Tuesday, February 19, 2008
Ace in the Hole
While watching Ace in the Hole I both see the genius in the film making and understand why it did poorly with audiences in 1951. This is an amazingly cynical film. Outside of the Leo Minosa, who is stuck in the hole, and a couple of characters no one escapes Wilder’s wrath. Everyone is to blame: the opportunistic press, corrupt law, money hungry wife, and thrill seeking public. While he has certainly made a film that was well ahead of its time, and thus holds up well today, that makes it no less difficult to watch.
Wilder has made a film that is technically sound as any of his films. It is well written and well edited to drive a film that becomes painfully obvious that all will not end well. Kirk Douglas gives a career performance as Chuck Tatum, the man behind the strings. He is helped by a very strong supporting cast with standouts being Jan Sterling, Porter Hall, & Ray Teal as the victim’s wife, Albuquerque newspaper boss, and sheriff respectively.
Wilder certainly was able to see into the future. The term "media-circus" is now well known. With stories such as Princess Diana and Britney Spears the public has no problem believing that the press will perpetrate and become involved in the actual story. Many of the things shown in the film have happened many times. Recent media events have spawned both fly-by-night novelty songs and support businesses that pop up to deal with the huge crowds. Though I have to admit an actual carnival is a bit much.
But this film does have its faults. There is nothing subtle about this film. Wilder, much like Chuck Tatum in the film, paints himself into a corner and has a difficult time ending things. I’m also unsure what to make of Tatum’s change at the end. It’s hard to accept that he is now becoming human only to sacrifice himself to martyrdom.
A very good Wilder film but not a masterpiece like both Double Indemnity and Sunset Blvd.
Guardian 1,000: 665 seen, 334 remaining.
Wilder has made a film that is technically sound as any of his films. It is well written and well edited to drive a film that becomes painfully obvious that all will not end well. Kirk Douglas gives a career performance as Chuck Tatum, the man behind the strings. He is helped by a very strong supporting cast with standouts being Jan Sterling, Porter Hall, & Ray Teal as the victim’s wife, Albuquerque newspaper boss, and sheriff respectively.
Wilder certainly was able to see into the future. The term "media-circus" is now well known. With stories such as Princess Diana and Britney Spears the public has no problem believing that the press will perpetrate and become involved in the actual story. Many of the things shown in the film have happened many times. Recent media events have spawned both fly-by-night novelty songs and support businesses that pop up to deal with the huge crowds. Though I have to admit an actual carnival is a bit much.
But this film does have its faults. There is nothing subtle about this film. Wilder, much like Chuck Tatum in the film, paints himself into a corner and has a difficult time ending things. I’m also unsure what to make of Tatum’s change at the end. It’s hard to accept that he is now becoming human only to sacrifice himself to martyrdom.
A very good Wilder film but not a masterpiece like both Double Indemnity and Sunset Blvd.
Guardian 1,000: 665 seen, 334 remaining.
Labels: Criterion, FilmReview, Guardian1000
Sunday, February 17, 2008
Bad Boy Bubby
I'm still processing this very odd film.
Guardian 1,000: 664 seen, 335 remaining
Guardian 1,000: 664 seen, 335 remaining
Labels: FilmReview, Guardian1000
Friday, February 15, 2008
2007 Top 4 Films
Here are the top 4 films of 2007. As I said yesterday these are the 10 star films of the year. I could easily order them in any way and on another day with my feelings different that might have been the case.
What made these films different is that everything comes together with these films. They dazzled me technically, with its acting, and completely drew me in emotionally. I easily could have watched them two or three times in a row.
I haven't been able to compete the summaries. I'll add them bit by bit.
4. The Diving Bell and the Butterfly
3. The Assassination of Jesse James by the Coward Robert Ford
2. No Country for Old Men
1. Once
What made these films different is that everything comes together with these films. They dazzled me technically, with its acting, and completely drew me in emotionally. I easily could have watched them two or three times in a row.
I haven't been able to compete the summaries. I'll add them bit by bit.
4. The Diving Bell and the Butterfly
3. The Assassination of Jesse James by the Coward Robert Ford
2. No Country for Old Men
1. Once
Labels: FilmReview
Thursday, February 14, 2008
2007 Films Top 10 (5 to 10)
This is my top 10 films of 2007. I planned on listing 6-10 today and the top 5 tomorrow. But I split it at 6 and 4 since there is a very distinct break after the top 4. The top 4 are the 10 out of 10 films while these 6 are 1 step below.
I haven't been able to compete the summaries. I'll add them bit by bit.
10. The Wind That Shakes the Barley
9. Michael Clayton
8. Juno
7. Sunshine
6. Before the Devil Knows You're Dead
5. Zodiac
I haven't been able to compete the summaries. I'll add them bit by bit.
10. The Wind That Shakes the Barley
9. Michael Clayton
8. Juno
7. Sunshine
6. Before the Devil Knows You're Dead
5. Zodiac
Labels: FilmReview
Wednesday, February 13, 2008
2007 Top 20 Films
Below are the films that I put in spots 11 to 20. I haven't decided to rank them so they are listed in alphabetical order.
I haven't been able to compete the summaries. I'll add them bit by bit.
Across the Universe
Black Book
Charlie Wilson's War
Eastern Promises
The King of Kong: A Fistful of Quarters
Lars and the Real Girl
My Kid Could Paint That
No End in Sight
Rescue Dawn
2 Days in Paris - The biggest surprise of the year. I wasn’t expecting much since I’m not a big Julie Delpy fan. But she is wonderful her both in front and behind the camera. This look at a strained relationship at the end of an European trip is neither smug nor pretentious. Adam Goldberg is perfect as the fish out of water with a wonderful sense of humor and an equal distance for ugly Americans and pompous French. Topping off the fun are Delpy’s real parents playing her nutty parents in the film. They are completely endearing and exasperating at the same time.
Labels: FilmReview
Tuesday, February 12, 2008
2007 Honorable Mention Films - Part 2
Paris, je t'aime - Usually films like this either are a complete mess or are average at best. I was pleasantly surprised to find that this really works. I don’t think a single segment didn’t work at all while most were very enjoyable. There is pretty much something for everyone. My favorites included themes from the Coen brothers dark comedy, two segments by Richard LaGravenese & Gérard Depardieu featuring older actors, Wes Craven’s piece featuring Oscar Wilde, Alexander Payne’s moving piece of a poster works & Oliver Schmitz’s sad segment on a hate crime.
Persepolis - A very good animated film from France that is both a visual and narrative treat for adults. Drawn in mostly stark black and while it tells the story of a girl coming of age in 1980s Iran with a brief stopover in Vienna. Since it was condensed from four graphic novels, the film at 95 minutes seems to change focus quite a bit. It works better when dealing with growing up in a police state than as a coming-of-age film. But there is a lot to like in this film. Not the least of which is Catherine Deneuve and Danielle Darrieux voicing the mother and grandmother.
Ratatouille - Another animated film and another film set in Paris. This is another wonderful entry from Pixar. This succeeds because they got away from casting "names" and picked the best voice for each role. They also have a very solid story that adults, especially anyone into cooking, will enjoy just as much as the kids. That’s not to say the animation isn’t excellent, it is some of the best ever, but that doesn’t make a classic animated film. And this is one of the best they’ve put out.
The Savages - The interplay between a brother and sister make this a very entertaining film. Philip Seymour Hoffman is solid as the brother with a few issues and Laura Linney is excellent as the sister with a lot of issues. The declining health of their long estranged father, nicely played by Philip Bosco, spurs them to take stock of their lives and both show signs of improvement. A script that doesn’t over dramatize the family issues it just presents things in a very realistic manner.
The Simpsons Movie - With almost 20 years of television shows, the likelihood of failure was high. Yet almost all of the top talent from the history of the show didn’t disappoint. They moved to the big screen with a fine story that holds up for 90 minutes with wonderful jokes and pop-culture references. Yet it always seemed like I was watching an expanded television show on a big screen. But is that a bad thing? Not every film is Oscar worthy but there is nothing wrong with this effort.
There Will Be Blood - While many people consider this the film of the year, this began as the film of the year before staying just a bit past its welcome. The first half of this film is brilliant. Beginning with the wonderful look of the opening sequence of Day-Lewis looking for minerals to his persuasive takeover of land in California this captures the wild southwest of the early 20th century. Paul Dano is amazing throughout as the hypocritical religious leader. But Day-Lewis’ performance is one of the problems I have with the film. He is excellent at the beginning but later on, much like the film, it becomes a bit too over the top. I’m also unsure about the resolution of the film. I’m sure P.T. Anderson is trying to say something but with so many flawed characters, it isn’t clear what the point of the film is except religion and business are both bad.
3:10 to Yuma - A very strong remake that might not fully revive the western, as some people keep trumpeting, but is effective enough to green-light a film or two a year. The originally wasn’t big on action and while this film is longer and opens up a bit its success is totally dependent on the actors. Russell Crowe and Christian Bale more than deliver. They work together perfectly and the audience will be rooting for both of them even though Crowe is the criminal. The real criminal in the film is Crowe’s second in command, Ben Foster, playing a sadistic loon to the edge without being over-the-top. There are also a few nice touches rarely seen in westerns. One is the opportunistic townsmen at the end siding with whoever has more guns and money.
This Is England - A raw and powerful look at a skinhead gang set in 1983. Told from the viewpoint of a 12-year-old who lost his father in the Falkland War. He is desperately looking for a father figure as his mother is ineffectual in helping him cope in school. He is adopted by a gang that is about fashion, music, and dealing with the economic despair. The even has a couple of blacks as friends. It’s not until a racist college gets out of prison that things go bad. Thomas Turgoose as the young boy is wonderful young actor with a very expressive face that conveys both the joy and disillusion in following his new friends.
An Unreasonable Man - This very interesting doc about the professional life of Ralph Nader. He is mainly known as the man who caused Al Gore to loose the election. Over half of the film is devoted to the 2000 election with clever editing between the talking heads of his supporters and detractors both refuting each others claims about who was right. The rest of the film documenting his early success is just as interesting. His battles with business and relative little support from the government in charge, either Republican or Democrat, shed light on his distain for today’s ruling two parties. Surprisingly one of the most interesting speakers if fellow third party candidate Pat Buchanan.
