Put Down the Popcorn

American Movie (1999)

2009-03-14T10:58:00.000-07:00

* * * *

The Jist
American Movie is a film about a film. Filmed in small-town Wisconsin in the mid 90s, it is a documentary that follows Mark Borchardt, an amateur film-maker, as he tries to make his film Coven with the help of his friends and family. The camera tracks the making of Coven from pre-production through filming and includes confessional style interviews with the main characters.

What's Good
While most widely-distributed documentaries tackle broad subjects involving politics or well-known events, American Movie tracks small-town nobodies trying to do big things. When the film was made in the mid and late 90s, America was a different place than it is now. The economy was booming, there was a sense of prosperity, and things in general seemed to be on the rise. American Movie captures the can-do American spirit in unemployed landscaper/writer/director Mark Borchardt, but also reminds that even during one of the richest times in the country's history, there was still a large group of people struggling to pay the bills and achieve the American dream. Director Chris Smith does a good job presenting both the struggle to live and create and the forces behind the struggle. All documentaries strive to compress multitudes of footage into a watchable film, and at 107 minutes American Movie is just long enough to tell Borchardt's story of humor, drama, information, and tragedy, but mostly humor. American Movie is thoroughly entertaining. To see strange, small-town people speak honestly to the camera about their bizarre friend/director, and then follow their comments with something equally ridiculous, illustrates the flaws and desires in the people we live with and walk past everyday.

What's Bad
Although the film is a documentary in every sense, American Movie is so outrageous, at times it seems unbelievable that the subjects weren't prompted to say or do the things that happen. Some of the situations seem just too good to be true, and aside from the first-person interviews, no one ever notices the camera following them. For people who seem so astonishingly simple-minded, it is hard to believe they didn't have trouble looking into the lens constantly following them, especially characters that appear only once or out of the blue.

What's Memorable
The subjects of American Movie are characters more than people, and show that at times life is more entertaining than art. Anyone who grew up in a small town knows someone like Mark Borchardt; the guy who has great intentions and big dreams but seemingly no concept of reality. Despite his flaws which include drinking too much, an inability to hold a job, and a tremendous lack of focus, Borchardt is essentially the definition of a struggling artist trying to bring his vision to life. All future film-makers should watch American Movie, as director Smith captures the frustrating process of creation and the continual journey toward the satisfaction of making something from nothing. If you think Borchardt is strange, his friends and family are another story. His ancient Uncle Bill, Borchardt's source of financing, somehow gets caught up in the action and a handful of memorable scenes involve the slow-moving old man doing something completely out of place for someone who can barely walk or see. Borchardt's best friend Mike Schank says some outrageously ridiculous things that could be quoted for days, and some of his stories and one-liners are funnier than anything a screenwriter could come up with. There is no shortage of memorable lines and situations, and American Movie is laugh out loud funny. What makes American Movie relevant is the eccentricity of the characters; they are real people doing real things. The film has just as much to say about filmmaking as it does about small-town America. Borchardt may be delusional, but he knows film, and to see him both in command and way over his head is incredibly entertaining but also informative. American Movie captures the creative spirit and shows a glimpse into America in the 1990s; a time when even the down-trodden believed the route to happiness was very tangible and just around the corner.

Good for: film-makers, documentary fans, anyone who lives or lived in a small-town

Bad for: someone with no sense of humor, snobs

The Gallery
The Writer * * * * *

The Wrestler (2008)

2009-03-10T15:34:00.000-07:00

* * * * *

The Jist
The Wrestler chronicles Randy "The Ram" Robinson, a former champion wrestler, as he struggles with the reality of his career coming to a close. The battles he faces outside the ring weigh heavier than those in the squared-circle as he tries to mend broken relationships and make ends meet.

What's Good
It seems that redemption stories come and go in Hollywood week after week, but with his debut screenplay, Robert D. Siegel makes the unlikely choice of framing the redemption theme around the world of professional wrestling in the most creative screenplay of the year. Simply put, The Wrestler is a great story; great characters working through difficult situations that are unique but always understandable, and most importantly, real. The script contains so much attention to detail, both in terms of recreating the world of wrestling and the image of a flawed man. Siegel's creation of Randy "The Ram" will surely go down as his best character. The Ram is perfectly rounded, a flawed man and father, but a good friend, worker, and mentor. We see his nearly countless failures, but also just enough of his sense of humor and passion to make him an incredibly sympathetic character. With a story like this its nearly impossible to avoid cliche, but The Wrestler goes through them so honestly and brutally without over-dramatizing events that even when the audience sees something coming, it still reverberates with true intensity. Characters like Randy's daughter Stephanie, played by Evan Rachel Wood, seem destined to fall into mediocrity, but the script allows Wood to deliver a believable performance as a neglected child with a grudge without going over the top. Todd Barry's character Wayne, Randy's non-wrestling employer, personifies the indifference of the outside world, and his un-sentimental and restrained performance fuels Mickey Rourke's tour de force. The cast of bit parts played both by actors and real amateur wrestlers create a window into the wrestling community, and shows that the characters on screen and in the ring are real people with real problems.

What's Bad
Despite the Wrestler's strong plot, the dialogue, at times, is a bit dull. Some will find the writing to be honest without trying to glamorize the characters and situations, but others may get bored with the trudging conversations. A few of the situations begin to get repetitive, such as Randy's continual trips to the strip club, but none of the film's flaws take away from its brilliant direction and acting.

What's Memorable
Mickey Rourke's performance has been sensationalized beyond belief, and the idea of his life intersecting with art in the form of the title character will forever be associated with the film. But when true genius is exhibited, due praise is deserved, and there are few performances more deserving than the devastating, soul-bearing portrayal of Randy "The Ram" by Rourke. Rourke has created one of the most enduring characters in film history, a modern day Terry Malloy, inspired by all of the great down-and-out characters that have come before him. Watching Randy, the once great superstar of the ring, lower himself to community center events in small towns just to scrape together enough money to pay his trailer rent, all while trying to rekindle the relationship he never had with his daughter, reeks of pain and suffering, but we can't take our eyes off the screen because of Rourke. Randy "The Ram" is real, someone we've watched on Pay-Per-View, read about in the papers, and seen behind the deli counter, and Rourke totally becomes him. The performance is flawless; beyond intimate and inspiring, both beautiful in its subtlety and crushing in its honesty. The Wrestler is Mickey Rourke, but don't forget about Marisa Tomei. The role of Cassidy, a stripper and friend of Randy, was demanding physically and mentally, and Tomei brings a delicacy that softens the blow of Randy's failures. She complements Rourke's amazing performance without ever overshadowing it, half because of Rourke's overriding greatness and half because of Tomei's calculated acting. Lost in the Rourke hysteria, however, has been Darren Aronofsky. Known for his powerful, boundary-pushing films like Requiem for a Dream and the Fountain, The Wrestler is his most traditional and focused work to date. Whereas in the past Aronofsky's ambitions may have outweighed his decision making, The Wrestler shows him at his most constrained, which happens to coincide with his creative pinnacle. The film is great in its efficiency, not wasting one of the 110 minutes and not needing a single frame more to deliver the punch. The plot moves slowly, but at an appropriate pace for the sequence of events, and despite its dark overtones, the film has just enough style. The sound editing and handheld camera work give the situations authenticity, and the editing is spot-on, particularly the phenomenal conclusion. The Wrestler is the fusion of stunning acting and great directing, and a triumphant document of human failure and redemption from the opening sequence illustrating "The Ram's" zenith, to the heart-wrenching final scene.

Good for: all movie-goers, fans of drama, wrestling fans, actors

Bad for: overly emotional movie-watchers, the easily bored

The Gallery
The Surfer: * * * * *
The Writer * * * *

Doubt (2008)

2009-03-09T19:08:00.000-07:00

* * * * *

The Jist
Doubt is set in the 1960s, and centers around a nun (Meryl Streep) who suspects a priest (Philip Seymour Hoffman) of having a questionable relationship with a young male student at the Catholic school she oversees. A younger nun, played by Amy Adams, tries to maintain good will at the school while regarding the integrity of all parties involved in the questionable affairs.

What's Good
John Patrick Shanley has already received a Pulitzer Prize and Tony Award for the theatrical version of Doubt, and who better to enlist to ensure a strong big-screen adaptation than Streep and Hoffman in the lead roles. A great script draws great actors, and the casting was excellent. Streep is one of the best actresses of all-time, Hoffman may be the greatest character actor of his generation, and Amy Adams is a legitimate up and coming actress about to become a major figure. Not all plays work as films, but Shanley's efficient direction shows that he has a wide variety of talents beyond just writing. There are limited settings, as one would expect from a theatrical adaptation, but the dark cathedrals, ancient Catholic school classrooms, and quiet rectories work well on the big screen, providing just the right atmosphere for the characters to thrive in. The story moves at just the right pace, slow but steady, and from the opening frame to the credits the tension builds to a thought-provoking climax.

What's Bad
The script drives Doubt, and while most will be mesmerized by the dialogue, some may be bored by the lack of action. Along the same lines, Doubt feels like a play; so those bored with the dialogue will also grow tired of the repetitive scenery and long scenes. There are signs that Shanley is a first time director, but some of the questionable decisions in terms of plot and subtext were risks most first time directors wouldn't take. Overall, there isn't much wrong with this film.

