Tonight I saw Humboldt County, starring Jeremy Strong and Chris Messina.
The story follows Peter (Strong), a bright medical student severely lacking in social skills, who follows a girl (Fairuza Balk) to Humboldt County and remains stranded with her family (though she disappears) for a long period of time.
The family is made up of hippie grandparents (Brad Dourif and the lovely Frances Conroy) who are raising their son and granddaughter, caring for random stray guests and harvesting large amounts of marijuana in the California forest where they reside.
Peter is a fish out of water in their carefree, illegal world, but soon acclimates to their casual lifestyle and befriends the son (Messina), who is more concerned about protecting his crops than preserving his life.
The film begins cleverly, with a very funny opening scene. And the strong presence of Fairuza Balk injects the landscape with a fresh dose of character but unfortunately lulls upon arrival at the hippie homestead (which could've been a set double for Aunt Sarah's pad in Six Feet Under).
The token child is charming and Peter's self-discovery is endearing, but overall, the writing felt too formulaic to be original.
The directors, however, did a fine job of framing the film and providing a very exciting climactic scene at the end. Just don't arrive expecting to see newness in the characters or the story.
Go see this instead for the gorgeous shots of Arcata, California and that beautiful nearby coastline.
Wednesday, September 17, 2008
Tuesday, September 16, 2008
Burn After Reading
Tonight I saw Burn After Reading, starring John Malkovich and Frances McDormand.
It was the topic of Cinebanter #60, which is available for download here.
It was the topic of Cinebanter #60, which is available for download here.
Monday, September 01, 2008
Frozen River
Today I saw Frozen River, starring Melissa Leo and Misty Upham.
It was the topic of Cinebanter #59: click here to download it.
It was the topic of Cinebanter #59: click here to download it.
Wednesday, August 13, 2008
Tropic Thunder
Tonight I saw Tropic Thunder, starring Ben Stiller and Robert Downey Jr.
It was the topic of Cinebanter #58, which is available here.
It was the topic of Cinebanter #58, which is available here.
Wednesday, August 06, 2008
Pineapple Express
Tonight I saw Pineapple Express, starring James Franco and Seth Rogen.
It was the topic of Cinebanter #57, which is available for download here.
It was the topic of Cinebanter #57, which is available for download here.
Thursday, July 31, 2008
The Last Mistress
Today I saw The Last Mistress, starring Asia Argentino.
It was the topic of Cinebanter #57, which is available for download here.
It was the topic of Cinebanter #57, which is available for download here.
Thursday, July 24, 2008
Encounters at the End of the World
Tonight I saw the documentary Encounters at the End of the World.
All of the best elements that make up a Werner Herzog film are here—the humorous, yet seriously informative narrative; the long shots of nothing, which force you to believe they're something; and the eccentric pieces of a story that somehow come together without form.
This time the filmmaker takes us on his journey to Antarctica, where he studies the scientists that are studying the continent. Instead of focusing on the elements they're obsessed with (although we see them), his approach is to zero in on the freaks that the frigid temperatures attract. And let them tell their own stories.
What results is Errol Morris-like talking head masterpieces spliced in with breathtaking underwater shots of a world most of us will never dare to explore. And it's hard to take your eyes off of it.
One shot will demonstrate how dangerous the dives are (they go without tether, which means their instinct has to guide them back since compasses don't work that low), then another will feature a penguin who takes his own journey Into the Wild, a la Chris McCandless, which the humans realize will not turn out well.
It's all told with a clever, sarcastic-but-sincere delivery that leaves the audience wishing they were along for the ride—just so long as they don't have to go through any of that silly bucket-head training.
Note: the director dedicated this film to Roger Ebert, who was so touched by the gesture, he wrote him a letter of appreciation. To read it, click here.
All of the best elements that make up a Werner Herzog film are here—the humorous, yet seriously informative narrative; the long shots of nothing, which force you to believe they're something; and the eccentric pieces of a story that somehow come together without form.
This time the filmmaker takes us on his journey to Antarctica, where he studies the scientists that are studying the continent. Instead of focusing on the elements they're obsessed with (although we see them), his approach is to zero in on the freaks that the frigid temperatures attract. And let them tell their own stories.
What results is Errol Morris-like talking head masterpieces spliced in with breathtaking underwater shots of a world most of us will never dare to explore. And it's hard to take your eyes off of it.
One shot will demonstrate how dangerous the dives are (they go without tether, which means their instinct has to guide them back since compasses don't work that low), then another will feature a penguin who takes his own journey Into the Wild, a la Chris McCandless, which the humans realize will not turn out well.
It's all told with a clever, sarcastic-but-sincere delivery that leaves the audience wishing they were along for the ride—just so long as they don't have to go through any of that silly bucket-head training.
Note: the director dedicated this film to Roger Ebert, who was so touched by the gesture, he wrote him a letter of appreciation. To read it, click here.
Monday, July 21, 2008
Heidi Fleiss: The Would-Be Madam of Crystal
Tonight I saw the documentary Heidi Fleiss: The Would Be Madam of Crystal.
I love it when a film makes me think more of the subject—and that's what happened tonight when I saw this glimpse of Heidi's life.
For those living under rocks: Ms. Fleiss ran a very successful escort service in LA for years before she finally got caught in the 90s. Now she's done her time and moved to Nevada (where in some counties, the business she's good at is legal).
In the film, we see that she bought several acres of prime land in a scary wild-west-type town, she owns a laundromat (cleverly titled "Dirty Laundry"), she hired a homeless man to be her assistant (and then fired him), and befriended an elderly woman (Marianne) who was her neighbor, and fell in love with her pet birds along the way.
And did I mention? She wants to open a Stud Farm.
That's right—Stud Farm. As in a place where women would pay MEN to have sex with them.
Genius? Definitely. Risky? Could be that too, but that's not stopping her.
Like any public figure disrupting a small town, Heidi has friends and foes. A female saloon owner says behind her back and to her face she doesn't want the brothel built; other residents at a local swap meet greet her very warmly with smiles of support.
You want to shake the townspeople who are against it because they think "women won't buy sex."
What they don't realize is that even if they don't, they'll come and gawk at those who will, which means stops at all of the local restaurants, hotels and gas stations. They could make a lot of money off of Heidi's notoriety.
In her favor is her gift for business (this is a woman who started a babysitting ring when she was 14), her ability to research (she clearly does her homework), her political savvy and her genuine good heart (I think she actually has one).
Playing against her are her drug habits (you get the sense she's not done using), her manipulative tendencies and her self-imposed isolation.
She clearly wants relationships (though she claims not to) and anyone who witnesses her around her birds could see that she has love to give.
It makes you wonder if someone reached out to her, what she really could become.
I love it when a film makes me think more of the subject—and that's what happened tonight when I saw this glimpse of Heidi's life.
For those living under rocks: Ms. Fleiss ran a very successful escort service in LA for years before she finally got caught in the 90s. Now she's done her time and moved to Nevada (where in some counties, the business she's good at is legal).
In the film, we see that she bought several acres of prime land in a scary wild-west-type town, she owns a laundromat (cleverly titled "Dirty Laundry"), she hired a homeless man to be her assistant (and then fired him), and befriended an elderly woman (Marianne) who was her neighbor, and fell in love with her pet birds along the way.
And did I mention? She wants to open a Stud Farm.
That's right—Stud Farm. As in a place where women would pay MEN to have sex with them.
Genius? Definitely. Risky? Could be that too, but that's not stopping her.
Like any public figure disrupting a small town, Heidi has friends and foes. A female saloon owner says behind her back and to her face she doesn't want the brothel built; other residents at a local swap meet greet her very warmly with smiles of support.
You want to shake the townspeople who are against it because they think "women won't buy sex."
What they don't realize is that even if they don't, they'll come and gawk at those who will, which means stops at all of the local restaurants, hotels and gas stations. They could make a lot of money off of Heidi's notoriety.
In her favor is her gift for business (this is a woman who started a babysitting ring when she was 14), her ability to research (she clearly does her homework), her political savvy and her genuine good heart (I think she actually has one).
Playing against her are her drug habits (you get the sense she's not done using), her manipulative tendencies and her self-imposed isolation.
She clearly wants relationships (though she claims not to) and anyone who witnesses her around her birds could see that she has love to give.
It makes you wonder if someone reached out to her, what she really could become.
Sunday, July 20, 2008
Tell No One
Today I saw Tell No One, starring François Cluzet and Kristin Scott Thomas.
It was the topic of Cinebanter #56, which is available here.
In the meantime, check out the book this film was based upon:
It was the topic of Cinebanter #56, which is available here.
In the meantime, check out the book this film was based upon:
Friday, July 18, 2008
The Dark Knight
This morning I saw The Dark Knight, starring Heath Ledger and Christian Bale.
Listen for my and Michael's review of this on Cinebanter #55, which is available here.
Listen for my and Michael's review of this on Cinebanter #55, which is available here.
WALL - E
On Tuesday, July 15, I saw the alleged second-coming of animation called WALL-E.
And as far as I'm concerned, WALL-E spells OVERRATE-D.
Sure, the animation is typical-Pixar-cool (the mounds of trash formed into would-be skyscrapers that the humans have accumulated over the years are especially impressive), and the story sends an Important Social Message (as most of these do), but I just wasn't as impressed with the delivery as most of my fellow critics.
Wall-E himself is a robot that was created to manage the trash crises that us obese, lazy, careless Americans...um...humans have created. We've basically trashed ourselves out of our habitat. Clever? Absolutely. But also slightly grim and more than a little in-your-face preachy at times.
The species has been beamed to a superheaven of sorts, where everyone functions from their lounge chair, eats cupcakes in cups and leads generally meaningless (though no doubt, fun) lives. "Autopilots" run the ship, so to speak.
So when another, prettier, more R2D2-like robot (Eva) comes along to keep WALL-E company on earth, it's no wonder sparks fly.
Put simply, there are very tender moments between the two hunks of metal that redeem the story somewhat, but aside from those rare moments, I was either bored or mildly offended at how blatant the moralizing was. And the "battle" scene at the end was painfully formulaic.
I had a much better time at Toy Story.
And as far as I'm concerned, WALL-E spells OVERRATE-D.
Sure, the animation is typical-Pixar-cool (the mounds of trash formed into would-be skyscrapers that the humans have accumulated over the years are especially impressive), and the story sends an Important Social Message (as most of these do), but I just wasn't as impressed with the delivery as most of my fellow critics.
Wall-E himself is a robot that was created to manage the trash crises that us obese, lazy, careless Americans...um...humans have created. We've basically trashed ourselves out of our habitat. Clever? Absolutely. But also slightly grim and more than a little in-your-face preachy at times.
The species has been beamed to a superheaven of sorts, where everyone functions from their lounge chair, eats cupcakes in cups and leads generally meaningless (though no doubt, fun) lives. "Autopilots" run the ship, so to speak.
So when another, prettier, more R2D2-like robot (Eva) comes along to keep WALL-E company on earth, it's no wonder sparks fly.
Put simply, there are very tender moments between the two hunks of metal that redeem the story somewhat, but aside from those rare moments, I was either bored or mildly offended at how blatant the moralizing was. And the "battle" scene at the end was painfully formulaic.
I had a much better time at Toy Story.
Thursday, July 17, 2008
Journey to the Center of the Earth
On Sunday, July 13, I saw Journey to the Center of the Earth, starring Brendan Fraser.
I have to confess that I've never read the Jules Verne book the film is based on, but the ride this family-friendly charmer takes you on is nonetheless a pleasant one.
The story begins with professor Trevor Anderson (Fraser) scrambling to save his failing laboratory. It slips his mind that his nephew Sean (Josh Hutcherson) is showing up for a week-long visit, so when he arrives, he's unprepared for how to entertain him.
Miraculously, the atmosphere is doing exactly what it was doing years ago when Anderson's brother (and Sean's father) disappeared into a volcano, so he takes that as a sign they should go investigate the same land.
Passports in hand, they head for Iceland where they meet up with the daughter of another researcher. Her name is Hannah (Anita Briem), and aside from speaking perfect English, she's an off-the-charts hottie.
Before we know it, the three have embarked on a dangerous hike that leaves them...at the Center of the Earth.
There are many fun effects and beautiful scenes (I especially liked the shining birds) that made me wish I'd seen this in IMAX (I'm told there is a version playing in 3D), but the story is incredibly formulaic and predictable, which is what stops the film from being anything special. And the Indiana-Jones-like one-liners really don't work at all, even with Fraser's undeniable charisma.
That said, overall Journey to the Center of the Earth is a wholesome family film that keeps you entertained in a good way.
I have to confess that I've never read the Jules Verne book the film is based on, but the ride this family-friendly charmer takes you on is nonetheless a pleasant one.
The story begins with professor Trevor Anderson (Fraser) scrambling to save his failing laboratory. It slips his mind that his nephew Sean (Josh Hutcherson) is showing up for a week-long visit, so when he arrives, he's unprepared for how to entertain him.
Miraculously, the atmosphere is doing exactly what it was doing years ago when Anderson's brother (and Sean's father) disappeared into a volcano, so he takes that as a sign they should go investigate the same land.
Passports in hand, they head for Iceland where they meet up with the daughter of another researcher. Her name is Hannah (Anita Briem), and aside from speaking perfect English, she's an off-the-charts hottie.
Before we know it, the three have embarked on a dangerous hike that leaves them...at the Center of the Earth.
There are many fun effects and beautiful scenes (I especially liked the shining birds) that made me wish I'd seen this in IMAX (I'm told there is a version playing in 3D), but the story is incredibly formulaic and predictable, which is what stops the film from being anything special. And the Indiana-Jones-like one-liners really don't work at all, even with Fraser's undeniable charisma.
That said, overall Journey to the Center of the Earth is a wholesome family film that keeps you entertained in a good way.
