Reviewed: 11.2006
Legendary general Maximus Decimus Meridius (Russell Crowe) has one thing on his mind-- get back to his wife and child. War has left nothing but a bad taste in the mouth of the general and he desires nothing but to return to his peaceful life in Spain, but Rome's fair, yet dying Emperor Marcus Aurelius has other plans. He wishes to bestow his title on Maximus over his cruel son, Commodus (Joaquin Phoenix). Understandably annoyed, Commodus takes drastic actions to save his title. Killing his father and setting Maximus up for the fall, Commodus succeeds in his quest for rule. Maximus, escaping his demise, forced to into exile and unable to save his family, gives up hope. As easy target for slave traders, Maximus is quickly sold to former gladiator Proximo (Oliver Reed). Maximus quickly rises to fame as 'The Spaniard' in the arena with his fast sword and indifferent attitude, despite his distaste of the blood-lusty sport. It's only when Maximus discovers he can exact the vengeance he swore for the death of his family, on the Emperor, that he rises to his celebrity title to get his chance to fight Commodus in the Arena.
Leading the powerful and intense cast, Russell Crowe is captivating as the general turned slave turned gladiator. The intensity of his role and roguish good looks pale when compared to the emotional depth found in his portrayal of Maximus. Alongside him, Joaquin Phoenix, as Commodus, the perverted, lusting, jealous son goes way beyond egotistical with his intensity. Commodus reaches the pinnacle of maniacal thanks to him. Connie Neilson, as Lucilla, tormented by loyalty to her corrupt brother and doing what's best for the empire, softens the edges of an this blockbuster film. Oliver Reed, Richard Harris, Derek Jacobi, and Djimon Hounsou all give strong, memorable performances as supporting players. Hounson, in a seemingly 'bit-part', is overwhelmingly inspiring as his role as Juba, Maximus' friend and gladiator.
The dream-like spell-binding cinematography is as strong a player in this film as the actors. The battle-scenes, while graphic, are tastefully so. Screenwriter, David Franzoni has done the toughest part, writing a script destined for greatness. Add director Ridley Scott to the mix and you've got epic story-telling. From the mesmerizing battle scenes and a script that reads like poetry to the lush costumes and settings, this colossal film is not only beautiful, magnificently complete. Whether it's the wheat-fields of the Afterlife or the the fields of Germania, the attention to detail, stunning at every angle. Then there's the soundtrack. A score truly is successful when the viewer can hear the score and evoke a film's imagery. Another fitting and epic score courtesy of Hans Zimmer.
While Gladiator may follow the 'formula', it's the collective elements that make this film a powerful tale, destined to 'echo in eternity'.
Tuesday, November 23, 2010
Sunday, November 21, 2010
The Devil Wears Prada (2006)
Reviewed 07.2006
Wow, I am impressed. This smart little comedy is brilliant. Easily one of the best films of the year!
The Devil Wears Prada is the story of a Andrea Sachs (Anne Hathaway), a naive young woman who comes to New York, fresh out of Northwestern with a journalism degree. The lucky girl scores a 'dream' job as the assistant to one of the city's biggest and demanding magazine editors, the ruthless and cynical Miranda Priestly (Meryl Streep).
Director David Frankel assembled the perfect cast to bring the characters of author Lauren Weisberger's best-selling novel to the screen. Meryl Streep is divine as the cold and calm Miranda. Without a doubt, she delivers the first Oscar-worthy performance of the year. Throughout the entire film, Streep manages to not only humanize Miranda, but maintain the perfect blend of bitch and boss. Streep is simply captivating to watch.
Anne Hathaway delivers a charming performance, providing Andy the right blend of demure and clueless. He dance with 'death' is beautiful. Scene stealer, Stanley Tucci as Andy's 'fairy godmother' is too funny, yet endearing. His witty sense of humor and fashion is worth the price of admission alone! Emily Blunt brings non-stop laughs as the first assistant. Andy's love interests played by Simon Baker and Adrien Grenier make for the perfect eye candy.
Not to be overlooked and a 'lead' in it's own right, are the clothes, shoes and accessories. If you can tell your Prada from Dolce, Chanel from Jimmy Choo than you'll certainly enjoy the 'scenery'. If you can't, come anyway.
I would hate to see people intimidated by the trailers and mere title of the film. The Devil Wears Prada is a smart comedy that deserves a watch.
Wow, I am impressed. This smart little comedy is brilliant. Easily one of the best films of the year!
The Devil Wears Prada is the story of a Andrea Sachs (Anne Hathaway), a naive young woman who comes to New York, fresh out of Northwestern with a journalism degree. The lucky girl scores a 'dream' job as the assistant to one of the city's biggest and demanding magazine editors, the ruthless and cynical Miranda Priestly (Meryl Streep).
Director David Frankel assembled the perfect cast to bring the characters of author Lauren Weisberger's best-selling novel to the screen. Meryl Streep is divine as the cold and calm Miranda. Without a doubt, she delivers the first Oscar-worthy performance of the year. Throughout the entire film, Streep manages to not only humanize Miranda, but maintain the perfect blend of bitch and boss. Streep is simply captivating to watch.
Anne Hathaway delivers a charming performance, providing Andy the right blend of demure and clueless. He dance with 'death' is beautiful. Scene stealer, Stanley Tucci as Andy's 'fairy godmother' is too funny, yet endearing. His witty sense of humor and fashion is worth the price of admission alone! Emily Blunt brings non-stop laughs as the first assistant. Andy's love interests played by Simon Baker and Adrien Grenier make for the perfect eye candy.
Not to be overlooked and a 'lead' in it's own right, are the clothes, shoes and accessories. If you can tell your Prada from Dolce, Chanel from Jimmy Choo than you'll certainly enjoy the 'scenery'. If you can't, come anyway.
I would hate to see people intimidated by the trailers and mere title of the film. The Devil Wears Prada is a smart comedy that deserves a watch.
Sunday, September 19, 2010
Harry Potter and the Goblet of Fire (2005)
Reviewed: 12.2005
This is the first of the Potter movies that I haven't already read the book. As I've said before, there's not enough time to cover every detail found in the books. Harry Potter and the Goblet of Fire transitions wonderfully from the chilling creepiness found in The Prisoner of Azkaban into a mature dramatic darkness. The movie forgoes the happiness and frivolity of the previous movies and replaces it with teen problems, epic action sequences and hilarious British humor.
Looking for a trouble-free year at Hogwarts for a change, Harry Potter finds himself unwillingly entered in the brutal TriWizard competition, up against a fellow Hogwarts student and two others from visiting schools. With the assistance of loyal friends Ron and Hermione, and the new Defense Against the Dark Arts teacher, Mad-Eye Moody (Brendan Gleeson), Harry seeks to reveal who has put him in harm's way yet again. As Harry struggles to stay alive during these brutal contests, his investigations and dreams lead him to Lord Voldemort (Ralph Fiennes), who is making new efforts to rise again and exact his revenge.
The cast continues to amaze...
Daniel Radcliffe makes me love Harry even more. He is vulnerable, angry, not always sure what to do, and has actually gotten quite good at comedy routines.
My favorite, Rupert Grint has really grown. He's lost the baby-round face. Ron's role as Harry's mate is not just for comedic relief this time. He gets jealous of Harry for getting into the tournament, and is tired of being referred to as "Harry Potter's Stupid Friend". I love the maturity Ron is taking and his 'bloody hells'.
Emma Watson continues her overly dramatic role. Her character is one bone of contention for me. It's a love/hate. Hermione is the know-it-all drama queen/student we love, but Watson has a tendency of over-enunciating her lines and being too melodramatic, which worked in The Sorcerer's Stone when Hermione was condescending and childishly bossy, but is annoying by this point.
The Phelps Twins are remarkable as Fred and George and entertain with their hilarious banter and excellent screen presence. No longer do they come across as wooden cut-outs just reading from a cue-card and instead they are able to show the mischievous spontaneity of the Weasley twins
Matthew Lewis was great at showing Neville's sensitive side without making him too klutzy. Ginny has a lesser role here than expected. And for the record, I REALLY don't want Harry and her to hook up. It just wouldn't be right.
Another favorite, Professor Snape is but a background note for most of the movie, but the one scene in his potion pantry is worth the price of a ticket.
Professor Dumbledore took a whole other direction and one I'm not to sure about. Gone is the wizened, calm head wizard we know. Instead, we have a frantic and unsure old man who seems to jump at every shadow and at one point, seizes Harry and interrogates him.
Of the few new characters we meet, all of them are welcomed additions. The new Defense from the Dark Arts teacher, Brendan Gleeson's Mad-Eye Moody is creepy. There was not enough back-story on him for me to understand what role he plays, save for pushing Harry along. Rita Skeeter played by Miranda Richardson was the only one I could do without. Skeeter is truly as irritating in the film as in the book.
Also, we meet two new wizardry schools from Europe. Both provide the viewer a glimpse into the huge world J. K. Rowling has created.
Last, but certainly not least, Lord Voldemort. Ralph Fiennes hisses and rages as evil incarnate. He is genuinely terrifying as the evil Lord Voldemort. A suitably conniving Timothy Spall ably assists Fiennes in his wickedness and also the most fearsome set of nostrils to grace the silver screen since Hannibal Lector flexed his snout at Agent Starling in The Silence of the Lambs. Thought he was going to talk Harry to death, but I must say that the Dark Lord being beaten by a bunch of ghosts raised cheese issues for me.
The tasks of the TriWizard Tournament are perhaps the best thing about the movie. The story line adds character development, action, and density to the movie. Harry's round with the dragon is intensely scary but amazing. His second task, slightly less so, but the dragon was a tough act to follow. The maze is scary, easily a villain by itself. Think The Shining on crack. The finale will leave pretty much anyone with a soul breathless and crying.
Although the darkness is very well presented here, director Mike Newell scores by perfectly showing a usual teenager problem. He addresses the awkward teenage stage full on. The mid-movie Yule Ball sequence is where crucial moments of teenage lust and cruelty are showcased, finally giving the series an accurate portrayal of adolescence. Since the theme of the film is transformation, Newell gives time for the three leads to grow into awkward teenagers, complete with self-conscious behavior and bickering. Newell and returning screenwriter Steven Kloves (who deserves massive credit wrestling the J.K. Rowling world into semi-coherent films) use the ball as a setting for Harry, Hermione, and Ron to begin confronting their newly thorny friendship, and to a smaller degree, their burgeoning sexuality (also seen in a moment with Harry in a bath while Moaning Myrtle comes on to him). The sequence is also a rare chance for the story to take a breather and enjoy the characters and the surroundings. It's an unusual moment of pageantry for the series, but it elevates the characterizations away from the gee-wiz level they were stuck at, and lays the groundwork spectacularly for the hormonal trouble that lies ahead for the trio.