What You'll Remember
As one would expect, the acting is phenomenal. Hoffman and Streep steal the show, and their scenes together are electric. Streep is a lightning rod and plays Sister Aloysius with a fervent intensity that will call to mind childhood memories for anyone who grew up in a Catholic school. Hoffman plays Father Flynn so sharply that no one knows whether he is a good-intentioned progressive priest or a deceiving fake, but just like the kids in his class, the audience will want him to come back for time and again. Amy Adams, a subordinate both in character and in practice to Hoffman and Streep, is great as Sister James. The part demanded both tender passivity and stark veracity, and although Streep and Hoffman's characters draw most of the attention, Adam's Sister Flynn is who the audience will relate to. The only other character with a significant role is Viola Davis as Ms. Miller, the mother of the boy in question with Father Flynn. Davis is only on-screen for nearly ten minutes, but she is unforgettable as a mother at a crossroads. A look at the awards this script has already won tells you all you need to know about it, but Shanley's writing propels the great performances, presents a thrilling plot, and is one of the most thought-proving films of the year. Amidst the mystery surrounding Father Flynn are overarching themes of faith, religion, and morality, and there are many questions left unanswered. The ambiguous nature of these fickle issues mirrors the way they are addressed in reality, and Doubt will likely tell the viewer just as much about him/herself as it does about the characters on the screen. In the end, Doubt brings so much to the table; it's a cautionary tale, a fable, and an ethical dilemma, all with driving intensity both in plot and in performance. It is the rare suspense film that asks hard questions, leaving the viewer to ponder them after the brilliant conclusion.

Good for: theater fans, actors, fans of sharp dialogue, suspense fans, philosphers

Bad for: the easily bored, someone not looking to think in the theater

The Curious Case of Benjamin Button (2008)

2009-03-08T16:50:00.000-07:00

* * * *

The Jist
Adapted from an F. Scott Fitzgerald short story, The Curious Case of Benjamin Button is the story of a boy born old, who from the time of his birth ages backwards from an elderly man to a young infant. His life is full of unexpected events, as he encounters people and situations from a unique perspective.

What's Good
David Fincher's mid-late nineties stretch of great films is ten years behind him, but with Benjamin Button, the man who adapted the mind-trap that was Fight Club has showed that he can also adapt an emotional, heart-wrenching tale. Benjamin Button is an epic in terms of length and vision, and with the help of veteran screenwriter Eric Roth, Fincher has created an enduring and enjoyable fable. Having the likes of Brad Pitt and Cate Blanchett as leads surely helps, and both deliver the performances audiences have come to expect. Pitt steps up to plate for the demanding role and plays the title character from old age to prepubescence with nuance and affection. Blanchett once again reminds us she is the best actress of her time by bringing much more to the role than the what was written on the page. Taraji P. Henson, as Benjamin's adoptive mother, steps into the limelight with an intimate, motherly performance well beyond her actual age in years and wisdom. The strength of Benjamin Button lies in the story, however, which is well crafted by Roth and will appeal to a broad audience.

What's Not
The most obvious fault of Benjamin Button is its length. Roth and Fincher popped off the delete key to take Fitzgerald's short story and turn it into a nearly three hour long epic. Its hard to say which scenes shouldn't have made the final cut, but its clear that the story wouldn't have lost too much with about thirty minutes less material. Comparisons have been made to Roth's past screenplay, Forrest Gump, and the similarities are legitimate. Substitute a mentally challenged lead with a reverse-aging man, and most of the themes and even circumstances are very similar. Although the story is engaging, Fincher rounded off the sharp edges that can be found all over his past work. Chances were taken from a technical aspect, but thematically and artistically, Benjamin Button is pretty conservative and looks like a safely made film meant to make some money.

What You'll Remember
Movie-goers have become accustomed to outrageous special effects, but the costume and design team for Benjamin Button pulled off one the most unique and challenging tasks in a non-action film to date. Thanks to incredible prostheses and costume design, the star-power of Brad Pitt fades away into a geriatric man, and a mere two hours later, Pitt, who is in his 40s, looks not a day older than 16. The combination of Pitt's believable performance and the stunning make-up job make Benjamin Button a very memorable character. The best part of the film, though, is the source material. Fitzgerald's fable, even if extended hundreds of pages beyond the original, will resonate with nearly everyone, and the idea of celebrating life rather than destroying it is one not often found in popular cinema. Even if Fincher and Roth played it close to the belt, the story and moral behind Benjamin Button is one most viewers won't soon forget.

Good for: the average movie fan, Pitt fans, someone down on their luck

Bad for: people who don't like long films, people who cry at movies

The Gallery
The Surfer: * * *

Rachel Getting Married (2008)

2009-03-08T16:21:00.000-07:00

* * *

The Jist
Rachel Getting Married is not so much the story of Rachel, but the story of her drug and tragedy addled sister Kym, played by Anne Hathaway. Kym is home from rehab for the first time in years for her sister's wedding and confronts her past mistakes as she tries to recapture a sense of normal life. The nature of coping, forgiveness, and the structure of family relationships are explored as a dysfunctional family is reunited for a weekend.

What's Good
Directed by Jonathan Demme, best known for Silence of the Lambs, Rachel Getting Married may be the most honest film of the year. The events of a weekend wedding, from rehearsal dinner to reception, aren't sugar coated or dramatized whatsoever, but presented as they really occur, for better or worse. The "take it as it is" approach Demme utilizes allows his cast to disappear into their characters which yields several solid performances. Bill Irwin, as Kym's dad Paul, turns in a strong performance as a not so in-touch father always trying to look at the bright side of things, and Tunde Adebimpe (of TV on the Radio) is surprisingly good among veteran actors as Rachel's husband-to-be. The script, by debut screenwriter Jenny Lumet, is blunt and dark but also has a few light-hearted moments, just like the dysfunctional family it involves. The situations are real and believable, and the direction, script, and performances allow the viewer to feel as if they are within the scenes.

What's Not so Good
At times, Demme's "home video" filming style leads to scene's dragging on way beyond their welcome, at times minutes longer than the audience would expect or desire. The rehearsal dinner, which has its share of crucial moments for the film, feels like literally the entire rehearsal dinner. And just like the real thing, where the toast speeches start to run dry after the second or third one, the stories begin to grow old fast and by the time Kym delivers her powerful speech, it has been tainted by all the unnecessary footage that came before it. Almost every main scene drags on as the camera continues to follow the action well beyond what would be necessary to advance the plot in order to deliver the "window into reality" perspective. The film easily could have been 15-20 minutes shorter, and would have been a much tighter, more fierce portrayal of the weekend, even if some of the intimacy of the moment was lost.

What You'll Remember
This film is Anne Hathaway's announcement to the world that she is the real deal. She was a major figure in Brokeback Mountain, but until now, Hathaway was just the girl from Princess Diaries. But with this performance as Kym, likely the best of the year by any actress, she has proven that she can bring depth and range to a role. Kym is high strung but burnt out, desperate to change but stuck in a rut, apologetic but bitter, hopeful but defeated, and Hathaway delivers the full spectrum with great intensity in nearly every scene. Her performance is up against the odds of tedium, but a great role and a solid supporting cast provide the perfect recipe for her career-best effort.

Good for: fans of dysfunctional family films, Hathaway fans, filmmakers, addicts

Bad for: people who sleep through movies

The Gallery
The Surfer: * * * *

Man on Wire (2008)

2009-02-06T11:29:00.000-08:00

* * * *

Is it possible to make an entire documentary out of a tightrope walk that spanned less than one hour over thirty years ago? James Marsh says yes, and has made the best documentary of the year, the enthralling Man on Wire. In 1974 Philippe Petit and two friends secretly made his way to the top of the World Trade Center, suspended a rope between the two buildings. Petit walked, danced, and laid upon the rope for 45 minutes. Floating in the clouds a quarter of a mile above the streets of New York City, Petit completed his life dream, came down, was arrested, released, and returned to France. Man on Wire captures the remarkable images of a man balancing his life within millimeters on the most unlikely stage. Petit's act has been called a criminal stunt, the act of a madman, and an image of profound beauty. The documentary explores how this fascinating dream came to be, what motivated it all to happen, and how the act was planned and executed over a span of months. Starting in a dental office, Petit realized his dream of completing the biggest tightrope walking challenge in the world, and he began his steps toward realizing it. His story is told both through actual footage, past interviews, and new interviews of Petit and his friends made for the film. Most of the film is in English, but some of the interviewees speak only French which is subtitled. Petit's uncanny passion and perspective on life drive the film, and the true story becomes more of a thriller than a documentary. The film chronicles his development as a tightrope walker, starting on a rope in a field and moving to buildings, bridges, and eventually the world's tallest buildings at the time, the World Trade Center. The years of planning, the emotional roller coaster of his crew, and their willingness to help their friend realize his dream are inspiring, and the build-up to the climactic walk will have everyone holding on to the edge of their seats. To Petit and his crew, the daring act was a heavenly ballet, the zenith of the human mind and body, and although few may feel see things this way before the film, the raw images of the act will convert many. Petit explains that accomplishing ones purpose in life is worth anything; what more glorious way to die than in the effort of achieving one's dream. This spirit carries Man on Wire to great heights, and the humanity of the effort and act are jaw-dropping and invigorating. A great story is only great if it is told the right way, and Marsh puts the pieces of this fabulous puzzle together just right.

Good for: all movie-goers, documentary fans, fans of thrillers

Bad for: people who don't like subtitles, the easily bored

The Gallery
The Film Maker: * * * *

Son of Rambow (2008)

2009-02-06T11:11:00.000-08:00

* * *

Films with a primarily pre-pubescent cast are behind the eight-ball from the start. Toss in British humor and the remaining audience willing to watch such a film is sparse. But Son of Rambow is more than just a comedy for kids, its a tribute to youthful adventure and the spirit of creativity. The film stars Bill Milner as Will Proudfoot, a young boy raised in a overwhelmingly strict religious household in 1980s Britain. Will's mother keeps him in check both at home and at school, and his life of constant order has made him extremely shy and quiet. A bully in his grade, Lee Carter, played by Will Poulter, saves him from trouble one day by taking the blame in the principal's office. In return, Carter demands that Milner act and assist in creating his homemade full length feature "Son of Rambow." The situations and drama that ensue is a mixed bag of hearty laughs and predictable plot twists, all spiced with British dialogue and humor. Poulter and Milner, both in their acting debuts, deliver solid performances considering the circumstances, and the friend/foe chemistry between them drives the plot quite a ways. Director Garth Jennings guides the cast of mostly children into believable performances, and his witty script is both deadpan and satirical. Jennings love for film-making is apparent in the detailed references Lee Carter espouses in his quest to make a full-length movie. The story is cute and there is plenty to laugh at, but the final third of the movie devolves into typical children's movie conclusions most everyone has seen far too many times. The film is much more effective in highlighting artistic passion and exploration than familial relationships and decision making. The energy and playfulness of the film can only carry the story so far, however, before it becomes more of the same. Jennings has improved over his dreadful interpretation of Hitchhiker's Guide to the Galaxy, but Son of Rambow still leaves something to be desired. Expect to see more of Poulter and Milner, however, as their onscreen tag-team is reminiscent of a young Simon Pegg and Nick Frost.