Wednesday, July 02, 2008
Hancock
Today I saw Hancock, starring Will Smith and Charlize Theron.
Smith plays John Hancock, a reluctant and mysterious superhero with the power to fly, bounce bullets off his body and lift tons of weight. This comes in handy when the LAPD can't nail the bad guys.
The catch is that Hancock is also a sloppy alcoholic, who is sometimes more trouble than he is worth.
Enter Ray (Jason Bateman), an ambitious PR representative who is saved by Hancock, and wants to re-make his image to repay him.
Hancock is at first resistant to the suggestion, but soon grows warmer to the plan and agrees to adhere to his suggestions.
What unfolds is an action montage laden with special effects and surprise twists. Charlize Theron's character Mary, the wife of Ray, transforms from a supporting background character to a vital main character and adds her own dose of hero.
The movie sometimes feels like two different stories, as the transition is abrupt, but it's still an entertaining and humorous (if not at times vulgar) ride.
For Independence Day week, what more can Americans really demand?
Smith plays John Hancock, a reluctant and mysterious superhero with the power to fly, bounce bullets off his body and lift tons of weight. This comes in handy when the LAPD can't nail the bad guys.
The catch is that Hancock is also a sloppy alcoholic, who is sometimes more trouble than he is worth.
Enter Ray (Jason Bateman), an ambitious PR representative who is saved by Hancock, and wants to re-make his image to repay him.
Hancock is at first resistant to the suggestion, but soon grows warmer to the plan and agrees to adhere to his suggestions.
What unfolds is an action montage laden with special effects and surprise twists. Charlize Theron's character Mary, the wife of Ray, transforms from a supporting background character to a vital main character and adds her own dose of hero.
The movie sometimes feels like two different stories, as the transition is abrupt, but it's still an entertaining and humorous (if not at times vulgar) ride.
For Independence Day week, what more can Americans really demand?
Monday, June 30, 2008
Ganja Queen
Tonight I saw the documentary Ganja Queen about the gross injustice that's happened to Australian Schappelle Corby.
In 2004, 27-year-old Schappelle had begun caring for her father who was ill with cancer and was preparing for some upcoming rough treatments that he would endure. Because the family realized how difficult this was for her, they helped her pay for a short vacation to take in the weeks prior.
The destination was Bali, Indonesia and she would travel with a few friends to take advantage of the beautiful beaches and natural amenities of the area. In her luggage was a boogie board, which was packed by her and her friend. The only thing in the bag when they arrived at the Brisbane airport was the boogie board.
Upon their arrival in Bali, her bag was searched and 4.2 kilos of hydroponic marijuana was discovered. Schappelle was stunned and immediately claimed she had no idea where it came from.
She was then arrested and interrogated in the Bali customs unit, with her friends by her side also claiming her (and their) innocence.
There was no DNA testing of the plastic bag containing the drugs, or the drugs themselves, and there was evidence of a drug sting back in the Australian airport that same day (traffickers were paying baggage handlers to set up mules). But that didn't matter—they still held Schappele for seven months before putting her on trial.
I won't reveal the outcome of the verdict, but I will say it's not good news and documentaries like this make me want to crawl into a hole and never come out.
But for people like her, we have to continue having hope.
UPDATE: Chapelle is almost free ...
```
In 2004, 27-year-old Schappelle had begun caring for her father who was ill with cancer and was preparing for some upcoming rough treatments that he would endure. Because the family realized how difficult this was for her, they helped her pay for a short vacation to take in the weeks prior.
The destination was Bali, Indonesia and she would travel with a few friends to take advantage of the beautiful beaches and natural amenities of the area. In her luggage was a boogie board, which was packed by her and her friend. The only thing in the bag when they arrived at the Brisbane airport was the boogie board.
Upon their arrival in Bali, her bag was searched and 4.2 kilos of hydroponic marijuana was discovered. Schappelle was stunned and immediately claimed she had no idea where it came from.
She was then arrested and interrogated in the Bali customs unit, with her friends by her side also claiming her (and their) innocence.
There was no DNA testing of the plastic bag containing the drugs, or the drugs themselves, and there was evidence of a drug sting back in the Australian airport that same day (traffickers were paying baggage handlers to set up mules). But that didn't matter—they still held Schappele for seven months before putting her on trial.
I won't reveal the outcome of the verdict, but I will say it's not good news and documentaries like this make me want to crawl into a hole and never come out.
But for people like her, we have to continue having hope.
UPDATE: Chapelle is almost free ...
```
The Third Man
About a week ago, I saw the classic 1949 film The Third Man.
It is the topic of Cinebanter #54, which is available here.
It is the topic of Cinebanter #54, which is available here.
Monday, June 09, 2008
Roman Polanski: Wanted and Desired
Tonight I saw Roman Polanski: Wanted and Desired, a documentary by Marina Zenovich.
Thank goodness someone finally created a coherent timeline that is the mess of Polanski's life, because in all of my years I've never quite grasped what happened to him.
After seeing this, three things I suspected were confirmed:
1) Roman should be celebrated for the artistic genius that he is.
2) Roman should've undoubtedly been punished for the crime he clearly committed.
3) There was no way in hell Roman was going to get a fair sentence in the California courts with the corrupt judge that was assigned to his case.
If I'm correct in my assumption, Roman was just a typical party-scene Hollywood filmmaker in the 60s that loved his life and loved his wife until she was brutally murdered by a crazy man's cult.
Once Sharon was gone, his world seemed to tailspin, as often happens in times of desperate grief, and to endure the pain of the press crucifying him for having a hand in her murder (when really he was out of the country at the time and had nothing to do with it), he sought refuge in women, drugs and distractions.
One of the casualties of this distraction was Samantha, a California girl wanting to break into the business at the age of 13. They were alone, he was photographing her, clothes came off, drugs were ingested, sex resulted.
His actions were reprehensible. Inexcusable without question, but the way the system handled his case was also unfair. When the attorneys on both sides cry foul, you know something's wrong.
It could be argued that despite justice not being served, Polanski made the right decision deporting himself to France before his final sentencing. Assuming he's done no one else harm, he's certainly been more productive as a cinematic genius than he ever could have been eating up American taxpayers' money, rotting behind bars. Even his accuser didn't want that, and shouldn't she have a say in the matter?
I can't help but wonder what would've happened if he'd taken the offer to come back to the U.S. and had the case heard by a new judge.
```
Thank goodness someone finally created a coherent timeline that is the mess of Polanski's life, because in all of my years I've never quite grasped what happened to him.
After seeing this, three things I suspected were confirmed:
1) Roman should be celebrated for the artistic genius that he is.
2) Roman should've undoubtedly been punished for the crime he clearly committed.
3) There was no way in hell Roman was going to get a fair sentence in the California courts with the corrupt judge that was assigned to his case.
If I'm correct in my assumption, Roman was just a typical party-scene Hollywood filmmaker in the 60s that loved his life and loved his wife until she was brutally murdered by a crazy man's cult.
Once Sharon was gone, his world seemed to tailspin, as often happens in times of desperate grief, and to endure the pain of the press crucifying him for having a hand in her murder (when really he was out of the country at the time and had nothing to do with it), he sought refuge in women, drugs and distractions.
One of the casualties of this distraction was Samantha, a California girl wanting to break into the business at the age of 13. They were alone, he was photographing her, clothes came off, drugs were ingested, sex resulted.
His actions were reprehensible. Inexcusable without question, but the way the system handled his case was also unfair. When the attorneys on both sides cry foul, you know something's wrong.
It could be argued that despite justice not being served, Polanski made the right decision deporting himself to France before his final sentencing. Assuming he's done no one else harm, he's certainly been more productive as a cinematic genius than he ever could have been eating up American taxpayers' money, rotting behind bars. Even his accuser didn't want that, and shouldn't she have a say in the matter?
I can't help but wonder what would've happened if he'd taken the offer to come back to the U.S. and had the case heard by a new judge.
```
Thursday, June 05, 2008
Wednesday, June 04, 2008
The Rocker
Tonight I screened The Rocker, starring Rainn Wilson and Christina Applegate.
Robert "Fish" Fishman (Wilson) is a washed-up ex-drummer from an 80s rock band living a mundane life when he snaps one day at work (over the-band-who-dumped-him's new album), gets fired, and breaks up with his girlfriend. As a result, he's forced to move in with his sister's family in Cleveland (in a house that magically overlooks the Rock and Roll Hall of Fame and Museum).
Coincidentally, his nerdy nephew is in a high school band and their drummer gets grounded at the last minute, leaving them without a drummer to play the upcoming prom (you see where this is going?)...so naturally, they take the 40-something uncle over all of the kids their own age who audition.
Fish gets his groove back after an invigorating (or excruciating) rendition of Peter Gabriel's "In Your Eyes" and convinces the band to let him stay on full-time. They begin remote practicing via webcams and soon enough a YouTube leak leads them to astronomical manufactured fame.
Kind of silly? Sure. But hilarious too.
Christina Applegate plays the leads singer's hot mom who warms up to Fish after joining the band on tour and a tender side story stays less-than-cheesy enough to remain pleasant.
I actually had a really good time at this film—and the supporting characters of familiar faces (Will Arnett, Fred Armisen, etc.) were a welcome icing on the comedic cake.
```
Robert "Fish" Fishman (Wilson) is a washed-up ex-drummer from an 80s rock band living a mundane life when he snaps one day at work (over the-band-who-dumped-him's new album), gets fired, and breaks up with his girlfriend. As a result, he's forced to move in with his sister's family in Cleveland (in a house that magically overlooks the Rock and Roll Hall of Fame and Museum).
Coincidentally, his nerdy nephew is in a high school band and their drummer gets grounded at the last minute, leaving them without a drummer to play the upcoming prom (you see where this is going?)...so naturally, they take the 40-something uncle over all of the kids their own age who audition.
Fish gets his groove back after an invigorating (or excruciating) rendition of Peter Gabriel's "In Your Eyes" and convinces the band to let him stay on full-time. They begin remote practicing via webcams and soon enough a YouTube leak leads them to astronomical manufactured fame.
Kind of silly? Sure. But hilarious too.
Christina Applegate plays the leads singer's hot mom who warms up to Fish after joining the band on tour and a tender side story stays less-than-cheesy enough to remain pleasant.
I actually had a really good time at this film—and the supporting characters of familiar faces (Will Arnett, Fred Armisen, etc.) were a welcome icing on the comedic cake.
```
Sunday, June 01, 2008
Savage Grace
Today I saw Savage Grace, starring Julianne Moore.
I will discuss it on a future episode of Cinebanter, so stay tuned.
I will discuss it on a future episode of Cinebanter, so stay tuned.
Saturday, May 31, 2008
Surfwise
Today I saw Surfwise, a documentary about the eccentric Dorian Paskowitz and his large, dysfunctional family.
The film chronicles the lives of Dorian and Juliette, a couple madly in love who married and raised their children as beach gypsies, offering them no education or permanent home.
They usually made their life on the beach—Dorian was a passionate surfer who passed along his love for the sport to all of his children. Aside from this, the children were exposed to music, books and endless travel. They slept "like puppies" according to Dorian, piled in next to one another in the camper, and ate nothing impure (mainly living on a gruel made up of berries, nuts, twigs, etc.). Exercise was important, as was a positive attitude and much rest.
Some may say that Dorian had it right to restrict social norms and create a utopian society for his family, but after seeing this, I can't help but be in the opposing camp.
The adult children, all of whom participate in the film, speak of being cheated out of an education (yet Dad was a Stanford-educated doctor before he married Mom) and forced unnecessarily to live in poverty throughout childhood. Most admit that once they were exposed to creature comforts most of us would take for granted, they begged for a sense of normalcy, which they never got. They also spoke repeatedly about being "scarred" sexually because their parents openly and freely made love in front of them on a nightly basis.
Instead of giving it all up for his children, the interviews with Dorian point to the fact he was doing it all for himself and acted as somewhat of a dictator in the household. There wasn't a lack of structure in their world, it was just one imposed by him rather than outside influences.
If Dorian and Juliette had not produced children, and chosen to live a gypsy lifestyle throughout their adult years, I would say power to them and perhaps even be a bit envious, but to bring children into this lifestyle was nothing short of irresponsible.
Thank goodness their love was enough to produce kind, thoughtful children who grew up to be adults that seem to understand they were "wronged," despite the fact they had some undeniably happy times growing up.
```
The film chronicles the lives of Dorian and Juliette, a couple madly in love who married and raised their children as beach gypsies, offering them no education or permanent home.
They usually made their life on the beach—Dorian was a passionate surfer who passed along his love for the sport to all of his children. Aside from this, the children were exposed to music, books and endless travel. They slept "like puppies" according to Dorian, piled in next to one another in the camper, and ate nothing impure (mainly living on a gruel made up of berries, nuts, twigs, etc.). Exercise was important, as was a positive attitude and much rest.
Some may say that Dorian had it right to restrict social norms and create a utopian society for his family, but after seeing this, I can't help but be in the opposing camp.
The adult children, all of whom participate in the film, speak of being cheated out of an education (yet Dad was a Stanford-educated doctor before he married Mom) and forced unnecessarily to live in poverty throughout childhood. Most admit that once they were exposed to creature comforts most of us would take for granted, they begged for a sense of normalcy, which they never got. They also spoke repeatedly about being "scarred" sexually because their parents openly and freely made love in front of them on a nightly basis.
Instead of giving it all up for his children, the interviews with Dorian point to the fact he was doing it all for himself and acted as somewhat of a dictator in the household. There wasn't a lack of structure in their world, it was just one imposed by him rather than outside influences.
If Dorian and Juliette had not produced children, and chosen to live a gypsy lifestyle throughout their adult years, I would say power to them and perhaps even be a bit envious, but to bring children into this lifestyle was nothing short of irresponsible.