Harry Potter and the Goblet of Fire is the best in the Harry Potter series, for now anyways. It shows the emotion and fear of the characters with so many memorable scenes. There's a phrase in the movie that could explain everything going on Harry's mind. Difficult times lie ahead, and soon we must choose between what's right and what's easy. It's the perfect definition for all that's going on Potter's mind. This human side of the powerful wizard makes the movie irresistible, and one of the year's best.
Addendum: 01.07.06
Having finished the book, there are a few issues I need to take up. Ok, so I'm nit picking...
This is the first of the Potter movies that I haven't already read the book. As I've said before, there's not enough time to cover every detail found in the books. Harry Potter and the Goblet of Fire transitions wonderfully from the chilling creepiness found in The Prisoner of Azkaban into a mature dramatic darkness. The movie forgoes the happiness and frivolity of the previous movies and replaces it with teen problems, epic action sequences and hilarious British humor.
Looking for a trouble-free year at Hogwarts for a change, Harry Potter finds himself unwillingly entered in the brutal TriWizard competition, up against a fellow Hogwarts student and two others from visiting schools. With the assistance of loyal friends Ron and Hermione, and the new Defense Against the Dark Arts teacher, Mad-Eye Moody (Brendan Gleeson), Harry seeks to reveal who has put him in harm's way yet again. As Harry struggles to stay alive during these brutal contests, his investigations and dreams lead him to Lord Voldemort (Ralph Fiennes), who is making new efforts to rise again and exact his revenge.
The cast continues to amaze...
Daniel Radcliffe makes me love Harry even more. He is vulnerable, angry, not always sure what to do, and has actually gotten quite good at comedy routines.
My favorite, Rupert Grint has really grown. He's lost the baby-round face. Ron's role as Harry's mate is not just for comedic relief this time. He gets jealous of Harry for getting into the tournament, and is tired of being referred to as "Harry Potter's Stupid Friend". I love the maturity Ron is taking and his 'bloody hells'.
Emma Watson continues her overly dramatic role. Her character is one bone of contention for me. It's a love/hate. Hermione is the know-it-all drama queen/student we love, but Watson has a tendency of over-enunciating her lines and being too melodramatic, which worked in The Sorcerer's Stone when Hermione was condescending and childishly bossy, but is annoying by this point.
The Phelps Twins are remarkable as Fred and George and entertain with their hilarious banter and excellent screen presence. No longer do they come across as wooden cut-outs just reading from a cue-card and instead they are able to show the mischievous spontaneity of the Weasley twins
Matthew Lewis was great at showing Neville's sensitive side without making him too klutzy. Ginny has a lesser role here than expected. And for the record, I REALLY don't want Harry and her to hook up. It just wouldn't be right.
Another favorite, Professor Snape is but a background note for most of the movie, but the one scene in his potion pantry is worth the price of a ticket.
Professor Dumbledore took a whole other direction and one I'm not to sure about. Gone is the wizened, calm head wizard we know. Instead, we have a frantic and unsure old man who seems to jump at every shadow and at one point, seizes Harry and interrogates him.
Of the few new characters we meet, all of them are welcomed additions. The new Defense from the Dark Arts teacher, Brendan Gleeson's Mad-Eye Moody is creepy. There was not enough back-story on him for me to understand what role he plays, save for pushing Harry along. Rita Skeeter played by Miranda Richardson was the only one I could do without. Skeeter is truly as irritating in the film as in the book.
Also, we meet two new wizardry schools from Europe. Both provide the viewer a glimpse into the huge world J. K. Rowling has created.
Last, but certainly not least, Lord Voldemort. Ralph Fiennes hisses and rages as evil incarnate. He is genuinely terrifying as the evil Lord Voldemort. A suitably conniving Timothy Spall ably assists Fiennes in his wickedness and also the most fearsome set of nostrils to grace the silver screen since Hannibal Lector flexed his snout at Agent Starling in The Silence of the Lambs. Thought he was going to talk Harry to death, but I must say that the Dark Lord being beaten by a bunch of ghosts raised cheese issues for me.
The tasks of the TriWizard Tournament are perhaps the best thing about the movie. The story line adds character development, action, and density to the movie. Harry's round with the dragon is intensely scary but amazing. His second task, slightly less so, but the dragon was a tough act to follow. The maze is scary, easily a villain by itself. Think The Shining on crack. The finale will leave pretty much anyone with a soul breathless and crying.
Although the darkness is very well presented here, director Mike Newell scores by perfectly showing a usual teenager problem. He addresses the awkward teenage stage full on. The mid-movie Yule Ball sequence is where crucial moments of teenage lust and cruelty are showcased, finally giving the series an accurate portrayal of adolescence. Since the theme of the film is transformation, Newell gives time for the three leads to grow into awkward teenagers, complete with self-conscious behavior and bickering. Newell and returning screenwriter Steven Kloves (who deserves massive credit wrestling the J.K. Rowling world into semi-coherent films) use the ball as a setting for Harry, Hermione, and Ron to begin confronting their newly thorny friendship, and to a smaller degree, their burgeoning sexuality (also seen in a moment with Harry in a bath while Moaning Myrtle comes on to him). The sequence is also a rare chance for the story to take a breather and enjoy the characters and the surroundings. It's an unusual moment of pageantry for the series, but it elevates the characterizations away from the gee-wiz level they were stuck at, and lays the groundwork spectacularly for the hormonal trouble that lies ahead for the trio.
Harry Potter and the Goblet of Fire is the best in the Harry Potter series, for now anyways. It shows the emotion and fear of the characters with so many memorable scenes. There's a phrase in the movie that could explain everything going on Harry's mind. Difficult times lie ahead, and soon we must choose between what's right and what's easy. It's the perfect definition for all that's going on Potter's mind. This human side of the powerful wizard makes the movie irresistible, and one of the year's best.
Addendum: 01.07.06
Having finished the book, there are a few issues I need to take up. Ok, so I'm nit picking...
- The echoes are cool and are WAY better than the whole ghost thing I had going on.
- Neville in the book is completely different from Neville in the movie and NOT in a good way. Dobby gives the gillyweed to Harry.
- Am I the only one who came away from the movie thinking Karkaroff was the one who put Harry's name in the Goblet?
- The ending of the book is MUCH better than the movie, but more importantly, I don't think the ending of the movie in anyway matches the seriousness found in the book.
Monday, September 13, 2010
Harry Potter and the Prisoner of Azkaban (2004)
Reviewed 12.2005
Harry Potter and the Prisoner of Azkaban, the third film in the series is more complex, just like the young stars.
It's late in the summer. Harry is still living with the Dursleys on Privet Drive. He's ready for his third year at Hogwart's. When an obnoxious relative drops by and demeans his father's memory, it causes Harry to lose his temper. As a result, Harry violates the rules of student witches and wizards, causing the offending aunt to inflate like a dirigible and float away into the night sky. It's a delightful opening to a film with far more serious issues to explore and frightening obstacles to overcome.
Sirius Black (Gary Oldman), imprisoned at Azkaban for complicity in the murder of Harry's parents, has escaped, and is looking for Harry. The soul-stealing prison guards called 'Dementors' (Latin for mind-removers) are searching for Black everywhere, but when he and Harry meet, there are revelations that change everything.
One of the greatest things about this film is the maturity level of the cast. Daniel Radcliffe continues to grow along with his character bringing with it a decided assertiveness and confidence. Thankfully, Rupert Grint brings a more entertaining and believable Ron to the screen. He is both the joker and noble soul as he is portrayed in the novels. It's wonderful to see that Grint has a genuine sense of comedy about him, and has made Ron more than the one-dimensional, face-pulling joke he started out being. Emma Watson as Hermione, grated in the first film with her occasional woodenness. Pleasingly, she has grown into herself as an actor and her performance here is much more mature.
Draco Malfoy continues to be a menace. Let's hope he branches out soon.
New cast members acquaint themselves well. The role of Sirius Black was tailor made for Gary Oldman - he has a requisite creepiness with just a dose of humanity to bring the character to life.
Dvid Thewlis is good as Professor Lupin, the new Defense Against the Dark Arts master who takes Harry under his wing. He is definitely a highlight of the film.
Emma Thompson is irritating as Divinity Professor Trelawny with bad eyesight. She can see into the future but can't tell which students are falling asleep in her class!
Alan Rickman continues to walk the finest of lines between good and bad with his marvelous performance as Professor Snape. Has there ever been a better match of actor and character? Snape shows again that, while he may take occasional delight in making his students' lives difficult; he does have their best interests at heart - like any good teacher. He has some of the greatest lines in the film.
Richard Harris brought a wise frailty to Albus Dumbledore. Michael Gambon does a superb job stepping into Harris' shoes. Dumbledore takes on a new and heightened sense of authority and vitality in the film.
Dame Maggie Smith and Robbie Coltrane continue to shine as Professors McGonagall and Hagrid.
Stepping into the director's role this time around is Alfonso Cuarón. He succeeds in blending the screenplay, again written by Steve Kloves, and production design, into a creepy magical atmosphere that the darker story requires. There are edits and reshuffles with regard to the Azkaban's story compared to the book, both in terms of how the story fits together, and what information from the overall seven novel arc is in the film.
The cinematography though, is what makes the film so beautiful. There's barely a shot in the film that isn't utterly gorgeous. The scenes of the Dementors floating outside Hogwarts are inspired, the moonlight scene after the return from the Shrieking Shack, the flight scenes with Buckbeak, the first Dementor scene on the train; all are captured beautifully.
The unheralded thread of creative continuity in this marvelous series, as it moves from Chris Columbus to Alfonso Cuarón to Mike Newell (Harry Potter and the Goblet of Fire) is screenwriter Steve Kloves. He and the producers have been true to Rowling's works and to Harry's fans, in ways that have always enhanced, not diminished, the author's incredible achievement.