Good for: British comedy fans, parents with children, film-makers

Bad for: people who don't like kids, those who don't get British humor (humour)

Slumdog Millionaire (2008)

2008-12-31T08:16:00.000-08:00

* * * *

Sometimes a film's premise can be so original and clever that the list of faults is overshadowed by a propulsive wave of storytelling toward a powerful, even if already predicted, conclusion. Slumdog Millionaire is just that film, the screen adaptation of an Indian novel (Q&A) directed by Indie film vet Danny Boyle. Boyle's most noted works, Trainspotting and 28 Days Later, are intense, dark, and gritty films, but in Slumdog, Boyle translates his intensity behind the camera into a story of hope and determination. Slumdog is centered around Jamal Malik, played masterfully by Dev Patel, and is set on location in India. Jamal is a contestant on the Indian version of "Who Wants to be a Millionaire?" and the film chronicles his life as he answers the questions up to the million dollar question. The hook is that his life experiences inexplicably prepare him to answer increasingly difficult questions despite his treacherous childhood and lack of education. The story is captivating and is one of the most original coming-of-age stories in quite some time, and the way the camera captures the Indian landscape, both desolate and majestic, is breathtaking. The cast is entirely unknown, but includes several great performances, particularly Patel's breakthrough. The story follows Jamal through three time periods, so each main character is portrayed by three different actors, and the child actors are incredible, performing unflinchingly in bizarre situations. Aside from Patel, the stunningly beautiful Freida Pinto stands out as the young-adult version of Jamal's childhood love interest Latika. Slumdog has a fair share of political and social commentary, and at times feels like a thriller, but is essentially a love story. Patel's performance as Jamal, in desperate search of love (Latika) and life (freedom), drives the film through both the good and bad scenes. The story is a breath of fresh air and the locations are original, but at times the film seems to drag. The two hour movie could have easily been 15-20 minutes shorter. Most of the situations seem plausible separately, but the order in which they occur, all to one individual, is beyond unlikely. The last ten minutes are so heartwarming that they overcome the fact that everyone knew exactly how they would happen for the previous ninety minutes. Slumdog is 75% english without subtitles and 25% subtitled. The subtitles are colored according to character, which is a simple but effective touch, but in a few select scenes the accents can make the spoken English difficult to understand. Despite the difficult circumstances Jamal encounters time and time again, the film maintains a strong theme of hope which burns bright in Patel's performance. A completely offbeat music video as the credits roll feels like a slap in the face after a thoughtful conclusion to an emotional film. However, the original framework within which the plot resides, the smart story, and the intimate feel of the direction and cinematography make Slumdog one of the most unique film experiences of the year.

Good for: foreign film fans, fans of romantic dramas

Bad for: the easily bored, those looking for a fluffy film

The Gallery
The Surfer: * * * *
The Writer * * * *

Milk (2008)

2008-12-14T07:25:00.000-08:00

* * * * *

If Brokeback Mountain opened the door for same-sex relationships to be viewed from the same emotional perspective as heterosexual relationships, Milk, the true story of San Francisco activist and politician Harvey Milk, blasts the door down with a marching parade and bullhorn, bringing the gay rights movement front and center in a deeply human context. Whereas Brokeback showcased the personal affairs associated with a homosexual relationship in an intolerant society, Milk highlights the social struggle homosexuals have faced and the barriers they have both overcome and still face, and takes no prisoners in the process. Whether you know the story of Harvey Milk or whether you come to the film blindly with no idea what is about to happen (as I did), the levity of the actual events and the artistry behind the filmmaking will stun you. Gus Van Sant, who has made other controversial and powerful films such as Elephant, directs Milk with a fevered passion that captures the spirit of Harvey Milk and the sentiment of the movement. This works both to Van Sant's advantage and disadvantage, as Milk contains truly electric and heartwrenching scenes, but also at times seems to preach. Van Sant seems to be telling the audience how and when to feel at select moments in the film, when the sheer brilliance of the acting does more than enough to convey the emotional overtones. Despite the few flaws, Van Sant captures the atmosphere of the 70s and San Francisco with great sets and locations, a well-chosen soundtrack, and the use of real footage to give the film a sense of reality. His choice to not cast an actress to play antagonist Anita Baker, but rather to let her actual footage play her part is a genius move that exhibits her wickedness in a way no actress could express, and is deserving of high accolades alone. Van Sant also chose to use choice filmstock to give many scenes a "Wonder Years" type vibe, which is incredibly effective. His best decisions, however, were his choices in casting. There are few words that can be used to describe Sean Penn's performance in the title role; only perfect comes to mind. Absolutely no one could have played this part but Penn, and this is clear from the opening scene. He embodies Milk, and his performance is physical, emotional, spiritual, and shames most actors in the business. Penn's performance is a complete transformation, portraying Milk as a human; proud but flawed, ferocious yet charming, silly and clever, loving and funny. Up against a monumental challenge, the supporting cast complements Penn's performance nearly across the board. Emile Hirsch delivers a name-making performance as Cleve Jones, Penn's campaign volunteer and was clearly inspired by Penn's virtuosity. James Franco is strong as Scott Smith, Milk's love interest and friend, and shows that his acting chops are starting to develop. Diego Luna's portrayal of Jack Lira, Milk's other companion, is the only questionable turn in the otherwise solid cast. Luna's character is eccentric, but the performance comes across as over the top and even somewhat amateur next to Penn's Milk. The supporting cast as a whole complements Penn appropriately, but Josh Brolin, as Dan White, is the only other actor to hold his own and put himself on the same playing field as Penn. In what is without question the most important supporting role in the film, Brolin has proven once again he is a serious, big-time actor with incredible talent. Brolin's portrayal of a deeply troubled man is both moving and haunting, and a scene in which he approaches Milk while intoxicated stands out as one of the best from this year. Thirty years later, some may wonder why it took so long for Milk's story to be told to a mass audience. What matters, though, is that the story was told, and not just told, but proclaimed beautifully with precision and care. The passion and fire of Harvey Milk are personified by Van Sant and company in what is a proper tribute to a great man. Although the conclusion of the story comes as no surprise (even those who didn't know about Milk find out when Van Sant tells them minutes into the film), the despair of the final moments of Milk will weigh heavily on anyone with a heart. But what makes the film and the legacy of Harvey Milk vital is the hope they inspire.

Good for: everyone, film junkies, historians, civil rights activists, Penn fans

Bad for: the intolerant

The Gallery
The Economist: * * * *
The Surfer: * * * * *
The Writer * * * * *

Religulous (2008)

2008-11-14T12:57:00.000-08:00

* * * *

With no Michael Moore documentary (at least released in theaters) this year, and no other big name releasing a major film in the genre, Bill Maher of HBO's Real Time has stepped to the plate to tackle the issue of religion in his typical cynical, offensive, no-holds-barred style. Maher collaborates with director Larry Charles, of Borat and Seinfeld fame, to travel the world in search of mystery behind the nature of religion and faith. Those familiar with Maher already will know that he is a devout atheist and he does nothing to hide this throughout the film. This isn't an investigation into the good and bad of religion; this is Maher examining how religion has corrupted societies across the globe and contradicted its own foundations. Those who unflinchingly disagree with Maher may have trouble seeing through his rock solid bias, as his interviews involve half serious discussion of religion and half "are you serious?" mockery. His goal, however, seems to be more oriented toward opening up the conversation about the potential negative aspects of religion rather than driving home a distinct point like a Moore documentary. As the title suggests and the interviews reveal, there is a lot to be said about the irrationality behind some of the world's major religions. Religulous features shots at many of the world's most important "Holy Grounds" and contains interviews touching upon most of the major religions from leaders of those religions to average devotees like truck drivers. Although Maher always backs up his argument with factual information, he and Charles are comedians at heart and Religulous is the funniest religious movie you'll find on Netflix. There is no trickery here such as that which Charles' masterfully executed with Borat; microphones and cameras are intentionally shown on screen to make clear that all of the interview subjects were aware of the circumstances surrounding the film. Charles edits in many brief, seconds-long clips from the news, old movies, and old television shows between and during interviews that are often sarcastic, biting, and hilarious. Maher's deconstruction of religion from his own childhood and maturation reveal how those raised in faith may be attracted to new ideas. And in the long run, Maher's goal is simply that, to bring light to new ideas often trounced by political correctness or adherence to tradition. It's hard to find a large audience with a documentary, particularly one that openly mocks religion. But with Religulous, Maher has raised the dialogue about atheism and religious criticism from zero to something slightly above that without boring his audience and providing plenty of laughs with intellectual conversation.

Good for: Maher fans, open-minded thinkers

Bad for: the easily offended

Burn After Reading (2008)

2008-10-26T11:22:00.000-07:00

* * * *

Leave it to the Coen brothers to follow up last year's best film, No Country for Old Men, with a film as quirky and off-the-wall as Burn After Reading. Ten years after the Big Lebowski followed their finest film, Fargo, the Coen's churn out another comedy with bizarre characters and situations, grim humor, and an outlandish premise. The Coens enlisted a star-studded cast including Brad Pitt, John Malkovich, Tilda Swinton, J.K. Simmons, Richard Jenkins and Coen-veterans Francis McDormand and George Clooney for their highly anticipated follow up. The story revolves around Chad (Pitt) and and Linda (McDormand) who stumble across a CD with government files that belongs to Malkovich's character Osbourne Cox, and attempt to use their discovery to get some cash out of Cox for Linda's plastic surgery. And that's only the half of it. The situations that arise are both outrageously funny and at times disturbingly sad. The dialogue is sharp and creates memorable characters, even in Coen brothers terms, especially Pitt's Chad which is easily the funniest performance of his career. All of the actors step into characters far from their typical roles and sell them completely. The film has definitive Coen style; quick and to the point with little waste. Like all of their films, Burn After Reading is full of cynical humor that points out flaws in society, and this film does so perhaps more than any of their others. The Coens are some of the only filmmakers who have the cojones to make a film like this to follow a Best Picture winner and to follow the ending of No Country for Old Men with the conclusion to this film. Some may be surprised or even disappointed with the obvious indulgence the brothers took in making such an eccentric film, but Burn After Reading is a lot of fun. It has its flaws, but just like its characters, in the end there is more to laugh about than to be turned off by, and the film is very successful as a satire of American culture and politics.

