Tonight I saw Pixar's Up in 3D.
It was the topic of Cinebanter #72. Click here to listen.
Sunday, May 31, 2009
Thursday, May 28, 2009
The Garden
Tonight I saw the documentary The Garden at the Seattle International Film Festival.
Listen to Cinebanter in the coming months for my take on it.
Listen to Cinebanter in the coming months for my take on it.
Rembrandt's J'Accuse
Last night I saw Rembrandt's J'Accuse, documentary from The Netherlands.
To read my review, visit Cinebanter.com.
To read my review, visit Cinebanter.com.
Wednesday, May 27, 2009
Fear Me Not
Last night I screened Fear Me Not at the Seattle International Film Festival.
Listen to Cinebanter in the coming months for my take on it.
Listen to Cinebanter in the coming months for my take on it.
Tuesday, May 26, 2009
The Cove
Last night I saw the documentary The Cove at the Seattle International Film Festival.
Listen to Cinebanter in the coming months for my take on it.
Listen to Cinebanter in the coming months for my take on it.
This Charming Girl
Yesterday I screened the South Korean drama This Charming Girl at the Seattle International Film Festival.
To read my review, visit Cinebanter.com.
To read my review, visit Cinebanter.com.
Sunday, May 24, 2009
Shrink
Today at SIFF I screened Shrink, starring Kevin Spacey and Robin Williams.
I will speak about it on an upcoming episode of Cinebanter, so stay tuned!
I will speak about it on an upcoming episode of Cinebanter, so stay tuned!
A French Gigolo
Last night I screened A French Gigolo at the 35th Annual Seattle International Film Festival.
To read my review, please visit Cinebanter.com.
To read my review, please visit Cinebanter.com.
Saturday, May 23, 2009
Baby Love
Last night at SIFF I saw Baby Love, a charming French comedy.
For my full review, visit Cinebanter.com.
For my full review, visit Cinebanter.com.
Sunday, May 17, 2009
Angels & Demons
Last night I saw Angels & Demons, starring Tom Hanks and Ewan McGregor.
When we begin this film, the follow-up to commercially successful-yet-critically hated Da Vinci Code, Professor Langdon (Hanks) is being summoned to Vatican City because four cardinals (who are in the running to become the next Pope) have been kidnapped by a group claiming to be the Illuminati, an angry sect of scientists that have revived an ancient anti-church secret society.
Langdon is sent to crack the code behind the letter they sent detailing what they're going to do (execute said cardinals AND blow up Vatican City with some stolen antimatter). But of course, the Vatican doesn't like his academic approaches to life and disdain for their church, so they deny him entry to their archives. Because he needs information in the archives to figure out the puzzle, he appeals to the Camerlengo in charge (McGregor) who appears to have a soft spot for Langdon and grants him access. Oh, and there's a pretty physicist that tags along because she knows how to A) translate Latin and B) change the battery on the contraption that's keeping the antimatter from blowing up the country.
To go any further in the plot would be to spoil, so I will just say this: yes, it is better than the prior film. The action carries the audience through the scenes much faster this time, and the clever one-liners are actually kept to a minimum. Hanks also has a less annoying haircut, which makes it easier to take his ever-serious lines, well... seriously. And the supporting players in McGregor and Stellan Skarsgard, who plays a stern Commander, are phenomenal in their roles. A major scene at the end has amazing special effects too.
On the minus side, the film is very bloody and the main "bad guy" is incredibly sexy, which makes it very difficult to believe he's all that bad.
But the tension is there, and the acting is solid, and it's nice to see so much of Italy in the many exterior scenes the movie holds.
Not a bad kickoff to the popcorn season of summer films.
When we begin this film, the follow-up to commercially successful-yet-critically hated Da Vinci Code, Professor Langdon (Hanks) is being summoned to Vatican City because four cardinals (who are in the running to become the next Pope) have been kidnapped by a group claiming to be the Illuminati, an angry sect of scientists that have revived an ancient anti-church secret society.