Thank goodness their love was enough to produce kind, thoughtful children who grew up to be adults that seem to understand they were "wronged," despite the fact they had some undeniably happy times growing up.
```
Friday, May 30, 2008
Sex and the City
Tonight I saw Sex and the City, starring Sarah Jessica Parker and Chris Noth.
It was one of the topics of Cinebanter #53, which is available here.
It was one of the topics of Cinebanter #53, which is available here.
Thursday, May 29, 2008
Butterfly Dreaming
Tonight I attended the world premiere of Butterfly Dreaming, starring Andrew Bowen.
To read my review, visit Cinebanter.com.
An interview I conducted with the director and the star of the film can also be found there.
```
To read my review, visit Cinebanter.com.
An interview I conducted with the director and the star of the film can also be found there.
```
Monday, May 26, 2008
Sunday, May 25, 2008
An American Crime
Tonight I saw An American Crime, starring Catherine Keener and Ellen Page.
The story tells of the true 1965 torture and murder of Sylvia Likens (Page), a girl who was boarded, along with her sister, at the house of a crazy woman as her parents worked in a traveling carnival.
Keener expertly portrays the mother, Gertrude, who is equal parts righteous and restrained. You get the sense that in her warped head, she is doing the "right" thing by punishing a girl who supposedly talks trash about her daughter.
Of course Sylvia isn't really saying anything bad and the woman's daughter is the real whore of the house, but that doesn't stop Gertrude from beating, burning and humiliating her—and instructing others to play along.
The film is like a car accident: on one hand you can't stand to watch because it's morbid; on the other, you can't take your eyes off of it because it is so horrific.
The performances in this film are award-worthy and I hope both ladies get their due credit when all is said and done.
It can't have been an easy film to make.
```
The story tells of the true 1965 torture and murder of Sylvia Likens (Page), a girl who was boarded, along with her sister, at the house of a crazy woman as her parents worked in a traveling carnival.
Keener expertly portrays the mother, Gertrude, who is equal parts righteous and restrained. You get the sense that in her warped head, she is doing the "right" thing by punishing a girl who supposedly talks trash about her daughter.
Of course Sylvia isn't really saying anything bad and the woman's daughter is the real whore of the house, but that doesn't stop Gertrude from beating, burning and humiliating her—and instructing others to play along.
The film is like a car accident: on one hand you can't stand to watch because it's morbid; on the other, you can't take your eyes off of it because it is so horrific.
The performances in this film are award-worthy and I hope both ladies get their due credit when all is said and done.
It can't have been an easy film to make.
```
Recount
Tonight I watched Recount, starring Kevin Spacey.
It was exactly as I thought it would be—definitely painting a somewhat silly (if not deserving) picture of the republican party and the lawmakers in the election-challenged state of Florida.
Recalling the crises that was the 2000 presidential election, the film shows how both sides handled, maneuvered, fought, schemed, prayed and cried their way through the count, recount and all of the lawsuits in between.
It showed how our system was (is) clearly flawed and that politics were (are) well...ugly.
In other words, it didn't really tell us anything about the incident or about the country that we didn't already know, it just revived the stomach ache some of us still have from that fateful decision eight years ago (and when I say fateful, I do mean it—how many lives wouldn't have been lost if Bush never made it to office?).
And since we're in an election year now, it only makes those of us who are somewhat involved in the campaign all the more determined to see our part through, as well as reminding us that if we want our votes as Americans to truly count, we should stay out of Florida.
It was exactly as I thought it would be—definitely painting a somewhat silly (if not deserving) picture of the republican party and the lawmakers in the election-challenged state of Florida.
Recalling the crises that was the 2000 presidential election, the film shows how both sides handled, maneuvered, fought, schemed, prayed and cried their way through the count, recount and all of the lawsuits in between.
It showed how our system was (is) clearly flawed and that politics were (are) well...ugly.
In other words, it didn't really tell us anything about the incident or about the country that we didn't already know, it just revived the stomach ache some of us still have from that fateful decision eight years ago (and when I say fateful, I do mean it—how many lives wouldn't have been lost if Bush never made it to office?).
And since we're in an election year now, it only makes those of us who are somewhat involved in the campaign all the more determined to see our part through, as well as reminding us that if we want our votes as Americans to truly count, we should stay out of Florida.
Saturday, May 24, 2008
A Man's Job
Tonight I screened A Man's Job, which is a drama from Finland.
To read my review, visit Cinebanter.com.
To read my review, visit Cinebanter.com.
Sunday, May 11, 2008
The Visitor
Today I saw The Visitor, starring Richard Jenkins and Hiam Abbass.
It was the topic of Cinebanter #52, which is available here.
It was the topic of Cinebanter #52, which is available here.
Saturday, May 10, 2008
The Promotion
This morning I screened The Promotion, starring Seann William Scott and John C. Reilly.
Ordinary people are always great subjects for films because nine times out of ten there is nothing 'ordinary' about them. Maybe that's why this movie works.
Doug (Scott) is the assistant manager at a chain grocery store hoping to be named the manager of a new store that is opening nearby. He and his wife (the adorable Jenna Fischer) are scrimping and saving to get out of their noisy apartment, and a manager's salary could afford them a house.
Also hoping for a promotion is Richard (Reilly), who recently moved to the states from Canada with his Scottish wife (the versatile Lili Taylor) and daughter. He is a recovering drug addict who frequently relies on self-help tapes to get him through the day. Unfortunately for Doug, he's also a marvelous worker with a positive attitude.
Their both pretty normal people, but their minor quirks make them interesting enough for us to care. The antics begin early on and carry the film to the very end—which is something you'll clearly see coming. The supporting characters you'd expect (worthless manager, devoted wife, stuffy corporate reps) are all present and predictable, but it's okay in this case because the dialogue is so funny.
It's not the smartest film that's ever been made, and no profound lessons will be learned from viewing it, but you sure will have a good time.
Ordinary people are always great subjects for films because nine times out of ten there is nothing 'ordinary' about them. Maybe that's why this movie works.
Doug (Scott) is the assistant manager at a chain grocery store hoping to be named the manager of a new store that is opening nearby. He and his wife (the adorable Jenna Fischer) are scrimping and saving to get out of their noisy apartment, and a manager's salary could afford them a house.
Also hoping for a promotion is Richard (Reilly), who recently moved to the states from Canada with his Scottish wife (the versatile Lili Taylor) and daughter. He is a recovering drug addict who frequently relies on self-help tapes to get him through the day. Unfortunately for Doug, he's also a marvelous worker with a positive attitude.
Their both pretty normal people, but their minor quirks make them interesting enough for us to care. The antics begin early on and carry the film to the very end—which is something you'll clearly see coming. The supporting characters you'd expect (worthless manager, devoted wife, stuffy corporate reps) are all present and predictable, but it's okay in this case because the dialogue is so funny.
It's not the smartest film that's ever been made, and no profound lessons will be learned from viewing it, but you sure will have a good time.
Sunday, May 04, 2008
Thursday, May 01, 2008
Bottle Shock
Today I screened Bottle Shock, starring Bill Pullman and Alan Rickman.
My review of the film is available here at Cinebanter.com.
My review of the film is available here at Cinebanter.com.
Sunday, April 27, 2008
Then She Found Me
This morning I screened Then She Found Me, starring Helen Hunt and Colin Firth.
I was quite pleasantly surprised by the depth and meaning of this film.
The main character, April (Hunt), seems to have everything going wrong in her life: her adoptive mother just passed away, her husband cheated on her and left her, and she desperately wants to be a mom as she feels her biological clock ticking out of control. She's 39, a teacher and alone.
Then out of nowhere, her obnoxious biological mother (played by a perfectly cast Bette Midler) swoops back into her life to complicate things even further.
What saves the movie from being a complete downer is the lucky connection she makes with Frank (Firth), the father of one of her students, though she works hard to self-sabatoge that relationship too.
That's not to say that all (or any) of this is her fault—her persona is likable and sweet, if not pathetic, and you can't help but root for her. But what I liked the most about this intertwined story was that every situation could happen. April is not perfect, so when her character grows as a result of these experiences, it makes them all that more believable.
Hunt should be commended not only for her acting in this role, but for her directing, as she commands great performances from all involved.
The only elements of the film that bothered me were an early street scene between Hunt and Midler, which feels more like a theater performance than a conversation, and the fact that I found myself wanting to give April a hairstyle for the duration.
Otherwise, watching this movie is a great way to spend a couple of hours.
I was quite pleasantly surprised by the depth and meaning of this film.
The main character, April (Hunt), seems to have everything going wrong in her life: her adoptive mother just passed away, her husband cheated on her and left her, and she desperately wants to be a mom as she feels her biological clock ticking out of control. She's 39, a teacher and alone.
Then out of nowhere, her obnoxious biological mother (played by a perfectly cast Bette Midler) swoops back into her life to complicate things even further.
What saves the movie from being a complete downer is the lucky connection she makes with Frank (Firth), the father of one of her students, though she works hard to self-sabatoge that relationship too.
That's not to say that all (or any) of this is her fault—her persona is likable and sweet, if not pathetic, and you can't help but root for her. But what I liked the most about this intertwined story was that every situation could happen. April is not perfect, so when her character grows as a result of these experiences, it makes them all that more believable.
Hunt should be commended not only for her acting in this role, but for her directing, as she commands great performances from all involved.
The only elements of the film that bothered me were an early street scene between Hunt and Midler, which feels more like a theater performance than a conversation, and the fact that I found myself wanting to give April a hairstyle for the duration.
Otherwise, watching this movie is a great way to spend a couple of hours.
Monday, April 21, 2008
Forgetting Sarah Marshall
Tonight I saw Forgetting Sarah Marshall, starring Jason Segel.
It was the topic of Cinebanter #50, which is available here.
It was the topic of Cinebanter #50, which is available here.
Sunday, April 20, 2008
My Blueberry Nights
This morning I saw Blueberry Nights, starring Norah Jones and Jude Law.
I expected so much more from this film.
As a big fan of director Wong Kar Wai, I knew the movie would be shot beautifully, have a meaningful soundtrack and involve the topic of love. And I was right—all of those elements were present, but what was missing was the intrigue of his past films and actors who fit the parts.
Jude Law, who plays café server Jeremy, is the only one in this movie that seems to fit. He's a disheveled, lonely worker who genuinely misses his regular customer Elizabeth (Jones) when she suddenly disappears.
Jones, who has the voice of an angel and a stunning face to go with it, is sadly not much of an actress. I really, really wanted to like her in this role, but her delivery was so static and robotic, I couldn't be forced to care about her character.
Anyway, Elizabeth has just experienced a bitter breakup and is searching for something new to take away the pain. She begins a nightly ritual of visiting Jeremy in his café and eating blueberry pie with him into the wee hours of the night.
One day she decides the memories of her relationship in New York are too much for her to bear, so she sets out on a direction-less journey, which takes her to Memphis and Las Vegas. Along the way she encounters more poorly cast folks (Natalie Portman as a cheap gambler; David Strathairn as a possessive alcoholic) that are no more endearing than their caricatures would suggest.
The meandering nature of the film is somewhat of a hallmark for Kar Wai, but when it doesn't work it only forces us to look at our watch.
After leaving this long movie, which was actually quite brief, all I wanted to do was listen to Jones' hit CD Come Away With Me, watch Kar Wai's masterpiece In the Mood for Love and eat a slice of blueberry pie.
My own direction-less journey to take away the pain of this disappointment.
I expected so much more from this film.
As a big fan of director Wong Kar Wai, I knew the movie would be shot beautifully, have a meaningful soundtrack and involve the topic of love. And I was right—all of those elements were present, but what was missing was the intrigue of his past films and actors who fit the parts.
Jude Law, who plays café server Jeremy, is the only one in this movie that seems to fit. He's a disheveled, lonely worker who genuinely misses his regular customer Elizabeth (Jones) when she suddenly disappears.
Jones, who has the voice of an angel and a stunning face to go with it, is sadly not much of an actress. I really, really wanted to like her in this role, but her delivery was so static and robotic, I couldn't be forced to care about her character.
Anyway, Elizabeth has just experienced a bitter breakup and is searching for something new to take away the pain. She begins a nightly ritual of visiting Jeremy in his café and eating blueberry pie with him into the wee hours of the night.
One day she decides the memories of her relationship in New York are too much for her to bear, so she sets out on a direction-less journey, which takes her to Memphis and Las Vegas. Along the way she encounters more poorly cast folks (Natalie Portman as a cheap gambler; David Strathairn as a possessive alcoholic) that are no more endearing than their caricatures would suggest.
The meandering nature of the film is somewhat of a hallmark for Kar Wai, but when it doesn't work it only forces us to look at our watch.
After leaving this long movie, which was actually quite brief, all I wanted to do was listen to Jones' hit CD Come Away With Me, watch Kar Wai's masterpiece In the Mood for Love and eat a slice of blueberry pie.
My own direction-less journey to take away the pain of this disappointment.
Thursday, April 10, 2008
The Life Before Her Eyes
Tonight I saw a screening of The Life Before Her Eyes, starring Uma Thurman and Evan Rachel Wood.
If you could see your future life before your eyes, would it change how you live and love in the present?
At the root of this story, that's what's being asked of the audience.
We see a rebellious teenage Diana (Wood) bored with classes, free with sex and cold to her mother. When a Columbine-like shooting happens at her high school, and the killer is a boy who told her the previous day he was going to do it, we're forced to watch Diana and her best friend lobby for their lives. The scenes (some may call flashbacks; others may not) are brutally tension-filled and well-acted, which makes them incredibly hard to repeatedly sit through.