Persepolis - A very good animated film from France that is both a visual and narrative treat for adults. Drawn in mostly stark black and while it tells the story of a girl coming of age in 1980s Iran with a brief stopover in Vienna. Since it was condensed from four graphic novels, the film at 95 minutes seems to change focus quite a bit. It works better when dealing with growing up in a police state than as a coming-of-age film. But there is a lot to like in this film. Not the least of which is Catherine Deneuve and Danielle Darrieux voicing the mother and grandmother.
Ratatouille - Another animated film and another film set in Paris. This is another wonderful entry from Pixar. This succeeds because they got away from casting "names" and picked the best voice for each role. They also have a very solid story that adults, especially anyone into cooking, will enjoy just as much as the kids. That’s not to say the animation isn’t excellent, it is some of the best ever, but that doesn’t make a classic animated film. And this is one of the best they’ve put out.
The Savages - The interplay between a brother and sister make this a very entertaining film. Philip Seymour Hoffman is solid as the brother with a few issues and Laura Linney is excellent as the sister with a lot of issues. The declining health of their long estranged father, nicely played by Philip Bosco, spurs them to take stock of their lives and both show signs of improvement. A script that doesn’t over dramatize the family issues it just presents things in a very realistic manner.
The Simpsons Movie - With almost 20 years of television shows, the likelihood of failure was high. Yet almost all of the top talent from the history of the show didn’t disappoint. They moved to the big screen with a fine story that holds up for 90 minutes with wonderful jokes and pop-culture references. Yet it always seemed like I was watching an expanded television show on a big screen. But is that a bad thing? Not every film is Oscar worthy but there is nothing wrong with this effort.
There Will Be Blood - While many people consider this the film of the year, this began as the film of the year before staying just a bit past its welcome. The first half of this film is brilliant. Beginning with the wonderful look of the opening sequence of Day-Lewis looking for minerals to his persuasive takeover of land in California this captures the wild southwest of the early 20th century. Paul Dano is amazing throughout as the hypocritical religious leader. But Day-Lewis’ performance is one of the problems I have with the film. He is excellent at the beginning but later on, much like the film, it becomes a bit too over the top. I’m also unsure about the resolution of the film. I’m sure P.T. Anderson is trying to say something but with so many flawed characters, it isn’t clear what the point of the film is except religion and business are both bad.
3:10 to Yuma - A very strong remake that might not fully revive the western, as some people keep trumpeting, but is effective enough to green-light a film or two a year. The originally wasn’t big on action and while this film is longer and opens up a bit its success is totally dependent on the actors. Russell Crowe and Christian Bale more than deliver. They work together perfectly and the audience will be rooting for both of them even though Crowe is the criminal. The real criminal in the film is Crowe’s second in command, Ben Foster, playing a sadistic loon to the edge without being over-the-top. There are also a few nice touches rarely seen in westerns. One is the opportunistic townsmen at the end siding with whoever has more guns and money.
This Is England - A raw and powerful look at a skinhead gang set in 1983. Told from the viewpoint of a 12-year-old who lost his father in the Falkland War. He is desperately looking for a father figure as his mother is ineffectual in helping him cope in school. He is adopted by a gang that is about fashion, music, and dealing with the economic despair. The even has a couple of blacks as friends. It’s not until a racist college gets out of prison that things go bad. Thomas Turgoose as the young boy is wonderful young actor with a very expressive face that conveys both the joy and disillusion in following his new friends.
An Unreasonable Man - This very interesting doc about the professional life of Ralph Nader. He is mainly known as the man who caused Al Gore to loose the election. Over half of the film is devoted to the 2000 election with clever editing between the talking heads of his supporters and detractors both refuting each others claims about who was right. The rest of the film documenting his early success is just as interesting. His battles with business and relative little support from the government in charge, either Republican or Democrat, shed light on his distain for today’s ruling two parties. Surprisingly one of the most interesting speakers if fellow third party candidate Pat Buchanan.
Labels: FilmReview
Monday, February 11, 2008
2007 Honorable Mention Films - Part 1
Since I can’t think of anything else to write about and am sick of fighting with my home computer, more on that probably later, I will continue with my wrap-up of films of 2007. When I left off I talked about the 21 films that I considered above-average. The number of films per day will now get shorter but I’ll be writing more per film.
Today and tomorrow are the honorable mention films. These received serious consideration for top 20 status and only missed out due to a minor flaw or another there was not enough room at the top. Since 19 films made this level, I’ll discuss half today, and half tomorrow.
After the Wedding - Scandinavia is very good at producing films of fucked up families. The trailers can just read, "secrets were revealed, lives were altered, relationships were destroyed." Last year’s Oscar nominee from Denmark is that and a lot more. This film has a look that can be described as Dogma-lite. It resembles those films but doesn’t put adhering to those rules as gospel. It is directed by Susanne Bier who did this year’s Things We Lost in the Fire and maybe it is the female touch that sets this film apart.
The film premise is simple. A man who runs an orphanage in India returns to his native Denmark to secure funding for his charity. His future benefactor casually invites him to his daughters wedding while he is unaware that he knew the man’s wife years ago. The script is first rate with a number of twists that some can be guessed but some probably not. The characters react in ways that you probably wouldn’t but seem consistent and the acting is top notch by all. Noticeable are Mads Mikkelsen (Le Chiffre from Casino Royale) as the head of the orphanage and Stine Fischer Christensen (looking like Emily Mortimer) as the daughter.
Atonement - A very solid story that when translated to film resolves some of the problems I had with the book. Technically the film is excellent, the costumes are gorgeous, Keira Knightly has never looked more beautiful and Saoirse Ronan is a wonderful acting find.
The pre-war sequence is where this film is strongest. It very successfully portrays the same scenes from two different points of view that prove to be the fatal catalyst of the story. As it moves to World War II it is no less beautiful but it loses much of the emotional punch. It does end of a high note with the appearance of Vanessa Redgrave but I, as with the book, I question how much atonement went on.
Broken English - A real surprise as film by a Cassavetes that is light comedy, starring Parker Posey no less. One of a number of films featuring Paris in a romantic setting this year works due to Posey in a job she hates and the only person in her social circle that is not in a long term relationship. She has a few misses then she finds the perfect man but he is geographically wrong. If it was a Hollywood film it would rely too much on slapstick with someone like Debra Messing in the lead. This film is plays like they are normal people and works perfectly.
The Bourne Ultimatum - A highly entertaining film that’s main negative is being compared to the previous two Bourne film. As an action film this has some wonderful set pieces. The Waterloo Station sequence is one of the best ever put to film that had me on the edge of my seat the entire time. The New York cat and mouse game was equally entertaining but the chase in Tangier seemed to go a bit too long for me. At the end when the plot took over, it seemed too Rambo-ish and I really didn’t care about the ins and outs of the corrupt government. However, I would welcome a fourth film just to see Damon, Allen, & Stiles, who was very strong in this film, in these characters again and to answer the Bourne/Nicky Parsons history question.
Crazy Love - The first of the many documentaries mentioned from here on out. In 1959, a New York ambulance chasing attorney threw acid in the face of his 22 year old girlfriend in a jealous rage. Fifteen years later, thinking no one else would want a blind and scared wife, they marry. This is the stuff for E True Hollywood Story. But director Dan Klores, in his first theatrical doc, puts together a fairly captivating tale. He includes accounts from many friends and relatives, including New York icon Jimmy Breslin, that will come off to outsiders as more crazy New Yorkers. He skillfully edits between everything in a nice pace that is far more than the subject deserves.
Diggers - A nice small film that I might have been one of the few to see. Director Katherine Dieckmann expertly handles the familiar story of four close male friends who aren’t as mature as their age and the women that surround them. Set in a Long Island clam digging town during the 1970s it explores the backdrop of big business driving families out of what they have been doing for generations. But the strength is the real interplay between the actors. Paul Rudd and Maura Tierney are wonderful as brother and sister while Lauren Ambrose has a nice turn as the outsider; a rich girl from the city slumming it for the summer.
Gone Baby Gone - Maybe Ben Affleck has found his calling. Having read all of Dennis Lehane’s works I was worried it could be a mess. But Affleck understands the raw nature of the source material and puts together a film that is better than the glossier and more praised Mystic River. Casey Affleck, who had a great 2007, holds this film together as the detective who knows that streets who tries to do the right thing. Amy Ryan, who gets to breakout from The Wire, is excellent as the bad mother who starts the whole process.
Affleck shows South Boston in all its raw glory. Some complain he exploited the underbelly, but I disagree. He finds actors that you believe are at the lowest end of the economic ladder. Scenes play out like you are watching real people. Two in particular, coincidentally both are in bars, have such real tension you will find yourself sweating. You might put all the pieces together before the detectives but you have to agree it is some of the best twists in a crime whodunit in years.
In the Shadow of the Moon - Being highly interested in the space program I was looking forward to this and was not disappointed. It covers much of the same ground that countless other docs on the Apollo have already covered so the casual fan might not be as interested. However the visuals look great and this film is unique in being told completely from the astronaut point-of-view. I was glad to see it had them discussing the feeling of being so close to the moon but unable to go to the surface. The discussion of Armstrong landing the lunar module was very interesting, was it really that close a call? And something I never thought of but some mentioned being uneasy in being labeled heroes while colleagues were dying in Vietnam.
Manufactured Landscapes - Another good doc in a year with a number of strong documentaries. This is the one film I saw on DVD that I wished I had seen in the theater. The visuals are amazing beginning with the long 10 minute tracking shot of a Chinese factory. Both the artist profiled and the film pose important questions about why we have allowed things get so polluted. However they don’t delve as deep into the problems of the human condition. That is probably another film but as this is shot in China it is impossible to not think about that while watching. It is further brought out while watching the excellent DVD extras that highlight their governmental escort and the numerous places they were not allowed to film.
Margot at the Wedding - The American version of After the Wedding in terms of family dysfunction. Viewers might find it hard to connect with the relatively plotless film with no real beginning and a very abrupt ending. Nicole Kidman and Jennifer Jason Leigh are two sisters with a lot of baggage and history. We learn little of the history in the brief look at these characters. Kidman’s character might further alienate viewers. She plays one of the nastiest, self-centered, most manipulative characters in recent history. Ms. Leigh actually plays a fairly normal person who seems happy with her life until her sister appears to tell her she is wasting herself. Jack Black is actually very good, as is the entire cast, especially the younger actors. My only complaint is a clichéic plot development involving Jack Black that further screws up this family.