Harry Potter and the Prisoner of Azkaban takes the world of witches and wizarding in a whole new direction. Can't wait to see where it ends!
Harry Potter and the Prisoner of Azkaban, the third film in the series is more complex, just like the young stars.
It's late in the summer. Harry is still living with the Dursleys on Privet Drive. He's ready for his third year at Hogwart's. When an obnoxious relative drops by and demeans his father's memory, it causes Harry to lose his temper. As a result, Harry violates the rules of student witches and wizards, causing the offending aunt to inflate like a dirigible and float away into the night sky. It's a delightful opening to a film with far more serious issues to explore and frightening obstacles to overcome.
Sirius Black (Gary Oldman), imprisoned at Azkaban for complicity in the murder of Harry's parents, has escaped, and is looking for Harry. The soul-stealing prison guards called 'Dementors' (Latin for mind-removers) are searching for Black everywhere, but when he and Harry meet, there are revelations that change everything.
One of the greatest things about this film is the maturity level of the cast. Daniel Radcliffe continues to grow along with his character bringing with it a decided assertiveness and confidence. Thankfully, Rupert Grint brings a more entertaining and believable Ron to the screen. He is both the joker and noble soul as he is portrayed in the novels. It's wonderful to see that Grint has a genuine sense of comedy about him, and has made Ron more than the one-dimensional, face-pulling joke he started out being. Emma Watson as Hermione, grated in the first film with her occasional woodenness. Pleasingly, she has grown into herself as an actor and her performance here is much more mature.
Draco Malfoy continues to be a menace. Let's hope he branches out soon.
New cast members acquaint themselves well. The role of Sirius Black was tailor made for Gary Oldman - he has a requisite creepiness with just a dose of humanity to bring the character to life.
Dvid Thewlis is good as Professor Lupin, the new Defense Against the Dark Arts master who takes Harry under his wing. He is definitely a highlight of the film.
Emma Thompson is irritating as Divinity Professor Trelawny with bad eyesight. She can see into the future but can't tell which students are falling asleep in her class!
Alan Rickman continues to walk the finest of lines between good and bad with his marvelous performance as Professor Snape. Has there ever been a better match of actor and character? Snape shows again that, while he may take occasional delight in making his students' lives difficult; he does have their best interests at heart - like any good teacher. He has some of the greatest lines in the film.
Richard Harris brought a wise frailty to Albus Dumbledore. Michael Gambon does a superb job stepping into Harris' shoes. Dumbledore takes on a new and heightened sense of authority and vitality in the film.
Dame Maggie Smith and Robbie Coltrane continue to shine as Professors McGonagall and Hagrid.
Stepping into the director's role this time around is Alfonso Cuarón. He succeeds in blending the screenplay, again written by Steve Kloves, and production design, into a creepy magical atmosphere that the darker story requires. There are edits and reshuffles with regard to the Azkaban's story compared to the book, both in terms of how the story fits together, and what information from the overall seven novel arc is in the film.
The cinematography though, is what makes the film so beautiful. There's barely a shot in the film that isn't utterly gorgeous. The scenes of the Dementors floating outside Hogwarts are inspired, the moonlight scene after the return from the Shrieking Shack, the flight scenes with Buckbeak, the first Dementor scene on the train; all are captured beautifully.
The unheralded thread of creative continuity in this marvelous series, as it moves from Chris Columbus to Alfonso Cuarón to Mike Newell (Harry Potter and the Goblet of Fire) is screenwriter Steve Kloves. He and the producers have been true to Rowling's works and to Harry's fans, in ways that have always enhanced, not diminished, the author's incredible achievement.
Harry Potter and the Prisoner of Azkaban takes the world of witches and wizarding in a whole new direction. Can't wait to see where it ends!
Harry Potter and the Chamber of Secrets (2002)
Reviewed 12.2005
Harry Potter and the Chamber of Secrets picks up where The Sorcerer's Stone ended. We find Harry (Radcliffe) stuck in the Dursley household, waiting for his friends Ron Weasley (Grint) and Hermione Granger (Watson) to contact him after a summer away from the Hogwarts School Of Witchcraft and Wizardry. Trouble finds Harry in the form of a house-elf named Dobby, who warns Harry not to return to the school because evil will surely befall him if he tries. Harry ignores Dobby, returns to the school, and finds that an evil force has taken over the halls, immobilizing people in terror, and taunting Harry to find the source. It's year two for Harry and Company at Hogwarts and with it comes more adventures and many more characters to meet!
As with any sequel, there are many new things to enjoy. We spend quality time with Ron's family, take a ride in a flying car, meet Moaning Myrtle, a ghost who haunts the ladies room at Hogwarts, welcome new professors and meet Draco's deliciously sinister father, Lucius Malfoy, along with potting mandrakes, unleash pixies, discover a basilisk, Argog, and new magical delights, like Polyjuice Potion and Tom Riddle's diary.
Despite all this, the film remains focused on Harry, Ron, and Hermione and they are growing up fast. Now with mature voices and richer facial features, each actor is slowing coming into their own terms of developing the character's traits and emotional range. Radcliffe seems to have settled into Harry's skin. Grint provides more depth in Ron and perfects his comedic timing. Watson's Hermione has become much more than the whining know-it-all she is.
Kenneth Branagh as the vain Dark Arts professor Gilderoy Lockhart is spot on. He's perfect as the devilishly handsome, yet clueless professor.
Draco's father, overbearing and malevolent Lucius Malfoy makes his first appearance here and I'm hoping it's not his last. Brilliantly played by Jason Issacs, he provides another facet to Draco and you can't help but feel for him.
Meeting the Weasleys is a treat. Mr. and Mrs. Weasley compliment Ron, so well. The homey atmosphere and knick-knacks are just what you'd expect from Mrs. Weasley (delightful, Julie Waters). The flying car comes courtesy of Arthur Weasley (Mark Williams) who's fascinated by all things muggle. Ginny Weasley is pitch-perfect thanks to young unknown Bonnie Wright.
Wizard-mates Neville Long-Bottom and Seamus Finnigan are back, along with a new Gryffindor (and slightly irritating) Colin Creevy. Dobby, the house elf, succeeds in being annoyingly irritating, even more so on the big screen.
It's impossible not to be amazed at the returning cast of professors. Dumbledore comes across even more wise beyond his years. Professor McGonagill continues to delight. There is just not enough face time for Professor Snape. Unlike the book, the film does not really bring Harry and Snape's hate-hate relationship to the forefront.
The two pictures, though not interchangeable by any means, share the same production values, casts, and behind the scenes talent. Harry Potter and the Chamber of Secrets easily matches the original film in ambiance and spirit. Directed once again by Chris Columbus, it has a more defined edge than the first, brought on by a bolder sense of film-making, the first picture's overwhelming success, and the creepy crawly story laid out by author J.K. Rowling, adapted here again by Steven Kloves. Chamber goes for scares and intrigue, where Sorcerer went for awe and fantasy. The darker tone of the movie is a welcome sight, proving that Columbus has far more trust in his family audience than anyone else would dare, always a sure sign of a good film.
All the ingredients that made The Sorcerer's Stone such a great time are here: The magic, the Hogwarts house battles, John Williams' beautiful score, the camaraderie between the three leads, and glorious set design. The dueling scenes were a delight making me wish they had been longer. Justin and Harry's run-in could have stood for more development, as well as the Parsel-tongue. Towards the end, Columbus must have discovered he was running out of film. Harry's time spent in the Chamber of Secrets felt rushed and didn't fit well with the pace of the movie. Quidditch returns, albeit briefly, with all the CGI problems that slightly marred the sequence in the first film fixed.
Sadly, missing from this film is the delight of the little details. Harry Potter and the Chamber of Secrets is interested solely in story, and remains feverishly locked in on getting the basics of the narrative out, and that's all. With a running time of 160 minutes, you'd think there would be time to search around the shadowy corners of Hogwarts some more, but Columbus doesn't set aside time for it. With Sorcerer's Stone being the origin story of Harry Potter, and most of the geographical work laid out in that film, The Chamber of Secrets doesn't have many scenes of discovery that aren't directly routed or paid off in the end.
Returning to the magical world of wizardary in Harry Potter and the Chamber of Secrets is great fun, but don't miss out on all the details. Read the book!
Harry Potter and the Chamber of Secrets picks up where The Sorcerer's Stone ended. We find Harry (Radcliffe) stuck in the Dursley household, waiting for his friends Ron Weasley (Grint) and Hermione Granger (Watson) to contact him after a summer away from the Hogwarts School Of Witchcraft and Wizardry. Trouble finds Harry in the form of a house-elf named Dobby, who warns Harry not to return to the school because evil will surely befall him if he tries. Harry ignores Dobby, returns to the school, and finds that an evil force has taken over the halls, immobilizing people in terror, and taunting Harry to find the source. It's year two for Harry and Company at Hogwarts and with it comes more adventures and many more characters to meet!
As with any sequel, there are many new things to enjoy. We spend quality time with Ron's family, take a ride in a flying car, meet Moaning Myrtle, a ghost who haunts the ladies room at Hogwarts, welcome new professors and meet Draco's deliciously sinister father, Lucius Malfoy, along with potting mandrakes, unleash pixies, discover a basilisk, Argog, and new magical delights, like Polyjuice Potion and Tom Riddle's diary.
Despite all this, the film remains focused on Harry, Ron, and Hermione and they are growing up fast. Now with mature voices and richer facial features, each actor is slowing coming into their own terms of developing the character's traits and emotional range. Radcliffe seems to have settled into Harry's skin. Grint provides more depth in Ron and perfects his comedic timing. Watson's Hermione has become much more than the whining know-it-all she is.
Kenneth Branagh as the vain Dark Arts professor Gilderoy Lockhart is spot on. He's perfect as the devilishly handsome, yet clueless professor.
Draco's father, overbearing and malevolent Lucius Malfoy makes his first appearance here and I'm hoping it's not his last. Brilliantly played by Jason Issacs, he provides another facet to Draco and you can't help but feel for him.
Meeting the Weasleys is a treat. Mr. and Mrs. Weasley compliment Ron, so well. The homey atmosphere and knick-knacks are just what you'd expect from Mrs. Weasley (delightful, Julie Waters). The flying car comes courtesy of Arthur Weasley (Mark Williams) who's fascinated by all things muggle. Ginny Weasley is pitch-perfect thanks to young unknown Bonnie Wright.