Langdon is sent to crack the code behind the letter they sent detailing what they're going to do (execute said cardinals AND blow up Vatican City with some stolen antimatter). But of course, the Vatican doesn't like his academic approaches to life and disdain for their church, so they deny him entry to their archives. Because he needs information in the archives to figure out the puzzle, he appeals to the Camerlengo in charge (McGregor) who appears to have a soft spot for Langdon and grants him access. Oh, and there's a pretty physicist that tags along because she knows how to A) translate Latin and B) change the battery on the contraption that's keeping the antimatter from blowing up the country.
To go any further in the plot would be to spoil, so I will just say this: yes, it is better than the prior film. The action carries the audience through the scenes much faster this time, and the clever one-liners are actually kept to a minimum. Hanks also has a less annoying haircut, which makes it easier to take his ever-serious lines, well... seriously. And the supporting players in McGregor and Stellan Skarsgard, who plays a stern Commander, are phenomenal in their roles. A major scene at the end has amazing special effects too.
On the minus side, the film is very bloody and the main "bad guy" is incredibly sexy, which makes it very difficult to believe he's all that bad.
But the tension is there, and the acting is solid, and it's nice to see so much of Italy in the many exterior scenes the movie holds.
Not a bad kickoff to the popcorn season of summer films.
Tuesday, May 12, 2009
Take you to my castle far away...
I love it when music stops me in my tracks.
I was shopping at a local discount store (Burlington Coat Factory, if you must know) on Sunday, mindlessly sifting through racks, when a bright burst of piano came over the sound system and I immediately envisioned a perfectly coiffed Peter Cetera standing in front of an Asian panel. Tonight it's very clear began the song, one of my favorites from the 80s, called "Glory of Love" and from that moment I was paralyzed with nostalgia.
I began freely singing along (despite the fact there were other shoppers, workers, etc. nearby), challenging myself to remember every word (I did) and managing my visions, which were random bits and pieces of a video I must have watched at least a thousand times in 1986.
It was all about Karate Kid II. I remembered Mr Miyagi looking proudly on as the Karate Kid fought for his life. I remembered the beautiful Asian girl he was sweet on, appearing from behind a fan to entice him. I also remembered the way the doors of the panel would burst open as Peter led up to the chorus (standing alone, as he sang).
And then I thought to myself: that video was so much better than the movie.
And then it occurred to me that there were dozens of 80s videos that were far superior to the movie of the soundtrack on which they appeared.
Immediately I was flooded with memories of beloved songs that positively carried the films they promoted.
Exhibit A: "Against All Odds" by Phil Collins
Again, we have a lone man who semi-recently had left a successful band (Cetera had abandoned Chicago; Collins had taken leave from Genesis), standing on a stage that doesn't pretend to be part of the film set, but dares its singer to conjure up the emotion of what's going on in the film (in this case, adultery). We see the "happy" couple dancing around, sharing cocktails, getting close. We see an ancient pyramid and a scary little head that sometimes takes the place of Phil's. Then we see The Evil Other Guy (James Woods), who happens to be light years sexier than the alleged husband, and well, all hell breaks loose. All the while Phil is singing a heartbreaking, beautiful song about his real-life wife—who was the only one who really knew him at all—breaking his heart with an unexpected divorce. The song lives on. I doubt anyone has seen the mediocre film since the summer the song was selling it on MTV.
Exhibit B: "St. Elmo's Fire (Man in Motion)" by Jack Parr
Keeping up with the pattern, we have an older single man doing the singing, happening upon a group of recent graduates that are getting themselves into all sorts of trouble. Throughout the video he acts as somewhat of a stalker, witnessing all of the cool scenes from their movie. They flirt their way through a bar; we see meaningful close-ups of each cast member (Judd Nelson! Rob Lowe! Mare Winningham!); we see a fire scene correspond to the "burning up" part of the lyrics. And then the bridge comes: it's a montage of the coolest of cool things these cats do. Andrew McCarthy laying on his back as he dances on the bed, Emilio Estevez bravely kissing Andie MacDowell. Then that thing happens where the singer becomes "part of the gang" and Jack Parr is all of a sudden having a jukebox conversation with Demi Moore. The song rocks. And the film is a teenage classic—but not because it's good.