Today and tomorrow are the honorable mention films. These received serious consideration for top 20 status and only missed out due to a minor flaw or another there was not enough room at the top. Since 19 films made this level, I’ll discuss half today, and half tomorrow.
After the Wedding - Scandinavia is very good at producing films of fucked up families. The trailers can just read, "secrets were revealed, lives were altered, relationships were destroyed." Last year’s Oscar nominee from Denmark is that and a lot more. This film has a look that can be described as Dogma-lite. It resembles those films but doesn’t put adhering to those rules as gospel. It is directed by Susanne Bier who did this year’s Things We Lost in the Fire and maybe it is the female touch that sets this film apart.
The film premise is simple. A man who runs an orphanage in India returns to his native Denmark to secure funding for his charity. His future benefactor casually invites him to his daughters wedding while he is unaware that he knew the man’s wife years ago. The script is first rate with a number of twists that some can be guessed but some probably not. The characters react in ways that you probably wouldn’t but seem consistent and the acting is top notch by all. Noticeable are Mads Mikkelsen (Le Chiffre from Casino Royale) as the head of the orphanage and Stine Fischer Christensen (looking like Emily Mortimer) as the daughter.
Atonement - A very solid story that when translated to film resolves some of the problems I had with the book. Technically the film is excellent, the costumes are gorgeous, Keira Knightly has never looked more beautiful and Saoirse Ronan is a wonderful acting find.
The pre-war sequence is where this film is strongest. It very successfully portrays the same scenes from two different points of view that prove to be the fatal catalyst of the story. As it moves to World War II it is no less beautiful but it loses much of the emotional punch. It does end of a high note with the appearance of Vanessa Redgrave but I, as with the book, I question how much atonement went on.
Broken English - A real surprise as film by a Cassavetes that is light comedy, starring Parker Posey no less. One of a number of films featuring Paris in a romantic setting this year works due to Posey in a job she hates and the only person in her social circle that is not in a long term relationship. She has a few misses then she finds the perfect man but he is geographically wrong. If it was a Hollywood film it would rely too much on slapstick with someone like Debra Messing in the lead. This film is plays like they are normal people and works perfectly.
The Bourne Ultimatum - A highly entertaining film that’s main negative is being compared to the previous two Bourne film. As an action film this has some wonderful set pieces. The Waterloo Station sequence is one of the best ever put to film that had me on the edge of my seat the entire time. The New York cat and mouse game was equally entertaining but the chase in Tangier seemed to go a bit too long for me. At the end when the plot took over, it seemed too Rambo-ish and I really didn’t care about the ins and outs of the corrupt government. However, I would welcome a fourth film just to see Damon, Allen, & Stiles, who was very strong in this film, in these characters again and to answer the Bourne/Nicky Parsons history question.
Crazy Love - The first of the many documentaries mentioned from here on out. In 1959, a New York ambulance chasing attorney threw acid in the face of his 22 year old girlfriend in a jealous rage. Fifteen years later, thinking no one else would want a blind and scared wife, they marry. This is the stuff for E True Hollywood Story. But director Dan Klores, in his first theatrical doc, puts together a fairly captivating tale. He includes accounts from many friends and relatives, including New York icon Jimmy Breslin, that will come off to outsiders as more crazy New Yorkers. He skillfully edits between everything in a nice pace that is far more than the subject deserves.
Diggers - A nice small film that I might have been one of the few to see. Director Katherine Dieckmann expertly handles the familiar story of four close male friends who aren’t as mature as their age and the women that surround them. Set in a Long Island clam digging town during the 1970s it explores the backdrop of big business driving families out of what they have been doing for generations. But the strength is the real interplay between the actors. Paul Rudd and Maura Tierney are wonderful as brother and sister while Lauren Ambrose has a nice turn as the outsider; a rich girl from the city slumming it for the summer.
Gone Baby Gone - Maybe Ben Affleck has found his calling. Having read all of Dennis Lehane’s works I was worried it could be a mess. But Affleck understands the raw nature of the source material and puts together a film that is better than the glossier and more praised Mystic River. Casey Affleck, who had a great 2007, holds this film together as the detective who knows that streets who tries to do the right thing. Amy Ryan, who gets to breakout from The Wire, is excellent as the bad mother who starts the whole process.
Affleck shows South Boston in all its raw glory. Some complain he exploited the underbelly, but I disagree. He finds actors that you believe are at the lowest end of the economic ladder. Scenes play out like you are watching real people. Two in particular, coincidentally both are in bars, have such real tension you will find yourself sweating. You might put all the pieces together before the detectives but you have to agree it is some of the best twists in a crime whodunit in years.
In the Shadow of the Moon - Being highly interested in the space program I was looking forward to this and was not disappointed. It covers much of the same ground that countless other docs on the Apollo have already covered so the casual fan might not be as interested. However the visuals look great and this film is unique in being told completely from the astronaut point-of-view. I was glad to see it had them discussing the feeling of being so close to the moon but unable to go to the surface. The discussion of Armstrong landing the lunar module was very interesting, was it really that close a call? And something I never thought of but some mentioned being uneasy in being labeled heroes while colleagues were dying in Vietnam.
Manufactured Landscapes - Another good doc in a year with a number of strong documentaries. This is the one film I saw on DVD that I wished I had seen in the theater. The visuals are amazing beginning with the long 10 minute tracking shot of a Chinese factory. Both the artist profiled and the film pose important questions about why we have allowed things get so polluted. However they don’t delve as deep into the problems of the human condition. That is probably another film but as this is shot in China it is impossible to not think about that while watching. It is further brought out while watching the excellent DVD extras that highlight their governmental escort and the numerous places they were not allowed to film.
Margot at the Wedding - The American version of After the Wedding in terms of family dysfunction. Viewers might find it hard to connect with the relatively plotless film with no real beginning and a very abrupt ending. Nicole Kidman and Jennifer Jason Leigh are two sisters with a lot of baggage and history. We learn little of the history in the brief look at these characters. Kidman’s character might further alienate viewers. She plays one of the nastiest, self-centered, most manipulative characters in recent history. Ms. Leigh actually plays a fairly normal person who seems happy with her life until her sister appears to tell her she is wasting herself. Jack Black is actually very good, as is the entire cast, especially the younger actors. My only complaint is a clichéic plot development involving Jack Black that further screws up this family.
Labels: FilmReview
Thursday, February 07, 2008
Mamma Roma
With the possible exception of the United States no country has produced more film genres than the Italian film industry. It has given us neorealism, sword and sandals, spaghetti westerns, giallo, and the sentimental works of the late 1980s and early 1990s to name a few.
But the 1970s brought surreal, films loaded with symbolism and bizarre orgies of S&M laden sex. Fellini dabbled in the genre but it is more closely identified with Pier Paolo Pasolini with his films The Decameron, The Canterbury Tales and Salo (one of the most infamous film in history.) As odd as this work is, his early work is at the other end of the spectrum in beauty. The Gospel According to St. Matthew is one of the best works based on the Bible and Mamma Roma, the film I recently watched, is just as hypnotic.
The story of Mamma Roma is simple. A former prostitute (Anna Magnani) tries to leave her old life and raise her son to be respectable as she works in a fruit stand. Her son, fascinated by the local tramp and the local youths, is more drawn to the life of a petty thief. Magnani enlists the help of some of her former associates to get her son a decent job but in the end it doesn't matter.
This film is all Magnani. She gives a great performance even though both her and Pasolini don’t thing so, for different reasons, and fired barbs at each other in the press. The scenes with her have amazing energy but when the film concentrates on her son it loses some of this intensity. A couple of her most interesting scenes are also the most technically interesting. She walks down a dark street while former customers and workers approach to talk then fall back while another appears. These scenes are done in one take with one lasting over four minutes. The black and white photography is another high point especially in these scenes where the audience can see little outside of the speakers. The classical music, much of it by Vivaldi, further adds to the mood.
This film is rich in symbolism. Magnani’s character can be seen as a stand in for Italy as she is caring, coarse, religious, and suffers through it all. There are numerous religious and political allusions, most notably the ability to change you social status. Even the mother-son relationship has some oedipal overtones.
The film was labeled immoral upon its 1962 release. One reason was due to its vulgar language. But as Pasolini has explained that is how this social class, which as drifted away, lived.
Guardian 1,000: 663 seen, 336 remaining.
Hot Chick Born Today
Robin Lively, 36, she doesn't work too often now but she southern looks made her one of the most beautiful around in the 90s when she went from the television shows Doogie Howser, Chicago Hope, & Savannah.
But the 1970s brought surreal, films loaded with symbolism and bizarre orgies of S&M laden sex. Fellini dabbled in the genre but it is more closely identified with Pier Paolo Pasolini with his films The Decameron, The Canterbury Tales and Salo (one of the most infamous film in history.) As odd as this work is, his early work is at the other end of the spectrum in beauty. The Gospel According to St. Matthew is one of the best works based on the Bible and Mamma Roma, the film I recently watched, is just as hypnotic.
The story of Mamma Roma is simple. A former prostitute (Anna Magnani) tries to leave her old life and raise her son to be respectable as she works in a fruit stand. Her son, fascinated by the local tramp and the local youths, is more drawn to the life of a petty thief. Magnani enlists the help of some of her former associates to get her son a decent job but in the end it doesn't matter.
This film is all Magnani. She gives a great performance even though both her and Pasolini don’t thing so, for different reasons, and fired barbs at each other in the press. The scenes with her have amazing energy but when the film concentrates on her son it loses some of this intensity. A couple of her most interesting scenes are also the most technically interesting. She walks down a dark street while former customers and workers approach to talk then fall back while another appears. These scenes are done in one take with one lasting over four minutes. The black and white photography is another high point especially in these scenes where the audience can see little outside of the speakers. The classical music, much of it by Vivaldi, further adds to the mood.
This film is rich in symbolism. Magnani’s character can be seen as a stand in for Italy as she is caring, coarse, religious, and suffers through it all. There are numerous religious and political allusions, most notably the ability to change you social status. Even the mother-son relationship has some oedipal overtones.