Good for: Coen Brothers fans, Brad Pitt fans, fans of dark comedies

Bad for: people who like straight-forward comedy, the easily disturbed

The Gallery
The Economist: * * * *
The Surfer: * * * *
The Film Maker: * * * *

Tropic Thunder (2008)

2008-09-19T11:06:00.000-07:00

* * * * *

Ben Stiller is one of the funniest, most talented people in Hollywood, but his resume has played out like Ryan Howard's career; a few homeruns and a whole lot of strikeouts. Tropic Thunder, however, is the funniest movie this year among some strong competition, and is a classic that puts Stiller at the top of the comedy scene with the likes of Ferrell and Apatow. Stiller steps behind the camera in Tropic Thunder for the first time since Zoolander, directing an ensemble cast of Robert Downey Jr., Jack Black, Steve Coogan, Danny McBride, and newcomer Brandon T. Jackson. Stiller penned the script with Etan Cohen (not to be confused with Ethan Coen of Coen Bros. fame) about a group of actors who are sent to film a war movie. When the director (Coogan) feels that the project is suffering due to lack of motivation, he strands the troupe in the Vietnamese jungle and the line between acting and reality starts to blur. The film is an amalgam of satire and original storyline, and Stiller mixes in gag humor, witty punchlines, and countless references to past war films. Tropic Thunder is way smarter than Hot Shots but not as topical as Dr. Strangelove, and the result is a movie that is loaded with laughs of all varieties. The cast is incredible, as Stiller, Black, and Downey Jr. form an amazing squad, playing stereotypical actors far from their real-life identity. Stiller is hilarious, as usual, and plays a hothead, doofus action-star somewhat similar to some of his past roles such as White Goodman in Dodgeball (and looks surprisingly jacked). Jack Black turns in one of his best performances as a drug-dependent comedian/actor, and newcomer Brandon T. Jackson manages to hold his own among the stars as Alpa Chino. Its hard to quantify Robert Downey Jr.'s performance, who plays Kirk Lazarus, the only "real actor" of the bunch. Lazarus is so committed to his role that he "becomes" a black man, and like Lazarus who he plays, Downey Jr. is so entrenched in the role it is easy to forget the man is actually white. The performance is instant comedy legend; Downey Jr. is so good that literally every one of his lines is funny, everything he says becomes a joke. Tropic Thunder packs a surprise attack, however, that is outright brilliance; cameos. There are many guest appearances, but there are two major stars playing large roles (unmentioned in the credits and promotion of the movie) that are both lights-out, laugh-out-loud performances. Overall, the film relies much more heavily on strong, intricately detailed comedic performances than profanity and vulgarity, and Tropic Thunder is more of a "film" than most of the funniest comedies from the past few years. There is plenty of profanity and obscene violence to elicit an R rating, but the dirtiness simply complements great acting and writing, instead of replacing it. The film has a cohesive feel that shows that everyone involved embraced the project, and features such as three fake commercials/previews that precede the film are clever and add to the depth of the characters. Stiller's script is the funniest he has ever written, and the story that goes along ties together all of the character's flaws and strengths for a well-rounded, surprisingly compelling plot. The laughs hit hard and often, as Tropic Thunder is a classic war comedy that has more to say about the state of Hollywood than war.

Good for: Stiller fans, war movie fans, anyone with a sense of humor

Bad for: some Will Ferrell fans, the easily offended

The Gallery
The Economist: * * * * *
The Surfer: * * *
The Writer * * * *

Tell No One (2008)

2008-09-17T13:21:00.000-07:00

* * * *

Tell No One is the story of a doctor who, while browsing the internet at work, receives a strange e-mail from his wife. The catch; she has been dead for eight years. This simple premise at first glance seems like something that should be destined for a month on the big screen and a quick DVD release. The catch; Tell No One is adapted from an American novel, but is shot entirely in French, in France, and by a young director at the helm of only his second film. Director Guillaume Canet brings a fresh, exciting feel to this suspense thriller without resorting to typical Hollywood cliche. The film stars François Cluzet as Dr. Alex Beck, who was at first accused but eventually cleared of his wife's brutal murder. Eight years later, he is still grieving when he is mysteriously contacted by her. The police decide to reopen the investigation, and in his attempt to decipher if the message was a cruel hoax or a paranormal phenomenon, he becomes a fugitive of the police. There are many strange characters, all of which are portrayed believably by a strong supporting cast. However, the star is Cluzet who is brilliant as Beck, capturing the humanity of a husband who has lost the love of his life and the acumen of a doctor trying to solve a difficult puzzle under intensely odd conditions. Canet challenges the audience just as Beck is challenged in the film, leading the plot down many sudden twists and sharp turns and dropping little clues along the way. At times the film becomes quite confusing and just when things start to come together, another element is thrown in which completely adjusts the viewpoint. Tell No One is a mystery film on the surface, and a great one at that, but a love story at heart. The suspense of the plot is complemented by flashbacks and imagery which give an emotional depth to the events taking place. Canet is clearly influenced by Hitchcock and American suspense films of the past and creates a blanket of tension that hangs over the audience, building heavier and heavier as the film nears its conclusion. When everything starts to come together for real, the depth in the performances and story make the conclusion, which may be the best final scene of the year, that much more rewarding for the viewer. The film is adapted from a book, and there are some illogical circumstances that were likely a result of condensing a novel into just over two hours of film. The reality of the film is at times sacrificed for continuity, and although this definitely detracts from an otherwise effective portrayal of reality, the performances and script are so strong that the inconceivable situations are largely overshadowed. The basic premise seems stale at first glance, but the inner-workings of this story are very well written and original. Tell No One is the rare thriller that holds you to your seat without insulting you with mindless violence, major plot holes left unexplained, or rehashing the same old scenarios. Its a good thing the script made it past Hollywood to France. Like Guillermo del Toro with Pan's Labyrinth and Juan Antonio Bayona with the Orphanage, Canet stays true to the genre while packing so much depth into the characters ad the story. Foreign directors, of late, seem to be much more capable of providing layers of entertainment, so that the film is not merely a thrill ride but a work of art with the potential to be interpreted and enjoyed on many levels. The French perspective keeps the film fresh, and the combination of a sharp, young director and an extremely talented leading man yield a gripping thriller with more to it than what meets the eye.

Good for: fans of foreign films, people who like mysteries and suspense, a date

Bad for: people who cannot read subtitles

Vicky Cristina Barcelona (2008)

2008-09-16T18:26:00.000-07:00

* * * *

Leave it to Woody Allen to prove once again what great writing can do to a simple premise. The master of dark humor has returned to familiar territory, framing the curious nature of human relationships within his cynical perspective. At age 71, he is as sharp as ever. Allen employs his most recent muse, Scarlett Johansson, as twenty-something Cristina, who is on a trip to Spain with her girlfriend, Vicky, played by Rebecca Hall. Vicky and Cristina are best friends yet total opposites. Vicky prefers men on the path to fortune and serious relationships, whereas Cristina yearns for whimsical flings with artists and thinkers. They just so happen to encounter an artist at dinner, Juan Antonio, played by Javier Bardem. The bizarre love triangle which ensues involves sight-seeing through Barcelona, a lot of wine, and the emergence of Maria Elena, played by Penelope Cruz. Bardem is every bit as smooth as his character Anton Chigurh in No Country for Old Men was haunting, and is great to watch in an excellent role to follow up his Oscar winning performance. Johansson is mediocre for the most part, and aside from Lost in Translation, has yet to show great skill or just what Allen sees in her. She and Hall both have bright spots within their performances, but fade in the presence of Bardem and Cruz. Although neither of their characters names appear in the title, Bardem and Cruz are the stars of the show and are thunder and lightning when on screen together. They are sexy, combustible, and truly enact the passion that has come to be associated with the Hispanic lifestyle. Cruz is on fire in one her best roles. Maria Elena is a beautiful inferno seemingly unable to control her emotions or tact. Cruz has quietly built an impressive resume in good films, and may be the most underrated actress in the business. Allen compliments the beauty of his cast by capturing the beauty of Barcelona with landscape shots and locations ranging from fine restaurants and museums to small villages and trees under the moon. The film is one of the sexiest of the past few years, but shows very little and leaves much to the imagination. A particularly evocative scene involving Cruz and Johansson in a dark room, however, is likely to be one of the film's most memorable. Like all of Allen's films, he touches on the intricacies and oddities of love, placing his characters in situations everyone can relate to and having them ask themselves questions that we have all considered, although not for sixty years like Allen has. The humor is sharp but not obvious, hitting the nail on the head for some and flying over the head for others. But for those that get it, they will be laughing hard, on the inside. Woody Allen is the dean of the romantic comedy and brings legitimacy to an otherwise atrocious genre. Once again, he shows exactly how it is supposed to be done with a spicy, intelligent film.