Exhibit C: "Live to Tell" by Madonna
Note to all young persons who may be reading this: Madonna was in her prime in these years. This was pre-Madge, pre-Guy, pre-Malawi babies, etc. and the sister could sing. She had snagged Sean Penn and had yet to produce a book called "Sex."
Anyway, the video starts with our Lone (Fe)male sitting vs. standing in a dramatic, dark room. We can only see her perfectly coiffed blonde hair, the top of her floral dress and her face, which features her mouthing the words somewhat softly (despite the perfect lipstick). We soon cut to slices of the film At Close Range, which stars Christopher Walken and her first husband. They appear to be "shooting" buddies and we see them doing buddy things until the song takes a creepy turn (really, it is somewhat creepy—she could actually WRITE MUSIC back then) and we see Sean (who unfortunately looks 13) with a terrifying, evil look on his face, holding a gun to Christopher's head. Yikes. I can't remember exactly how the movie turns out (it was long ago that I saw it), but I know it didn't create as much tension as that brilliant 80s video did.
The moral of the story: it's a shame these videos (or at least the songs for them) outlasted the actual films they sought to promote. But it's more of a shame in the music video world that they just don't make 'em like they used to.
```
I was shopping at a local discount store (Burlington Coat Factory, if you must know) on Sunday, mindlessly sifting through racks, when a bright burst of piano came over the sound system and I immediately envisioned a perfectly coiffed Peter Cetera standing in front of an Asian panel. Tonight it's very clear began the song, one of my favorites from the 80s, called "Glory of Love" and from that moment I was paralyzed with nostalgia.
I began freely singing along (despite the fact there were other shoppers, workers, etc. nearby), challenging myself to remember every word (I did) and managing my visions, which were random bits and pieces of a video I must have watched at least a thousand times in 1986.
It was all about Karate Kid II. I remembered Mr Miyagi looking proudly on as the Karate Kid fought for his life. I remembered the beautiful Asian girl he was sweet on, appearing from behind a fan to entice him. I also remembered the way the doors of the panel would burst open as Peter led up to the chorus (standing alone, as he sang).
And then I thought to myself: that video was so much better than the movie.
And then it occurred to me that there were dozens of 80s videos that were far superior to the movie of the soundtrack on which they appeared.
Immediately I was flooded with memories of beloved songs that positively carried the films they promoted.
Exhibit A: "Against All Odds" by Phil Collins
Again, we have a lone man who semi-recently had left a successful band (Cetera had abandoned Chicago; Collins had taken leave from Genesis), standing on a stage that doesn't pretend to be part of the film set, but dares its singer to conjure up the emotion of what's going on in the film (in this case, adultery). We see the "happy" couple dancing around, sharing cocktails, getting close. We see an ancient pyramid and a scary little head that sometimes takes the place of Phil's. Then we see The Evil Other Guy (James Woods), who happens to be light years sexier than the alleged husband, and well, all hell breaks loose. All the while Phil is singing a heartbreaking, beautiful song about his real-life wife—who was the only one who really knew him at all—breaking his heart with an unexpected divorce. The song lives on. I doubt anyone has seen the mediocre film since the summer the song was selling it on MTV.
Exhibit B: "St. Elmo's Fire (Man in Motion)" by Jack Parr
Keeping up with the pattern, we have an older single man doing the singing, happening upon a group of recent graduates that are getting themselves into all sorts of trouble. Throughout the video he acts as somewhat of a stalker, witnessing all of the cool scenes from their movie. They flirt their way through a bar; we see meaningful close-ups of each cast member (Judd Nelson! Rob Lowe! Mare Winningham!); we see a fire scene correspond to the "burning up" part of the lyrics. And then the bridge comes: it's a montage of the coolest of cool things these cats do. Andrew McCarthy laying on his back as he dances on the bed, Emilio Estevez bravely kissing Andie MacDowell. Then that thing happens where the singer becomes "part of the gang" and Jack Parr is all of a sudden having a jukebox conversation with Demi Moore. The song rocks. And the film is a teenage classic—but not because it's good.
