want proof before they agree that he is indeed Dr. Harris.
The folks at the hotel and the conference don't know what to believe, but the police are called multiple times just in case he's nuts.
Left without any options, Dr. Harris tracks down the taxi driver (Kruger) who saved him after the accident for additional answers and seeks the help of a former spy who is now a private investigator. As this is happening, at least two people (not those two) die trying to help him.
To say that it's boring would be unfair, to call it "smart" would be equally unfair.
Liam Neeson is his usual good "desperate" character. There are car chases and flashed knives and guns pulled and men in black leather jackets there to let you know they are bad guys.
There is also sexual tension (with the taxi driver) and enough flashback shots of a flirtatious Liz to make you wish you were watching re-runs of Mad Men instead.
As for figuring out the mystery, after a certain point I quit caring about Dr. Harris.
Unfortunately, the box office returns didn't, so more empty action films like this are sure to be made.
~~~
Saturday, February 19, 2011
Barney's Version
This morning I saw Barney's Version, starring Paul Giamatti and Rosamund Pike.
I'll swear when I watched the trailer of this it was being marketed as a comedy. Once I was about 30 minutes into the film, I realized I must have been mistaken.
Barney (Giamatti) is a sad sack of a man who has a habit of marrying the wrong women. His first wife is a hippie artist who we never quite understand his connection with; his second wife, played by a spirited Minnie Driver, is a rich brat with beautiful breasts who wins him over with her cleavage.
It's no surprise that by their wedding day, Barney is already looking elsewhere. Unfortunately, it's on his wedding day when he spots "The One."
Miriam (Pike) is a guest on his new bride's side, and catches his attention by simply looking stunning in her bright blue dress. After one conversation with the beauty, Barney knows he's made a huge mistake marrying his second wife. He begins courting Miriam right then and there, never giving up his pursuit for true love.
Of course, like many neurotic Jewish characters, Barney is his own worst enemy. Once he gets what he wants in any given situation, he carelessly discards it in favor of behaving like a bachelor.
And then his kids begin hating him, and we begin hating him, and the story takes an even darker turn with his health problems.
All of the acting in this film is great—no argument there—but the way Barney's character is written, I had trouble feeling any empathy for him.
Why would anyone want to spend time with this unattractive, uninteresting man, let alone build a life with him?
I only wish I hadn't wasted two hours trying to figure that out.
~~~
I'll swear when I watched the trailer of this it was being marketed as a comedy. Once I was about 30 minutes into the film, I realized I must have been mistaken.
Barney (Giamatti) is a sad sack of a man who has a habit of marrying the wrong women. His first wife is a hippie artist who we never quite understand his connection with; his second wife, played by a spirited Minnie Driver, is a rich brat with beautiful breasts who wins him over with her cleavage.
It's no surprise that by their wedding day, Barney is already looking elsewhere. Unfortunately, it's on his wedding day when he spots "The One."
Miriam (Pike) is a guest on his new bride's side, and catches his attention by simply looking stunning in her bright blue dress. After one conversation with the beauty, Barney knows he's made a huge mistake marrying his second wife. He begins courting Miriam right then and there, never giving up his pursuit for true love.
Of course, like many neurotic Jewish characters, Barney is his own worst enemy. Once he gets what he wants in any given situation, he carelessly discards it in favor of behaving like a bachelor.
And then his kids begin hating him, and we begin hating him, and the story takes an even darker turn with his health problems.
All of the acting in this film is great—no argument there—but the way Barney's character is written, I had trouble feeling any empathy for him.
Why would anyone want to spend time with this unattractive, uninteresting man, let alone build a life with him?
I only wish I hadn't wasted two hours trying to figure that out.
~~~
Monday, February 14, 2011
Sixteen Candles
Tonight I saw Sixteen Candles, starring Molly Ringwald and Anthony Michael Hall.
There is something magical about a John Hughes film, even 27 years later.
Brought back to theaters in honor of Valentine's Day, the simplicity of teenage love shines on in the characters of Samantha (Molly), The Geek (Hall) and Jake (Michael Schoeffling). A love triangle if there ever was one.
When her family forgets her sixteenth birthday, Samantha is devastated. She whines to her friend at school and resents her sister who is getting married the following day. She's also taken an embarrassing written "sex test" that has fallen into the hands of the boy she has a crush on. She's had better weeks.
The Geek is obsessed with Samantha, bugging her on the bus, then hijacking a spot on the dance floor next to her later that same night. His sidekick friends, expecting the most from him, only make things worse.