The film was labeled immoral upon its 1962 release. One reason was due to its vulgar language. But as Pasolini has explained that is how this social class, which as drifted away, lived.
Guardian 1,000: 663 seen, 336 remaining.
Hot Chick Born Today
Robin Lively, 36, she doesn't work too often now but she southern looks made her one of the most beautiful around in the 90s when she went from the television shows Doogie Howser, Chicago Hope, & Savannah.
Labels: Criterion, FilmReview, Guardian1000
Saturday, February 02, 2008
L’Appartement
I’ve been away from the computer for a couple of days, but I made some notes and now have formalized in a blog entry.
Today watched the French film L’Appartement, another winner off of the Guarding 1,000 list. This wonderful Hitchcockian film, as the French seem pretty good at making, is the only feature from director Gilles Mimouni. He mixes themes from several different films, such as Vertigo and Rear Window, in a seamless manner to create a fairly fresh film.
The main actors are all great in roles fairly early in their careers. Vincent Cassel, far from the scruffy character he is typecast today, is a businessman who delays a trip to Japan to try and track down a former lover who he thinks he caught a brief glimpse. The former lover is Lisa, played by Monica Bellucci, who at 32 is stunningly beautiful. The lady he tracks down is the 23-year-old Romane Bohringer. She tells him her name is also Lisa but there is obviously more going on than it seems.
The story plays out in a flashback structure that may be hard for some to follow. The flashbacks go back to the end of the previous relationship, 2 years ago, and continue up until the opening scene when Cassel first spies Lisa. There are a number of questions you have about what is going on but by the end all will be nicely answered. But like many of Hitchcock films, probably not resolved in a way that is good for many of the characters.
Guardian 1,000: 662 seen, 337 remaining.
Today watched the French film L’Appartement, another winner off of the Guarding 1,000 list. This wonderful Hitchcockian film, as the French seem pretty good at making, is the only feature from director Gilles Mimouni. He mixes themes from several different films, such as Vertigo and Rear Window, in a seamless manner to create a fairly fresh film.
The main actors are all great in roles fairly early in their careers. Vincent Cassel, far from the scruffy character he is typecast today, is a businessman who delays a trip to Japan to try and track down a former lover who he thinks he caught a brief glimpse. The former lover is Lisa, played by Monica Bellucci, who at 32 is stunningly beautiful. The lady he tracks down is the 23-year-old Romane Bohringer. She tells him her name is also Lisa but there is obviously more going on than it seems.
The story plays out in a flashback structure that may be hard for some to follow. The flashbacks go back to the end of the previous relationship, 2 years ago, and continue up until the opening scene when Cassel first spies Lisa. There are a number of questions you have about what is going on but by the end all will be nicely answered. But like many of Hitchcock films, probably not resolved in a way that is good for many of the characters.
Guardian 1,000: 662 seen, 337 remaining.
Labels: FilmReview, Guardian1000
Friday, February 01, 2008
Return to the Guardian List
Last week I did a final, major push to watch films from 2007. That was to prepare for this weeks film countdown, which is obviously being delayed at least another day, I have now turned my attention to again working on the Guardian 1,000 list. The last time I was actively working on the list. back in August of last year, I had 346 movies left on the list. Currently, I have 340 movies left to see.
Since August, I knocked these 6 films off the list without even trying:
Dodgeball
Elevator to the Gallows
The Italian Job
The Science of Sleep
The Thomas Crown Affair
Under the Skin
This week I've brought that number down to 338, having seen:
American Movie - An enjoyable documentary about a marginally talented filmmaker who is trying to make the next The Blair Witch Project. This was the hit of the 1999 Sundance Film Festival and I'm not sure it lives up to the hype. While it probably runs a bit too long as Mark Borchardt, the film-maker who drinks too much, wears out his welcome. There are a number of scenes well worth seeing. Two that highlight just how low-budget the film being made is: Uncle Bill needed 31-takes to record a simple line, and still not getting it right, and trying to slam a head through a not-so-breakaway door. However not one I'd put on a 1,000 film list.
Come and See - Wow, what a film! I started watching this late at night and only planned on getting a good start before bed. Two hours later I was still watching being captivated by the images. This is one of the best films every made to convey the horrors and insanity of war without either making it look heroic or the film lapsing into insanity itself. This is the last film the director made, even though he was 52 and would live for 18 more years. He certainly went out on a high. The young lead, in his first film, does an amazing job. He says very little but has such an expressive face as he witnesses the horrors. Equally good is the young female, in her only list role on IMDB. She reminds me of Jennifer Jason Leigh and a pity she didn't work more. A must see.
Since August, I knocked these 6 films off the list without even trying:
Dodgeball
Elevator to the Gallows
The Italian Job
The Science of Sleep
The Thomas Crown Affair
Under the Skin
This week I've brought that number down to 338, having seen:
American Movie - An enjoyable documentary about a marginally talented filmmaker who is trying to make the next The Blair Witch Project. This was the hit of the 1999 Sundance Film Festival and I'm not sure it lives up to the hype. While it probably runs a bit too long as Mark Borchardt, the film-maker who drinks too much, wears out his welcome. There are a number of scenes well worth seeing. Two that highlight just how low-budget the film being made is: Uncle Bill needed 31-takes to record a simple line, and still not getting it right, and trying to slam a head through a not-so-breakaway door. However not one I'd put on a 1,000 film list.
Come and See - Wow, what a film! I started watching this late at night and only planned on getting a good start before bed. Two hours later I was still watching being captivated by the images. This is one of the best films every made to convey the horrors and insanity of war without either making it look heroic or the film lapsing into insanity itself. This is the last film the director made, even though he was 52 and would live for 18 more years. He certainly went out on a high. The young lead, in his first film, does an amazing job. He says very little but has such an expressive face as he witnesses the horrors. Equally good is the young female, in her only list role on IMDB. She reminds me of Jennifer Jason Leigh and a pity she didn't work more. A must see.
Labels: FilmReview, Guardian1000
Wednesday, January 30, 2008
Films of 2007 - The Above Average
I watched 21 films released in 2007 that I would consider to be pretty good films. All of these are definitely worth seeing in either the theater or at home on DVD.
American Gangster - A well made film that perfectly captures New York in the pre-cleaned up 1970s. Russell Crowe and Josh Brolin give very strong performance but I wasn’t thrilled by Denzel’s performance and I felt I had seen this before.
Avenue Montaigne - A light, comedy of manners that you rarely see today. Cècile de France is charming as a socially awkward waitress from the country. She is the link between three stories involving a concert pianist, aging art dealer, and demanding actress. It could easily become annoying if Danièle Thompson stayed on one character too long and she uses the beautiful sights of Paris to keeps things light.
Away from Her - A very ambitious subject for the young Sarah Polly to tackle with her first feature. She hits all the right notes to bring what could have been a very depressing film to the screen. It helps when you have Julie Christie giving her best performance in years. But while she’s getting all the press, Canadian icon Gordon Pinsent does an even better job playing her husband who has to live with his wife not recognizing him.
Bug - A horrible title caused me to avoid this in the theater thinking it was a horror film. Instead it’s an interesting psychological thriller of two people that when put together allow their craziness to become destructive. Adapted from a play with the claustrophobia of basically one set and four speaking roles works to this films advantage.
Deep Water - A very interesting and disturbing account of the true story of a man, who obsessed with making a name for himself back in 1968, enters a solo, non-stop, around-the-world yacht competition. This race is difficult for world class yachtsmen but this weekend sailor either due to honor or loss of income refuses to admit defeat to disastrous results.
Hairspray - This turned out far more enjoyable than I thought it would be. This is mainly due to the performances of the younger actors. Nikki Blonsky is perfect for the lead, Amanda Bynes is too cute as the best friend, and Elijah Kelly is a real find. I wish the film had handled the adult side as well. Travolta and Latifah never seemed right for the roles. While Pfeiffer and Walken were good their one scene together went on far too long. And Janney who might have been the most enjoyable needed more screen time.
Harry Potter and the Order of the Phoenix - One of the better entries in this series. The film flowed rather well and it seems like each successive film is less constrained by the source material. Some of the problems in the book worked out better on film. One example is Harry being both a hero and petulant teenager. For once I wished one of the Harry Potter films would have been longer.
The Hoax - Thoroughly enjoyable comedy, satire on a little known story from the 1970s. Helping things out is Alfred Molena as the nervous best friend. He gives a great Oscar caliber performance that sadly was completely forgotten by the end of the year.
The Host - Korea’s take on the Godzilla theme. This time it’s a giant mutant fish. While they make the mistake of showing the monster too early and too often it has a very refreshing un-Hollywood feel.
Into the Wild - Beautifully photographed, nice soundtrack, and extremely well acted by every single major actor. But like the book, Sean Penn has a bit too much reverence for Christopher McCandless and at 140 minutes it is far too long. That is one reason Hal Holbrook really earned his Oscar nomination. As the last major person to see McCandless alive, he doesn’t appear until the final quarter of the film. However he injects much needed life in a film that at that point sorely needed it.
La Vie en Rose - As biopics go this film has its problems. If you are not familiar with Edith Piaf’s life, you might be rather lost through much of this film. I count myself in that group so I just went with it and found a not by-the-numbers bio refreshing. But the real treat is Marion Cotillard. She gives the performance of the year in fully embracing a role that at times is very unglamorous. I can’t believe she is the same actress in Love Me If You Dare.
Live Free or Die Hard - I'll admit that if you dissect the plot it completely falls apart due to the number of implausible scenes. But the basic story of misdirection is fairly interesting; John McClane is easily the best action, hero character of all-time; and favorite Timothy Olyphant makes a pretty good villain.
Lust, Caution - Visually amazing, emotional telling of espionage and the mixed loyalties that can occur in occupied Shanghai. It’s a little underwhelming on a first viewing. I’m not really sure why a 54-page short story needed to be stretched into a 150-minute film.
A Mighty Heart - First off, I was not distracted by the casting of Angelika Jolie. She puts in an one of the best performances of the year. But, while a solid film, favorite Michael Winterbottom directs a film that seems too slick and has less emotion than some of his earlier, better, and smaller, films.
Paprika - My main complaint of anime is that the story rarely lives up to the animation. This is no exception. The visuals are some of the best ever. I got lost in them taking in all the detail. It’s a good thing since the story blurs the line between dreams and reality, making this extremely hard to follow by the end.