Exhibit C: "Live to Tell" by Madonna
Note to all young persons who may be reading this: Madonna was in her prime in these years. This was pre-Madge, pre-Guy, pre-Malawi babies, etc. and the sister could sing. She had snagged Sean Penn and had yet to produce a book called "Sex."
Anyway, the video starts with our Lone (Fe)male sitting vs. standing in a dramatic, dark room. We can only see her perfectly coiffed blonde hair, the top of her floral dress and her face, which features her mouthing the words somewhat softly (despite the perfect lipstick). We soon cut to slices of the film At Close Range, which stars Christopher Walken and her first husband. They appear to be "shooting" buddies and we see them doing buddy things until the song takes a creepy turn (really, it is somewhat creepy—she could actually WRITE MUSIC back then) and we see Sean (who unfortunately looks 13) with a terrifying, evil look on his face, holding a gun to Christopher's head. Yikes. I can't remember exactly how the movie turns out (it was long ago that I saw it), but I know it didn't create as much tension as that brilliant 80s video did.
The moral of the story: it's a shame these videos (or at least the songs for them) outlasted the actual films they sought to promote. But it's more of a shame in the music video world that they just don't make 'em like they used to.
```
Thursday, May 07, 2009
Sin Nombre
Last night I saw Sin Nombre, the debut feature from writer/director Cary Fukunaga.
It was the topic of Cinebanter #70. Click here for that episode.
It was the topic of Cinebanter #70. Click here for that episode.
Sunday, April 26, 2009
Earth
Today I saw Disney's Earth, starring polar bears, birds, caribou, walruses, buffalo, elephants, lynx, lions and whales.
Narrated by James Earl Jones, the 'story' here isn't as linear as March of the Penguins or various Animal Planet shows like Meerkat Manor, but it does take us through a year on our planet with the absence of humans (except for that voice, of course).
We start with a polar bear mother and her two cubs who are being introduced to the surface of the earth for the first time. It's hard to visualize these mammoth balls of fluffy fur as the notoriously mean creatures they really are when our first glimpse has them sliding helplessly across glaciers, struggling for footing, and frolicking about. But toward the end of the movie when we meet Dad attacking a mound of walruses with reckless abandon, we see how these families have long survived the conditions.
In another portion of the film, we watch a lone lynx creeping through an icy forest, searching for a rare meal. Later, a fuzzy family of lynx makes the initial peek seem like the cameras were pointed toward an uncommon Serial Killer Lynx, because these kids are just too darned cute to be evil.
But really, the moral of the story is: An Eye for an Eye.
I realize that nature is harsh and that all species are important to the food chain for whatever reason, but that didn't make it any easier for me to watch a wolf chase down a caribou calf and take a chunk out of its backside, or prevent me from tearing up when a baby elephant gets separated from its pack during a dust storm and follows the wrong trail to try to catch up with them.
What I'm saying is: if I had kids, I'm not quite sure I'd let them see this until they were 10 or 12.
There are some scary scenes in addition to the ones I just mentioned—lions roaring during a nighttime thunderstorm, another "chase" scene involving a cheetah that doesn't end well for the prey, etc. I found myself turning away much more than I'd expected.
That said, there are some amazing scenes I could've stared at all day, such as the birds of paradise who were "preparing for dates" with females and a humpback whale calf's first swim through its new home in the ocean.
The lengths the cameramen and women must have gone to to gain this footage is nothing short of impressive (and we see glimpses of them during the credits; hopefully there will be more footage on the eventual DVD), and sitting back and taking it all in, you really do realize just how insignificant you are in the grand scheme of this planet.
Even more of a reason to be good to our Mother Earth, if you ask me.
~~~
Narrated by James Earl Jones, the 'story' here isn't as linear as March of the Penguins or various Animal Planet shows like Meerkat Manor, but it does take us through a year on our planet with the absence of humans (except for that voice, of course).