In parallel frames of the film, we see a thirtysomething Diana, now played by Thurman, in an unstable marriage with a bratty daughter of her own. She's struggling to get through the anniversary of the massacre and live her life in a meaningful way despite its dysfunctions.
The hard-to-believe part of the film was the fact Diana became a teacher. If I were the victim of a school shooting, the last place I'd probably want to spend every day would be at a school.
That said, the character in question and all of her actions are completely up for interpretation, so that last paragraph there could be erased, depending on how you digest one of the twists.
Regardless of where you think the story goes or went, no one can argue that the two leads aren't superb. Wood is an actress so gifted, her eyes convey her character's intentions and her body and words simply follow; Thurman brings a maturity I've never seen from her to the role, portraying 'damaged' in a painfully authentic and vulnerable way.
I would recommend this film as food for thought, if nothing else. And those of you who have seen it—I'd love to debate the ending with you.
E-mail me at tekatu2@gmail.com with your theories...
If you could see your future life before your eyes, would it change how you live and love in the present?
At the root of this story, that's what's being asked of the audience.
We see a rebellious teenage Diana (Wood) bored with classes, free with sex and cold to her mother. When a Columbine-like shooting happens at her high school, and the killer is a boy who told her the previous day he was going to do it, we're forced to watch Diana and her best friend lobby for their lives. The scenes (some may call flashbacks; others may not) are brutally tension-filled and well-acted, which makes them incredibly hard to repeatedly sit through.
In parallel frames of the film, we see a thirtysomething Diana, now played by Thurman, in an unstable marriage with a bratty daughter of her own. She's struggling to get through the anniversary of the massacre and live her life in a meaningful way despite its dysfunctions.
The hard-to-believe part of the film was the fact Diana became a teacher. If I were the victim of a school shooting, the last place I'd probably want to spend every day would be at a school.
That said, the character in question and all of her actions are completely up for interpretation, so that last paragraph there could be erased, depending on how you digest one of the twists.
Regardless of where you think the story goes or went, no one can argue that the two leads aren't superb. Wood is an actress so gifted, her eyes convey her character's intentions and her body and words simply follow; Thurman brings a maturity I've never seen from her to the role, portraying 'damaged' in a painfully authentic and vulnerable way.
I would recommend this film as food for thought, if nothing else. And those of you who have seen it—I'd love to debate the ending with you.
E-mail me at tekatu2@gmail.com with your theories...
Saturday, April 05, 2008
Snow Angels
Tonight I saw Snow Angels, starring Kate Beckinsale and Sam Rockwell.
It is the topic of Cinebanter #49, which is available here.
It is the topic of Cinebanter #49, which is available here.
Wednesday, April 02, 2008
Married Life
Tonight I saw Married Life, starring Chris Cooper and Pierce Brosnan.
I wonder why this isn't getting more press?
It's a woven tale of love, lies, lust and deceit, featuring brilliant actors, clever writing and solid direction. I was thoroughly entertained.
Harry (Cooper) is a man an an unhappy marriage (it's just based on sex) to Pat (Patricia Clarkson), who desires to marry his mistress for love (Rachel McAdams). It looks as though that will happen until outside interference throws everything out of sync.
Pierce Brosnan plays Rich, Harry's single best friend who narrates the story, and gives a charming Pierce-like performance.
There are a lot of twists and turns to all of the relationships (none I can mention without spoiling), some predictable; others not at all. This light and fast-paced journey has so much substance underneath, it's almost as if the audience is tricked into pondering life's big questions upon leaving the theater.
Very well done—anyone who's ever kept secrets from their lover (or had secrets kept from them by their lover) should see it. And then promptly get a divorce.
I wonder why this isn't getting more press?
It's a woven tale of love, lies, lust and deceit, featuring brilliant actors, clever writing and solid direction. I was thoroughly entertained.
Harry (Cooper) is a man an an unhappy marriage (it's just based on sex) to Pat (Patricia Clarkson), who desires to marry his mistress for love (Rachel McAdams). It looks as though that will happen until outside interference throws everything out of sync.
Pierce Brosnan plays Rich, Harry's single best friend who narrates the story, and gives a charming Pierce-like performance.
There are a lot of twists and turns to all of the relationships (none I can mention without spoiling), some predictable; others not at all. This light and fast-paced journey has so much substance underneath, it's almost as if the audience is tricked into pondering life's big questions upon leaving the theater.
Very well done—anyone who's ever kept secrets from their lover (or had secrets kept from them by their lover) should see it. And then promptly get a divorce.
Friday, March 28, 2008
Wednesday, March 19, 2008
Young at Heart
Tonight I saw the documentary Young at Heart, directed by Stephen Walker.
What a refreshing change from the slew of war films permeating the industry!
In Northampton, Mass., there lives a spirited chorus called Young at Heart. This chorus is made up of 'mature' singers (average age: 80) who come together to practice, perform and tour throughout the year. And quite frankly, they rock.
Seriously.
They're not singing Gershwin classics or busting out ancient showtunes, they're singing Sprinsgteen and Sonic Youth—and they're pulling it off.
The story follows the group from the point that they begin learning their new lineup of songs to their first performance of the set. Like any group, they have a nervous leader who pushes them and loses his patience with their pace from time to time, but they seem to enjoy it all nonetheless.
As the filmmaker follows various singers home, we get a glimpse of what these individuals were probably like in their prime: spunky, daring, full of life. Kind of like now.
Watching them enjoy the process and the friends they make along the way is truly a pleasure and hearing them interpret modern music for the first time is somewhat hilarious.
Of course, since they're old, there are members of the chorus with health problems. The only hard part of watching the film is seeing those few struggle with their ailments. But overall, what could be terribly depressing is just a minor pause along the way of this fun, inspiring film.
Although the Sinéad and Coldplay sections made me sob, the rest of the movie had me smiling throughout. And as someone who felt her life sort of ended when she turned 30, I do feel slightly ashamed.
If these folks can get out of bed and to choir practice 3 days a week, then take their show on the road, what the hell do I have to complain about?
Only that there aren't more films like this one.
Note: to purchase Young at Heart merchandise, visit the chorus's official Web site at youngatheartchorus.com.
What a refreshing change from the slew of war films permeating the industry!
In Northampton, Mass., there lives a spirited chorus called Young at Heart. This chorus is made up of 'mature' singers (average age: 80) who come together to practice, perform and tour throughout the year. And quite frankly, they rock.
Seriously.
They're not singing Gershwin classics or busting out ancient showtunes, they're singing Sprinsgteen and Sonic Youth—and they're pulling it off.
The story follows the group from the point that they begin learning their new lineup of songs to their first performance of the set. Like any group, they have a nervous leader who pushes them and loses his patience with their pace from time to time, but they seem to enjoy it all nonetheless.
As the filmmaker follows various singers home, we get a glimpse of what these individuals were probably like in their prime: spunky, daring, full of life. Kind of like now.
Watching them enjoy the process and the friends they make along the way is truly a pleasure and hearing them interpret modern music for the first time is somewhat hilarious.
Of course, since they're old, there are members of the chorus with health problems. The only hard part of watching the film is seeing those few struggle with their ailments. But overall, what could be terribly depressing is just a minor pause along the way of this fun, inspiring film.
Although the Sinéad and Coldplay sections made me sob, the rest of the movie had me smiling throughout. And as someone who felt her life sort of ended when she turned 30, I do feel slightly ashamed.
If these folks can get out of bed and to choir practice 3 days a week, then take their show on the road, what the hell do I have to complain about?
Only that there aren't more films like this one.
Note: to purchase Young at Heart merchandise, visit the chorus's official Web site at youngatheartchorus.com.
Saturday, March 01, 2008
The Other Boleyn Girl
This morning I saw The Other Boleyn Girl, starring Natalie Portman and Scarlett Johanssen.
It was the topic of Cinebanter #47, so click here to download the episode.
It was the topic of Cinebanter #47, so click here to download the episode.
Saturday, February 16, 2008
Om natten (At Night)
Today I saw Om natten, which is an Oscar® nominee in the Live Action Short Film category.
Set in a cancer hospital in Denmark, three young women bond over their "death sentences," their family problems and their hope for recovery (or lack thereof).
I always think one way to measure a good film is if it feels like the characters are still in existence after you leave the theater. With this one, I truly did.
The actresses that portray Stephanie, Sara and Mette deserve nominations of their own for their convincing moments as sick and conflicted women. The fact the film is set over the holidays only compounds the tears you'll shed as you dive into their world head-first, but you'll still be glad you spent time with them when all is said and done. After 39 minutes, I'm bargaining you'll feel grateful for your own blessings more than you did prior to seeing this.
If I could vote, this would easily be my pick to win.
Set in a cancer hospital in Denmark, three young women bond over their "death sentences," their family problems and their hope for recovery (or lack thereof).
I always think one way to measure a good film is if it feels like the characters are still in existence after you leave the theater. With this one, I truly did.
The actresses that portray Stephanie, Sara and Mette deserve nominations of their own for their convincing moments as sick and conflicted women. The fact the film is set over the holidays only compounds the tears you'll shed as you dive into their world head-first, but you'll still be glad you spent time with them when all is said and done. After 39 minutes, I'm bargaining you'll feel grateful for your own blessings more than you did prior to seeing this.
If I could vote, this would easily be my pick to win.
Le Mozart des pickpockets
Today I saw Le Mozart des pickpockets, which is an Oscar® nominee in the Live Action Short Film category.
France's Philippe Pollet-Villard wrote and directed this comedy about two thieves that accumulate passports, cash and credit cards from unknowing victims and somehow along the way pick up a deaf-mute child. Their banter is borderline charming as they work to communicate with their new 'son' and continue the cons that make their living.
I enjoyed this film quite a lot—even though one scene made me grab my purse from the chair next to me where it was resting.
It takes a non-admirable practice and brings light to it in an Odd Couple spirit (and adding in the cute kid doesn't hurt).
You'll probably leave the theater smiling in spite of yourself.
France's Philippe Pollet-Villard wrote and directed this comedy about two thieves that accumulate passports, cash and credit cards from unknowing victims and somehow along the way pick up a deaf-mute child. Their banter is borderline charming as they work to communicate with their new 'son' and continue the cons that make their living.
I enjoyed this film quite a lot—even though one scene made me grab my purse from the chair next to me where it was resting.
It takes a non-admirable practice and brings light to it in an Odd Couple spirit (and adding in the cute kid doesn't hurt).
You'll probably leave the theater smiling in spite of yourself.
The Tonto Woman
Today I saw The Tonto Woman, which is an Oscar® nominee in the Live Action Short Film Category.
For a short film, this sure went on for a long time.
The story is based on an Elmore Leonard work about a woman who is kidnapped by the Apaches and traded to the Mojaves, then returned 'tainted' to her husband. A friendly Mexican happens upon her bathing topless in the desert one day and becomes her confidant. He convinces her of her worth (which her husband seems to be ignoring), then something happens at the end which I won't spoil here.
I couldn't help but think that the only nominee in this category that is spoken in English would hold my attention more than the others, but I couldn't have been more wrong. Aside from the gratuitous (and non-sensual) nudity, I felt that what could've been a shocking story became very stale in this delivery. I wanted to care about the characters, but really didn't, and the ending was quite predictable.
It wouldn't get my vote if I were a member of the Academy.
For a short film, this sure went on for a long time.
The story is based on an Elmore Leonard work about a woman who is kidnapped by the Apaches and traded to the Mojaves, then returned 'tainted' to her husband. A friendly Mexican happens upon her bathing topless in the desert one day and becomes her confidant. He convinces her of her worth (which her husband seems to be ignoring), then something happens at the end which I won't spoil here.
I couldn't help but think that the only nominee in this category that is spoken in English would hold my attention more than the others, but I couldn't have been more wrong. Aside from the gratuitous (and non-sensual) nudity, I felt that what could've been a shocking story became very stale in this delivery. I wanted to care about the characters, but really didn't, and the ending was quite predictable.
It wouldn't get my vote if I were a member of the Academy.
Il Supplente
Today I saw Il Supplente, an Oscar® nominee in the Live Action Short Film category.
Italy's Andrea Jublin brings us rapidly into the classroom where all hell is breaking loose with the new substitute teacher. Usually when this happens, it's because the teacher has lost all control of the students. In this setting, the instructor is purposely wreaking havoc, chiming in with others to make fun of the fat kid, persuading one girl to hand over her diary and generally acting like an asshole.
This should be funny, but to me no part of it was. I thought the ending may redeem where the story had gone, but instead it carried the same cheap torch to the finish line.
It's disappointing this is even in the running for an Academy Award®.
Italy's Andrea Jublin brings us rapidly into the classroom where all hell is breaking loose with the new substitute teacher. Usually when this happens, it's because the teacher has lost all control of the students. In this setting, the instructor is purposely wreaking havoc, chiming in with others to make fun of the fat kid, persuading one girl to hand over her diary and generally acting like an asshole.
This should be funny, but to me no part of it was. I thought the ending may redeem where the story had gone, but instead it carried the same cheap torch to the finish line.
It's disappointing this is even in the running for an Academy Award®.
Tanghi Argentini
Today I saw Tanghi Argentini, one of the Oscar® nominees in the Live Action Short Film category.
In this 14-minute wonder, Belgium's Guido Thys brings us the sweet story of a man desperate to learn the tango so he can impress a date he's met on the Internet (with a screen name like "Bing Crosby" you can't help but root for him).
After much persuasion, he convinces a co-worker to teach him the crucial moves and what unfolds after that is pure delight.
This easily earned its nomination.
In this 14-minute wonder, Belgium's Guido Thys brings us the sweet story of a man desperate to learn the tango so he can impress a date he's met on the Internet (with a screen name like "Bing Crosby" you can't help but root for him).
After much persuasion, he convinces a co-worker to teach him the crucial moves and what unfolds after that is pure delight.