Wizard-mates Neville Long-Bottom and Seamus Finnigan are back, along with a new Gryffindor (and slightly irritating) Colin Creevy. Dobby, the house elf, succeeds in being annoyingly irritating, even more so on the big screen.
It's impossible not to be amazed at the returning cast of professors. Dumbledore comes across even more wise beyond his years. Professor McGonagill continues to delight. There is just not enough face time for Professor Snape. Unlike the book, the film does not really bring Harry and Snape's hate-hate relationship to the forefront.
The two pictures, though not interchangeable by any means, share the same production values, casts, and behind the scenes talent. Harry Potter and the Chamber of Secrets easily matches the original film in ambiance and spirit. Directed once again by Chris Columbus, it has a more defined edge than the first, brought on by a bolder sense of film-making, the first picture's overwhelming success, and the creepy crawly story laid out by author J.K. Rowling, adapted here again by Steven Kloves. Chamber goes for scares and intrigue, where Sorcerer went for awe and fantasy. The darker tone of the movie is a welcome sight, proving that Columbus has far more trust in his family audience than anyone else would dare, always a sure sign of a good film.
All the ingredients that made The Sorcerer's Stone such a great time are here: The magic, the Hogwarts house battles, John Williams' beautiful score, the camaraderie between the three leads, and glorious set design. The dueling scenes were a delight making me wish they had been longer. Justin and Harry's run-in could have stood for more development, as well as the Parsel-tongue. Towards the end, Columbus must have discovered he was running out of film. Harry's time spent in the Chamber of Secrets felt rushed and didn't fit well with the pace of the movie. Quidditch returns, albeit briefly, with all the CGI problems that slightly marred the sequence in the first film fixed.
Sadly, missing from this film is the delight of the little details. Harry Potter and the Chamber of Secrets is interested solely in story, and remains feverishly locked in on getting the basics of the narrative out, and that's all. With a running time of 160 minutes, you'd think there would be time to search around the shadowy corners of Hogwarts some more, but Columbus doesn't set aside time for it. With Sorcerer's Stone being the origin story of Harry Potter, and most of the geographical work laid out in that film, The Chamber of Secrets doesn't have many scenes of discovery that aren't directly routed or paid off in the end.
Returning to the magical world of wizardary in Harry Potter and the Chamber of Secrets is great fun, but don't miss out on all the details. Read the book!
Sunday, September 12, 2010
Harry Potter and the Sorcerer's Stone (2001)
Reviewed: 11.2005
In order to successfully review Harry Potter and the Sorcerer's Stone, I must separate the book from the film. Whereas the book takes you THROUGH the world of Harry Potter, the movie pulls you INTO the world of Harry Potter. Although two-and-a-half hour period is certainly not long enough to explore every nook and cranny at Hogwarts, Harry Potter and the Sorcerer's Stone is beautifully done.
Harry Potter (Daniel Radcliffe) lives with his aunt, uncle, and cousin Dudley, the Dursleys. Having been told his parents were both killed in a car crash when he was very young, Harry is quite surprised to find out the truth on his eleventh birthday from a rather odd looking fellow. Harry is the orphaned son of a powerful witch and wizard. Besides the lightning bolt-shaped scar, Harry possesses unique magical powers all his own. He's been summoned from his life as an unwanted boy to enroll as a student at Hogwarts, the wizarding school for witches and wizards. Once there, he meets several friends who become his closest allies and help him discover the truth about his parent's mysterious deaths at the hands of a powerful adversary.
Daniel Radcliffe has the look, the mannerisms and the charm of Harry down pat. His strongest expressions are the bemusement that must be inherent at entering a world where science does not rule alone and the bravery that Harry shows in his achievements. He captures the pale innocents of his character with ease.
Emma Watson irritatingly overplays Hermione, but does so in a fully endearing fashion. By the end of the film, you understand her know-it-all ways and love her for it.
Ron Weasley delights. Rupert Grint has comic timing way beyond his years, hitting Ron's lines perfectly. He's everything I wanted as Harry's sardonic buddy.
Tom Felton makes for a stylish Draco Malfoy. Malfoy is perfectly sinister as Harry's nemesis. I'm looking forward to his, hopefully, continued character development.
Neville Longbottom suffers from character acceleration, so the finale does come as a slight shock. Fred and George Weasley are distinctively cheeky rather than proactive pranksters. Percy comes across with genuine authority. Oliver Wood is likable and an ideal Quidditch team captain.
Hagrid (Robbie Coltrane) was everything I'd imagined. He is the single dominant adult character and his character is played for maximum laughs. The movie changes strongly exaggerates one side of Hagrid's nature and irritatingly so. Argus Filch was a creepier personality than I had given him. John Hurt as Ollivander is an eccentric treat, giving a wonderful introduction to the Wizarding World.
The professors are uniformly excellent, though Richard Harris' Dumbledore comes off as disappointingly flat and labored until the end. Severus Snape (Alan Rickman) was unexpected, but certainly in a good way. Not overtly sinister, his character is delightfully understated. Wise choice. He brings life into the serious-toned teacher and he makes him sort of a borderline human being. Dame Maggie Smith was born to play Minerva McGonagall. Professor Quirrell was younger than expected, but it worked.
John Cleese (as Nearly Headless Nick) and Julie Walters (as Mrs. Weasley) have all-too-brief cameo roles. Let's hope for more from them.
Lord Voldemort, er, He-Who-Must-Not-Be-Named although only a crude face and creepy voice was much more menacing that expected. On the back of Prof. Quirrell, it was amazing. Can't wait to see this Dark Lord in human form.
The feel of the whole movie is everything fans could have hoped for. The dialog is intensely measured, the coloring is suitably epic, and the selection of what to leave in is really tightly considered. You get chills in your spine at the right places; you feel the triumphs as all-encompassing endorphin highs. It's clear down to the minute details that director Chris Columbus, writer Steven Kloves and the imaginative production team thought long, hard and lovingly went about the task of bringing Rowling's book to the big screen.
The Sorting Hat was by far the highlight of the CG. The harried Quidditch match was a disappointment. It felt off pace with the rest of the movie and looked downright crude. Overall, the film is just marvelous to look at. From the bustling wizard street Diagon Alley to the magnificently Gothic Hogwarts School and its Great Hall, to the dark and misty Forbidden Forest, it's a feast for the eyes.
In order to successfully review Harry Potter and the Sorcerer's Stone, I must separate the book from the film. Whereas the book takes you THROUGH the world of Harry Potter, the movie pulls you INTO the world of Harry Potter. Although two-and-a-half hour period is certainly not long enough to explore every nook and cranny at Hogwarts, Harry Potter and the Sorcerer's Stone is beautifully done.
Harry Potter (Daniel Radcliffe) lives with his aunt, uncle, and cousin Dudley, the Dursleys. Having been told his parents were both killed in a car crash when he was very young, Harry is quite surprised to find out the truth on his eleventh birthday from a rather odd looking fellow. Harry is the orphaned son of a powerful witch and wizard. Besides the lightning bolt-shaped scar, Harry possesses unique magical powers all his own. He's been summoned from his life as an unwanted boy to enroll as a student at Hogwarts, the wizarding school for witches and wizards. Once there, he meets several friends who become his closest allies and help him discover the truth about his parent's mysterious deaths at the hands of a powerful adversary.
Daniel Radcliffe has the look, the mannerisms and the charm of Harry down pat. His strongest expressions are the bemusement that must be inherent at entering a world where science does not rule alone and the bravery that Harry shows in his achievements. He captures the pale innocents of his character with ease.
Emma Watson irritatingly overplays Hermione, but does so in a fully endearing fashion. By the end of the film, you understand her know-it-all ways and love her for it.
Ron Weasley delights. Rupert Grint has comic timing way beyond his years, hitting Ron's lines perfectly. He's everything I wanted as Harry's sardonic buddy.
Tom Felton makes for a stylish Draco Malfoy. Malfoy is perfectly sinister as Harry's nemesis. I'm looking forward to his, hopefully, continued character development.
Neville Longbottom suffers from character acceleration, so the finale does come as a slight shock. Fred and George Weasley are distinctively cheeky rather than proactive pranksters. Percy comes across with genuine authority. Oliver Wood is likable and an ideal Quidditch team captain.
Hagrid (Robbie Coltrane) was everything I'd imagined. He is the single dominant adult character and his character is played for maximum laughs. The movie changes strongly exaggerates one side of Hagrid's nature and irritatingly so. Argus Filch was a creepier personality than I had given him. John Hurt as Ollivander is an eccentric treat, giving a wonderful introduction to the Wizarding World.
The professors are uniformly excellent, though Richard Harris' Dumbledore comes off as disappointingly flat and labored until the end. Severus Snape (Alan Rickman) was unexpected, but certainly in a good way. Not overtly sinister, his character is delightfully understated. Wise choice. He brings life into the serious-toned teacher and he makes him sort of a borderline human being. Dame Maggie Smith was born to play Minerva McGonagall. Professor Quirrell was younger than expected, but it worked.
John Cleese (as Nearly Headless Nick) and Julie Walters (as Mrs. Weasley) have all-too-brief cameo roles. Let's hope for more from them.
Lord Voldemort, er, He-Who-Must-Not-Be-Named although only a crude face and creepy voice was much more menacing that expected. On the back of Prof. Quirrell, it was amazing. Can't wait to see this Dark Lord in human form.
The feel of the whole movie is everything fans could have hoped for. The dialog is intensely measured, the coloring is suitably epic, and the selection of what to leave in is really tightly considered. You get chills in your spine at the right places; you feel the triumphs as all-encompassing endorphin highs. It's clear down to the minute details that director Chris Columbus, writer Steven Kloves and the imaginative production team thought long, hard and lovingly went about the task of bringing Rowling's book to the big screen.
The Sorting Hat was by far the highlight of the CG. The harried Quidditch match was a disappointment. It felt off pace with the rest of the movie and looked downright crude. Overall, the film is just marvelous to look at. From the bustling wizard street Diagon Alley to the magnificently Gothic Hogwarts School and its Great Hall, to the dark and misty Forbidden Forest, it's a feast for the eyes.