Severance - I love the concept of a corporate outing mixed with Battle Royale. British humor is mixed with the right amount of gore to create a highly entertaining film. Helped along by Tim McInnerny playing an upper-management twit as only he can.
Smiley Face - The always interesting but hit-or-miss Gregg Araki tackles the stoner comedy. A surprisingly funny film moves along rather nicely populated by a very interesting cast. However, I would not recommend this to anyone that finds Anna Faris any bit annoying.
Superbad - An extremely hyped comedy that actually delivered the laughs. This film was made by the chemistry between Jonah Hill and Michael Cera. Nice editing between sequences keeps this film from dragging and McLovin is a great supporting character.
Sweeney Todd: The Demon Barber of Fleet Street - As with many Tim Burton films, the premise is better than the execution. Johnny Depp is excellent and the early part of the film is wonderful. But the downside is Helena Bonham Carter’s performance and a last half that dragged a bit too much.
28 Weeks Later - While it doesn’t have the freshness of the first film and the political allegory seems heavy-handed, it is still a pretty good zombie film.
The Valet - For some reason the French can do something that Hollywood can’t: the lighthearted comedy. I think this is due the to no matter how absurd the plot is the French play it fairly straight while a American film would go straight for the slapstick. Daniel Auteuil, as the rich jerk, once again displays his comic timing that was seen in The Closet while relative newcomer Gad Elmaleh is very good in the title role.
American Gangster - A well made film that perfectly captures New York in the pre-cleaned up 1970s. Russell Crowe and Josh Brolin give very strong performance but I wasn’t thrilled by Denzel’s performance and I felt I had seen this before.
Avenue Montaigne - A light, comedy of manners that you rarely see today. Cècile de France is charming as a socially awkward waitress from the country. She is the link between three stories involving a concert pianist, aging art dealer, and demanding actress. It could easily become annoying if Danièle Thompson stayed on one character too long and she uses the beautiful sights of Paris to keeps things light.
Away from Her - A very ambitious subject for the young Sarah Polly to tackle with her first feature. She hits all the right notes to bring what could have been a very depressing film to the screen. It helps when you have Julie Christie giving her best performance in years. But while she’s getting all the press, Canadian icon Gordon Pinsent does an even better job playing her husband who has to live with his wife not recognizing him.
Bug - A horrible title caused me to avoid this in the theater thinking it was a horror film. Instead it’s an interesting psychological thriller of two people that when put together allow their craziness to become destructive. Adapted from a play with the claustrophobia of basically one set and four speaking roles works to this films advantage.
Deep Water - A very interesting and disturbing account of the true story of a man, who obsessed with making a name for himself back in 1968, enters a solo, non-stop, around-the-world yacht competition. This race is difficult for world class yachtsmen but this weekend sailor either due to honor or loss of income refuses to admit defeat to disastrous results.
Hairspray - This turned out far more enjoyable than I thought it would be. This is mainly due to the performances of the younger actors. Nikki Blonsky is perfect for the lead, Amanda Bynes is too cute as the best friend, and Elijah Kelly is a real find. I wish the film had handled the adult side as well. Travolta and Latifah never seemed right for the roles. While Pfeiffer and Walken were good their one scene together went on far too long. And Janney who might have been the most enjoyable needed more screen time.
Harry Potter and the Order of the Phoenix - One of the better entries in this series. The film flowed rather well and it seems like each successive film is less constrained by the source material. Some of the problems in the book worked out better on film. One example is Harry being both a hero and petulant teenager. For once I wished one of the Harry Potter films would have been longer.
The Hoax - Thoroughly enjoyable comedy, satire on a little known story from the 1970s. Helping things out is Alfred Molena as the nervous best friend. He gives a great Oscar caliber performance that sadly was completely forgotten by the end of the year.
The Host - Korea’s take on the Godzilla theme. This time it’s a giant mutant fish. While they make the mistake of showing the monster too early and too often it has a very refreshing un-Hollywood feel.
Into the Wild - Beautifully photographed, nice soundtrack, and extremely well acted by every single major actor. But like the book, Sean Penn has a bit too much reverence for Christopher McCandless and at 140 minutes it is far too long. That is one reason Hal Holbrook really earned his Oscar nomination. As the last major person to see McCandless alive, he doesn’t appear until the final quarter of the film. However he injects much needed life in a film that at that point sorely needed it.
La Vie en Rose - As biopics go this film has its problems. If you are not familiar with Edith Piaf’s life, you might be rather lost through much of this film. I count myself in that group so I just went with it and found a not by-the-numbers bio refreshing. But the real treat is Marion Cotillard. She gives the performance of the year in fully embracing a role that at times is very unglamorous. I can’t believe she is the same actress in Love Me If You Dare.
Live Free or Die Hard - I'll admit that if you dissect the plot it completely falls apart due to the number of implausible scenes. But the basic story of misdirection is fairly interesting; John McClane is easily the best action, hero character of all-time; and favorite Timothy Olyphant makes a pretty good villain.
Lust, Caution - Visually amazing, emotional telling of espionage and the mixed loyalties that can occur in occupied Shanghai. It’s a little underwhelming on a first viewing. I’m not really sure why a 54-page short story needed to be stretched into a 150-minute film.
A Mighty Heart - First off, I was not distracted by the casting of Angelika Jolie. She puts in an one of the best performances of the year. But, while a solid film, favorite Michael Winterbottom directs a film that seems too slick and has less emotion than some of his earlier, better, and smaller, films.
Paprika - My main complaint of anime is that the story rarely lives up to the animation. This is no exception. The visuals are some of the best ever. I got lost in them taking in all the detail. It’s a good thing since the story blurs the line between dreams and reality, making this extremely hard to follow by the end.
Severance - I love the concept of a corporate outing mixed with Battle Royale. British humor is mixed with the right amount of gore to create a highly entertaining film. Helped along by Tim McInnerny playing an upper-management twit as only he can.
Smiley Face - The always interesting but hit-or-miss Gregg Araki tackles the stoner comedy. A surprisingly funny film moves along rather nicely populated by a very interesting cast. However, I would not recommend this to anyone that finds Anna Faris any bit annoying.
Superbad - An extremely hyped comedy that actually delivered the laughs. This film was made by the chemistry between Jonah Hill and Michael Cera. Nice editing between sequences keeps this film from dragging and McLovin is a great supporting character.
Sweeney Todd: The Demon Barber of Fleet Street - As with many Tim Burton films, the premise is better than the execution. Johnny Depp is excellent and the early part of the film is wonderful. But the downside is Helena Bonham Carter’s performance and a last half that dragged a bit too much.
28 Weeks Later - While it doesn’t have the freshness of the first film and the political allegory seems heavy-handed, it is still a pretty good zombie film.
The Valet - For some reason the French can do something that Hollywood can’t: the lighthearted comedy. I think this is due the to no matter how absurd the plot is the French play it fairly straight while a American film would go straight for the slapstick. Daniel Auteuil, as the rich jerk, once again displays his comic timing that was seen in The Closet while relative newcomer Gad Elmaleh is very good in the title role.
Labels: FilmReview
Tuesday, January 29, 2008
Films of 2007 - The Average
These are the hardest films to write about. It’s easy to trash a film and to go on about a film you enjoy. But what can you say about these films that have little impact besides, "t killed a couple of hours?" I mean, Roger Ebert isn’t selling any books titled, "This is a Very, Very, Very Average Film."
But here goes. The 17 films from last year I considered neither good or bad and a line or two as to what either elevated the up from the dregs or kept them at mediocrity.
Alpha Dog - While some think this film is a comment on society, it’s really only another good looking actors committing crimes that seems done before.
Black Snake Moan - A couple of nice performances, Samuel L. Jackson in his best role in quite some time, are negated in B-level southern gothic melodrama.
Breach - Well acted and enjoyable but very predictable.
Color Me Kubrick - I so wanted to love this with the cast but it seemed more of the same Malkovich and this film really goes nowhere.
The Condemned - This action genre was moderately enjoyable as a rental.
Disturbia - Good and likable actors helps save this pedestrian remake of Rear Window, but boy is everyone super dumb in this film.
Epic Movie - Aother one of those endless spoof films, saved from the bad pile due to a couple of good laughs, one being a funny Crispin Glover as a Willy Wonka knockoff, and starring favorites Jennifer Coolidge and Kal Penn.
Grindhouse - Bggest disappointment of the year, way too much down time and we have now learned that Tarantino can not write for hot 20-something girls.
Hot Fuzz - Lst me when it morphed from a spoof of an action film to an actual action film.
The Kingdom - Another barely passable effort from Hollywood to comment on a current political situation. It seems they haven’t gotten any right since the 70s.
Knocked Up - A disappointment due to all of the hype. I just never found it all that funny and I’m a little sick of seeing Katherine Heigl everywhere.
The Lookout - Joseph Gordon-Levitt puts in another fine effort but this film can’t decide what it wants to be: character study or crime film.
Sicko - I’m probably a little too critical of Michael Moore’s methods but usually really enjoy his films. However for more this half of the time this film is very unfocused.
Stardust - Much like The Princess Bride of the 1980s, this should be a huge chick-flick. The earlier film was enjoyable for me due to the humor that Stardust seemed lacking.
Talk to Me - Another film I wanted to like but became extremely bored when Chiwetel Ejiofor’s character became the main focus.
Vacancy - This horror film works a bit due to the characters actually not being total idiots.
Waitress - Much like Greek Wedding, it’s hard to hate this film but it plays way too much like a cutesy sit-com for my tastes.
But here goes. The 17 films from last year I considered neither good or bad and a line or two as to what either elevated the up from the dregs or kept them at mediocrity.
Alpha Dog - While some think this film is a comment on society, it’s really only another good looking actors committing crimes that seems done before.
Black Snake Moan - A couple of nice performances, Samuel L. Jackson in his best role in quite some time, are negated in B-level southern gothic melodrama.
Breach - Well acted and enjoyable but very predictable.
Color Me Kubrick - I so wanted to love this with the cast but it seemed more of the same Malkovich and this film really goes nowhere.
The Condemned - This action genre was moderately enjoyable as a rental.
Disturbia - Good and likable actors helps save this pedestrian remake of Rear Window, but boy is everyone super dumb in this film.