This easily earned its nomination.
Sunday, February 10, 2008
4 Months, 3 Weeks and 2 Days
Today I saw 4 Months, 3 Weeks and 2 Days, starring Anamaria Marinca and Laura Vasiliu.
Who knew that a film could be both pro-life and pro-choice?
The time is the 1980s, the place is Romania. One college student, Gabriela (Vasiliu) is desperate to get an abortion; her roommate Otilia (Marinca) is just as desperate to help her. In their current society, it is illegal for Gabriela to have the procedure, so they learn through a friend of a man who performs them secretly.
After the maddening dash to secure a hotel room to perform the procedure in, we're introduced to the less-than-noble abortionist, Mr. Bebe (Vlod Ivanov), who scolds the girls for not following his instructions to the letter and maliciously makes them pay for it.
The story progresses in real-time from Gabriela's decision, Otilia's turmoil over the ordeal and the resulting emotional damage.
I won't say any further about specifics because I couldn't without spoiling, but I will say that as a woman, I had to leave the theater once because I thought I was going to be sick.
The things they choose to put the audience through (and the things they make you see) are so harrowing you can't help but envision yourself in place of the girls and wonder if you'd make the same decisions.
The film is pro-life because it truly shows the dangers and horrors of what an abortion can do, both physically and emotionally. It is pro-choice because most of those horrors are avoided by the option of legal abortions, performed by doctors in sterile, safe environments.
It's a travesty that this film wasn't nominated for several Oscars and also that it's currently only being shown in limited release. Everyone should see this. Especially those here in the U.S. that think Roe vs. Wade should be overturned. I can't imagine that after seeing this any of them could sleep at night picturing their daughter or girlfriend or sister in a similar situation.
The bravery of the filmmakers to bring us such a graphic, honest rendition of the controversial topic cannot be understated.
Go see this. But go on an empty stomach.
Who knew that a film could be both pro-life and pro-choice?
The time is the 1980s, the place is Romania. One college student, Gabriela (Vasiliu) is desperate to get an abortion; her roommate Otilia (Marinca) is just as desperate to help her. In their current society, it is illegal for Gabriela to have the procedure, so they learn through a friend of a man who performs them secretly.
After the maddening dash to secure a hotel room to perform the procedure in, we're introduced to the less-than-noble abortionist, Mr. Bebe (Vlod Ivanov), who scolds the girls for not following his instructions to the letter and maliciously makes them pay for it.
The story progresses in real-time from Gabriela's decision, Otilia's turmoil over the ordeal and the resulting emotional damage.
I won't say any further about specifics because I couldn't without spoiling, but I will say that as a woman, I had to leave the theater once because I thought I was going to be sick.
The things they choose to put the audience through (and the things they make you see) are so harrowing you can't help but envision yourself in place of the girls and wonder if you'd make the same decisions.
The film is pro-life because it truly shows the dangers and horrors of what an abortion can do, both physically and emotionally. It is pro-choice because most of those horrors are avoided by the option of legal abortions, performed by doctors in sterile, safe environments.
It's a travesty that this film wasn't nominated for several Oscars and also that it's currently only being shown in limited release. Everyone should see this. Especially those here in the U.S. that think Roe vs. Wade should be overturned. I can't imagine that after seeing this any of them could sleep at night picturing their daughter or girlfriend or sister in a similar situation.
The bravery of the filmmakers to bring us such a graphic, honest rendition of the controversial topic cannot be understated.
Go see this. But go on an empty stomach.
Saturday, February 02, 2008
I'm Not There
This morning I saw I'm Not There, starring Cate Blanchett and Heath Ledger.
It's an avant garde approach to Bob Dylan's life, told through a series of sequences that feature a number of different actors portraying the folk legend. Really, it's over two hours of hits and misses.
The hits come in the performances, first and foremost. Blanchett is clearly the standout, brilliantly adapting the mannerisms, sound and look of the star while placing her own charismatic stamp on the story. The more we see from her, the more we can't help but wish the entire movie was only her. She could've easily pulled off all of the complexities the filmmakers were trying to convey. Particularly hilarious is a scene of her frolicking with "The Beatles."
Also great is the late Heath Ledger. He plays Dylan with a combination of sexiness and swagger that goes way beyond the charm of the real man. While vastly different from Dylan in both physique and spirit, Ledger manages to convince us in his first few moments on screen, just "which" Bob we're watching.
In addition to the major players, there are also a sprinkling of supporting characters that infuse great amounts of life into the narrative. Namely, Julianne Moore and Michelle Williams.
The beauty of the way the film is shot also contributes to its successes—the Dylans, etc. move freely between grainy black-and-white 'footage' and gorgeous, full-color frames. At no point does this become distracting or confusing, in fact, it actually helps move the story along.
And that's where the misses come in. As someone who is not much of a Dylan fan, I went into the film hoping to learn more about why he rose to fame (and stayed there). Unfortunately, this doesn't tell me much. I already knew he was a philosopher, a liar, a poet, a rebel, etc. but what I didn't know was why?
Although elements of his character are exhibited by the various actors (some miscast, by the way: Christian Bale), the movie seems so caught up in its artsyness that it can't quite connect to its purpose.
And the more I think about it, maybe that's why I'm not much of a Dylan fan.
It's an avant garde approach to Bob Dylan's life, told through a series of sequences that feature a number of different actors portraying the folk legend. Really, it's over two hours of hits and misses.
The hits come in the performances, first and foremost. Blanchett is clearly the standout, brilliantly adapting the mannerisms, sound and look of the star while placing her own charismatic stamp on the story. The more we see from her, the more we can't help but wish the entire movie was only her. She could've easily pulled off all of the complexities the filmmakers were trying to convey. Particularly hilarious is a scene of her frolicking with "The Beatles."
Also great is the late Heath Ledger. He plays Dylan with a combination of sexiness and swagger that goes way beyond the charm of the real man. While vastly different from Dylan in both physique and spirit, Ledger manages to convince us in his first few moments on screen, just "which" Bob we're watching.
In addition to the major players, there are also a sprinkling of supporting characters that infuse great amounts of life into the narrative. Namely, Julianne Moore and Michelle Williams.
The beauty of the way the film is shot also contributes to its successes—the Dylans, etc. move freely between grainy black-and-white 'footage' and gorgeous, full-color frames. At no point does this become distracting or confusing, in fact, it actually helps move the story along.
And that's where the misses come in. As someone who is not much of a Dylan fan, I went into the film hoping to learn more about why he rose to fame (and stayed there). Unfortunately, this doesn't tell me much. I already knew he was a philosopher, a liar, a poet, a rebel, etc. but what I didn't know was why?
Although elements of his character are exhibited by the various actors (some miscast, by the way: Christian Bale), the movie seems so caught up in its artsyness that it can't quite connect to its purpose.
And the more I think about it, maybe that's why I'm not much of a Dylan fan.
Friday, February 01, 2008
Michael Clayton
Tonight I saw Michael Clayton, starring George Clooney and Tom Wilkinson.
Forgive me for being stunned, but how did this manage to rack up an Oscar® nomination for Best Picture? It's a solid movie with solid acting, but that's about it.
Clooney does fine as the title character, a legal 'fixer-upper' sort that seems to constantly be in more danger than he realizes. Wilkinson also shines as Arthur, a chemically imbalanced member of the same legal firm that is threatening to turn one of their big corporate cases upside down. Everyone else is gravy.
The story follows a damning memorandum in reverse to explain how the characters come to be (or not) four days later. I found these flashbacks irritating—not because I didn't understand them—because the same tale could've been told in a linear fashion with more exciting results. Once you catch on to the Same Old Corporate Argument, it's pretty clear who will reign victorious when all is said and done (allowing, of course, for at least one shocking death).
Tilda Swinton plays a minor role as a major player in the case, and she's good as usual, but almost underutilized for the amount of time she appears on screen.
I suppose what I'm trying to say is that I went into the film hoping to be dazzled by a smart thriller and unfortunately got a little bored.
Forgive me for being stunned, but how did this manage to rack up an Oscar® nomination for Best Picture? It's a solid movie with solid acting, but that's about it.
Clooney does fine as the title character, a legal 'fixer-upper' sort that seems to constantly be in more danger than he realizes. Wilkinson also shines as Arthur, a chemically imbalanced member of the same legal firm that is threatening to turn one of their big corporate cases upside down. Everyone else is gravy.
The story follows a damning memorandum in reverse to explain how the characters come to be (or not) four days later. I found these flashbacks irritating—not because I didn't understand them—because the same tale could've been told in a linear fashion with more exciting results. Once you catch on to the Same Old Corporate Argument, it's pretty clear who will reign victorious when all is said and done (allowing, of course, for at least one shocking death).
Tilda Swinton plays a minor role as a major player in the case, and she's good as usual, but almost underutilized for the amount of time she appears on screen.
I suppose what I'm trying to say is that I went into the film hoping to be dazzled by a smart thriller and unfortunately got a little bored.
Tuesday, January 29, 2008
Lars and the Real Girl
Tonight I saw Lars and the Real Girl, starring Ryan Gosling and Emily Mortimer.
How often do devastation and hilarity find themselves in the same movie? Seldom. But here, we have a glowing example.
Lars Lindstrom (Gosling) is a lonely, single man living in the garage of his family home, next door to his brother and sister-in-law, who reside in the same house. He makes his way through life devoid of affection, by choice, which his doting sister-in-law Karin (Mortimer) finds troubling.
He works in a generic office, with somewhat generic people, and despite the attempts of a co-worker, he doesn't date. In fact, he rarely leaves his home, save for work and church.
One day, his cubicle mate shows him a Web site that sells custom-made 'real' dolls. He promptly orders one and is soon introducing everyone to his new girlfriend, Bianca.
His brother is so immediately horrified by this development, he tricks Lars into a therapy appointment by alleging Bianca needs a check-up. The doctor, Dagmar (played expertly by Patricia Clarkson) concludes that the best way to handle this delusion is to play along with the relationship and treat Bianca as an actual girlfriend. They schedule regular appointments for the doll, claiming she needs 'treatments' and she uses the time to counsel Lars discreetly.
What results is a hilarious journey the whole town soon embarks on, complete with invented jobs (the mall needs mannequins; the hospital needs volunteers), social engagements (Bianca doesn't drink, but attends parties) and marital-like disputes.
The entire plot and execution is positively absurd, but for some reason, it works. Instead of the situation appearing creepy, it's endearing, and once we learn why Lars needs to soften his pain with the help of this fictional friend, we're compelled to root for him.
Anyone who has felt hollow or lacked companionship for any length of time with empathize with the sentiment; those who have never been alone will weep for those who are.
And aside from his appearance strangely resembling David Arquette, Ryan Gosling does an incredible job manipulating his mannerisms and his speech to pull off this character.
It's just amazing that the only Oscar this film is nominated for is the screenplay.
How often do devastation and hilarity find themselves in the same movie? Seldom. But here, we have a glowing example.
Lars Lindstrom (Gosling) is a lonely, single man living in the garage of his family home, next door to his brother and sister-in-law, who reside in the same house. He makes his way through life devoid of affection, by choice, which his doting sister-in-law Karin (Mortimer) finds troubling.
He works in a generic office, with somewhat generic people, and despite the attempts of a co-worker, he doesn't date. In fact, he rarely leaves his home, save for work and church.
One day, his cubicle mate shows him a Web site that sells custom-made 'real' dolls. He promptly orders one and is soon introducing everyone to his new girlfriend, Bianca.
His brother is so immediately horrified by this development, he tricks Lars into a therapy appointment by alleging Bianca needs a check-up. The doctor, Dagmar (played expertly by Patricia Clarkson) concludes that the best way to handle this delusion is to play along with the relationship and treat Bianca as an actual girlfriend. They schedule regular appointments for the doll, claiming she needs 'treatments' and she uses the time to counsel Lars discreetly.
What results is a hilarious journey the whole town soon embarks on, complete with invented jobs (the mall needs mannequins; the hospital needs volunteers), social engagements (Bianca doesn't drink, but attends parties) and marital-like disputes.
The entire plot and execution is positively absurd, but for some reason, it works. Instead of the situation appearing creepy, it's endearing, and once we learn why Lars needs to soften his pain with the help of this fictional friend, we're compelled to root for him.
Anyone who has felt hollow or lacked companionship for any length of time with empathize with the sentiment; those who have never been alone will weep for those who are.
And aside from his appearance strangely resembling David Arquette, Ryan Gosling does an incredible job manipulating his mannerisms and his speech to pull off this character.
It's just amazing that the only Oscar this film is nominated for is the screenplay.
Monday, January 28, 2008
Atonement
Today I saw Atonement, starring Keira Knightley and James McAvoy.
This film has all the hallmarks of a Best Picture candidate: attractive stars, solid acting, sweeping landscapes, love, war, betrayal and dueling sisters. But what it lacked, was the 'it' factor that takes the characters to another (necessary) level.
In the story we briefly see Cecilia (Knightley) fall in love/lust with Robbie (McAvoy). Their chemistry isn't electric enough for the audience to feel the jolt of their passion, but their intentions are explained in a letter intercepted by Cecilia's mischievous younger sister Briony (played by three different actresses, to demonstrate each age).
Briony, also a budding writer, uses the letter and a glimpse of consensual intercourse that she interrupts, as her basis for pinning a rape on Robbie, though she knows he's not guilty. It seems she was jealous of his affection for her sister and would've liked him for herself.
This selfish action costs Robbie his freedom and Cecilia years of misery as she pines for him. It also eats away at the older Briony, who wrestles with coming forward to right her catastrophic wrong.
In the middle, we see Robbie go to war and both sisters become nurses. This is the part of the film that nearly put me to sleep. Maybe I'm an unabashed romantic, but couldn't there have been some steamy scenes of them fantasizing about one another? Couldn't we witness more correspondence between the two, or at least see more of the agonizing ways they passed time during their separation?