Saturday, June 12, 2010
The A-Team (2010)
An objective review of The A-Team is nearly an impossible task. For mindless summer entertainment with explosions and wisecracking heroes this film fits the bill. Solid delivery of a thinly veiled plot creates popcorn bliss.
Convicted of a crime they didn’t commit while stationed in Iraq, Col Hannibal Smith (Liam Neeson) leads a team of ex-Army Rangers on a covert mission to clear their names.
The casting is top-notch. Liam Neeson is pitch-perfect as the silver-haired, cigar-chomping rogue leader. Bradley Cooper as Lt. Templeton ‘Face’ Peck is the perfect touch of rebellious good looks and subtle determination. Sgt. Bosco ‘B.A.’Baracus has legitimate street cred thanks to Rampage Jackson. And last but not least is Sharlto Copley as H.M. ‘Howling Mad’ Murdoch—easily the best role in the film.
The A-Team rolls full throttle thanks to director Joe Carnhan’s penchant for big bangs. The film moves at a nice clip. That’s a good thing ‘cause when the smoke and mirrors fade, we are left with improbable team dynamics.
By checking plausibility, the viewer is guaranteed a good time. As I see it, The A-Team is a high-octane action thriller that’ll entertain. It’s an average re-imaging, nothing more.
Convicted of a crime they didn’t commit while stationed in Iraq, Col Hannibal Smith (Liam Neeson) leads a team of ex-Army Rangers on a covert mission to clear their names.
The casting is top-notch. Liam Neeson is pitch-perfect as the silver-haired, cigar-chomping rogue leader. Bradley Cooper as Lt. Templeton ‘Face’ Peck is the perfect touch of rebellious good looks and subtle determination. Sgt. Bosco ‘B.A.’Baracus has legitimate street cred thanks to Rampage Jackson. And last but not least is Sharlto Copley as H.M. ‘Howling Mad’ Murdoch—easily the best role in the film.
The A-Team rolls full throttle thanks to director Joe Carnhan’s penchant for big bangs. The film moves at a nice clip. That’s a good thing ‘cause when the smoke and mirrors fade, we are left with improbable team dynamics.
By checking plausibility, the viewer is guaranteed a good time. As I see it, The A-Team is a high-octane action thriller that’ll entertain. It’s an average re-imaging, nothing more.
Sunday, May 9, 2010
The Chumscrubber (2005)
Reviewed 01.25.2006
Dean (Jamie Bell) is a high school loner who discovers his best friend's suicide and fails to inform his friend's mother (Glenn Close) about it at the time. Burdened with guilt, Dean willingly medicates himself with prescription drugs from his unbearable psychiatrist father (William Fichtner), and tries to put the event out of his mind. However, when a group of school thugs (Justin Chatwin, Lou Taylor Pucci, and fresh-faced Camilla Belle) come calling to retrieve stolen drugs that were promised to them by his dead friend, Dean is pushed into confronting his idiosyncratic, idyllically average suburban neighborhood, where the parents (including Carrie-Anne Moss, Ralph Fiennes, Rita Wilson, Lauren Holly, John Heard, Caroline Goodall, Jason Issacs, and Allison Janney) just don't know. In this surreal depiction of life in the 'burbs, every individual is completely self-absorbed and numb to the outside world. A child is kidnapped and his parents never even realize it!
Sounds like another angst-y decent into the dull world of suburbia, huh? Oh, it is, but I enjoyed every darkly satiric and cliched minute of it. The Chumscrubber takes a look at McNeighborhoods, the families that reside there, and examines the hypocrisy of it all. Each kids buries their emotion under Prozacs, Zantacs, Ritalins, and any other "happiness pills" they can find, while their parents drown their sorrows in one glass of wine after another. The well known ensemble cast (of adults, anyways) is amazing in their typical clueless roles. Glenn Close and Ralph Fiennes (and his dolphins) are the ones to watch.
The gang of youngsters are incredible. Jason Bell shines as he interacts in a world of fakes all the while dealing with these new found emotions himself. Camilla Belle is gorgeous, playing the typical girl-falling-for-the-bad-boy, Justin Chatwin. He won't win an award here, his delivery of over the top angst provides great comic relief. Rory Culkin in his role as Dean's younger brother Charlie, has the video game controller seared to his hand and never leaves the couch.
Director/writer Arie Posin has created a world where people are completely consumed with drugs and appearances. Helping the story along is an incredible score, a la James Horner and great indie tunes. Every moment of The Chumscrubber is either painfully shocking or absurdly hilarious. It all depends on you.
Dean (Jamie Bell) is a high school loner who discovers his best friend's suicide and fails to inform his friend's mother (Glenn Close) about it at the time. Burdened with guilt, Dean willingly medicates himself with prescription drugs from his unbearable psychiatrist father (William Fichtner), and tries to put the event out of his mind. However, when a group of school thugs (Justin Chatwin, Lou Taylor Pucci, and fresh-faced Camilla Belle) come calling to retrieve stolen drugs that were promised to them by his dead friend, Dean is pushed into confronting his idiosyncratic, idyllically average suburban neighborhood, where the parents (including Carrie-Anne Moss, Ralph Fiennes, Rita Wilson, Lauren Holly, John Heard, Caroline Goodall, Jason Issacs, and Allison Janney) just don't know. In this surreal depiction of life in the 'burbs, every individual is completely self-absorbed and numb to the outside world. A child is kidnapped and his parents never even realize it!
Sounds like another angst-y decent into the dull world of suburbia, huh? Oh, it is, but I enjoyed every darkly satiric and cliched minute of it. The Chumscrubber takes a look at McNeighborhoods, the families that reside there, and examines the hypocrisy of it all. Each kids buries their emotion under Prozacs, Zantacs, Ritalins, and any other "happiness pills" they can find, while their parents drown their sorrows in one glass of wine after another. The well known ensemble cast (of adults, anyways) is amazing in their typical clueless roles. Glenn Close and Ralph Fiennes (and his dolphins) are the ones to watch.
The gang of youngsters are incredible. Jason Bell shines as he interacts in a world of fakes all the while dealing with these new found emotions himself. Camilla Belle is gorgeous, playing the typical girl-falling-for-the-bad-boy, Justin Chatwin. He won't win an award here, his delivery of over the top angst provides great comic relief. Rory Culkin in his role as Dean's younger brother Charlie, has the video game controller seared to his hand and never leaves the couch.
Director/writer Arie Posin has created a world where people are completely consumed with drugs and appearances. Helping the story along is an incredible score, a la James Horner and great indie tunes. Every moment of The Chumscrubber is either painfully shocking or absurdly hilarious. It all depends on you.
Sunday, March 28, 2010
Reservoir Dogs (1992)
Reviewed: 11.20.2006
Six strangers: Mr. White (Harvey Keitel), a professional criminal; Mr. Orange (Tim Roth), a young newcomer; Mr. Blonde (Michael Masden), a trigger-happy killer; Mr. Pink (Steve Buscemi), a paranoid neurotic; Mr. Brown (Quentin Tarantino); and Mr. Blue (Eddie Bunker) are assembled to pull off the perfect crime. Hired by crime boss Joe Cabot (Lawrence Tierney) and known only by their colored names so no one could identify the others, there was no way their diamond heist could have gone so wrong. After a police ambush, killing Mr. Brown and seriously injuring Mr. Orange, the criminals return to their rendezvous point, a warehouse, and slowly begin to realize that one of them had to have been a police informant. But who?
It's easy to see how Tarantino has become a living legend. His films are certainly avant garde (and borderline trendy) and an acquired taste. Reservoir Dogs, his directorial debut, is raw, gritty, and despite being uber-violent, ultra-sharp.
With its simple style and limited sets, writer/director Quentin Tarantino relies on his actors to pull the story off and what a cast it is. Harvey Keitel leads the way as the well-heeled professional. Tim Roth delivers a great performance a the youngest of the bunch. The camaraderie between Messieurs White and Orange is weirdly heart-warming. And after Mr. Orange choose his loyalties strangely sad. Steve Buscemi as the smart, humorous, most professional one of the gang is brilliant in his neurotic way. However, Masden is the muted, disturbed psychopath to watch. Fortunately for them all, Tarantino has written a clever screenplay and allows his actors to deliver some of the greatest lines of dialogue.
The film opens with a well-dress bunch of presumed gentleman discussing the finer points of 'Like a Virgin' and tipping waitress. In the next, the viewer is shoved into the back of a car, post robbery, as Mr. Orange writhes from his gut-shot and Mr. White drives hims to safety. In his typical style, Tarantino weaves unique storytelling blended with violence and smart dialogue into an utterly simple masterpiece. The viewer never sees the robbery, just the bloody after effects.
One would have to be dead or at least desensitized, not to flinch at the overwhelming violence. Then, there's the language. God forbid. I daresay, Reservoir Dogs could be a much shorter, if the characters weren't spewing 'f^ck' amid every other word. Despite that, it's the ever so subtle cinematography and editing that creates a world larger than the warehouse and few flashbacks we see and successfully so. Together with the Tarantino's trademark non-linear narrative and kinetic editing, the soundtrack helps create one stylish, atmospheric film.
Even so, Tarantino feels the need to preach. As in seemingly all his films, Tarantino's arrogance invades his story and assaults his viewers. In his world, there are no good or bad guys. Every character has their positive and negative aspects and the viewer is expected to overlook the fact these men are bloody criminals and root for them. And you do!! Only Tarantino could turn an ignorant bloodbath into a film about trust, loyalty and the consequences of your actions.
In the end, Reservoir Dogs probably deserves its heralding. It's a smart film, a modern classic that demands a viewing.
Quentin Tarantino has moments of brilliance--this film is one of them.
Six strangers: Mr. White (Harvey Keitel), a professional criminal; Mr. Orange (Tim Roth), a young newcomer; Mr. Blonde (Michael Masden), a trigger-happy killer; Mr. Pink (Steve Buscemi), a paranoid neurotic; Mr. Brown (Quentin Tarantino); and Mr. Blue (Eddie Bunker) are assembled to pull off the perfect crime. Hired by crime boss Joe Cabot (Lawrence Tierney) and known only by their colored names so no one could identify the others, there was no way their diamond heist could have gone so wrong. After a police ambush, killing Mr. Brown and seriously injuring Mr. Orange, the criminals return to their rendezvous point, a warehouse, and slowly begin to realize that one of them had to have been a police informant. But who?