Good for: Allen fans, people who like romantic comedies, fans of dark humor, art film fans

Bad for: people who liked 50 First Dates

Pineapple Express (2008)

2008-08-20T09:00:00.000-07:00

* * * *

Stoners rejoice: the stoner film genre has made a triumphant return with Pineapple Express, the brainchild of Superbad writers Seth Rogen and Evan Goldberg. The central theme of Pineapple Express is, of course, marijuana, but unlike many recent so-called weed movies, the underlying premise and surprisingly detailed plot make the film enjoyable for all audiences. Starring Rogen and James Franco as a customer (Dale Denton) and drug dealer (Saul Silver), respectively, the film follows the two as they try to escape from a drug dealer who Denton witnessed committing murder. When Denton scrambles to escape from the murder scene, he drops a joint containing the potent marijuana strain Pineapple Express, which Ted Jones, the murderer, finds and tracks to Saul Silver. Chaos ensues as the two full-fledged stoners both light up joints and car tires in an attempt to not get whacked. Rogen proves yet again that he belongs in center stage, and despite his chubby, goofy appearance, he can carry a comedy on his broad shoulders. Franco, known by many more for his looks than talent, truly avoids type-casting by playing a lazy pot dealer, a character even more stoned than Rogen. Together, they make a legendary tag-team that will go down in stoner lore. Pineapple Express follows in the footsteps of other Judd Apatow classics by complementing a great premise and hilarious leads with an extremely talented supporting cast. Rosie Perez, who seemingly disappeared after White Men Can't Jump, returns as a crooked cop with a knack for violence in what may be the best role of her career. Gary Cole, like his role as Lumbergh in Office Space, brings a twisted element to Ted Jones which works wonders when he is on the screen with Perez. And Danny McBride, as Red, turns in the most notable supporting performance as he has some of the film's most memorable lines and is nearly killed time and time again. Apatow recruited little known David Gordon Green to direct, and Green delivers a sharp, stylish film that stays true to a brilliantly written script. Rogen and Goldberg crafted plenty of jokes and dialogue that will resonate with the stoner culture, and there are plenty of bizarre situations characteristic of Apatow films (Denton's high school girlfriend), but what separates Pineapple Express from Dude, Where's My Car and Half Baked is the legitimate crime/thriller storyline. Many will be surprised by how well the action scenes are executed, with shrewd detail such as characters firing guns as if they never have touched one before. And even the most toasted in the audience will snap out of their daze when they see the surprising level of violence and gore. The soundtrack frames each scene perfectly, and a black-and-white prologue featuring Bill Hader sets the tone for the film. There are definitely jokes that will go over some of the audience's head, and some dialogue is so dumbed down for those who have lost some brain cells to the wacky weed that those who abstain may not be impressed, but there is enough intelligence and creativity here to prevent any comparisons to How High. Pineapple Express is clearly a descendant of the Cheech and Chong lineage of buddy capers and marijuana glorification, but the film clearly shows inheritance from Tarantino as well, and its authenticity and originality has re-lit the cherry of the stoner film.

Good for: potheads, Apatow fans

Bad for: straight-edgers

The Gallery
The Economist: * * * *
The Surfer: * * *
The Film Maker: * * * *
The Writer * * * * *

Step Brothers (2008)

2008-08-07T12:53:00.000-07:00

* * * *

Another summer, and the Judd Apatow train keeps on chugging. The Apatow posse has grown larger and larger with each subsequent hit film, but with Step Brothers, he brings out his top guns Will Ferrell and John C. Reilly, and pairs them with one of his best directors, Adam McKay (Talladega Nights, The Landlord). This deadly comedic combination could make laughs out of seemingly any premise, and Step Brothers is more of a testament to that statement than one could imagine. Ferrell and Reilly play 40+ year old men still living with and mooching from their mom and dad, respectively. When the mother and father, played by Mary Steenburgen and Richard Jenkins (The Visitor), fall in love and get married, Brennan (Ferrell) and Dale (Reilly) become Step Brothers and move into the same house. And really, thats all there is to the film. The premise itself is just an excuse to get Reilly and Ferrell on the screen at the same time. For nearly anyone else this would be a cop-out and a flop, but for this, its a riot. Both actors are at the top of their game, delivering their immature, profane, and offensive humor in large, near-constant doses. Despite starring in Walk Hard, the under-appreciated Reilly still seems to be flying under the radar. But make no mistake, he is every bit as funny as Ferrell in this film, holding his own and sometimes even outshining him. Most often, though, the two complement each other near perfectly, making a powerful comedy tag-team. There is plenty of gross-out physical humor, and brilliantly vulgar lines that will defy the imagination of even the most raunchy minds. After wading in PG-13 territory for a few films, its nice to see Ferrell return to the land of the F-Bomb, and Reilly picks up right where he left off with Dewey Cox. Although Jenkins and Steenburgen provide a few laughs as the parents, and a turn by Adam Scott as Brennan's younger, more successful, completely over the top brother sets up Ferrell for some great scenes, the film almost comes across as a two-man comedy hour that just happens to have some other actors around to take up space. The story, for the most part, is completely typical, and because of the abundance of laugh-out-loud humor, it doesn't really matter. For the same reason though, those who don't have a taste for Ferrell's adult humor will have almost nothing left to enjoy. This isn't a great film in the sense of modern cinema, and its not meant to be. The bulk of the intelligence on-hand is the bizarre creativity required to write and recite uniquely vulgar lines, vulgarity no 14 year old or frat boy has yet dreamed of. This also isn't Apatow or Ferrell's finest moment, but Step Brothers may just go down as the cult-classic of the Apatow collection. The storyline isn't nearly as original or clever as the 40 Year Old Virgin, Anchorman, or Talladega Nights, but there are just as many memorable quotes as a 2-hour stand-up comedy special, which is what Step Brothers essentially is.

Good for: Apatow fans, Ferrell fans, immature people

Bad for: serious people, deep thinkers

The Gallery
The Surfer: * * * *
The Film Maker: * * *
The Writer * * * *

The Dark Knight (2008)

2008-08-06T10:06:00.000-07:00

* * * * *

An unprecedented amount of hype surrounded the Dark Knight, and the aggressive marketing campaign, viral internet buildup, and mythic nature of Heath Ledger's final performance put the film in prime position to disappoint. The expectations were unheard of, yet, riding on Ledger's remarkable performance, Christopher Nolan's epic vision, and an inspired cast and crew, the Dark Knight beat the odds to meet and perhaps even exceed the cinematic and box office anticipation. The Dark Knight is to superhero films what the Godfather is to mob films, Apocalypse Now to war films, Scarface to mob films and Star Wars to science fiction. There are other great films in this genre, but the Dark Knight is the best, and the bar has clearly been raised. The story picks up where Batman Begins left off, with Gotham City in turmoil and Batman doing his part to restore justice to the city. Word comes along of a new powerful player in the crime scene who is getting under the skin of both the law enforcement and rival mobs, and goes by the name of the Joker. The ensuing battle between Batman, the Joker, and district attorney Harvey Dent involve sly backhanded negotiations, gripping fight and chase scenes, heists, twists, turns and more. Nolan deserves tremendous credit for writing an engaging plot that is sharp and fast despite running at two and a half hours, for capturing all of the performers at the best of their ability, and for framing the story within the beautiful Gothic imagery of Gotham City. The film was shot largely with cameras suited for IMAX, and although any big screen will do the film justice, the IMAX experience is one in itself. Christian Bale once again delivers a standout performance as Batman and Bruce Wayne, with the Wayne persona becoming a bit darker and more sadistic, channeling aspects of Bale's performance as Patrick Bateman in American Psycho. Aaron Eckhart, the wild card of the film, is excellent as Dent, embodying the public servant's noble and devious sides very believably. The supporting cast remains largely the same, except for a moderate improvement with Maggie Gyllenhaal replacing Katie Holmes as Rachel, and once again Freeman, Caine, and Oldman are spot-on. The film, of course, belongs to the late Heath Ledger. The maniacal and eccentric, yet painstakingly nuanced performance will go down as one of the best villains ever captured on film, haunting, and chill-inducing at times. The Joker has never been more entertaining, demented, but most of all, realistic. The Joker (or any of the characters) is no longer a cartoon character or a silly bad-guy with a big grin, but a twisted individual with a history and a reason for his insanity. The Dark Knight follows Batman Begins in that the tradition of hero versus bad-guy for its own sake is thrown out the window, and the reasons behind each character's motivations is explained to bring depth to the roles and circumstances. The performances and script aren't meant to be a thrill-ride; these characters and stories, like Batman Begins, pay homage to the original comic book writers intent of using fantasy as an allegory for the issues and circumstances the modern world faces. The film is loaded with symbolic imagery, and religious, governmental, and moral motifs. The attention to detail is remarkable, and the depth to which the Dark Knight can be dissected will thrill diehard comic book fans while drawing in many casual fans as well. There are times where the Dark Knight loses some of the ultra-realistic sense that dominated Batman Begins, leaning more toward traditional super hero movie action, but the powerful and unique performances and story seem to overshadow the film's flaws. The Dark Knight will have its place in history and pop culture for its box office successes and the media hype machine that surrounded it, but movie fans will remember it as the best of its kind, a film loaded with actors at their strongest, a writer/director capable of bringing an unforgettable vision to the screen, and a highly entertaining, yet entirely thought provoking film.