Epic Movie - Aother one of those endless spoof films, saved from the bad pile due to a couple of good laughs, one being a funny Crispin Glover as a Willy Wonka knockoff, and starring favorites Jennifer Coolidge and Kal Penn.
Grindhouse - Bggest disappointment of the year, way too much down time and we have now learned that Tarantino can not write for hot 20-something girls.
Hot Fuzz - Lst me when it morphed from a spoof of an action film to an actual action film.
The Kingdom - Another barely passable effort from Hollywood to comment on a current political situation. It seems they haven’t gotten any right since the 70s.
Knocked Up - A disappointment due to all of the hype. I just never found it all that funny and I’m a little sick of seeing Katherine Heigl everywhere.
The Lookout - Joseph Gordon-Levitt puts in another fine effort but this film can’t decide what it wants to be: character study or crime film.
Sicko - I’m probably a little too critical of Michael Moore’s methods but usually really enjoy his films. However for more this half of the time this film is very unfocused.
Stardust - Much like The Princess Bride of the 1980s, this should be a huge chick-flick. The earlier film was enjoyable for me due to the humor that Stardust seemed lacking.
Talk to Me - Another film I wanted to like but became extremely bored when Chiwetel Ejiofor’s character became the main focus.
Vacancy - This horror film works a bit due to the characters actually not being total idiots.
Waitress - Much like Greek Wedding, it’s hard to hate this film but it plays way too much like a cutesy sit-com for my tastes.
Labels: FilmReview
Monday, January 28, 2008
Films of 2007 - The Bad
Today begins a week long review of the films of 2007.
The schedule for the next seven days is as follows:
Today will be the smallest list. Since I am not paid to see films I have no incentive to see films such as I Now Pronounce You Chuck and Larry. If I had to there would be more films for today. As it is, only one of these films was seen in the theater.
Fay Grim - It pains me to put independent films on this list since I can usually find something to like. Hal Hartley is a bit of paradox. I’ll see all of his films but rarely either like them or hate them. When he connects he really hits a home run. He connected with Henry Fool and I thought this sequel would be close. Sadly this film degenerates into a narrative mess that I didn’t care about and even the likeable Parker Posey and Jeff Goldblum could not save. (This was the film seen in the theater.)
Interview - Another independent film that generates quickly into a who cares mess. The opening scene in the restaurant sets up the whole premise. She is a pampered star who wishes she could be taken seriously, he’s a grumpy journalist who finds entertainment so beneath him he can’t even bother to read the press material. Once it moves to her loft it seems contrived and doesn’t give any reason why these two would speak to each other.
The Nanny Diaries - A decent book with edge is reduced to no edge with bad casting and an unnecessary happy ending.
The Reaping - Another bad film with Hilary Swank. A total southern gothic mess that tries to mix horror. God, and Hurricane Katrina with is a C-level version of The Omen.
Smokin' Aces - Remember post 1994 when we all of these Tarantino wannabes thought any movie with referential dialogue, wacky gangsters, and lots of characters that intersect would make a good film. Well most didn’t and this seems worst that most of those.
Since today was a small post with only 5 bad films, I thought I would discuss the two films I saw in theaters last year that were rereleases.
Blade Runner: The Final Cut - I didn’t like Blade Runner on first viewing but have since grown to love it. This new print, thankfully, didn’t add more to the plot, since the last cut, but it looks better than in did in 1982.
Killer of Sheep - Some critics put this in last year’s top 10. Disregarding the discussing of putting a 30 year old film on the list, it probably would only be in my honorable mention. A bit too experimental and a historical document to be truly enjoyed. But it is a powerful film that should be seen by all and I look forward to another viewing on DVD.
Tomorrow... 18 average films of 2007.
Hot Chick Born Today
Barbi Benton, 58, growing up in the 70s her many appearances on TV were only enhanced because she posed in Playboy, it would be years later until I would finally see those shots
The schedule for the next seven days is as follows:
- Monday (today) - The Bad Films. These are either a chore to get through or extremely annoyed me in some way.
- Tuesday - The Average Films. These are decent films that are an acceptable way to spend a couple of hour but were forgotten rather quickly. Probably worth a rental.
- Wednesday - The Above Average Films. Pretty good films that are well worth seeing in the theater but not greatness material.
- Thursday - Honorable Mention. These made the cut in the first draft of possible Top 20 films and some could easily be in the Top 20 if I made the list on another day.
- Friday - The Top 20, films 11 to 20 in alphabetical order.
- Saturday - The Top 10, films 6 to 10 in ranked order.
- Sunday - The Top 10, films 1 to 5 in ranked order.
Today will be the smallest list. Since I am not paid to see films I have no incentive to see films such as I Now Pronounce You Chuck and Larry. If I had to there would be more films for today. As it is, only one of these films was seen in the theater.
Fay Grim - It pains me to put independent films on this list since I can usually find something to like. Hal Hartley is a bit of paradox. I’ll see all of his films but rarely either like them or hate them. When he connects he really hits a home run. He connected with Henry Fool and I thought this sequel would be close. Sadly this film degenerates into a narrative mess that I didn’t care about and even the likeable Parker Posey and Jeff Goldblum could not save. (This was the film seen in the theater.)
Interview - Another independent film that generates quickly into a who cares mess. The opening scene in the restaurant sets up the whole premise. She is a pampered star who wishes she could be taken seriously, he’s a grumpy journalist who finds entertainment so beneath him he can’t even bother to read the press material. Once it moves to her loft it seems contrived and doesn’t give any reason why these two would speak to each other.
The Nanny Diaries - A decent book with edge is reduced to no edge with bad casting and an unnecessary happy ending.
The Reaping - Another bad film with Hilary Swank. A total southern gothic mess that tries to mix horror. God, and Hurricane Katrina with is a C-level version of The Omen.
Smokin' Aces - Remember post 1994 when we all of these Tarantino wannabes thought any movie with referential dialogue, wacky gangsters, and lots of characters that intersect would make a good film. Well most didn’t and this seems worst that most of those.
Since today was a small post with only 5 bad films, I thought I would discuss the two films I saw in theaters last year that were rereleases.
Blade Runner: The Final Cut - I didn’t like Blade Runner on first viewing but have since grown to love it. This new print, thankfully, didn’t add more to the plot, since the last cut, but it looks better than in did in 1982.
Killer of Sheep - Some critics put this in last year’s top 10. Disregarding the discussing of putting a 30 year old film on the list, it probably would only be in my honorable mention. A bit too experimental and a historical document to be truly enjoyed. But it is a powerful film that should be seen by all and I look forward to another viewing on DVD.
Tomorrow... 18 average films of 2007.
Hot Chick Born Today
Barbi Benton, 58, growing up in the 70s her many appearances on TV were only enhanced because she posed in Playboy, it would be years later until I would finally see those shots
Labels: FilmReview
Monday, January 21, 2008
Cloverfield
The most anticipated January release ever has now become the largest opening January weekend ever and probably the best film ever released in January. But is that saying much? Not that Cloverfield is bad film, it’s not, but not a particularly memorable film. I mostly enjoyed my time in the theater but had a tough time thinking about the film afterwards.
The genre of character filmed movies is severely limited. Much like the Dogma films, they can be interesting experiments but rarely rise above the genre. Cloverfield is probably about as good as you can get with this gimmick.
The film does a number of things well. The look and special effects is top notch I also enjoy that the film is completely seen from the p.o.v. of four people. We only know what they see from passing television report and pedestrians. There are no long drawn out scenes of scientists discussing the what, where, & why of this creature. There are a number of very good scenes by themselves: the Brooklyn Bridge, walking the subway, and Columbus Circle. And with only 73 minutes of actual action the film moves fast.
However my mind fixated on the negatives while the film was rolling. Of those 73 minutes the first 20 involve a party for the main character as he’s moving to Japan. I became very bored, very quickly as this played like a home movie. A very bad one at that. This sequence does set up the relationships up the characters but ultimately I didn’t care as I was just waiting for them to die and felt no empathy when they went, except a moment’s loss when the cute girl exploded.
My other problem is the “quest for the one-night stand” sub-plot. This really didn’t interest me in the least. If it had been 100% save ourselves I probably would have enjoyed it more. Hence my love of the Brooklyn Bridge scene, the best in the movie. But as our four head off for this girl it makes them look like idiots, and they seem to have good jobs and apartments so they can’t be that dumb. As there is no character development you have to just accept that they will follow Rob in search of the girl, even cute girl who has no connection to any of them. And the only reason I know Rob’s name is from the worst scene in the film. Much like “where’s the fucking map” from Blair Witch, camera dude spends 3 to 4 minutes screaming Rob’s name to get him to come to his senses and escape Manhattan. Thankfully Rob didn't have to scream anything to get them to join him.
Hot Chicks Born Today
Charlotte Ross, 40, the only performer to do a full frontal nude scene on NYPD Blue, albeit with strategically placed hands
Emma Bunton, 32, a toss up with Ginger for best looking Spice Girl
Genna Davis, 52, was extremely hot when she did The Fly now she's just annoying
The genre of character filmed movies is severely limited. Much like the Dogma films, they can be interesting experiments but rarely rise above the genre. Cloverfield is probably about as good as you can get with this gimmick.
The film does a number of things well. The look and special effects is top notch I also enjoy that the film is completely seen from the p.o.v. of four people. We only know what they see from passing television report and pedestrians. There are no long drawn out scenes of scientists discussing the what, where, & why of this creature. There are a number of very good scenes by themselves: the Brooklyn Bridge, walking the subway, and Columbus Circle. And with only 73 minutes of actual action the film moves fast.
However my mind fixated on the negatives while the film was rolling. Of those 73 minutes the first 20 involve a party for the main character as he’s moving to Japan. I became very bored, very quickly as this played like a home movie. A very bad one at that. This sequence does set up the relationships up the characters but ultimately I didn’t care as I was just waiting for them to die and felt no empathy when they went, except a moment’s loss when the cute girl exploded.
My other problem is the “quest for the one-night stand” sub-plot. This really didn’t interest me in the least. If it had been 100% save ourselves I probably would have enjoyed it more. Hence my love of the Brooklyn Bridge scene, the best in the movie. But as our four head off for this girl it makes them look like idiots, and they seem to have good jobs and apartments so they can’t be that dumb. As there is no character development you have to just accept that they will follow Rob in search of the girl, even cute girl who has no connection to any of them. And the only reason I know Rob’s name is from the worst scene in the film. Much like “where’s the fucking map” from Blair Witch, camera dude spends 3 to 4 minutes screaming Rob’s name to get him to come to his senses and escape Manhattan. Thankfully Rob didn't have to scream anything to get them to join him.