It's easy to see how Tarantino has become a living legend. His films are certainly avant garde (and borderline trendy) and an acquired taste. Reservoir Dogs, his directorial debut, is raw, gritty, and despite being uber-violent, ultra-sharp.
With its simple style and limited sets, writer/director Quentin Tarantino relies on his actors to pull the story off and what a cast it is. Harvey Keitel leads the way as the well-heeled professional. Tim Roth delivers a great performance a the youngest of the bunch. The camaraderie between Messieurs White and Orange is weirdly heart-warming. And after Mr. Orange choose his loyalties strangely sad. Steve Buscemi as the smart, humorous, most professional one of the gang is brilliant in his neurotic way. However, Masden is the muted, disturbed psychopath to watch. Fortunately for them all, Tarantino has written a clever screenplay and allows his actors to deliver some of the greatest lines of dialogue.
The film opens with a well-dress bunch of presumed gentleman discussing the finer points of 'Like a Virgin' and tipping waitress. In the next, the viewer is shoved into the back of a car, post robbery, as Mr. Orange writhes from his gut-shot and Mr. White drives hims to safety. In his typical style, Tarantino weaves unique storytelling blended with violence and smart dialogue into an utterly simple masterpiece. The viewer never sees the robbery, just the bloody after effects.
One would have to be dead or at least desensitized, not to flinch at the overwhelming violence. Then, there's the language. God forbid. I daresay, Reservoir Dogs could be a much shorter, if the characters weren't spewing 'f^ck' amid every other word. Despite that, it's the ever so subtle cinematography and editing that creates a world larger than the warehouse and few flashbacks we see and successfully so. Together with the Tarantino's trademark non-linear narrative and kinetic editing, the soundtrack helps create one stylish, atmospheric film.
Even so, Tarantino feels the need to preach. As in seemingly all his films, Tarantino's arrogance invades his story and assaults his viewers. In his world, there are no good or bad guys. Every character has their positive and negative aspects and the viewer is expected to overlook the fact these men are bloody criminals and root for them. And you do!! Only Tarantino could turn an ignorant bloodbath into a film about trust, loyalty and the consequences of your actions.
In the end, Reservoir Dogs probably deserves its heralding. It's a smart film, a modern classic that demands a viewing.
Quentin Tarantino has moments of brilliance--this film is one of them.
Monday, March 8, 2010
Robin Hood: Men in Tights (1993)
Reviewed: 10.11.2007
If you were to ask me yesterday, I would have said I liked this film. Alas, Robin Hood: Men in Tights isn't the clever comedy I remembered it to be. Cary Elwes leads a ho-hum cast that if it weren't for the rapid fire stupid and inane jokes, they'd be bored. There's nothing remotely witty or original in this attempt at a Robin Hood retread. Not even the hit 'Real Men Wear Tight Tights' can save this. For the life of me, I can't imagine how I thought this was remotely funny. Getting old kinda bites. Predictable and cringe-worthy, this movie just isn't funny anymore.
If you were to ask me yesterday, I would have said I liked this film. Alas, Robin Hood: Men in Tights isn't the clever comedy I remembered it to be. Cary Elwes leads a ho-hum cast that if it weren't for the rapid fire stupid and inane jokes, they'd be bored. There's nothing remotely witty or original in this attempt at a Robin Hood retread. Not even the hit 'Real Men Wear Tight Tights' can save this. For the life of me, I can't imagine how I thought this was remotely funny. Getting old kinda bites. Predictable and cringe-worthy, this movie just isn't funny anymore.
Sunday, March 7, 2010
Year of the Dog (2007)
Reviewed: 10.10.2007
This canine-themed PETA propaganda film stars SNL-alum Molly Shannon as Peggy, a homely secretary who's life centers around her dog Pencil. Pencil's death becomes the catalyst for her radical transformation into animal-rights activist.
Year of the Dog is a train wreck. Glum and quirky-- everything about this movie is ill fitting. Striking me as a Stranger Than Fiction knock-off, Shannon is hardly Will Ferrell. The story isn't there and Molly Shannon doesn't help. She does nothing but emphasis her horrible posture and that painful, gummy half-smirk. Peter Sarsgaard is the consumate supporting actor; he's always fascinating to watch, but even he can't take the pain away. Regina King and John C. Reilly also make painful appearances.
Movies are the perfect medium for opinions. This viewer doesn't mind being preached to, but I do mind being knocked over the head with it. Animal activism becomes the central theme instead of developing the precious storyline the movie begins with-- that bond between people and their pets. Year of the Dog is a pitiful bit of celluloid that should be avoided at all costs.
This canine-themed PETA propaganda film stars SNL-alum Molly Shannon as Peggy, a homely secretary who's life centers around her dog Pencil. Pencil's death becomes the catalyst for her radical transformation into animal-rights activist.
Year of the Dog is a train wreck. Glum and quirky-- everything about this movie is ill fitting. Striking me as a Stranger Than Fiction knock-off, Shannon is hardly Will Ferrell. The story isn't there and Molly Shannon doesn't help. She does nothing but emphasis her horrible posture and that painful, gummy half-smirk. Peter Sarsgaard is the consumate supporting actor; he's always fascinating to watch, but even he can't take the pain away. Regina King and John C. Reilly also make painful appearances.
Movies are the perfect medium for opinions. This viewer doesn't mind being preached to, but I do mind being knocked over the head with it. Animal activism becomes the central theme instead of developing the precious storyline the movie begins with-- that bond between people and their pets. Year of the Dog is a pitiful bit of celluloid that should be avoided at all costs.
Saturday, March 6, 2010
Factory Girl (2006)
Reviewed: 10.25.2007
Sienna Miller is fascinating at Edie Sedgwick, muse of pop art icon Andy Warhol. Edie was a real life Holly Golightly. (See Breakfast at Tiffany's starring Audrey Hepburn and George Peppard.) Guy Pierce is also brilliant as Andy Warhol; it's a shame Miller's performance gets in the way. Also of note, Hayden Christenson as Musician (more like a Bob Dylan impersonation with a hint of Darth). Regardless, Factory Girl is a mess-terpiece. There are interesting performances galore, but nothing cohesive. Jimmy Fallon and one of the Olsen twins pops up for 'wha, wha, what?!' moment. Fascinating, but most pointless movie of 2006.
Sienna Miller is fascinating at Edie Sedgwick, muse of pop art icon Andy Warhol. Edie was a real life Holly Golightly. (See Breakfast at Tiffany's starring Audrey Hepburn and George Peppard.) Guy Pierce is also brilliant as Andy Warhol; it's a shame Miller's performance gets in the way. Also of note, Hayden Christenson as Musician (more like a Bob Dylan impersonation with a hint of Darth). Regardless, Factory Girl is a mess-terpiece. There are interesting performances galore, but nothing cohesive. Jimmy Fallon and one of the Olsen twins pops up for 'wha, wha, what?!' moment. Fascinating, but most pointless movie of 2006.
Wednesday, February 24, 2010
Coffee & Cigarettes (2003)
Reviewed: 01.29.2005
Like a bad train wreck... you just can't turn away...
Jim Jarmush's 17-year film in the making is full of conversation over, well, coffee and cigarettes. Not being familiar with Jarmush (or his work), I can't compare it with anything.
But hey, where else can you see...
- Iggy Pop and Tom Waits try to intimidate each other. Or talk trash about Taco Bell and IHOP.
- Cate Blanchette talk to her cousin.
- Alfred Molina and Steve Coogin discuss family trees and tree huggers... er, I mean leaf people.
- Jack White show Meg White his Tesla coil.
- *RZA and GZA (Wu-Tang clan), discuss the perils of caffeine and nicotine with Bill 'mother-f---ing' Murray.
Sunday, February 21, 2010
She's the Man (2006)
Reviewed: 10.28.2007
You don't really need another plot outline. Suffice to say it's a modern retelling of Shakespeare's Twelfth Night. Amanda Bynes is no good as a man; actually, she's not that good of an actress, but her comedic timing is perfect. Can't help myself-- I love her. Bynes dons a wig and fake sideburns to become the most socially awkward boy you're ever met. She's too cute to be a boy, but it works here because she's so adorably corny.
Everything is beautiful here. The rest of the cast is incredibly good looking. The campuses are impeccable with facilities your local PTA would die for.
Director Andy Frickman takes this romantic retelling seriously. Fans of the Bard will enjoy the references, no matter how small, found throughout the film. The story might be funny, but cinematography is real. Soccer meets on the field are tight with a believable feel. I'd venture to say Bynes did most of her own work.
The soundtrack consists of pop from current 'it' bands like The All American Rejects and OK, Go. Thought hardly the core demographic, I found it rather enjoyable. I'd even venture to say She's the Man deserves a spot on the guilty pleasures shelf. It's just good entertainment that doesn't try too hard.
Sunday, February 14, 2010
The A-Team: Season One (1983)
Reviewed: 12.30.2004
If this was only memory of the 80's I could have... Growing up The A-Team was where it was at! Me and my sibs would play A-Team in the neighborhood. We had to take turns being Mr. T. Seeing it again was fun. Yeah, sure, the acting is not the best, and stereotypes abound, but it WAS the 80's. Man, they sure blew up a whole lotta jeeps!!
If this was only memory of the 80's I could have... Growing up The A-Team was where it was at! Me and my sibs would play A-Team in the neighborhood. We had to take turns being Mr. T. Seeing it again was fun. Yeah, sure, the acting is not the best, and stereotypes abound, but it WAS the 80's. Man, they sure blew up a whole lotta jeeps!!
The Bourne Trilogy
The Bourne Supremacy (2004) (reviewed 01.07.2005)
You know what happens when you @%$#! Jason Bourne off? Watch this movie.
The Bourne Supremacy begins two years later finding Jason and Marie living simply in Goa, India- but not any longer. When a CIA op winds up with the mark and field agent dead and a fingerprint, Jason must resurface to stay alive. Bourne's sporadic memories continue to be a source of frustration for him (and you).
This movie focuses more on his past and his search for it while staying on top of the CIA and his unknown enemy. Having said too much already, is the Supremacy better than Identity? I'll let you decide. As a huge fan of the books, I think Robert Ludlum would be proud.