Good for: movie fans of all kinds, Batman fans, Ledger fans, Bale fans

Bad for: those who don't like long movies, people who automatically dislike popular films

The Gallery
The Economist: * * * * *
The Surfer: * * * *
The Film Maker: * * * *
The Writer * * * *

Batman Begins (2005)

2008-07-19T13:11:00.000-07:00

* * * *

Batman Begins came out in 2005 and made a stir among its guaranteed audience, the legion of comic book and video game fans, but wasn't a huge hit because of its dark, nature, favoring dialogue and realistic action to the bombast action and explosions of all the previous Batman and other superhero movies. For the same reason it wasn't a blockbuster, Batman Begins developed a somewhat cult following as a truly good film, not just a box-office hit. One thing is for sure, upon its release Batman Begins was the best Batman film of all time and is solely responsible for the mega-hit Dark Knight which was to follow. Director Christopher Nolan, who gained acclaim for his 2000 thriller Memento, took the groundwork laid by Tim Burton and Joel Schumacher for the first four Batman movies and threw it in the garbage, starting anew at the most appropriate place, the beginning. Whereas previous directors framed the saga of Batman within a theme park, thrill ride atmosphere, Nolan gives Batman, the only superhero without superpowers, the realistic treatment he deserves. Gone is the superfluous action and slapstick humor and silliness, as Nolan welcomes accomplished actors such as Christian Bale, Morgan Freeman, Michael Cane, Liam Neeson, Gary Oldman, and more into the story. Batman Begins chronicles Bruce Wayne's metamorphosis into the Dark Knight, starting with scenes that we have seen in other movies and culminating in his pursuit of justice in Gotham City. Christian Bale, one of truly great actors in Hollywood, is a perfect for Batman and dons the Batsuit with more authenticity than anyone to date. He is surrounded by a plethora of solid actors, all of whom (disregarding Katie Holmes as childhood friend and love interest Rachel Dawes) deliver rock-solid performances. The script is sharp and the only action is what is absolutely necessary, but the strongest point of the film is the astounding depth, particularly for a superhero film. Batman Begins pays homage to the true essence of the original comic, exploring the nature of vigilante justice, crime, punishment, terror, and order and uses the Dark Knight as a metaphor for these deep and complex issues. The use of the Scarecrow, although played devilishly by Cilian Murphy, may disappoint some as Scarecrow is one of the less exciting on the remarkable list of Batman villains. Batman Begins isn't perfect and has some of the comic book film cliches that are nearly impossible to avoid, but Christopher Nolan took a big chance, reinventing Batman in the dark world of Gotham City with great actors, a realistic perspective, and an honest look into pertinent issues.

Good for: Batman fans, fans of the original comic, Bale fans

Bad for: action movie fans

The Gallery
The Economist: * * * *
The Film Maker: * * *
The Writer * * * *

Wanted (2008)

2008-07-19T12:39:00.000-07:00

* *

Wanted does exactly what it was set out to do; that being to appease the appetite of the mindless summer movie watcher with guns, girls, and gore. This film is the very definition of a Hollywood action movie and boasts all the necessary ingredients including dazzling fight sequences, stunning CGI, a mind-bending plot, and Angelina Jolie. To top it all off, the writers try to add layers upon layers of depth and allusions to societal pressures to fit in, be successful, and do the right thing, a message that resonates perfectly with the target audience. James McAvoy (Atonement) stars as Wesley Gibson, a down-and-out office worker frustrated with the repetition and monotony of his everyday life. When he finds out his dad, who has been missing since the day he was born, was a deadly, superhuman assassin, he realizes his destiny to become a member of "The Fraternity" and follow in his father's footsteps, avenging his death. Morgan Freeman plays Sloan, the leader of the Fraternity, in a performance that could literally be exactly the same as at least five other Freeman roles in the past decade. Jolie as Fox and Common as Gunsmith are members of the Fraternity and help train Wesley to attain his supernatural assasin abilities. Wanted may be one of the most cliched movies of all time, and is essentially the textbook example of an action movie. There are so many elements contrived from other films its difficult to keep count by the time the credits roll. Some scenes are so generic they become painful to watch, while others are so fast-paced, visually impressive, or downright hot (Jolie) that you can't take your eyes off the screen. The last twenty minutes involve so many plot twists that they seem to happen just for the sake of throwing the audience off the right path. The nerdy action lover who can recite lines from the Matrix series will probably follow along and find genius within the writers efforts to make a statement about taking control of your life and creating your own destiny. The rest of us won't understand what happened or why and won't care enough to figure it out either. Wanted is pure sleaze and proud of it, and people will either love or hate it for exactly that reason.

Good for: action fans, drunk people, someone not in the mood to think, Jolie fans

Bad for: artists, people bothered by violence

Charlie Wilson's War (2007)

2008-07-08T20:09:00.000-07:00

* * *

Compared to the weak war films of the past few years, Charlie Wilson's War stands out as the smartest, funniest, and easiest to watch. That's not saying too much, though, when you look at the competition. For having the word "war" in the title, the film, like the Cold War, has very few guns fired and focuses much more on the behind-the-scenes aspects of American politics. Starring Tom Hanks as politician Charlie Wilson, Charlie Wilson's War is based on the true story of a Texas politician and his overt and covert efforts to defeat the Soviets, chronicling from the late seventies to the end of the eighties. Director Mike Nichols (The Graduate, The Birdcage, Closer) assembled a star studded cast with Hanks, Julia Roberts, Amy Adams, and Philip Seymour Hoffman to deliver a witty script written by Aaron Sorkin (A Few Good Men, The West Wing). The Charlie Wilson character is perfectly suited for Hanks who embodies the southern playboy congressman's clever and charming personality. Roberts and Adams hold their own alongside Hanks as his love interest and assistant, respectively, but once again Hoffman steals the screen and is clearly the best actor in the film despite being only a supporting character. As an obnoxious CIA agent and Wilson's partner and, at times, antagonist, Hoffman turns an average character into a memorable one with a nuanced performance equal parts funny and annoying. If only more actors could bring such depth to characters as Hoffman does; in any size part the story is enhanced by his intricate approach to his roles. The film is to the point, running right on time around 100 minutes, and for the right audience is thoroughly entertaining. Nichols manages to make a decade of political struggle and slow progress fun to watch by only including the important parts of the story, particularly the parties, sex, spying, and backhanded deals. The film isn't that thought provoking and comes across more as a "can-you-believe-this" true story than a reflection on the Cold War or politics in general. For some this will be refreshing, as Hanks and Hoffman together on screen are great fun, and for others it will be too run of the mill. Charlie Wilson's War doesn't fail on any levels, and succeeds in telling a story most people didn't know about in a way that will keep their attention.

Good for: people who study history, politicos, fans of true stories

Bad for: people who dislike politics, uptight people

The Gallery
The Economist: * * *

Get Smart (2008)

2008-07-04T14:18:00.000-07:00

* * *

For the casual movie fan looking for a mindless summer diversion, Get Smart fires on all cylinders. Equal parts action and humor, the big screen adaptation pretty much picks up right in it's predecessor's footsteps. Starring Steve Carell, Get Smart starts before Maxwell Smart is promoted from analyst to special agent and details his first mission alongside Agent 99, played by Anne Hathaway. Carell essentially carries the movie on his shoulders and proves once again how extremely talented and versatile he is. Ten years ago, when this film was first pitched to studios, Jim Carrey was slotted to play the lead role, but Carell saves this questionable idea from being another pointless summer bust. The supporting cast was well chosen, including Alan Arkin as the Chief, James Caan as the president, and a cameo by Bill Murray. Dwayne "The Rock" Johnson stands out as Agent 23 in what is easily his funniest and most natural performance to date. The usually spot-on David Koechner, however, delivers a forced performance that seems too similar to his characters in Anchorman and the Office. The screen writing duo behind Get Smart are veteran TV writers and it shows as the film feels like a two hour prologue to the series. The humor is absurd but sharp, and some jokes will undoubtedly fly way over the target audience's head. There are some surprisingly raunchy jokes that will make even the most stubborn comedy fan laugh, but there are also too many lines that are completely predictable and sound like they were taken from a children's joke book. The action is up to modern standards, will impress action aficionados, and is far more over-the-top than anything ever seen in the series. Director Peter Segal has stood behind plenty of duds including Anger Management, 50 First Dates, The Longest Yard, and the last of the Naked Gun series, but also directed the gem Tommy Boy. Get Smart falls somewhere in the middle, a bit closer to Tommy Boy. Segal rode Chris Farley to huge success, and will likely ride Carell into a big payday with the fun and funny Get Smart.

Good for: fans of the original series, Carell fans, casual movie fans

Bad for: people looking to think, uptight people

Wall-E (2008)

2008-07-01T17:07:00.000-07:00

* * * * *

Part of the magic of movies is the feeling you get when the credits roll and you know you've just participated in artistic brilliance. Pixar has become accustomed to providing movie-goers with this experience, but never more so than with their latest creation, Wall-E. The story of a robot on an Earth displaced from human habitation for 700 years and his space-journey to find love stands head and shoulders above Pixar's recent successes and everything else released this year. In fact, Wall-E isn't to be compared with this years films, but stands tall among the film classics of all-time. Wall-E is like a five-tool baseball player, strong in every possible aspect and nearly flawless in some. The combination of impeccable visuals and sound transplants the viewer into a futuristic world from the very first minute. The attention to detail by the creators, including writer/director Andrew Stanton (Finding Nemo), is astounding. Film references, deep symbolism, and clever observations abound throughout the entire 98 minutes, and, like usual, the Pixar visual team has created stunning animation to accompany a rock-solid script. The first 45 minutes of the film is the most phenomenal and unique sequence to appear on the big screen in years. Nearly dialogue-free, the lens follows Wall-E as we come to understand his existence on a barren, trash-filled Earth and his programmed, artificial-intelligence version of a personality. The creative minds behind Wall-E took unbelievable chances, and their fearless vision pays off time and again. The film begins to become more conventional, but no less stunning, when humans are first introduced to the story. The story that follows leaves the viewer rooting for not only Wall-E, but the entire human race. Stanton loaded Wall-E with metaphor and allusions concerning mankind and the future, but nothing is forced and every jab of wit, sarcasm, and innuendo fit perfectly into place. Ultimately, Wall-E is a film about love and companionship, and using robots as a vehicle to portray this drives home the universal nature of the subject matter. And that is what Wall-E truly is, universal. Some of the references may go over the head of the kids, but Wall-E has something for everyone to relate to. Wall-E will make you laugh, and think, but more than anything, smile. The climactic scene between Wall-E and Eve is instant film lore, and Wall-E, the robot with more personality than most humans, will be no doubt be mentioned in the same conversations as Forrest Gump, ET, Vito Corleone, Darth Vader, and Hannibal Lecter. Wall-E is the culmination of excellent film making from every imaginable angle and unthinkable creativity.