We start with a polar bear mother and her two cubs who are being introduced to the surface of the earth for the first time. It's hard to visualize these mammoth balls of fluffy fur as the notoriously mean creatures they really are when our first glimpse has them sliding helplessly across glaciers, struggling for footing, and frolicking about. But toward the end of the movie when we meet Dad attacking a mound of walruses with reckless abandon, we see how these families have long survived the conditions.
In another portion of the film, we watch a lone lynx creeping through an icy forest, searching for a rare meal. Later, a fuzzy family of lynx makes the initial peek seem like the cameras were pointed toward an uncommon Serial Killer Lynx, because these kids are just too darned cute to be evil.
But really, the moral of the story is: An Eye for an Eye.
I realize that nature is harsh and that all species are important to the food chain for whatever reason, but that didn't make it any easier for me to watch a wolf chase down a caribou calf and take a chunk out of its backside, or prevent me from tearing up when a baby elephant gets separated from its pack during a dust storm and follows the wrong trail to try to catch up with them.
What I'm saying is: if I had kids, I'm not quite sure I'd let them see this until they were 10 or 12.
There are some scary scenes in addition to the ones I just mentioned—lions roaring during a nighttime thunderstorm, another "chase" scene involving a cheetah that doesn't end well for the prey, etc. I found myself turning away much more than I'd expected.
That said, there are some amazing scenes I could've stared at all day, such as the birds of paradise who were "preparing for dates" with females and a humpback whale calf's first swim through its new home in the ocean.
The lengths the cameramen and women must have gone to to gain this footage is nothing short of impressive (and we see glimpses of them during the credits; hopefully there will be more footage on the eventual DVD), and sitting back and taking it all in, you really do realize just how insignificant you are in the grand scheme of this planet.
Even more of a reason to be good to our Mother Earth, if you ask me.
~~~
Stick It in Detroit
This morning I saw Stick It in Detroit, starring and directed by Robert Phelps.
Todd (Phelps) is a factory worker in the city of Detroit. Like many men, he still hangs out with the same buddies from his neighborhood that he grew up with. None of them seem remotely as bright or promising as Todd, but this doesn't seem to matter to him. He has a steady job, a steady girlfriend and all is right with the world.
That is, until success comes knocking at his door. When he is offered a promotion in Georgia, he's forced to choose between abandoning his comfort zone (and probably his girlfriend, who isn't sweet on the idea of moving south) or taking an opportunity that may never arise again and bettering his career.
The concept of the movie is a good one; the execution left a lot to be desired.
As a film critic, I make no secret of the fact I detest bathroom humor. I'm not entirely against low-brow comedies (after all, I proudly own Airplane and Fast Times at Ridgemont High), I just don't find feces funny.
And therefore, folks like me are pretty much disqualified from finding genuine laughs within this movie.
Entire scenes are built around visits to the toilet, and other "fantasy" scenes that could be funny in another context, seem out of place among the vulgarity.
The acting and directing are fine, but unfortunately the story can't be saved by these two factors.
Obnoxious friends and dead-end lives just aren't my idea of quality comedy.
~~~
Todd (Phelps) is a factory worker in the city of Detroit. Like many men, he still hangs out with the same buddies from his neighborhood that he grew up with. None of them seem remotely as bright or promising as Todd, but this doesn't seem to matter to him. He has a steady job, a steady girlfriend and all is right with the world.
That is, until success comes knocking at his door. When he is offered a promotion in Georgia, he's forced to choose between abandoning his comfort zone (and probably his girlfriend, who isn't sweet on the idea of moving south) or taking an opportunity that may never arise again and bettering his career.
The concept of the movie is a good one; the execution left a lot to be desired.
As a film critic, I make no secret of the fact I detest bathroom humor. I'm not entirely against low-brow comedies (after all, I proudly own Airplane and Fast Times at Ridgemont High), I just don't find feces funny.
And therefore, folks like me are pretty much disqualified from finding genuine laughs within this movie.