The Bourne Supremacy continues with what works. Thrilling car chases, close escapes, tiring foot chases, explosions and a rolled up newspaper. (You can do THAT with a newspaper?!) The shaky camera angles get irritating. Director Paul Greenwood and right hand man, Oliver Wood don't figure that out until the movie's over. The edgy techno score continues into this movie. Moby also resurfaces with his "Extreme Ways".
***Jason Bourne (Matt Damon) is still running... from his haunted past, the death of Marie, and the CIA who is desperate to save face. With ever increasing flashbacks, Bourne needs the truth to find solice in who he is. To do that, he must return home.
The Bourne Ultimatum picks up running from where The Bourne Supremacy left off. Using a series of articles from about himself and his work for the CIA, Bourne finds his next clue in journalist Simon Ross (Paddy Considine, Hot Fuzz). Operation Blackbriar was the catalyst for Operation Treadstone of which Bourne was the elite assassin proto-type. He tracks down Ross to find his source. Meanwhile, CIA surveillance technology hones in on the same London newspaperman when the unsuspecting reporter utters the word "Blackbriar" during a cell phone conversation.
Deputy CIA director and black-ops chief Noah Vosen (David Stratharin) vows to find Ross and silence him and his source without remorse if it's the only way to maintain secrecy. When he discovers Bourne has been with Ross, he labels Bourne a threat to national security and orders operative to shoot him onsight. Tracing the source, Bourne stumbles across Nicky Parsons (Julia Stiles), CIA analyst who now works Neal Daniels (Colin Stinson), who funneled secret information to Ross. Briefly teaming up, the two travel to Morocco still in pursuit of Daniels. Vosen calls on CIA Supervisor and Bourne-sympathizer, Pamela Landy (Joan Allen) to advise on Bourne's M.O., but quickly confines her to the sidelines thanks to differing opinions. She wants to invite Bourne back for coffee. Vosen prefers to shoot first and hold an séance afterward for any questions.
It's the ultimate game of cat and mouse. Bourne travels from Moscow to Paris, Tangier to Waterloo, London to New York to reconstruct his past, eluding his pursuers by mere minutes.
This cast is seemingly tailor-made for these perfomances. Matt Damon embodies our resilient hero; his steely gaze is matched by his imposing gait. Joan Allen and Julia Stiles are solid foil to Damon's Bourne. Allen really gets to shine as Landy. In retrospect, Stiles gets shafted as her character is quickly dispensed with; the viewer gets left with hints as to what could have been. Among those new on the set are David Stratharin and Albert Finney.
Director Paul Greengrass and Exec Producer Doug Liman bring the gritty story back to life with sheer intensity. Greengrass has better control of his camera, providing steady coverage of everything, allowing the viewer full immersion into Bourne's existence. Action scenes are brutal, quick and choreographed almost instinctively. This time around Bourne gets to use a book for self defense. Nice.
Well-paced and gripping, Greengrass directs with purpose driving toward a conclusion. Flashbacks give distinct information, the script moves quickly but with clear instruction. Whether running through the streets of Tangier or using the phone in Waterloo, Greengrass develops this dramatic intensity that pressurizes before ultimately exploding onscreen and seizing the viewer. The film doesn't let go until the very last moment.
The conclusion could have gone either way. Fortunately, my worries were unfounded. Greengrass wraps things up nicely.
With intense action, an intelligent screenplay that even dares to delve into the ambiguity of national security, and brilliant acting, The Bourne Ultimatum is the ultimate ending to an heart-pumping, ears-pounding, breath-taking, and altogether phenominal series.
Tuesday, February 2, 2010
The Breakfast Club (1985)
Reviewed: 10.10.2007
The Breakfast Club is a shockingly good drama/comedy about going beyond stereotypes. I had suspected a dated oddity much like Dazed and Confused. Instead we have throughly engaging film with emotion and heart.
The young cast assembled by director John Hughes has something going for them. Dialogue perhaps, but the sheer believability is incredible. Emilio Estevez, leading the cast, comes out overly dramatic to settle in nicely. Judd Nelson is phenominal as the young hoodlum with abusive parents and principle. Nelson fills this role incredibly well, tempering angst with comedy and seriousness. Ringwald's Claire was a bit too whiny for a character with nothing to stand on. Sheedy managed well; neither girl got the dialouge or character development they deserved. Anthony Michael Hall is solid as a geek with a failing grade in shop class who's considering a drastic consequence.
Despite being steeped in 80's culture, everyone can relate to the story Hughes has created here. Whether jock or jerk, we've all struggled with peer pressure and parental expections. Anyone finding this film 'misoginic, homophobic or cliched' has undoubtedly forgotten what it was like as a misunderstood teen-- doesn't matter the decade, some things never change. Like Allison says, "As you grow up your heart dies."
The Breakfast Club is a shockingly good drama/comedy about going beyond stereotypes. I had suspected a dated oddity much like Dazed and Confused. Instead we have throughly engaging film with emotion and heart.
The young cast assembled by director John Hughes has something going for them. Dialogue perhaps, but the sheer believability is incredible. Emilio Estevez, leading the cast, comes out overly dramatic to settle in nicely. Judd Nelson is phenominal as the young hoodlum with abusive parents and principle. Nelson fills this role incredibly well, tempering angst with comedy and seriousness. Ringwald's Claire was a bit too whiny for a character with nothing to stand on. Sheedy managed well; neither girl got the dialouge or character development they deserved. Anthony Michael Hall is solid as a geek with a failing grade in shop class who's considering a drastic consequence.
Despite being steeped in 80's culture, everyone can relate to the story Hughes has created here. Whether jock or jerk, we've all struggled with peer pressure and parental expections. Anyone finding this film 'misoginic, homophobic or cliched' has undoubtedly forgotten what it was like as a misunderstood teen-- doesn't matter the decade, some things never change. Like Allison says, "As you grow up your heart dies."
Monday, February 1, 2010
Casablanca (1943)
Reviewed: 10.11.2007
Casablanca is one of the few parts of the world the Third Reich has yet to reach. Full of refugees seeking asylum in American, Casablanca is the clearing house. But in order to get out, you must first obtain an exit visa and those? Well, those are hard to come by. Rumor has it Rick's Cafe is the place for black market goods. Cafe' owner, Rick Blain (Bogart), cynical American expatriate facilitates these transaction, but under no means does he get involved. That is, until one of his regulars, Ugarte (Peter Lorre), entrusts to him some letters of transit. Informed by Captain Renault, the Chief of Police, who is neutral in his political views, that Victor Laszlo (Henreid), the European Resistance leader, is in Casablanca and will do anything to get an exit visa for him and his wife, Rick is told under no circumstances not get involved. Easy enough, Rick thinks until Ilsa Lund (Bergman) arrives on Laszlo's arm causing old wounds to reopen.
Well, I can't say my life is enriched by viewing it, but it is easy to see how Casablanca has become 'classic'. It's also nice to know the origination of some of the most copied and ballyhooed dialogue. Humphrey Bogart is the man. Calm, cool, collected. His style is quintessential film noir. Ingrid Bergman is simply beautiful and unfortunately, that's all she has to do. It's hard to be the stylings and sets of old Hollywood and there are plenty here.
Honestly, the film had me wondering why hasn't this film be remade, but best leave well enough alone. I would guess that what makes Casablanca classic is that it speaks to every viewer on some level. Ultimately, the story is one of redemption and who doesn't need some of that?
Casablanca is one of the few parts of the world the Third Reich has yet to reach. Full of refugees seeking asylum in American, Casablanca is the clearing house. But in order to get out, you must first obtain an exit visa and those? Well, those are hard to come by. Rumor has it Rick's Cafe is the place for black market goods. Cafe' owner, Rick Blain (Bogart), cynical American expatriate facilitates these transaction, but under no means does he get involved. That is, until one of his regulars, Ugarte (Peter Lorre), entrusts to him some letters of transit. Informed by Captain Renault, the Chief of Police, who is neutral in his political views, that Victor Laszlo (Henreid), the European Resistance leader, is in Casablanca and will do anything to get an exit visa for him and his wife, Rick is told under no circumstances not get involved. Easy enough, Rick thinks until Ilsa Lund (Bergman) arrives on Laszlo's arm causing old wounds to reopen.
Well, I can't say my life is enriched by viewing it, but it is easy to see how Casablanca has become 'classic'. It's also nice to know the origination of some of the most copied and ballyhooed dialogue. Humphrey Bogart is the man. Calm, cool, collected. His style is quintessential film noir. Ingrid Bergman is simply beautiful and unfortunately, that's all she has to do. It's hard to be the stylings and sets of old Hollywood and there are plenty here.
Honestly, the film had me wondering why hasn't this film be remade, but best leave well enough alone. I would guess that what makes Casablanca classic is that it speaks to every viewer on some level. Ultimately, the story is one of redemption and who doesn't need some of that?
Monday, January 25, 2010
Read Window (1954)
Reviewed 07.08.2007
Wheel-chair bound photographer L.B. Jefferies (James Stewart) is recovering from a nasty broken leg at home. Not content to be visited by his beautiful girlfriend, Lisa (Grace Kelly) and lovely nurse Stella (Thelma Ritter), Jeff occupies himself through a series of constantly changing vignettes courtesy of his courtyard. He's a peeper!! Watching through the windows and his camera lens, he plays along in the lives of the courtyard inhabitants. There is the dancer, 'Miss Torso' who dances all day and dates multi-men, 'Miss Lonelyhearts' who practices dates on her own, newly-weds, a frustrated bachelor composer, newlyweds and lovers, a nearly deaf sculptor, and bedridden Mrs. Thorwald and her husband Mr. Thorwald (Raymond Burr).
Jeff's voyeurism garners the scorn of his lady friends, but when he witnesses an argument between the Thorwalds and the missus disappears, Jeff becomes convinced that Mr. Thorwald has murdered his wife. When presented with the 'facts' of the case, the three are determined to get to truth.
Some 50+ years later, Rear Window remains an effective thriller. Director Alfred Hitchcock is a master of suspense, as he allows the emotion to build until the viewer is practically at wit's end before effectively delivering a climax that leaves the heart pounding. Slowly, the viewer, alongside Jeff gets to know the comings and goings of the neighborhood. The viewer is just as suspicious when the flowers beds suddenly seem taller, the dogs disappears and suddenly Mrs. Thorwald is missing. Hitchcock gets us all to forget that we're all engaging in licentious behavior, or rather, murder is worse than what we're doing.