Good for: everyone, Pixar fans, children, a date, film buffs

Bad for: mean people, uptight people

The Gallery
The Film Maker: * * * *

Flight of the Red Balloon (2008)

2008-07-01T13:42:00.000-07:00

* * *

Flight of the Red Balloon is a remake of the 1956 short-film The Red Balloon, directed by Taiwanese director Hsiao-hsien Hou and shot in Paris in French. The story revolves around a young boy, Simon, who continually eyes a red balloon as the everyday chaos of urban life surrounds him. His mother, played by Julitte Binoche, is a stressed out single mother trying to earn a living as a voice over actor for puppet shows while maintaining a somewhat normal family life at home. She loves her son, but has little time to spend with him if she intends to pay the rent, so she hires Song (played by Fang Song), a Taiwanese student, to babysit him. Simon and Song develop a close relationship and share their imagination to pass their time together. Hou's shooting style is very unique, as Flight of the Red Balloon plays out as an extremely slow paced movie, and his choice of a quiet, ambient score suits his camera work well. Individual scenes may last up to five minutes with the shot at the same camera angle, and there are many long, silent shots of Paris, the sky, and the ever-present red balloon. The calm, reflective pace is juxtaposed against the unsteady lifestyle of the characters, and the film is deep in symbolism. As in the original, the balloon represents the innocent spirit of childhood as Simon seems oblivious to the disordered adult-life surrounding him when he has his Playstation, piano, books, and love for his mom to worry about. The cast fit together quite well, and at times appear as if they are a real family, which makes the film successful as a meditation on urban life and unconventional families. The visuals are appealing, and the acting is engaging, but the pace is so slow that some may have trouble maintaining constant attention or even alertness for the entire film. The original short was only 34 minutes, and this remake comes in at under two hours but feels like every bit of 113 minutes. Flight of the Red Balloon is pretty and worthwhile, but material seems stretched. Perhaps Hou should have split the difference between his version and the original at around 80 minutes.

Good for: fans of French films, art film fans, diehard fans of the original

Bad for: easily bored, people who dislike subtitles, tired people

Mulholland Dr. (2001)

2008-07-01T13:11:00.000-07:00

* * * * *

Too often filmmakers tie together complicated plot structures in the last 5 minutes of a film, explaining how the pieces of an intricately woven narrative fit, leaving the viewer with little to do but sigh. Some find this mesmerizing or even a required duty of the director, while others feel cheated out of their own interpretation. In Mulholland Dr., director David Lynch leaves the viewer with absolutely nothing at the end of a brutal two and a half hours, and in doing so has created a masterpiece. At first glance, the entire film feels like a punch to the face for no reason, but less than ten minutes after the film, the events that preceded the punch start to come back into memory and the more that you recall the happier you are you got punched in the first place. There have been few films in the past decade that leave more up to the viewer's judgment than Lynch's classic, and this works because in the 144 minutes before the credits roll he gives the viewer everything the visual and auditory senses can handle. The story is so convoluted that it is difficult to summarize, but the plot essentially involves an amnesic actress and friend trying to sort out how she arrived at a random apartment in LA after a car accident. The two lead roles are played by Naomi Watts, in her first starring role, and Laura Harring. Both actresses are beautiful, horrifying, sexy, and repulsive as they portray emotions across the spectrum in scenes most actresses would melt in and in situations most could not lose themselves within. The star of the film, however, is the writer/director, who has invented and captured some of the most creative scenes in modern cinema. Jealousy, lust, passion, greed, and countless other sins and virtues are painted on the screen in haunting detail. Scenes involving a particularly intense acting audition and a dream-like opera sequence stick with the viewer for days after, and bizarre side-plots and recurring characters tickle the imagination. Putting this Lynch film into words is difficult, which is strange because, as it becomes apparent after a first, second, or tenth viewing, there is so much to say. The imagery, symbolism, allegory, metaphor, and rhythm are nearly overwhelming, and to try to see the film through Lynch's eyes may induce nausea or insanity. Repeated viewings are a must and become more enjoyable as they become more inexplicable. Mulholland Dr. could have failed on so many levels, and it almost seems as if this massive, unthinkable assembly of thought was just the right fit, one stray piece from an explosion forming a cinematic black hole. But the glorious, otherworldly vision of David Lynch proves that film can be both entertaining and art. No film in the past decade better illustrates this.

Good for: fans of art films, smart people, people who like psychological mysteries

Bad for: the easily confused, people who give up fast, uptight people, someone not in the mood to think

The Gallery
The Surfer: * * * *
The Writer * * * *

The Visitor (2008)

2008-06-10T17:03:00.000-07:00

* * * *

The Visitor is proof that not every movie requires an attractive, A-list leading man or woman to carry the film, and that a career-defining role can come at any age. Richard Jenkins is sixty years old, and although some may recognize him from HBO's Six Feet Under, he has been a character actor playing mostly small roles for over thirty years. In the Visitor he stars as Professor Walter Vale, a quiet widower sent from his teaching-post in Connecticut to a global economics conference in New York City against his will. When he gets to an apartment he has owned but not visited for years he finds two unexpected visitors. Jenkins performance as Vale is so subtle and nuanced that it barely seems like a performance, more like a high school or college teacher most of us have known in the past. At times short tempered, Vale almost only speaks when spoken to and even then responds with only what must be said. The brief introduction to Vale would lead one to believe he would be upset and deeply bothered by the intruders living in the apartment he owns, however, he chooses to let them stay, and the relationship he develops with them reveals who he really is. The visiting couple is played by Haaz Sleiman (Tarek) and Danai Jekesai Gurira (Zainab), both of whom were well casted and are strikingly younger and more vibrant than Jenkins, creating both tension and surprise. Jenkins is in the early running for performance of the year, and Hiam Abbass, as Tarek's mother, is a strangely well-fitting complement to Jenkins in a supporting role. The drama that ensues explores how we approach someone different, dealing with loss and growing old, and the complexity of immigration in post 9/11 America. The script written by Thomas McCarthy is sharp and his direction is to the point for the most part. At times the Visitor becomes a bit too sentimental and predictable, but although you may see what is coming, the deeply human performances illuminate the issues of diversity in American life. Every scene is tightly edited, New York City is captured for its spirit and its gloom, and the film's climax will tug at your heart strings while leaving a sense of hope and life. In under two hours the Visitor packs an emotional punch with a few jabs of humor, all while raising important questions about the state of American politics and culture, a facet of film too often ignored in this year's releases.

Good for: independent film fans, the politically and socially aware

Bad for: fans of box-office blockbusters, intolerant people

The Gallery
The Film Maker: * * * *

Iron Man (2008)

2008-05-12T17:57:00.000-07:00

* * * *

The past decade has provided far too many superhero movies, most of which come and go through the box office without being noticed and some of which are the top box office earners year after year. Rarely do the box office numbers correlate to a worthwhile movie experience, but Iron Man is the rare exception. Despite having the flaws that are almost required of comic-superhero adaptations, Iron Man is extremely entertaining, combining humor, action, special effects, and actual morals. One needs to look no further than the people involved to understand how Iron Man went from an assumed Hollywood trash flick to the biggest and best reviewed film of 2008 so far. Robert Downey Jr. is Tony Starks and is Iron Man and may be the best thing that has happened to the genre, at least since Christian Bale dawned the Batman cape. He commands every scene and is in his prime, using the multitude of talents he has to prove his versatility and position as one of the business's best. Like many of his other characters, there is a lot of Tony Stark in the real Robert Downey Jr., but the real RDJ is pretty sweet, even if at times he is a train wreck waiting to happen. Terrence Howard is solid, as usual, as Jim Rhodes, the armed forces commander whom Tony Stark has done business with in the past, and Gwyneth Paltrow brings depth to the role of Pepper, Stark's personal assistant. Both actors expand typical comic book characters beyond what was on the page, delivering human performances in a superhuman movie. But no supporting character is more spot-on than Jeff Bridges as Obadiah Stane, Stark's business partner and mentor. Bridges is smooth, charming, deceptive, and deranged as Stane and is the perfect counterpart to Downey Jr.'s high-strung, GQ Starks. This batch of fine acting is coupled with a fast-paced, clever script written by Mark Fergus and Hawk Ostby, who no surprise co-wrote Children of Men in 2006. And last but not least, all of this talent is captured on-screen brilliantly by director Jon Favreau, who has once again taken a film that looks destined to fail and turned it into a sure genre classic (Elf). Despite everything that is right about Iron Man, it is still a superhero movie which means action scenes run a bit long at times, a few (much less than usual) lines are corny, and some plot twists can be expected. But unlike nearly all movies of its ilk, Iron Man is genuinely funny, feels different, isn't over anyone's head, and has a great ending. Superhero fans will be titillated by the comic book references, action sequences and state-of-the-art special effects, but even those who do not flock to the theater for each new Marvel or DC big-screen adaptation will be intrigued by the raw fun that is Iron Man. The film shows that not all movies that are destined to make millions and inspire theme-park rides are devoid of value, and some even raise legitimate questions about national security, foreign policy, science, and cast-iron suits.