Entire scenes are built around visits to the toilet, and other "fantasy" scenes that could be funny in another context, seem out of place among the vulgarity.
The acting and directing are fine, but unfortunately the story can't be saved by these two factors.
Obnoxious friends and dead-end lives just aren't my idea of quality comedy.
~~~
Saturday, April 18, 2009
Adventureland
Tonight I saw Adventureland, starring Jesse Eisenberg and Kristen Stewart.
James (Eisenberg) has just completed his college degree and looks forward to graduate school with aspirations of travel writing; his parents have recently fallen on hard times and tell him in no uncertain terms that if he plans to attend Columbia (where he's been accepted), he'll have to earn the tuition himself that summer. As he's always been the "mow the lawn for money" kind of kid, he has trouble finding work and ends up at Adventureland, a local amusement park with all of the typical rides, games and characters that come with such a place.
Assigned to "Games," James befriends fellow booth slaves Joel (Martin Starr), a Jewish athiest clearly too smart for the job, and Emily (Stewart), who will be headed to NYU in the fall, and just happens to be beautiful.
Without warning, James falls for Emily, and she for him, but the situation is complicated by the sexy maintenance man Connell (Ryan Reynolds), who is married, but sleeping with Emily.
James doesn't know this, nor does Emily know that James accepted a date with Lisa P. (Margarita Levieva), the resident hottie at Adventureland, when she hurt his feelings during a double date of theirs. Drama ensues.
Recounting it in those few paragraphs, this sounds like formulaic fluff with classic love triangles and summer romance conventions, but for some reason it plays better than that.
The chemistry between Eisenberg and Stewart does seem genuine—and that helps—but more than that, there's a heart that lies deeper in the characters, which enables us viewers to empathize instead of judge. Hasn't everyone made a mistake in a relationship at some point? Probably so, and though this film may make you remember those mistakes, it will also (hopefully) remind you that you have to learn some lessons before you get it right. That is, if your human.
Furthermore, the situations in Adventureland are completely believable, and even the silliest of characters (Frigo) are somewhat real, despite how obnoxious their behavior is.
And since the story takes place in the 80s, my nostalgia radar picked up on several relics from the past, which added a nice ambiance to the overall feel of the film. I recognized the plastic bracelets and heart earrings the girls were wearing, the headband Frigo was sporting, and appreciated the brilliant soundtrack featuring Falco and Crowded House, which played naturally in the background.
Adventureland is a refreshing change from the usual bathroom-humor-laden "college" films involving frat houses and shock jokes. Instead of gratuitous language, you have appropriately timed outbursts that may contain a word or two; instead of clichéd sex scenes, you witness kisses that you would remember all of your life if you were living as one of the characters.
I hope other filmmakers will take a cue and make more smart comedies like this one, that come with a side of heart.
James (Eisenberg) has just completed his college degree and looks forward to graduate school with aspirations of travel writing; his parents have recently fallen on hard times and tell him in no uncertain terms that if he plans to attend Columbia (where he's been accepted), he'll have to earn the tuition himself that summer. As he's always been the "mow the lawn for money" kind of kid, he has trouble finding work and ends up at Adventureland, a local amusement park with all of the typical rides, games and characters that come with such a place.
Assigned to "Games," James befriends fellow booth slaves Joel (Martin Starr), a Jewish athiest clearly too smart for the job, and Emily (Stewart), who will be headed to NYU in the fall, and just happens to be beautiful.
Without warning, James falls for Emily, and she for him, but the situation is complicated by the sexy maintenance man Connell (Ryan Reynolds), who is married, but sleeping with Emily.
James doesn't know this, nor does Emily know that James accepted a date with Lisa P. (Margarita Levieva), the resident hottie at Adventureland, when she hurt his feelings during a double date of theirs. Drama ensues.
Recounting it in those few paragraphs, this sounds like formulaic fluff with classic love triangles and summer romance conventions, but for some reason it plays better than that.