I believed that the younger sister really did want to atone for her sins, but I wasn't entirely convinced that a soldier and a nurse, a great distance apart from each other, were going to stay so true to their hearts. And I certainly wanted to.
At the core of the story is a beautiful message: true love is worth waiting for no matter what the cost in time.
This ending leaves pessimists satisfied that the lies added up to ultimate heartbreak; the romantics will believe their characters passed in succession so they could find harmony on the other side.
A great love story this is not, but at least it leaves us pondering.
This film has all the hallmarks of a Best Picture candidate: attractive stars, solid acting, sweeping landscapes, love, war, betrayal and dueling sisters. But what it lacked, was the 'it' factor that takes the characters to another (necessary) level.
In the story we briefly see Cecilia (Knightley) fall in love/lust with Robbie (McAvoy). Their chemistry isn't electric enough for the audience to feel the jolt of their passion, but their intentions are explained in a letter intercepted by Cecilia's mischievous younger sister Briony (played by three different actresses, to demonstrate each age).
Briony, also a budding writer, uses the letter and a glimpse of consensual intercourse that she interrupts, as her basis for pinning a rape on Robbie, though she knows he's not guilty. It seems she was jealous of his affection for her sister and would've liked him for herself.
This selfish action costs Robbie his freedom and Cecilia years of misery as she pines for him. It also eats away at the older Briony, who wrestles with coming forward to right her catastrophic wrong.
In the middle, we see Robbie go to war and both sisters become nurses. This is the part of the film that nearly put me to sleep. Maybe I'm an unabashed romantic, but couldn't there have been some steamy scenes of them fantasizing about one another? Couldn't we witness more correspondence between the two, or at least see more of the agonizing ways they passed time during their separation?
I believed that the younger sister really did want to atone for her sins, but I wasn't entirely convinced that a soldier and a nurse, a great distance apart from each other, were going to stay so true to their hearts. And I certainly wanted to.
At the core of the story is a beautiful message: true love is worth waiting for no matter what the cost in time.
This ending leaves pessimists satisfied that the lies added up to ultimate heartbreak; the romantics will believe their characters passed in succession so they could find harmony on the other side.
A great love story this is not, but at least it leaves us pondering.
Sunday, January 20, 2008
Before the Devil Knows You're Dead
Tonight I saw Before the Devil Knows You're Dead, starring Philip Seymour Hoffman and Ethan Hawke.
In this unconventional story of brotherhood, Andy (Hoffman) is a successful real estate mogul who is married to Gina (Tomei), the very definition of a dumb broad.
His brother Hank (Hawke) is not the sharpest tool in the shed, but is somewhat redeemed by his genuine love for his daughter. Unfortunately he also loves Gina, who he is having an affair with, unbeknownst to anyone but them.
For some reason, everyone is in need of cash. Andy for drugs and an escape to Brazil, Hank for child support, and Gina for...well...we assume shopping. And maybe upkeep of her most valuable asset (her body, which we see revealed throughout the film).
There isn't too much background on why neither son has a great relationship with their parents, but for what it's worth, they must not feel comfortable approaching them for a loan since they decide to rob their jewelry store instead.
It sounds ridiculous, but because I've read a lot of Dominick Dunne in my time, I know this sort of thing actually happens. That knowledge affords a special suspension of disbelief while witnessing the smart brother hatch the plan and impose it on the dumb brother (you'd think he'd just employ someone smarter to do it, to be sure they wouldn't screw it up).
What transpires at the robbery triggers a sequence of Babel-like events that basically all lead back to the moral of the story: don't lie, steal, cheat or shoot people.
The film is well-acted and the pace is comfortably fast, but I am a little mystified why this received such universal praise. The plot twists aren't surprising and there aren't a lot of characters to root for. What we learn is that people are basically rotten and the actions of smart people and dumb people are interchangeable when their intent is dishonorable.
What results is entertainment that resembles the nightly news: while compelling to watch, it can also turn your stomach.
In this unconventional story of brotherhood, Andy (Hoffman) is a successful real estate mogul who is married to Gina (Tomei), the very definition of a dumb broad.
His brother Hank (Hawke) is not the sharpest tool in the shed, but is somewhat redeemed by his genuine love for his daughter. Unfortunately he also loves Gina, who he is having an affair with, unbeknownst to anyone but them.
For some reason, everyone is in need of cash. Andy for drugs and an escape to Brazil, Hank for child support, and Gina for...well...we assume shopping. And maybe upkeep of her most valuable asset (her body, which we see revealed throughout the film).
There isn't too much background on why neither son has a great relationship with their parents, but for what it's worth, they must not feel comfortable approaching them for a loan since they decide to rob their jewelry store instead.
It sounds ridiculous, but because I've read a lot of Dominick Dunne in my time, I know this sort of thing actually happens. That knowledge affords a special suspension of disbelief while witnessing the smart brother hatch the plan and impose it on the dumb brother (you'd think he'd just employ someone smarter to do it, to be sure they wouldn't screw it up).
What transpires at the robbery triggers a sequence of Babel-like events that basically all lead back to the moral of the story: don't lie, steal, cheat or shoot people.
The film is well-acted and the pace is comfortably fast, but I am a little mystified why this received such universal praise. The plot twists aren't surprising and there aren't a lot of characters to root for. What we learn is that people are basically rotten and the actions of smart people and dumb people are interchangeable when their intent is dishonorable.
What results is entertainment that resembles the nightly news: while compelling to watch, it can also turn your stomach.
Saturday, January 19, 2008
There Will Be Blood
This morning I saw There Will Be Blood, starring Daniel Day-Lewis and Paul Dano.
It is the topic of Cinebanter #46, which is available here.
It is the topic of Cinebanter #46, which is available here.
Thursday, January 17, 2008
Tuesday, January 15, 2008
Here Is What Is
A few nights ago I screened the new Daniel Lanois documentary Here Is What Is.
My review can be found here at @U2.
To purchase Danny's new album and documentary, visit Red Floor Records.
My review can be found here at @U2.
To purchase Danny's new album and documentary, visit Red Floor Records.
Tuesday, January 01, 2008
The Diving Bell and the Butterfly
Today I saw The Diving Bell and the Butterfly, starring Mathieu Amalric and Marie Josée Croze.
It's a tale told mostly through the eyes of the subject, Jean-Dominique Bauby (Amalric), the real-life former editor of Elle magazine in France. On the way to the theater with his son one day, he has a massive stroke that leaves him paralyzed save for his left eye. This "locked-in" syndrome is so rare the physicians at first seem as if they don't know what to do with him. But, with the help of speech and physical therapists, Bauby learns to communicate by blinking.
Marie Josée Croze plays therapist Henriette, who develops a revised alphabet arranged in order of use frequency to make conversation with the patient easier. This results in Bauby requesting that his publisher honor his existing contract to write a book and the company sending a representative to take his dictation. What transpires is The Diving Bell and the Butterfly, the book in which this film is based upon.
This memoir detailed the feelings of a formerly vibrant man who has been reduced to nothing more than a hostage in his own body. Thankfully (or perhaps tragically) he retains his wit, sadness, sexual desires and memory, which he examines throughout.
The film shows us crushes on his therapists, discontent with his ex-partner (he purposely never married the mother of this children), longing for his mistress and love for his father.
It spotlights an imperfect man in impossible circumstances with a necessity to express himself creatively by any means available.
It forces us to see how lazy we are by not accomplishing all we hope to in the here and now, and reminds us to treasure the time and people we have in our lives.
There is one scene where a well-placed U2 song illustrates the type of man Bauby once was and how he chose to live his life before the stroke. This scene in particular hit me hard because the normalcy of his world was so previously carefree. You got the sense that his status and charisma afforded him more leeway than regular men would be granted by their women, children, etc.
But he overcame the depression of his situation long enough to write the novel describing it and lived barely long enough to see it published.
We should all be so productive.
It's a tale told mostly through the eyes of the subject, Jean-Dominique Bauby (Amalric), the real-life former editor of Elle magazine in France. On the way to the theater with his son one day, he has a massive stroke that leaves him paralyzed save for his left eye. This "locked-in" syndrome is so rare the physicians at first seem as if they don't know what to do with him. But, with the help of speech and physical therapists, Bauby learns to communicate by blinking.
Marie Josée Croze plays therapist Henriette, who develops a revised alphabet arranged in order of use frequency to make conversation with the patient easier. This results in Bauby requesting that his publisher honor his existing contract to write a book and the company sending a representative to take his dictation. What transpires is The Diving Bell and the Butterfly, the book in which this film is based upon.
This memoir detailed the feelings of a formerly vibrant man who has been reduced to nothing more than a hostage in his own body. Thankfully (or perhaps tragically) he retains his wit, sadness, sexual desires and memory, which he examines throughout.
The film shows us crushes on his therapists, discontent with his ex-partner (he purposely never married the mother of this children), longing for his mistress and love for his father.
It spotlights an imperfect man in impossible circumstances with a necessity to express himself creatively by any means available.
It forces us to see how lazy we are by not accomplishing all we hope to in the here and now, and reminds us to treasure the time and people we have in our lives.
There is one scene where a well-placed U2 song illustrates the type of man Bauby once was and how he chose to live his life before the stroke. This scene in particular hit me hard because the normalcy of his world was so previously carefree. You got the sense that his status and charisma afforded him more leeway than regular men would be granted by their women, children, etc.
But he overcame the depression of his situation long enough to write the novel describing it and lived barely long enough to see it published.
We should all be so productive.
Saturday, December 29, 2007
Walk Hard: The Dewey Cox Story
Today I saw Walk Hard: The Dewey Cox Story, starring John C. Reilly and Jenna Fischer.
It's the tale of Dewey Cox (Reilly), a Southern musician that alternately encompasses Johnny Cash, Bob Dylan and other notable stars, as he sings his way through life after a terrible childhood tragedy.
A tragedy that happens to be slicing his brother in half with a machete.
Sound stupid? Of course it does. But they way it was written and delivered makes it hilarious.
Dewey's enduring love for Darlene (Fischer) is the backbone of the bio, which takes us through his entire career of milestones and mistakes (the now-famous 'penis' scene is among the funniest). Each wink to another era and yet another star has such goofy charm attached to it I found myself anticipating who would pop up next (thankfully, my Beatles hope came true with the incomparable Jack Black as McCartney and Paul Rudd as Lennon).
The sidekicks are also funny—Tim Meadows as Dewey's primary drug connection, Kristen Wiig as his first wife and Margot Martindale as Ma, but the real credit goes to Reilly, who I found myself confusing with Will Ferrell (that's a compliment). He was that funny.
Overall, it's what I expected: a ridiculous beginning, predictably clever songs and electric nonsense chemistry between Reilly and Fischer.
I wouldn't have had it any other way.
It's the tale of Dewey Cox (Reilly), a Southern musician that alternately encompasses Johnny Cash, Bob Dylan and other notable stars, as he sings his way through life after a terrible childhood tragedy.
A tragedy that happens to be slicing his brother in half with a machete.
Sound stupid? Of course it does. But they way it was written and delivered makes it hilarious.
Dewey's enduring love for Darlene (Fischer) is the backbone of the bio, which takes us through his entire career of milestones and mistakes (the now-famous 'penis' scene is among the funniest). Each wink to another era and yet another star has such goofy charm attached to it I found myself anticipating who would pop up next (thankfully, my Beatles hope came true with the incomparable Jack Black as McCartney and Paul Rudd as Lennon).
The sidekicks are also funny—Tim Meadows as Dewey's primary drug connection, Kristen Wiig as his first wife and Margot Martindale as Ma, but the real credit goes to Reilly, who I found myself confusing with Will Ferrell (that's a compliment). He was that funny.
Overall, it's what I expected: a ridiculous beginning, predictably clever songs and electric nonsense chemistry between Reilly and Fischer.
I wouldn't have had it any other way.
Wednesday, December 26, 2007
Charlie Wilson's War
On December 23, I saw Charlie Wilson's War starring Tom Hanks and Philip Seymour Hoffman.
With so many big names (Hanks and Hoffman are joined by Amy Adams and Julia Roberts) attached to this film, it was hard not to anticipate its merit before going in, but having been burned in the past by similar assumptions, I reserved judgement.
Thankfully, there was no need for me to.
Hanks dazzles as real-life Texas congressman Charlie Wilson, a booze-loving womanizer with the heart of an everyman who is faced with political demands from a wealthy mover and shaker (played by Roberts), who also occupies his bed. Luckily, he's on the same page with her intentions, to covertly help the Afghans defend themselves against the then-enemy of Russia.
The plot is pretty basic and simple to follow, but what makes this movie so watchable (and will have you wondering how the time went so fast when it ends) is the collection of charisma that ensues: partly a result of good writing; partly a result of the performances.
The main scene stealer is Philip Seymour Hoffman who plays the Greek colleague of Wilson's that has enough justified anger and sarcasm to fill each room he steps into. He is absolutely electric in this role and I wouldn't be sorry to see him score another Oscar® nod because of it.
Also great is Wilson's adorably smart administrative assistant played by Amy Adams. Just the right mix of wholesome and alluring, Adams possesses a unique balance of what most men want: sexy mixed with Betty Crocker. There couldn't have been a better actress for this role.
The clothing and sets are also authentic to the time (early 80s), however I did question whether the phrase 'dial it down' was used back then?
Regardless, this film is solid entertainment that just happens to contain a valuable history lesson: don't fuck up the end game.
With so many big names (Hanks and Hoffman are joined by Amy Adams and Julia Roberts) attached to this film, it was hard not to anticipate its merit before going in, but having been burned in the past by similar assumptions, I reserved judgement.