Jake is a cute, popular boy with a bombshell girlfriend who is unsatisfied with his relationship. He's looking for more than a trophy, and is interested in learning more about Samantha.
And there you have the plot.
The rest of the film is a hilarious standard 80s teen comedy, complete with the obligatory exchange student, two Cusacks and an obnoxious kid brother.
Did I mention that I still loved every minute of it as much as I did when I was 9?
The formula of realistic dialogue, quotable catchphrases, and perfectly cast actors gets me every time.
John Hughes gave us even more than that, though. He gave us films with heart.
~~~
There is something magical about a John Hughes film, even 27 years later.
Brought back to theaters in honor of Valentine's Day, the simplicity of teenage love shines on in the characters of Samantha (Molly), The Geek (Hall) and Jake (Michael Schoeffling). A love triangle if there ever was one.
When her family forgets her sixteenth birthday, Samantha is devastated. She whines to her friend at school and resents her sister who is getting married the following day. She's also taken an embarrassing written "sex test" that has fallen into the hands of the boy she has a crush on. She's had better weeks.
The Geek is obsessed with Samantha, bugging her on the bus, then hijacking a spot on the dance floor next to her later that same night. His sidekick friends, expecting the most from him, only make things worse.
Jake is a cute, popular boy with a bombshell girlfriend who is unsatisfied with his relationship. He's looking for more than a trophy, and is interested in learning more about Samantha.
And there you have the plot.
The rest of the film is a hilarious standard 80s teen comedy, complete with the obligatory exchange student, two Cusacks and an obnoxious kid brother.
Did I mention that I still loved every minute of it as much as I did when I was 9?
The formula of realistic dialogue, quotable catchphrases, and perfectly cast actors gets me every time.
John Hughes gave us even more than that, though. He gave us films with heart.
~~~
Sunday, February 13, 2011
Live Action Short Film Nominees (Oscars® 2011)
Tonight I saw all five of the nominated films in the Live Action Short category. I'll present my reviews in the order they were shown:
THE CONFESSION (United Kingdom)
What begins as a coming-of-age comedy based on two young boys discovering what it means to be Catholic rapidly turns into a dark, hopeless exploration of bad things happening to good people. Though the ending does provide closure, it's far from satisfying.
WISH 143 United Kingdom
A light look at what decisions we make when faced with our own mortality, this story centers on a 15-year-old boy who asks a charitable organization for one final wish: to have sex with a woman. Soon his virginity becomes the talk of the town and measures are taken to ensure his dream is fulfilled. Very cute, if you can suspend the disbelief long enough to enjoy it.
NA WEWE (Belgium)
The year is 1994. Rwanda is enduring a horrific civil war. When a van full of citizens is stopped by group of armed men, they each have to prove their nationality to stay alive. The tension is unimaginable, as we don't know who is telling the truth or who is lying. Thankfully, a U2 song interrupts the chaos for a moment of peace.
THE CRUSH (Ireland)
The strongest of the five nominees, this delightful short is short and sweet. A young boy falls in love with his second-grade teacher and challenges her fiancé to a duel for her hand in marriage. It's funny, sad, scary and completely charming.
GOD OF LOVE
A man is smitten with the drummer in his band, but unfortunately she's hot for his best friend (who is also in the band). He prays for her to return his affections, and as an answer to that prayer, receives in the mail a box of cupid-like arrows that possess supernatural powers. As he goes about casting love spells, he learns a bit more about relationships. It's a clever idea, but the execution was almost too wink-ridden to truly appreciate.
THE CONFESSION (United Kingdom)
What begins as a coming-of-age comedy based on two young boys discovering what it means to be Catholic rapidly turns into a dark, hopeless exploration of bad things happening to good people. Though the ending does provide closure, it's far from satisfying.
WISH 143 United Kingdom
A light look at what decisions we make when faced with our own mortality, this story centers on a 15-year-old boy who asks a charitable organization for one final wish: to have sex with a woman. Soon his virginity becomes the talk of the town and measures are taken to ensure his dream is fulfilled. Very cute, if you can suspend the disbelief long enough to enjoy it.
NA WEWE (Belgium)
The year is 1994. Rwanda is enduring a horrific civil war. When a van full of citizens is stopped by group of armed men, they each have to prove their nationality to stay alive. The tension is unimaginable, as we don't know who is telling the truth or who is lying. Thankfully, a U2 song interrupts the chaos for a moment of peace.