As with the films of this period, everything is quite dapper. Jimmy Stewart and Grace Kelly are beautiful on-screen. Their relationship alone, she's a high society girl; he's a nitty-gritty photographer adds another layer of interest. Hitchcock's ingenuity keeps viewer curiosity alive. Imagine the limitations of filming a courtyard and yet, he creates a vibrant little place that we actually want to watch. Just like Jefferies, we are immobilized and anxious when we feel the look of Mr. Thorwald's eyes upon us.
Rear Window is a taunt piece and fine example of classic film making. Simple in nature, but technically brilliant. Hitchcock was a master manipulator of emotions and certainly out nerves. Well worth a viewing!
Sunday, January 24, 2010
Citizen Kane (1941)
Reviewed: 07.23.2007
Following the death of newspaper tycoon and philanthropist Charles Foster Kane, news reporters set out to discover the meaning behind his last word... "Rosebud". Kane's life is re-examined through a series of newsreel footage in an attempt to discover the man behind the persona.
Citizen Kane is considered one of Hollywood's classics. Judging this film by today's standards, doesn't do either party justice. To think generations are missing out because of it's age or that it's B&W is sad. Citizen Kane is on top of those lists for a reason. After viewing, you'll see why.
Citizen Kane is considered one of Hollywood's classics. Judging this film by today's standards, doesn't do either party justice. To think generations are missing out because of it's age or that it's B&W is sad. Citizen Kane is on top of those lists for a reason. After viewing, you'll see why.
Grandiose and bombastic, Orson Wells embodies Kane from the ambitious 20-something to the disillusioned 60 year old, Wells makes Kane overwhelmingly real. It's a masterful performance. The supporting cast of characters all seem to be operating on another plane, symbolizing periods of time in this man's life.
The visual styling of Citizen Kane is unconventional and stunning. Creating themes through the symbolism, special effects, scoring and detailed cinematography, the film assaults the senses. Combined, the viewer is easily engrossed in the story of a vulnerable man and his Rosebud.
Citizen Kane, again, is essential viewing for film fans. However, the dependence of symbolism may very well impede the best of intentions.
01.24.2010 ~ Although the secret is out, I love this one. The symbolism is key. 'Grandiose and bombastic' still stand.
Sunday, January 10, 2010
I, Robot (2004)
Reviewed 01.10.2005
Whether it's aliens or robots, Will Smith can save the world all the while cracking jokes. I, Robot could be I, Amcreepedout for those of you having read Issac Asimov's book. Other than that, this movie is based VERY loosely on his work. Without giving away, what is sometimes an obvious plot...
- Sonny, the main robot, creeps me out and yet, I find myself rooting for him (not for long).
- Detective Spooner, we discover things are not what they seem.
- Susan Calvin needs a life.
- V.I.K.I is whack.
The Crow (1994)
Reviewed 11.19.2006
People once believed that when you died, a crow took your soul to the land of the dead.....but sometimes, just sometimes, the crow could bring that soul back, to make the wrong things right..."
In this 'Gotham-esque' city, master criminal Top Dollar (Michael Wincott) directs low-life underlings in wanton acts of arson and depravity on what has become known as Devil's Night, the eve of Halloween. On the eve of their wedding, rockster Eric Draven and his fiance Shelly Webster were brutally murdered. On that Devil's Night, Eric (Brandon Lee) comes home to find Shelly (Sofia Shinas) being raped and beaten, only to find himself assaulted, shot and shoved out a five-story window. They leave behind a close young friend Sarah (Rochelle Davis), endless rainy nights in the city, and infinite sorrow on those who knew them. A year later, a Crow brings Draven's tormented soul out of the grave, gifting him with new powers and a world of pain and grief. Guiding Draven, the Crow allows him to take revenge upon his killers and earn eternal rest.
Director Alex Proyas' revenge thriller is just bad. The characters are bad interpretations of bad guys. With fool-hardy names like Skank, Funboy, and T-Bird, who begin each night of depravity with 'Fire it Up', what else do you expect? The mastermind behind them all, with his equally non-sensical name, Top Dollar, carries a sword, has a penchant for eyeballs and calls an Asian woman with weird lips his sister. Still with me? When Top Dollar says "this is already boring the sh!t out of me," the viewer can't help think the same.
As for Brandon Lee, it's a shame we never saw him do more. Beneath the Insane Clown Posse reject make-up is a glimmer of emotion and passion that might be unique. With his skin-tight heroine chic ninja oufit, complete with electric guitar, the audience knows he's out to save Gotham City. Or not. To his credit, Lee, is given some of the worst moments of dialogue and tries for believability. "Suddenly I heard a tapping, as of someone gently rapping...at my chamber door". Raven.. Crow... not the same thing. Nice try. Wait, depressed teenagers wouldn't know the difference.
The Crow complete with its weird, creepy, Gothic atmosphere is visually interesting to watch. While it has reached cult status with depressed teens everywhere, a closer look shows this film doesn't hold water. It's a shame a smart graphic novel can become a mockery of itself so quickly. With characters that barely rise from the grave themselves, stuck in obviously cliched melodramatic moments, The Crow is so bad, it's funny.
01.10.10 ~ Funny, when I went back to retrieve this review, I remembered it being positive. Wrong. This is incredibly harsh for what I now view as a guilty pleasure. Ouch.
Saturday, January 9, 2010
Little Miss Sunshine (2006)
Reviewed: 12.28.2006
The Hoover family from Albequerque, New Mexico might be the family next door. Or not. Dad, Richard, (Greg Kinnear) is a wanna-be movitational speaker who spouts lectures on winners and losers. Mom, Sheryl (Toni Collette), is a chain-smoking housewife, who like any woman, wants only the best for her marriage and family. Uncle Frank (Steve Carrell), we are reminded, is the pre-eminent Proust scholar who recently tried to commit suicide following an unsuccessful romance with a male graduate studen. Grandpa Edwin (Alan Arkin) came to stay after he was kicked out of the retirement home because of his heroine addiction. Brother Dwayne (Paul Dano) is a fanatical follower of Frederich Nietzsche and has taken a vow of silence until he completes his life goal of joining the air force and flying. Then there's young Olive (Abigail Breslin) who dreams of competing in beauty pagents.
Despite his drug habit, Grandpa enthusiastically coaches Olive in her contest talent dance routine. One day, Olive gets the call. She's finally getting her chance if she can make it to the Little Miss Sunshine contest in California. The one thing that might prevent her dreams coming true is her own families quirks and neuroses. The family road trip that ensues in a barely functional VW bus is sad, tragic, painful and fuzzy warm.
Little Miss Sunshine has been the Napoleon Dynamite darling of 2006 and after viewing, I can see why. I almost didn't see bother with this one because of the hype surrounding it.
Really, the characters are unoriginal, overdone cliches, but thanks to its charming cast of lovable f^ck-ups, you'd be hard pressed not to find Little Miss Sunshine relatible on some level. The whole cast shines, but it's little Abigail Breslin that draws you in. Despite her age, Breslin imbibes Olive with an innocent maturity well beyond her years. The film hangs on her every moment of sadness, joy, confusion and determination. Olive is the only 'normal' one of the bunch and let's use that term loosely. This odd looking creature with her even odder family rallied in support of her goal and loaded into the VW bus is hysterical. Carell is his first semi-serious role as Frank finds another shade of deep despair. Dano, as Olive's older brother manages to speak volumes with little more than facial expressions and shoulder shrugs. Arkin as the cantankerous grandfather could have played this role in the dark. And although I've never been a fan of Kinnear, even he manages to fill his role as judgemental father failure spot on. Holding it all together is Toni Collette, the frustrated 'Every Mom'.
This is a brilliant character driven film. Most of the film takes place in the VW bus or along the roadside and not one single frame is a waste of time. Throughout the film, each character has, what I affectionately deem, their 'light-bulb' moment and each of those moments are dramatically different and at times, odd. Little Miss Sunshine contains simple themes of love, death, and ultimate acceptance but without all the preachy insincerity.
Little Miss isn't all sunshine with a few plot issues and continuity goofs, but the intriguing personalities more than cover for them. The bits of subtle physical comedy found along the way are side-achingly funny, in a most unusal way; dialogue is witty, but honest and every day. The simple score adds further quirky enhancement to the road trip. The stops along the way provide incredible moments of dry humor, from the gas station to the highway patrol, but it's the climax of the film when Olive performs at the pageant that shows us, albeit rather uncomforably weirdly, what family should be all about.
Little Miss Sunshine is a beautiful message is an unlikely package. It's a fresh creative film that shouldn't be missed. It proves that life isn't about the destination, but rather the journey along the way.
Eternal Sunshine of the Spotless Mind (2004)
Reviewed: 06.06.2005
After their relationship sours, Joel (Jim Carrey) undergoes a procedure to erase all memories of his former love Clementine (Kate Winslet) after discovering she has done the same. As memories become lost, only then do they realize what they had to begin with. Carrey is perfect as socially inept Joel. Winslett shines as neurotic Clementine who's hair changes as often as her mood. Charlie Kaufman did us all a favor in dazzling us with the human mind in all is complexities and all of its beautiful possibilities.
I love this movie, but you'll only love it if you enjoy the existential. One of Carrey's finest.
Friday, January 8, 2010
Napoleon Dynamite (2004)
Reviewed: 02.06.2005
Like no movie I've ever seen. Virtually no plot unless you consider Napoleon Dynamite (John Heider) surviving his own life the plot. Alienated at high school and dealing with a bizarre family life, you can't help but root for him.
The supporting cast steals the show. There's not one that doesn't bring Napoleon's new friend Pedro (Efren Ramirez) is freaking hilarious especially as they team up to win the class presidency for Pedro. Kip (Aaron Ruell), Napoleon's 32-year old brother cruises the chatrooms for girls and eats all the chips. Lafawnduh, Deb, and Uncle Rico round out a side-aching movie.
I sat enthralled. Laughing hysterically and unfortunately, relating at times. The dialogue is like the best. Not for everyone, though. If this doesn't do it for you...
Pedro: Do you think people will vote for me?
Napoleon Dynamite: Heck yes! I'd vote for you.
Pedro: Like what are my skills?
Napoleon Dynamite: Well, you have a sweet bike. And you're really good at hooking up with chicks. Plus you're like the only guy at school who has a mustache.
... then don't watch this movie.
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