Thankfully, there was no need for me to.
Hanks dazzles as real-life Texas congressman Charlie Wilson, a booze-loving womanizer with the heart of an everyman who is faced with political demands from a wealthy mover and shaker (played by Roberts), who also occupies his bed. Luckily, he's on the same page with her intentions, to covertly help the Afghans defend themselves against the then-enemy of Russia.
The plot is pretty basic and simple to follow, but what makes this movie so watchable (and will have you wondering how the time went so fast when it ends) is the collection of charisma that ensues: partly a result of good writing; partly a result of the performances.
The main scene stealer is Philip Seymour Hoffman who plays the Greek colleague of Wilson's that has enough justified anger and sarcasm to fill each room he steps into. He is absolutely electric in this role and I wouldn't be sorry to see him score another Oscar® nod because of it.
Also great is Wilson's adorably smart administrative assistant played by Amy Adams. Just the right mix of wholesome and alluring, Adams possesses a unique balance of what most men want: sexy mixed with Betty Crocker. There couldn't have been a better actress for this role.
The clothing and sets are also authentic to the time (early 80s), however I did question whether the phrase 'dial it down' was used back then?
Regardless, this film is solid entertainment that just happens to contain a valuable history lesson: don't fuck up the end game.
Saturday, December 22, 2007
Starting Out in the Evening
Today I saw Starting Out in the Evening, starring Frank Langella and Lauren Ambrose.
The narrative takes us into the lives of washed-up novelist Leonard Shiller (Langella) and righteous graduate student Heather Wolf (Ambrose). Her mission seems to be resurrecting his career, while his goal is simply to finish his final book before dying. He is a senior citizen with heart problems; she is a twentysomething with a hungry heart.
It's inevitable that in the course of her spending time with him to complete her thesis (based on him) that these two will develop a chemistry. Thankfully, they do. It's what saves this film from being a completely predictable starry-eyed-girl-wants-crotchety-old-man bore.
Although Heather is slightly too righteous to be endearing, there are so many real people like her, I could look past her irritating nature. What's also great is the subplot of Leonard's daughter Ariel (played by the amazing Lili Taylor—Ambrose's former Six Feet Under co-star) and her inability to have a successful relationship.
The thing is, all of these characters seem to be making the choices they need to make for themselves as their lives intersect. Heather is persistent in her quest for information from Leonard (and in her sexual attraction to him), Leonard will only talk about the topics of his choosing and fights to focus on his writing. Ariel wrestles with feelings for two men in her life; neither who share her desire to have children.
These simple, yet interesting situations are all presented in a well-acted, well-written package with believable dialogue and character progression.
I'll confess to being alternately touched and disgusted by Leonard and Heather's love story, but I can't help but admit it felt real.
I also wouldn't be surprised if Langella and/or Taylor were nominated for their performances.
Nor would I be sorry if they won.
The narrative takes us into the lives of washed-up novelist Leonard Shiller (Langella) and righteous graduate student Heather Wolf (Ambrose). Her mission seems to be resurrecting his career, while his goal is simply to finish his final book before dying. He is a senior citizen with heart problems; she is a twentysomething with a hungry heart.
It's inevitable that in the course of her spending time with him to complete her thesis (based on him) that these two will develop a chemistry. Thankfully, they do. It's what saves this film from being a completely predictable starry-eyed-girl-wants-crotchety-old-man bore.
Although Heather is slightly too righteous to be endearing, there are so many real people like her, I could look past her irritating nature. What's also great is the subplot of Leonard's daughter Ariel (played by the amazing Lili Taylor—Ambrose's former Six Feet Under co-star) and her inability to have a successful relationship.
The thing is, all of these characters seem to be making the choices they need to make for themselves as their lives intersect. Heather is persistent in her quest for information from Leonard (and in her sexual attraction to him), Leonard will only talk about the topics of his choosing and fights to focus on his writing. Ariel wrestles with feelings for two men in her life; neither who share her desire to have children.
These simple, yet interesting situations are all presented in a well-acted, well-written package with believable dialogue and character progression.
I'll confess to being alternately touched and disgusted by Leonard and Heather's love story, but I can't help but admit it felt real.
I also wouldn't be surprised if Langella and/or Taylor were nominated for their performances.
Nor would I be sorry if they won.
Friday, December 21, 2007
The Golden Compass
Today I saw The Golden Compass, starring Dakota Blue Richards and Nicole Kidman.
I must confess—I went into this ignorant, having never read the book it's based on. But in this case, I think I probably enjoyed it more as a result.
The story follows the orphan Lyra (Richards), a petite spitfire in the possession of the last magic golden compass. The power it holds is immeasurable, as it has the ability to display the truth in any situation. This upsets the magistrate (a.k.a. church) and the evil Mrs. Coulter (Kidman) pursues her to retrieve the compass, at first kindly offering her a trip north (where many of Lyra's friends have been kidnapped to, and are having their free will revoked) then fiercely hunting her after she escapes.
The way the characters get through this is somewhat confusing, but the ride is so visually stimulating, you can forgive the jumble. A parallel British town is illuminated at each glimpse, while the scenes in the great north make you nearly shiver in your seat, they're so remarkable.
And I musn't conclude my review without a mention of the polar bears. These aren't your typical Christmas-Coke-commerical polar bears, these look and sound like the real deal (well, except when they don human voices and carry on conversations). The growls and snarling teeth are terrifying; the fluffy fur and awkward bodies are endearing. I really wanted my own 'armored bear' after seeing the final fight scene, too.
So really—this film was pretty entertaining. Good, solid acting from the female leads and supporting actors like Daniel Craig and Sam Elliot, and cinematography that's nothing short of beautiful. An easy choice for holiday viewing.
I must confess—I went into this ignorant, having never read the book it's based on. But in this case, I think I probably enjoyed it more as a result.
The story follows the orphan Lyra (Richards), a petite spitfire in the possession of the last magic golden compass. The power it holds is immeasurable, as it has the ability to display the truth in any situation. This upsets the magistrate (a.k.a. church) and the evil Mrs. Coulter (Kidman) pursues her to retrieve the compass, at first kindly offering her a trip north (where many of Lyra's friends have been kidnapped to, and are having their free will revoked) then fiercely hunting her after she escapes.
The way the characters get through this is somewhat confusing, but the ride is so visually stimulating, you can forgive the jumble. A parallel British town is illuminated at each glimpse, while the scenes in the great north make you nearly shiver in your seat, they're so remarkable.
And I musn't conclude my review without a mention of the polar bears. These aren't your typical Christmas-Coke-commerical polar bears, these look and sound like the real deal (well, except when they don human voices and carry on conversations). The growls and snarling teeth are terrifying; the fluffy fur and awkward bodies are endearing. I really wanted my own 'armored bear' after seeing the final fight scene, too.
So really—this film was pretty entertaining. Good, solid acting from the female leads and supporting actors like Daniel Craig and Sam Elliot, and cinematography that's nothing short of beautiful. An easy choice for holiday viewing.
Sunday, December 16, 2007
I Am Legend
Today I saw I Am Legend, starring Will Smith.
If I hadn't yet seen No Country For Old Men, I may have claimed this was the most nervewracking film of 2007, but even it can't match the Coen brothers gift for tension.
At the core of this science-laden story is heart. Will Smith, always great, plays Robert Neville—a successful scientist convinced he can reverse a terrible virus that has wiped out New York City (and apparently most of the United States as well). We learn the virus had initial good intentions as a cure for cancer (a cameo by Emma Thompson delivers this revelation), but went terribly wrong as it mutated.
As you can imagine, what ensues forces you to abandon all rational thought and play the suspension-of-disbelief game with a non-thinking head.
Instead of the infected just withering away (as one may expect, after an incurable virus attacks the immune system), these victims exhibit "rabies-like" behavior (who knew rabies enabled you to scale walls and pull apart houses with superhuman strength?) and terrorize all who cross their path. They're not vampires in the traditional sense of the word, but they do have an aversion to light and a tendency to chomp at flesh.
Amidst all of this silliness, Neville somehow manages to make us feel sorry for him and bask in his lonely existence (though if I were him, I wouldn't be 'borrowing' one DVD at a time from the now desolate video store—I'd borrow a whole shelf). His dog Samantha brings him a fair amount of companionship, as dogs generally do, and familiar sounds such as Bob Marley on the stereo and Ann Curry on an obviously taped vintage Today Show would undoubtedly help keep one's sanity in tact if they were the last human roaming the city (after all, deer, lions, etc. seem to have no trouble avoiding the virus).
In the visual sense, this movie is arguably great. When things jump out at the characters, you feel they're jumping into your lap; the sounds are just as unnerving.
But as a "I'm the last person left in the world, what am I going to do with myself?" sci-fi romp, I'm disappointed the character chooses to stay at "ground zero" to pursue his mission.
The movie, brief in length, does manage to keep the viewer engaged until the ultimate predictable ending commences. For that, all of the stolen ideas from 28 Days Later can be forgiven.
If I hadn't yet seen No Country For Old Men, I may have claimed this was the most nervewracking film of 2007, but even it can't match the Coen brothers gift for tension.
At the core of this science-laden story is heart. Will Smith, always great, plays Robert Neville—a successful scientist convinced he can reverse a terrible virus that has wiped out New York City (and apparently most of the United States as well). We learn the virus had initial good intentions as a cure for cancer (a cameo by Emma Thompson delivers this revelation), but went terribly wrong as it mutated.
As you can imagine, what ensues forces you to abandon all rational thought and play the suspension-of-disbelief game with a non-thinking head.
Instead of the infected just withering away (as one may expect, after an incurable virus attacks the immune system), these victims exhibit "rabies-like" behavior (who knew rabies enabled you to scale walls and pull apart houses with superhuman strength?) and terrorize all who cross their path. They're not vampires in the traditional sense of the word, but they do have an aversion to light and a tendency to chomp at flesh.
Amidst all of this silliness, Neville somehow manages to make us feel sorry for him and bask in his lonely existence (though if I were him, I wouldn't be 'borrowing' one DVD at a time from the now desolate video store—I'd borrow a whole shelf). His dog Samantha brings him a fair amount of companionship, as dogs generally do, and familiar sounds such as Bob Marley on the stereo and Ann Curry on an obviously taped vintage Today Show would undoubtedly help keep one's sanity in tact if they were the last human roaming the city (after all, deer, lions, etc. seem to have no trouble avoiding the virus).
In the visual sense, this movie is arguably great. When things jump out at the characters, you feel they're jumping into your lap; the sounds are just as unnerving.
But as a "I'm the last person left in the world, what am I going to do with myself?" sci-fi romp, I'm disappointed the character chooses to stay at "ground zero" to pursue his mission.
The movie, brief in length, does manage to keep the viewer engaged until the ultimate predictable ending commences. For that, all of the stolen ideas from 28 Days Later can be forgiven.
Sunday, December 09, 2007
Jimmy Carter Man From Plains
Today I saw the documentary Jimmy Carter Man From Plains.
Every time I watch a documentary, I ask myself the same questions: Is the subject a worthy topic? Is the information presented in a captivating way? Did I learn something about the subject that I didn't previously know before I watched this film?
In this case, two out of three isn't bad.
Really, former U.S. president Jimmy Carter is a wonderful topic. He's as kind as he is smart and as driven as he is accomplished. As the first president I have any memory of as a child, I will always be especially curious about his history and his character because it helped shape my childhood as an American.
That said, watching a two-hour collection of interviews I could've Tivo'd wasn't the best way to educate me about this Nobel prize-winning man—though I did learn a few things.
Amidst this travelogue of president Carter's book tour (for his controversial book Palestine: Peace not Apartheid), I witnessed a man who finally seems comfortable in his skin and aims to make up for lost time. He does this in his trademark gracious way by making no apologies for his well-thought-out beliefs while showing the utmost respect to each person he tries to convince.
There is an innate refreshment in a transparent politician, probably because they're so rare. Carter lives the very definition of this role, alternately arguing with a TV host who is trying to misquote him, then thinking out loud about becoming fluent in Spanish because he has a program on his computer that would enable him to.
He's also the kind of Christian that gives Christians a good name: one who believes that science can co-exist with Jesus worship and also tirelessly serves the poor (in a too-brief segment, we see him building Habitat for Humanity houses in New Orleans). One who reads the Bible aloud with his wife each night and treats his staff as equals.
We see all of this in snippets of previously aired interviews and behind-the-scenes glances as he shuffles from city to city with his Simon & Schuster handlers. But what we don't see are the effects of his work. The people who read his book and saw the Middle East conflict in a different way as a result. The policymakers who defended his view and took his ideas to their colleagues for further debate. Where are they? Do they even exist?
The filmmaker doesn't attempt to pretend whose side he's on. You will love this former president from the first frame of the movie until the credits roll because the portrayal is so endearing, you'd be evil not to.
If that was the aim of the documentary, then I say "mission accomplished," but if the viewers were supposed to leave with an enhanced knowledge of the peace process, or an expert view on the background of Carter's legacy, it failed.
While many of the moments are sweet, that's ultimately all that this documentary adds up to: a series of moments. It's the dust jacket version of the story.
Makes me want to buy the book.
Every time I watch a documentary, I ask myself the same questions: Is the subject a worthy topic? Is the information presented in a captivating way? Did I learn something about the subject that I didn't previously know before I watched this film?
In this case, two out of three isn't bad.
Really, former U.S. president Jimmy Carter is a wonderful topic. He's as kind as he is smart and as driven as he is accomplished. As the first president I have any memory of as a child, I will always be especially curious about his history and his character because it helped shape my childhood as an American.
That said, watching a two-hour collection of interviews I could've Tivo'd wasn't the best way to educate me about this Nobel prize-winning man—though I did learn a few things.