THE CRUSH (Ireland)
The strongest of the five nominees, this delightful short is short and sweet. A young boy falls in love with his second-grade teacher and challenges her fiancé to a duel for her hand in marriage. It's funny, sad, scary and completely charming.
GOD OF LOVE
A man is smitten with the drummer in his band, but unfortunately she's hot for his best friend (who is also in the band). He prays for her to return his affections, and as an answer to that prayer, receives in the mail a box of cupid-like arrows that possess supernatural powers. As he goes about casting love spells, he learns a bit more about relationships. It's a clever idea, but the execution was almost too wink-ridden to truly appreciate.
Sunday, February 06, 2011
The Company Men
This morning I saw The Company Men, starring Ben Affleck and Tommy Lee Jones.
Bobby Walker (Affleck) is not a corporate asshole. Sure, his wife calls him one during a heated argument, and he does favor golfing and nice cars to the blue collar lifestyle, but at the end of the day he's a good guy. He adores his children, stays faithful to his wife and doesn't willingly try to harm anyone in his life's work.
His boss Gene (Jones) at the GTX Corporation is less of a good guy, but he does genuinely care about his employees and is incensed to learn that Bobby has been let go in his absence. He's even more pissed when it happens to him a few months later.
This is all the fault of the Big Bad CEO, James Salinger (Craig T. Nelson) who will step on anyone (even his best friend Gene) to "save" the company and his inflated salary.
An almost too-fitting film for our times, watching this felt like seeing Up In the Air turned inside out. Instead of the office side of the layoffs, we see the repercussions.
Each man deals with his loss in a different way: Bobby genuinely tries to land a new gig but the offers just aren't there. Phil (Chris Cooper) dies his hair to look younger (at the recommendation of a placement specialist), Gene goes into a state of denial.
If all of this sounds straightforward and predictable, it is, but I can't overstate how well it all plays out.
The families of the men define how they react, regardless of their pride; the safety net we all want to think is there for us collapses in a very un-movie-like way for several characters. Their pain, though difficult to watch, is refreshingly real.
The performances by Affleck, Jones and Cooper are nothing short of top notch. They aren't "too" Boston to be believable, but still capture the assumed manliness of that slice of America.
There are also great supporting stars here: Maria Bello as the devious downsizer, Rosemarie Dewitt as Bobby's practical wife, and Kevin Costner as the rough brother-in-law who dislikes Bobby, but still reaches out to help him.
I was glued to the screen from start to finish by this satisfying, honest film. Everyone who's ever been in dire straits (and that's all of us, I think) should see it.
~~~
Bobby Walker (Affleck) is not a corporate asshole. Sure, his wife calls him one during a heated argument, and he does favor golfing and nice cars to the blue collar lifestyle, but at the end of the day he's a good guy. He adores his children, stays faithful to his wife and doesn't willingly try to harm anyone in his life's work.
His boss Gene (Jones) at the GTX Corporation is less of a good guy, but he does genuinely care about his employees and is incensed to learn that Bobby has been let go in his absence. He's even more pissed when it happens to him a few months later.
This is all the fault of the Big Bad CEO, James Salinger (Craig T. Nelson) who will step on anyone (even his best friend Gene) to "save" the company and his inflated salary.
An almost too-fitting film for our times, watching this felt like seeing Up In the Air turned inside out. Instead of the office side of the layoffs, we see the repercussions.
Each man deals with his loss in a different way: Bobby genuinely tries to land a new gig but the offers just aren't there. Phil (Chris Cooper) dies his hair to look younger (at the recommendation of a placement specialist), Gene goes into a state of denial.
If all of this sounds straightforward and predictable, it is, but I can't overstate how well it all plays out.
The families of the men define how they react, regardless of their pride; the safety net we all want to think is there for us collapses in a very un-movie-like way for several characters. Their pain, though difficult to watch, is refreshingly real.
The performances by Affleck, Jones and Cooper are nothing short of top notch. They aren't "too" Boston to be believable, but still capture the assumed manliness of that slice of America.
There are also great supporting stars here: Maria Bello as the devious downsizer, Rosemarie Dewitt as Bobby's practical wife, and Kevin Costner as the rough brother-in-law who dislikes Bobby, but still reaches out to help him.
I was glued to the screen from start to finish by this satisfying, honest film. Everyone who's ever been in dire straits (and that's all of us, I think) should see it.
~~~
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