The chemistry between Eisenberg and Stewart does seem genuine—and that helps—but more than that, there's a heart that lies deeper in the characters, which enables us viewers to empathize instead of judge. Hasn't everyone made a mistake in a relationship at some point? Probably so, and though this film may make you remember those mistakes, it will also (hopefully) remind you that you have to learn some lessons before you get it right. That is, if your human.
Furthermore, the situations in Adventureland are completely believable, and even the silliest of characters (Frigo) are somewhat real, despite how obnoxious their behavior is.
And since the story takes place in the 80s, my nostalgia radar picked up on several relics from the past, which added a nice ambiance to the overall feel of the film. I recognized the plastic bracelets and heart earrings the girls were wearing, the headband Frigo was sporting, and appreciated the brilliant soundtrack featuring Falco and Crowded House, which played naturally in the background.
Adventureland is a refreshing change from the usual bathroom-humor-laden "college" films involving frat houses and shock jokes. Instead of gratuitous language, you have appropriately timed outbursts that may contain a word or two; instead of clichéd sex scenes, you witness kisses that you would remember all of your life if you were living as one of the characters.
I hope other filmmakers will take a cue and make more smart comedies like this one, that come with a side of heart.
Monday, March 30, 2009
I Love You, Man
Yesterday I saw I Love You, Man, starring Paul Rudd and Jason Segal.
We all know men like realtor Peter Klaven (Rudd): good looking, well-groomed, straight guys who surround themselves with armies of female friends, but lack severely in the 'dude' department.
We also know men like Sydney Fife (Segal): fun-loving, independent bachelors who are left behind after all of their buddies graduate into marriage and fatherhood.
What a genius idea to bring these two characters together.
The stage is set with Peter, madly in love with Zooey (Rashida Jones), proposing to her in a romantic city setting. She excitedly accepts his proposal and the wedding plans are thrust into motion. The only small problem is that she has several attendants and he doesn't even have a best man.
So...he tries to find one, by going on "man-dates" with random guys he's set up with by family and friends (Jane Curtain is a great cast bonus as his mom). After many comical attempts, his best man soul mate appears at one of his open houses (when he's "not looking" as true love usually appears) and changes everything.
Instead of Peter's world revolving around Zooey, it begins to revolve around Sydney, because he's never enjoyed such a friendship before. While she's happy for him at first, of course jealousy does eventually set in and both relationships are put in jeopardy.
Aside from a few unnecessary "gross" scenes involving vomit and a dog relieving itself, this was a very refreshing, cute movie with a host of appealing characters.
Rashida Jones shines as the likable finance, Jon Favreau is hilarious as an angry husband of one of Zooey's friends, and Andy Samburg plays the groom's openly gay brother in a realistic, non-stereotypical way.
If you need a laugh, check it out.
We all know men like realtor Peter Klaven (Rudd): good looking, well-groomed, straight guys who surround themselves with armies of female friends, but lack severely in the 'dude' department.
We also know men like Sydney Fife (Segal): fun-loving, independent bachelors who are left behind after all of their buddies graduate into marriage and fatherhood.
What a genius idea to bring these two characters together.
The stage is set with Peter, madly in love with Zooey (Rashida Jones), proposing to her in a romantic city setting. She excitedly accepts his proposal and the wedding plans are thrust into motion. The only small problem is that she has several attendants and he doesn't even have a best man.
So...he tries to find one, by going on "man-dates" with random guys he's set up with by family and friends (Jane Curtain is a great cast bonus as his mom). After many comical attempts, his best man soul mate appears at one of his open houses (when he's "not looking" as true love usually appears) and changes everything.
Instead of Peter's world revolving around Zooey, it begins to revolve around Sydney, because he's never enjoyed such a friendship before. While she's happy for him at first, of course jealousy does eventually set in and both relationships are put in jeopardy.
Aside from a few unnecessary "gross" scenes involving vomit and a dog relieving itself, this was a very refreshing, cute movie with a host of appealing characters.
Rashida Jones shines as the likable finance, Jon Favreau is hilarious as an angry husband of one of Zooey's friends, and Andy Samburg plays the groom's openly gay brother in a realistic, non-stereotypical way.