Amidst this travelogue of president Carter's book tour (for his controversial book Palestine: Peace not Apartheid), I witnessed a man who finally seems comfortable in his skin and aims to make up for lost time. He does this in his trademark gracious way by making no apologies for his well-thought-out beliefs while showing the utmost respect to each person he tries to convince.
There is an innate refreshment in a transparent politician, probably because they're so rare. Carter lives the very definition of this role, alternately arguing with a TV host who is trying to misquote him, then thinking out loud about becoming fluent in Spanish because he has a program on his computer that would enable him to.
He's also the kind of Christian that gives Christians a good name: one who believes that science can co-exist with Jesus worship and also tirelessly serves the poor (in a too-brief segment, we see him building Habitat for Humanity houses in New Orleans). One who reads the Bible aloud with his wife each night and treats his staff as equals.
We see all of this in snippets of previously aired interviews and behind-the-scenes glances as he shuffles from city to city with his Simon & Schuster handlers. But what we don't see are the effects of his work. The people who read his book and saw the Middle East conflict in a different way as a result. The policymakers who defended his view and took his ideas to their colleagues for further debate. Where are they? Do they even exist?
The filmmaker doesn't attempt to pretend whose side he's on. You will love this former president from the first frame of the movie until the credits roll because the portrayal is so endearing, you'd be evil not to.
If that was the aim of the documentary, then I say "mission accomplished," but if the viewers were supposed to leave with an enhanced knowledge of the peace process, or an expert view on the background of Carter's legacy, it failed.
While many of the moments are sweet, that's ultimately all that this documentary adds up to: a series of moments. It's the dust jacket version of the story.
Makes me want to buy the book.
Sweeney Todd: The Demon Barber of Fleet Street
This morning I screened Sweeney Todd: The Demon Barber of Fleet Street, starring Johnny Depp and Helena Bonham Carter.
The story, based on the popular musical, follows barber Benjamin Barker on his journey from happy family man to vicious killer. But there's more to it than that.
Without sounding like a complete cinelitist, many people will probably see and dismiss this movie as nothing more than a typical Burtonesque display of cool effects and crazy makeup. And that's a shame—because if they dig deeper and focus not only on the visual rewards, but the heart of the characters, they'll see a more profound film.
As usual, Johnny Depp (Barker) is brilliant as the main character, wearing more expressions on his powder-pale face than any other man could possibly muster. He is darling as a charming husband and father, then equally as effective as a violent monster. Alan Rickman is also notably good as his rival, Judge Turpin. Rounding out the main cast is the always-convincingly-creepy Helena Bonham Carter as Mrs. Lovett, a terrible pie maker who falls in love with Todd and becomes his key accomplice in murder.
If we unveil the allegory, we are left with this: terrible, unforgivable things happen to a good, decent person, robbing him of his faith in all of mankind. As a result, he retreats to a place so dark that he loses every trace of the person he once was, allowing negativity to thrive in its absence. That darkness arrives in the form of a typical jealous woman who will go to great lengths to conceal truth and protect her own interests. Only when it's too late will he realize that she has betrayed him and that he could've regained all that he lost—had be been open to just behavior.
Of course, because it's Burton, this is all masked in dark eyeliner and Einstein hair, but the core of the message remains clear. And it is delivered in a charming, if not slapstick, bloody way.
Were it not for the distractions like Sacha Baron Cohen (as a cartoonish con artist) and a wimpy sailor (Jamie Campbell Bower), this would've been practically flawless.
But then again, no one can be expected to make two Edward Scissorhands in one career. Even with the same genius actor.
The story, based on the popular musical, follows barber Benjamin Barker on his journey from happy family man to vicious killer. But there's more to it than that.
Without sounding like a complete cinelitist, many people will probably see and dismiss this movie as nothing more than a typical Burtonesque display of cool effects and crazy makeup. And that's a shame—because if they dig deeper and focus not only on the visual rewards, but the heart of the characters, they'll see a more profound film.
As usual, Johnny Depp (Barker) is brilliant as the main character, wearing more expressions on his powder-pale face than any other man could possibly muster. He is darling as a charming husband and father, then equally as effective as a violent monster. Alan Rickman is also notably good as his rival, Judge Turpin. Rounding out the main cast is the always-convincingly-creepy Helena Bonham Carter as Mrs. Lovett, a terrible pie maker who falls in love with Todd and becomes his key accomplice in murder.
If we unveil the allegory, we are left with this: terrible, unforgivable things happen to a good, decent person, robbing him of his faith in all of mankind. As a result, he retreats to a place so dark that he loses every trace of the person he once was, allowing negativity to thrive in its absence. That darkness arrives in the form of a typical jealous woman who will go to great lengths to conceal truth and protect her own interests. Only when it's too late will he realize that she has betrayed him and that he could've regained all that he lost—had be been open to just behavior.
Of course, because it's Burton, this is all masked in dark eyeliner and Einstein hair, but the core of the message remains clear. And it is delivered in a charming, if not slapstick, bloody way.
Were it not for the distractions like Sacha Baron Cohen (as a cartoonish con artist) and a wimpy sailor (Jamie Campbell Bower), this would've been practically flawless.
But then again, no one can be expected to make two Edward Scissorhands in one career. Even with the same genius actor.
Sunday, November 25, 2007
Titanic
Today, in honor of my birthday, I saw Titanic.
And no, I'm not talking about the DVD version—I mean I saw it on the big screen again. In fact, on the biggest screen I've ever seen it.
My local Cinerama is having a 70mm series and today they just happened to be showing this film, which I happen to love.
And you know what? It ages well.
Although I know every twist and turn that's going to occur (from my original repeated viewings of it when it was released nearly a decade ago), the suspense, romance and sadness are all still present in heavy doses.
I suppose this means the heart really does go on...
And no, I'm not talking about the DVD version—I mean I saw it on the big screen again. In fact, on the biggest screen I've ever seen it.
My local Cinerama is having a 70mm series and today they just happened to be showing this film, which I happen to love.
And you know what? It ages well.
Although I know every twist and turn that's going to occur (from my original repeated viewings of it when it was released nearly a decade ago), the suspense, romance and sadness are all still present in heavy doses.
I suppose this means the heart really does go on...
Friday, November 23, 2007
Margot at the Wedding
Today I saw Margot at the Wedding, starring Jennifer Jason Leigh and Nicole Kidman.
It was the topic of Cinebanter #44, which is available here.
It was the topic of Cinebanter #44, which is available here.
Thursday, November 22, 2007
August Rush
This morning I saw August Rush, starring Freddie Highmore and Keri Russell.
If it weren't for Robin Williams, this may have been a great movie.
At the heart of the film is little Evan Taylor (Highmore), an orphan with an incredible gift for music who believes his long-lost parents will find him by "hearing" him. He's placed in a miserable NY home for boys and runs away only to fall into the trap of "The Wizard" (Williams), an evil transient that pimps out young musicians only to reap the financial benefits.
Meanwhile Lyla (Russell) is a heartbroken cellist that never got over the supposed loss of her infant son (and his father, whom she had a passionate one-night-stand with). The boy's father Louis (Meyers) is a guitarist-turned-suit who left the pain of NY behind for a mundane life in San Francisco.
As you can imagine, there are many cheesy scenes that lead up to the predictable, if not sweet ending. But woven into them are great performances from Russell, Meyers, Highmore and Terrence Howard, who has a minor role as a social worker.
Robin Williams' awful overacting ultimately ruins the film, which with its message of music as a saving grace, could have been so much more.
If it weren't for Robin Williams, this may have been a great movie.
At the heart of the film is little Evan Taylor (Highmore), an orphan with an incredible gift for music who believes his long-lost parents will find him by "hearing" him. He's placed in a miserable NY home for boys and runs away only to fall into the trap of "The Wizard" (Williams), an evil transient that pimps out young musicians only to reap the financial benefits.
Meanwhile Lyla (Russell) is a heartbroken cellist that never got over the supposed loss of her infant son (and his father, whom she had a passionate one-night-stand with). The boy's father Louis (Meyers) is a guitarist-turned-suit who left the pain of NY behind for a mundane life in San Francisco.
As you can imagine, there are many cheesy scenes that lead up to the predictable, if not sweet ending. But woven into them are great performances from Russell, Meyers, Highmore and Terrence Howard, who has a minor role as a social worker.
Robin Williams' awful overacting ultimately ruins the film, which with its message of music as a saving grace, could have been so much more.
Wednesday, November 21, 2007
Enchanted
Today I saw Enchanted, starring Amy Adams and Patrick Dempsey.
I chose this film to kick off my holiday weekend because despite how silly the trailer looked, it's been well-reviewed and I like both of the lead actors.
The first, Amy Adams, is grossly underrated (I think she was robbed of an Oscar® for Junebug) and always adorable, therefore she was the perfect fit for the role of Giselle, the princess from the faraway land that gets catapulted into New York City after trusting that wicked queen from Snow White on her wedding day (long story).
Enter McDreamy himself to save the day as Robert, the handsome divorce lawyer/single father, whose awkward meet-cute (on a billboard) with the princess leads to...well...a fairy tale sort of love.
What I liked about the film was the acting (Susan Sarandon is great as the wicked queen, in addition to the leads) and the heart. It is a good, old-fashioned love story with an innocence that is rare in current cinema.
What I disliked was how dumb they made Edward (Giselle's supposed prince) and how they resorted to bathroom humor in a few places with Pip (the chipmunk), which took the overall sparkle off of the finished product.
Note to filmmakers: it doesn't have to be gross to be funny to kids.
That's all. Dempsey is hot and Adams is precious. Go see it for them.
I chose this film to kick off my holiday weekend because despite how silly the trailer looked, it's been well-reviewed and I like both of the lead actors.
The first, Amy Adams, is grossly underrated (I think she was robbed of an Oscar® for Junebug) and always adorable, therefore she was the perfect fit for the role of Giselle, the princess from the faraway land that gets catapulted into New York City after trusting that wicked queen from Snow White on her wedding day (long story).
Enter McDreamy himself to save the day as Robert, the handsome divorce lawyer/single father, whose awkward meet-cute (on a billboard) with the princess leads to...well...a fairy tale sort of love.
What I liked about the film was the acting (Susan Sarandon is great as the wicked queen, in addition to the leads) and the heart. It is a good, old-fashioned love story with an innocence that is rare in current cinema.
What I disliked was how dumb they made Edward (Giselle's supposed prince) and how they resorted to bathroom humor in a few places with Pip (the chipmunk), which took the overall sparkle off of the finished product.
Note to filmmakers: it doesn't have to be gross to be funny to kids.
That's all. Dempsey is hot and Adams is precious. Go see it for them.
Sunday, November 18, 2007
No Country for Old Men
Today I saw No Country for Old Men, starring Josh Brolin and Javier Bardem.
It was the topic of Cinebanter #43, which is available here.
It was the topic of Cinebanter #43, which is available here.
Saturday, November 03, 2007
Bee Movie
This morning I saw Bee Movie, featuring the voices of Jerry Seinfeld and Renee Zellweger.
What a breath of fresh air!
Full disclosure: I'm not a huge animation fan. In fact, save for The Simpsons Movie, I don't think I've seen an animated film in the theater since the anniversary of Yellow Submarine, so seeing this today was somewhat out of the ordinary for me. I'm glad I followed my instinct and ignored my self-imposed snobbiness though, because I really would have missed out on something great if I'd passed it up.
The story begins with Barry (Seinfeld) graduating from beehood and preparing to enter the job force, which basically consists of making honey exclusively. Adventure-seeker that he is, before he finalizes his career choice, he takes a trip outside the hive to see what the human world is like. While he's there (in present-day New York City), he falls in love with a human, Vanessa (Zellweger), and discovers the travesty that is bee slavery as he flies past the honey aisle at the grocery store.
What commences is somewhat of an animated genius that includes all of the components of a live-action Hollywood film: a sweet romance, courtroom drama, suspenseful action sequences, surprising celebrity cameos and a wink of an ending.
The voices are distinct (who could miss Chris Rock as the cunning mosquito?) but not at all distracting. Particularly great is John Goodman as the fat human defense attorney. And what's more, there are just as many jokes for the adults to laugh at as there are for the kids.
Go see this one in the theater—the bright yellow hues of the 'sets' cast a sunny glow on the whole production, which is nothing short of charming.
What a breath of fresh air!
Full disclosure: I'm not a huge animation fan. In fact, save for The Simpsons Movie, I don't think I've seen an animated film in the theater since the anniversary of Yellow Submarine, so seeing this today was somewhat out of the ordinary for me. I'm glad I followed my instinct and ignored my self-imposed snobbiness though, because I really would have missed out on something great if I'd passed it up.
The story begins with Barry (Seinfeld) graduating from beehood and preparing to enter the job force, which basically consists of making honey exclusively. Adventure-seeker that he is, before he finalizes his career choice, he takes a trip outside the hive to see what the human world is like. While he's there (in present-day New York City), he falls in love with a human, Vanessa (Zellweger), and discovers the travesty that is bee slavery as he flies past the honey aisle at the grocery store.
What commences is somewhat of an animated genius that includes all of the components of a live-action Hollywood film: a sweet romance, courtroom drama, suspenseful action sequences, surprising celebrity cameos and a wink of an ending.
The voices are distinct (who could miss Chris Rock as the cunning mosquito?) but not at all distracting. Particularly great is John Goodman as the fat human defense attorney. And what's more, there are just as many jokes for the adults to laugh at as there are for the kids.
Go see this one in the theater—the bright yellow hues of the 'sets' cast a sunny glow on the whole production, which is nothing short of charming.
Friday, November 02, 2007
American Gangster
Today I saw American Gangster, starring Denzel Washington and Russell Crowe.
It was the topic of Cinebanter #42, which is available here.
It was the topic of Cinebanter #42, which is available here.
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