Hot Chicks Born Today
Charlotte Ross, 40, the only performer to do a full frontal nude scene on NYPD Blue, albeit with strategically placed hands
Emma Bunton, 32, a toss up with Ginger for best looking Spice Girl
Genna Davis, 52, was extremely hot when she did The Fly now she's just annoying
Labels: FilmReview
Saturday, January 19, 2008
The Diving Bell and the Butterfly
I finally pumped myself up to see The Diving Bell and the Butterfly. Come to find out there was no need. In spite of the subject matter of a man with the condition of Locked-In syndrome, it is, overall, not a depressing movie. It makes you feel good about life, probably better than the Hollywood film The Bucket List.
It’s hard to rank films when one is fresh in your mind but this film put me on a high that I haven’t felt in recent viewings except for The Assassination of Jesse James & Before the Devil Knows You’re Dead. Julian Schnabel gets full credit for this success. I don’t know if there is a wrong note in the film. His previous film, Before Night Falls, became the film that would never end. This film moves at a very quick pace and the 112 minutes are up before you know it.
Casting is perfect. Mathieu Amalric is very good as the main character. (Johnny Depp was scheduled to play his part but had to bow out due to scheduling conflicts with Pirates. At least that film was good for something as I don’t think he would have been as good.) The very beautiful Marie-Josée Croze, who was in Munich with Amalric, is equally good as his speech therapist. Also outstanding are Emmanuelle Seigner, Isaach De Bankolé, Marina Hands, and two legendary figures: Max von Sydow & Jean-Pierre Cassel. Sadly Cassel died last April and this is one of his final film appearances.
The music cues are another high point. Sometimes people overrate music in film but Schnabel uses it perfectly to enhance the film without being redundant. He has an eclectic mix using established rock acts: Tom Waits, U2, & Velvet Underground. It is the most I’ve ever enjoyed Tom Waits in a soundtrack. The two most effective songs are the ones heard in the trailer: a Dirtbombs’ cover of Chains of Love and Don’t Kiss Me Goodbye sung by co-star Emmanuelle Seigner. There is also Charles Trenet singing La Mer and good use of music from other films: Lolita and Quatre Cents Coup. The latter appears at the right moment to evoke the French New Wave.
Julian Schnabel is probably a very odd person, check out his interview sequence in Sketches of Frank Gehry for confirmation, but he has put together one of the best films of the year.
Hot Chicks Born Today
Katey Sagal, 54, get past the Peg Bundy character and she's quite good looking
Dolly Parton, 62, another favorite from childhood, who wasn't fascinated by her two "attributes" back then
It’s hard to rank films when one is fresh in your mind but this film put me on a high that I haven’t felt in recent viewings except for The Assassination of Jesse James & Before the Devil Knows You’re Dead. Julian Schnabel gets full credit for this success. I don’t know if there is a wrong note in the film. His previous film, Before Night Falls, became the film that would never end. This film moves at a very quick pace and the 112 minutes are up before you know it.
Casting is perfect. Mathieu Amalric is very good as the main character. (Johnny Depp was scheduled to play his part but had to bow out due to scheduling conflicts with Pirates. At least that film was good for something as I don’t think he would have been as good.) The very beautiful Marie-Josée Croze, who was in Munich with Amalric, is equally good as his speech therapist. Also outstanding are Emmanuelle Seigner, Isaach De Bankolé, Marina Hands, and two legendary figures: Max von Sydow & Jean-Pierre Cassel. Sadly Cassel died last April and this is one of his final film appearances.
The music cues are another high point. Sometimes people overrate music in film but Schnabel uses it perfectly to enhance the film without being redundant. He has an eclectic mix using established rock acts: Tom Waits, U2, & Velvet Underground. It is the most I’ve ever enjoyed Tom Waits in a soundtrack. The two most effective songs are the ones heard in the trailer: a Dirtbombs’ cover of Chains of Love and Don’t Kiss Me Goodbye sung by co-star Emmanuelle Seigner. There is also Charles Trenet singing La Mer and good use of music from other films: Lolita and Quatre Cents Coup. The latter appears at the right moment to evoke the French New Wave.
Julian Schnabel is probably a very odd person, check out his interview sequence in Sketches of Frank Gehry for confirmation, but he has put together one of the best films of the year.
Hot Chicks Born Today
Katey Sagal, 54, get past the Peg Bundy character and she's quite good looking
Dolly Parton, 62, another favorite from childhood, who wasn't fascinated by her two "attributes" back then
Labels: FilmReview
Thursday, January 03, 2008
There Will Be Blood
2007 is a weird year for film. Each top film seems to have its fair share of both champions and detractors. PT Anderson, no stranger to producing polarizing films (Magnolia), has put together another one with There Will Be Blood.
I just watched it last night and I’m still trying to process everything so this might be rambling.
I enjoyed the film and while I wouldn’t recommend it to everyone, I would recommend it to film lovers. However, I didn’t connect with the film and love it as much as many critics do.
There is a lot to enjoy about the film. The first half is brilliant. Here the story is more focused and Daniel Day-Lewis gives the performance of a career. Throughout the film the photography is majestic and does justice to west Texas, filling in for Arizona and California. Paul Dano and Dillon Freasier give excellent performances throughout.
Now to the flaws in the films. Anderson has always referenced his film idols. This film seems to have Stanley Kubrick written all over it. In tone, composition and even music I was reminded of 2001, Barry Lyndon, and The Shining. His allusions to Scorsese and Altman in Boogie Nights and Magnolia seemed to enhance those films but here I was distracted. Especially when you add allusions to Citizen Kane and Chinatown.
My biggest problem is in the second half of the film. Here the films begins go all over the map and I began to wonder what its focus is. Is it a political film or an anti-oil industry film? It leans that way for much of the film. It is about a father-son oil team and the son has the initials H.W. But in the end, Daniel Plainview succeeds. He is a miserable human being but he makes money and defeats his rivals. The film even pulls back on the industry when the son and his wife, the only two sympathetic characters at all, leave to start an oil business in Mexico.
A bigger theme is man vs. religion. Here it succeeds a little better. However, Daniel and Eli are both totally unlikable characters so what does it accomplish when the businessman who calls God a superstition defeats the hypocritical faith healer. This brings up the final scene. It was so over-the-top it was almost laughable and by now Daniel Day-Lewis’ acting has also gone over-the-top in a number of scenes.
At the end, I was left with complete indifference. I think this was due to not having a single character to care about or slightly root for. As mentioned above, the son is the only half way decent character but he is tied to his father for most of the film so you can’t separate the two. Every character in the film is somewhat shady. This includes the wildcatters exploiting the people, people working for established oil companies, religious nuts, to the people being exploited themselves. Now films don’t have to be "Oprah inspiring" for me to enjoy them. But you have to give me something to latch onto. Even with crime films like The Godfather, I can live vicariously through the characters. But here I just wanted to get away from all of them.
Hot Chicks Born Today
Danica McKellar, 33, hot and smart, weird to think we've known her since she was 12
Victoria Principal, 58, she was one of the hottest around in the early 80s when she was Pam Ewing
I just watched it last night and I’m still trying to process everything so this might be rambling.
I enjoyed the film and while I wouldn’t recommend it to everyone, I would recommend it to film lovers. However, I didn’t connect with the film and love it as much as many critics do.
There is a lot to enjoy about the film. The first half is brilliant. Here the story is more focused and Daniel Day-Lewis gives the performance of a career. Throughout the film the photography is majestic and does justice to west Texas, filling in for Arizona and California. Paul Dano and Dillon Freasier give excellent performances throughout.
Now to the flaws in the films. Anderson has always referenced his film idols. This film seems to have Stanley Kubrick written all over it. In tone, composition and even music I was reminded of 2001, Barry Lyndon, and The Shining. His allusions to Scorsese and Altman in Boogie Nights and Magnolia seemed to enhance those films but here I was distracted. Especially when you add allusions to Citizen Kane and Chinatown.
My biggest problem is in the second half of the film. Here the films begins go all over the map and I began to wonder what its focus is. Is it a political film or an anti-oil industry film? It leans that way for much of the film. It is about a father-son oil team and the son has the initials H.W. But in the end, Daniel Plainview succeeds. He is a miserable human being but he makes money and defeats his rivals. The film even pulls back on the industry when the son and his wife, the only two sympathetic characters at all, leave to start an oil business in Mexico.
A bigger theme is man vs. religion. Here it succeeds a little better. However, Daniel and Eli are both totally unlikable characters so what does it accomplish when the businessman who calls God a superstition defeats the hypocritical faith healer. This brings up the final scene. It was so over-the-top it was almost laughable and by now Daniel Day-Lewis’ acting has also gone over-the-top in a number of scenes.
At the end, I was left with complete indifference. I think this was due to not having a single character to care about or slightly root for. As mentioned above, the son is the only half way decent character but he is tied to his father for most of the film so you can’t separate the two. Every character in the film is somewhat shady. This includes the wildcatters exploiting the people, people working for established oil companies, religious nuts, to the people being exploited themselves. Now films don’t have to be "Oprah inspiring" for me to enjoy them. But you have to give me something to latch onto. Even with crime films like The Godfather, I can live vicariously through the characters. But here I just wanted to get away from all of them.
Hot Chicks Born Today
Danica McKellar, 33, hot and smart, weird to think we've known her since she was 12
Victoria Principal, 58, she was one of the hottest around in the early 80s when she was Pam Ewing
Labels: FilmReview
Wednesday, January 02, 2008
The Lookout
The first film I watched of the year is The Lookout. Given the talent involved in this film this can only be described as a major disappointment.
This film is saved by two wonderful performances by Joseph Gordon-Levitt and Jeff Daniels. The film is more character study than crime drama and they do a wonderful job with the material they are given. This is good since it takes the film over 30 minuted to introduce the bad guys.
I was beginning to wonder if the film would get going and then I wish it hadn't. The plot is very derived from other films, this includes the high school car ride prologue. Characters appear and disappear at random. They are almost all one-dimensional. Isla Fisher's acting is god-awful.