If you need a laugh, check it out.
Thursday, March 26, 2009
I'm humbled and honored...
...to be listed among the Top 100 Movie Blogs on OnlyGoodMovies.com.
To see the full roster, click here:
http://www.onlygoodmovies.com/blog/thoughts-on-film/the-100-best-movie-blogs/
To see the full roster, click here:
http://www.onlygoodmovies.com/blog/thoughts-on-film/the-100-best-movie-blogs/
Wednesday, March 18, 2009
The Class
Tonight I saw The Class, starring François Bégaudeau.
It will be the topic of Cinebanter #67, which will be available March 30, so tune in then for our review.
```
It will be the topic of Cinebanter #67, which will be available March 30, so tune in then for our review.
```
Saturday, March 07, 2009
Sunshine Cleaning
Today I screened Sunshine Cleaning, starring Amy Adams and Emily Blunt.
Rose (Adams) is a maid, a single mother and a mistress. Her job is dead-end, her son Oscar (Jason Spevack, a dead wringer for the kid in Love Actually) has issues in school, and her married boyfriend is her former high-school sweetheart.
Her sister Nora (Blunt) is less responsible, less balanced, and also has employment challenges. Her father (Alan Arkin), a loving grandfather with his heart in the right place, is a failing salesman.
Life could be better for this family.
One day after Rose and her boyfriend are finished making love in a seedy motel, he tells her of a thriving business he's observed through his own work as a detective: crime scene cleanup. He figures with her experience cleaning houses, she could easily transition to this higher-paying enterprise, and he'll help provide the connections she needs to get started.
Before long, she's enrolled in bio-hazard sanitation classes and has enlisted the help of her sister to act as her sole employee. Because she has a knack for business and an infinitely positive attitude, Rose soon launches the successful Sunshine Cleaning.
All goes well in the first weeks of business (those who are squeamish like me: beware of the first few crime scenes they clean up), then a plot twist, which is completely believable, changes the game for the whole family.
The ending draws to a satisfying close and leaves you hoping that the path the family is on will continue.
Everyone in this film does a superb job of playing their part (even if Alan Arkin's character is just a reprise of his role in Little Miss Sunshine, minus the porn), and hopefully the vastly underrated Amy Adams will finally step out of her "innocent girl" typecasting with this role.
Sunshine Cleaning is a lighthearted drama brought to life by a competent and complementary cast. It feels, sounds and looks like real life.
Go see it.
Rose (Adams) is a maid, a single mother and a mistress. Her job is dead-end, her son Oscar (Jason Spevack, a dead wringer for the kid in Love Actually) has issues in school, and her married boyfriend is her former high-school sweetheart.
Her sister Nora (Blunt) is less responsible, less balanced, and also has employment challenges. Her father (Alan Arkin), a loving grandfather with his heart in the right place, is a failing salesman.
Life could be better for this family.
One day after Rose and her boyfriend are finished making love in a seedy motel, he tells her of a thriving business he's observed through his own work as a detective: crime scene cleanup. He figures with her experience cleaning houses, she could easily transition to this higher-paying enterprise, and he'll help provide the connections she needs to get started.
Before long, she's enrolled in bio-hazard sanitation classes and has enlisted the help of her sister to act as her sole employee. Because she has a knack for business and an infinitely positive attitude, Rose soon launches the successful Sunshine Cleaning.
All goes well in the first weeks of business (those who are squeamish like me: beware of the first few crime scenes they clean up), then a plot twist, which is completely believable, changes the game for the whole family.
The ending draws to a satisfying close and leaves you hoping that the path the family is on will continue.
Everyone in this film does a superb job of playing their part (even if Alan Arkin's character is just a reprise of his role in Little Miss Sunshine, minus the porn), and hopefully the vastly underrated Amy Adams will finally step out of her "innocent girl" typecasting with this role.
Sunshine Cleaning is a lighthearted drama brought to life by a competent and complementary cast. It feels, sounds and looks like real life.
Go see it.
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