This is quite surprising since it was directed and written by Scott Frank who translated Out of Sight to the screen.
Hot Chicks Born Today
Gabrielle Carteris, 47, I'm embarrassed to admit I've seen every 90210 episode and at the time she was top 10 material
Paz Vega, very hot in Sex and Lucia, Talk to Her, & Spanglish
This film is saved by two wonderful performances by Joseph Gordon-Levitt and Jeff Daniels. The film is more character study than crime drama and they do a wonderful job with the material they are given. This is good since it takes the film over 30 minuted to introduce the bad guys.
I was beginning to wonder if the film would get going and then I wish it hadn't. The plot is very derived from other films, this includes the high school car ride prologue. Characters appear and disappear at random. They are almost all one-dimensional. Isla Fisher's acting is god-awful.
This is quite surprising since it was directed and written by Scott Frank who translated Out of Sight to the screen.
Hot Chicks Born Today
Gabrielle Carteris, 47, I'm embarrassed to admit I've seen every 90210 episode and at the time she was top 10 material
Paz Vega, very hot in Sex and Lucia, Talk to Her, & Spanglish
Labels: FilmReview
Wednesday, July 11, 2007
The Lion King
Well it looks like I am working through the films I’m embarrassed to have never seen from 5 to 1. This last weekend I got around to seeing #4: The Lion King.
I don’t know why I had never seen this film before. It ended the Disney animation Renaissance that began with The Little Mermaid in 1989 when it seemed that they could do no wrong. I’ve seen Mermaid, Beauty and the Beast & Aladdin and while I enjoy the first two none of them lived up to the hype and greatness that people built them up to be. Another reason I have avoided seeing it is the love for the style over substance Broadway version. But that is another issue.
The Lion King lives up to its fanfare and then some. It belongs with a list of Disney’s truly great animation achievements. It is easily the only 2-D Disney animated film from the current generation I would like to own.
First, the animation looks wonderful. While computer animation is technically amazing I don’t think it will ever achieve the emotional responses that traditional animation can. This is a prime example to keep this look and a reason to mourn if it ever disappears. Disney is more than helped that the color pallet of Africa, all the reds and brown, are very pleasing to the eye.
However to be a great film it needs more than looks and here is where Disney gets about everything right. In almost every case then seem to make decisions of subtlety or to enhance the overall film, not just a single aspect. The story appeals to both adults and young people and never condescends to the audience. The songs never overpower the story. The comic elements also seem to fit without becoming juvenile or slapstick. And the voice actors are perfectly cast. My pet peeve is that many animated films pick “names” even if they don’t fit the role. This film might be the cause of much of that. There are many well-known actors in The Lion King, probably more than any previous Disney film, but here is seems to work and they were chosen because they fit the role and not because they are on a hit tv show.
I don’t know why I had never seen this film before. It ended the Disney animation Renaissance that began with The Little Mermaid in 1989 when it seemed that they could do no wrong. I’ve seen Mermaid, Beauty and the Beast & Aladdin and while I enjoy the first two none of them lived up to the hype and greatness that people built them up to be. Another reason I have avoided seeing it is the love for the style over substance Broadway version. But that is another issue.
The Lion King lives up to its fanfare and then some. It belongs with a list of Disney’s truly great animation achievements. It is easily the only 2-D Disney animated film from the current generation I would like to own.
First, the animation looks wonderful. While computer animation is technically amazing I don’t think it will ever achieve the emotional responses that traditional animation can. This is a prime example to keep this look and a reason to mourn if it ever disappears. Disney is more than helped that the color pallet of Africa, all the reds and brown, are very pleasing to the eye.
However to be a great film it needs more than looks and here is where Disney gets about everything right. In almost every case then seem to make decisions of subtlety or to enhance the overall film, not just a single aspect. The story appeals to both adults and young people and never condescends to the audience. The songs never overpower the story. The comic elements also seem to fit without becoming juvenile or slapstick. And the voice actors are perfectly cast. My pet peeve is that many animated films pick “names” even if they don’t fit the role. This film might be the cause of much of that. There are many well-known actors in The Lion King, probably more than any previous Disney film, but here is seems to work and they were chosen because they fit the role and not because they are on a hit tv show.
Labels: FilmReview
Tuesday, July 10, 2007
Criterion #302: Harakiri
While looking through Premier Video to find a movie to rent with Life on Mars, I decided on a foreign language film, specifically a Criterion DVD. So I randomly chose Harakiri.
Regarding Criterion DVDs, at one time I thought I would try and collect them all. This has proven impractical with the pace that they are producing videos. So instead I will settle on watching as many as I can with all of the extras. I’ve already seen quite a few but I can’t remember how much of the extras I’ve seen so I’ll reset the counter back to zero. Number 1 on the list was Criterion #250a The Killing of a Chinese Bookie that I watched last month.
So this would be Criterion #302: Harakiri.
I knew nothing about this film but it is an amazing piece of work. It is written by the man who wrote a number of Kurosawa films such as Rashoman and The Seven Samurai and directed by Masaki Kobayashi. This is my introduction to this director’s work but reading the essays with the DVD he is know for films that question the establishment.
This is what makes this such an intriguing film. It is a samurai film but it does not romanticize the period. Many of these warriors are not honorable and are downright hypocritical. It is told in a non-linear manner that adds enhances the tension. The photography is wonderful and some of the scenes are quite bloody given the time (1962). I’m sure Tarantino was influenced by some of this film with the fight sequence and the theme of revenge.
The supplements are all well worth exploring. Anything by Donald Richie is welcome but it’s not really an introduction since you would not want to watch it before viewing the film. The interviews with the director, actor, and screenwriter give candid talks about their philosophy of work and their role with the crew.
Regarding Criterion DVDs, at one time I thought I would try and collect them all. This has proven impractical with the pace that they are producing videos. So instead I will settle on watching as many as I can with all of the extras. I’ve already seen quite a few but I can’t remember how much of the extras I’ve seen so I’ll reset the counter back to zero. Number 1 on the list was Criterion #250a The Killing of a Chinese Bookie that I watched last month.
So this would be Criterion #302: Harakiri.
I knew nothing about this film but it is an amazing piece of work. It is written by the man who wrote a number of Kurosawa films such as Rashoman and The Seven Samurai and directed by Masaki Kobayashi. This is my introduction to this director’s work but reading the essays with the DVD he is know for films that question the establishment.
This is what makes this such an intriguing film. It is a samurai film but it does not romanticize the period. Many of these warriors are not honorable and are downright hypocritical. It is told in a non-linear manner that adds enhances the tension. The photography is wonderful and some of the scenes are quite bloody given the time (1962). I’m sure Tarantino was influenced by some of this film with the fight sequence and the theme of revenge.
The supplements are all well worth exploring. Anything by Donald Richie is welcome but it’s not really an introduction since you would not want to watch it before viewing the film. The interviews with the director, actor, and screenwriter give candid talks about their philosophy of work and their role with the crew.
Labels: Criterion, FilmReview
Thursday, June 07, 2007
The Killing of a Chinese Bookie
After just posting my Top 5 films I’m embarrassed to not have seen, I can now knock one of them off my list. I just watched the #5 film, The Killing of a Chinese Bookie. (Maybe I’ll work on the list from 5 to 1.)
I was not disappointed with this film. I have a hard time recommending it to most people since this is probably not a film to see if you are not a fan of the Cassavetes style. It is definitely not the film to introduce you to this style of filmmaking. But for fans this is a must see.
The story is very simplistic. An owner of a second rate strip club (Ben Gazzara) gets snookered into a $23,000 gambling debt by a floating casino manager (Seymour Cassel). To retire the debt he is forced by the head gangster (Timothy Carey) to kill a Chinese bookie where it’s obvious they don’t expect him to be able to kill the man and survive.
As any Cassavetes film the plot is secondary to the character’s mundane actions. Sometimes this can seem tedious but this film is interesting and riveting throughout. As expected Gazzara & Cassel are wonderful. This film would make a wonderful double feature with Saint Jack with Gazarra playing a similar character a couple of years after this film. It was great to see a young, dynamic Cassel, best known for his roles in the recent Wes Anderson films.
The surprise of the film was finding Timothy Carey. I don’t recall ever seeing him before but he had a great presence on screen. Weird his most notable roles are in films he was uncredited. A couple of other things I enjoyed were Al Ruban, a cameraman on the film, has a nice part as a gangster in an early scene & the score by Bo Harwood.
I also watched the 1978 re-cut. Other than as an interesting look into the creative process there is no reason to watch this: stick to the longer 1976 version. While the shorter version gets to the action quicker, all of the rhythm you expect from a Cassavetes film has been removed. The only reason to put this disc in the DVD player is to check out a couple of really nice extras.
I was not disappointed with this film. I have a hard time recommending it to most people since this is probably not a film to see if you are not a fan of the Cassavetes style. It is definitely not the film to introduce you to this style of filmmaking. But for fans this is a must see.
The story is very simplistic. An owner of a second rate strip club (Ben Gazzara) gets snookered into a $23,000 gambling debt by a floating casino manager (Seymour Cassel). To retire the debt he is forced by the head gangster (Timothy Carey) to kill a Chinese bookie where it’s obvious they don’t expect him to be able to kill the man and survive.
As any Cassavetes film the plot is secondary to the character’s mundane actions. Sometimes this can seem tedious but this film is interesting and riveting throughout. As expected Gazzara & Cassel are wonderful. This film would make a wonderful double feature with Saint Jack with Gazarra playing a similar character a couple of years after this film. It was great to see a young, dynamic Cassel, best known for his roles in the recent Wes Anderson films.
The surprise of the film was finding Timothy Carey. I don’t recall ever seeing him before but he had a great presence on screen. Weird his most notable roles are in films he was uncredited. A couple of other things I enjoyed were Al Ruban, a cameraman on the film, has a nice part as a gangster in an early scene & the score by Bo Harwood.
I also watched the 1978 re-cut. Other than as an interesting look into the creative process there is no reason to watch this: stick to the longer 1976 version. While the shorter version gets to the action quicker, all of the rhythm you expect from a Cassavetes film has been removed. The only reason to put this disc in the DVD player is to check out a couple of really nice extras.
Labels: FilmReview