Good for: superhero film fans, people who like CGI, Robert Downey Jr. fans

Bad for: people who dislike big budget movies, fans of realistic films

The Gallery
The Economist: * * * * *
The Film Maker: * * *
The Writer * * * *

Walk Hard: The Dewey Cox Story (2007)

2008-05-01T08:14:00.000-07:00

* * *

Usually when box office trends reach absurd redundancy the beat-it-'till-its-dead writers of the Scary Movie, Epic Movie, Date Movie, etc. series come calling and mock Hollywood with little intelligence or humor. Who better, then, is there to call than Judd Apatow to send-up the musical biopic trend of Ray, Walk the Line, Dreamgirls, and others and to do it right. Walk Hard, the life story of Dewey Cox, played by John C. Reilly, pokes fun at countless Hollywood cliches and music icons, and does so not by shooting direct imitations of the films, but creating a refreshingly original character in the mold of the biopic. Reilly is brilliant as Cox, the musical prodigy who strives throughout his life to find love, stay high, please his father, all while walking hard. Reilly proves he is more than a Will Farrell side-man and can carry a comedy on his shoulders, and carry it hard. The casting director was brilliant in pairing two of the best female comedy actors available around Reilly to play the mother of his children and his "June Carter." Kristen Wiig (SNL) and Jenna Fischer (The Office) provide plenty of laughs and surprising depth in bizarre scenes without resorting to only gag humor. The most memorable supporting character, however, is Tim Meadows as Sam, Dewey's drummer. Meadows is, like usual, right on point with his trademark delivery of ridiculously funny lines, including a few particular sequences involving drugs that are the funniest parts of the film. There are many big-name cameos including Harold Ramis, Frankie Muniz, Jack White, Eddie Vedder, Jackson Browne, Ghostface Killah, Jonah Hill, and Jack Black, Jason Schwartzman, Justin Long, and Paul Rudd as the best on-screen Beatles of all-time. The script was well written by Apatow and director Jake Kasdan, and from the first scene is packed tight with sharp dialogue and sprinkled with nonsensical, loony lines that will leave you wondering where they came from. Like any farce, the jokes tend to get somewhat repetitive, and some of the parody will go over the head of those who aren't music fans or haven't seen the movie being mocked. As in most Apatow-produced films, there is enough pointless nudity, extreme profanity, and genuine humor to make everyone laugh at some point. Walk Hard, like a Cox concert, shouldn't be taken too seriously and may be best enjoyed with some type of drugs on hand.

Good for: Apatow fans, music fans, people who like parodies

Bad for: serious thinkers, people who don't like music, uptight people

The Gallery
The Surfer: *
The Film Maker: * * *

Baby Mama (2008)

2008-04-29T19:07:00.000-07:00

* *

There are very few comedies that be carried by two female leads into the realm of movie-lore. If there are two ladies up to the task, Tina Fey and Amy Poehler would be at the top of the list. Unfortunately, not even they are funny enough or consistent enough to take a film that starts behind the count from the title screen (Baby Mama? Awful) to such great heights. Written and directed by former Austin Powers and SNL writer Michael McCullers, Baby Mama is the story of Fey's character Kate, who cannot mother her own child and seeks Poehler's Angie to be the surrogate mother. The catch is the clash between Vice President, career woman Kate and trailer-dwelling, high school drop-out Angie in their effort to bring a healthy baby into the world. Literally everything that follows is exactly what everyone would expect. Every character, plot twist, scene, song, and situation is almost blatantly generic. Baby Mama is destined for USA/TNT re-runs and may have been more successful as a TV-movie. Despite the overwhelming flaws, Baby Mama contains a considerable number of laughs. Fey and Poehler are great on-screen together, and it's disappointing to see such talented actresses follow a huge laugh with a joke that has been recycled in twenty prior films. At times they look in prime form, but minutes later look like they know as well as the audience that the joke wasn't funny and appear to have a face that screams "I hope this doesn't make the final cut." It seems that if paired with a better writer or director, Fey and Poehler could make some good movies. The supporting cast is filled with big names which provide mostly average but some surprisingly funny performances. Greg Kinnear, Dax Shepard, and Sigourney Weaver are stale, but Steve Martin and Romany Malco (40 Year Old Virgin) do their best to give the film a bit of flavor. Not even a star-studded cast can save a bad story, particularly one loaded with horribly worn-out, stereotypical portrayals of African Americans, rednecks, and hippies plus odd references toward surrogacy, vegetarians, and other sectors of society. In the end, there are memorable laughs but only some women and huge Fey/Poehler fans will find it worth trudging through ninety minutes of blah to find them.

Good for: chick-flick fans, Tina Fey fans

Bad for: fans of Judd Apatow movies, 98% of the male population

Forgetting Sarah Marshall (2008)

2008-04-20T18:46:00.000-07:00

* * * *

How is it possible that Judd Apatow slaps his name on multiple comedies per year and the well of hysterical, not-repetitive humor never runs dry? Yet again an Apatow produced film exceeds expectations; Forgetting Sarah Marshall is the funniest film of 2008 so far, that is until another Apatow film tops it. Although the producer extraordinare deserves his share of acclaim, the true stars of this film are the actors, including the star and writer of the film Jason Segel. Segel stars as Peter Bretter, the boyfriend of TV star Sarah Marshall. When Sarah dumps him and brings his life to a crashing halt, Peter goes to a personal hell and back (through Hawaii) to resurrect his life. The casting of the supporting characters by first time director Nicholas Stoller is brilliant. Apatow veterans Paul Rudd, Jonah Hill, and Bill Hader are spot-on, as would be expected, and newcomers Mila Kunis (That Seventies Show), Jack McBrayer, and particularly Russell Brand effortlessly join the team, acting as if they have been delivering obscenely raunchy lines for years. Brand plays the rock star Sarah leaves Peter for, and his brain-dead, sex-crazed British lead singer is the most memorable and quotable character in the movie. The script, written by Segel and pitched to Apatow courtside at a Laker's game, is loaded with line after line of in your face vulgarity and subtle quips that may not hit you at first. Scenes with unabashed full-frontal nudity are paired with unthinkably original ideas such as a Dracula-based rock opera, and ingenious quick, cut-in scenes depicting a characters thoughts or words. Whereas Knocked Up combined raunch and unexpected pregnancy, and Superbad mixed the profane with adolescence, the newest film in the Apatow collection fuses a large dose of adult humor with the heartbreak and coping involved with an ending relationship. Each joke about genitals is backed up with a meaningful scene that most of the audience will be able to relate to. Like all romantic comedies there is some cliche, and the film runs a bit long at nearly two hours, but there are so many well-written characters, large and small, that the laughs keep coming, so much so that some jokes will be missed due to excessive cackling. The Apatow brand has added yet another classic to its dynasty, which now includes nearly ten films and countless big-time comedic actors. Forgetting Sarah Marshall isn't easy to forget, and provides enough laughs to make the next Apatow feature the most anticipated movie of the year.

Good for: any adults that laugh, a date

Bad for: uptight people, people offended by nudity and/or profanity

The Gallery
The Film Maker: * * *
The Writer * * * *

Dr. Seuss' Horton Hears a Who (2008)

2008-03-22T13:49:00.000-07:00

* * * *

In yet another big screen adaptation, Dr. Seuss' classic tale of Horton the elephant who discovers Whoville and his subsequent efforts to prove it exists is treated with an extended script, a star-studded voice-over cast, and vibrant computer animation. To transform a sixty-page children's book beyond a thirty minute animated special into a full-length feature movie requires a significant amount of original material, but this version of Horton stays true to the vision and spirit of the original work for the most part. The cast, which features Jim Carrey as Horton, Steve Carell as the Mayor of Whoville, Carol Burnett as Kangaroo, and Will Arnett as Vlad the vulture, is at times genius and off base. Carell is perfectly cast as the goofy, insecure mayor and brings depth and humor to the character. Likewise, Burnett and Arnett are superb as Horton's detractor and nemesis, respectively, both staying true to the original character and adding great original material. Carrey, and Seth Rogen, as Horton's best friend Morton, have their moments but are also distracting as Carrey goes way beyond what is necessary to portray Horton and is almost annoying at times, and the character of Morton is so clearly voiced by Rogen that it takes away from the unique environment of the film. The film is surprisingly very funny for children and adults, particularly for a G-rated movie, which is a credit to both the voice-acting and the writing. Original scenes, such as a short Japanese anime sequence, and original characters, such as the bizarre and hilarious Katie, are good for plenty of laugh-out-loud moments. The animation is stunning, up to par and beyond what is now expected from computer animation, and creates a unique atmosphere for the strange characters and events. There are many characters, small and large, and to watch them interact in the Seussian world many have come to love is great entertainment. Some dedicated Seuss fans may think too many liberties were taken with the script, which may be true, but this is simply another, more modern version of Horton for a new generation. Is it better than the original hand-drawn animated version? Probably not. But it maintains the fun and essence of Dr. Seuss to a great degree with many laughs and lessons for kids and their parents. Long-time Seuss fans will enjoy Horton for its faithfulness to the original, and those new to the wonderful world of Dr. Seuss will likely find much of what his dedicated fans have loved and more.

Good for: Seuss fans, children of all ages, the young at heart, a date

Bad for: mean people

Eastern Promises (2007)

2008-03-22T12:58:00.000-07:00

* * * *

The formula of director David Cronenberg (The Fly), leading man Viggo Mortensen, and serviceable leading lady led to the highly disappointing, utterly awful A History of Violence; but somehow, the same formula results in the highly surprisingly, utterly brutal Eastern Promises. Italian and Irish mob films have become overplayed and run-of-the-mill, but Cronenberg's take on the Russian mob operating in London is an engaging thriller with moral undertones and strong performances. Mortensen stars as Nikolai, a callous, focused grunt on the rise, ready to take on any task handed down to him by his ruthless boss Semyon, played excellently by Armin Mueller-Stahl. Nikolai encounters Anna, played by Naomi Watts, a midwife who discovered a diary with a young girl who died giving birth to a baby. After asking her Russian uncle to translate the diary, Anna finds that the young girl and the father of her child had strange, dark ties to the mob. In her efforts to seek justice for the young mother's death and safety for the young baby, Anna must deal with the pressure from her own family to stay out of trouble and the interesting characters in Senyon's crime family. Cronenberg weaves the multiple stories involving Anna and Senyon's family masterfully with both revolving around Nikolai. This is likely Mortensen's best performance, menacingly strong, but subtle and human. The supporting cast is also well above average with noteworthy performances by Watts, Mueller-Stahl, and Vincent Cassell as Kirill, Semyon's flamboyant, erratic son. The original screenplay makes this more than just another gangster-flick, and the depth of the story will engage a broad audience. Eastern Promises is also one of the darkest movies of 2007 with a handful of scenes involving excessive violence that are difficult to watch. Although the scenes may be he necessary to convey the nature of the characters and events, some drag on and come across as unrealistic. The strong accents make the English difficult to understand, and even the most attentive viewer won't feel comfortable with the plot until nearly halfway in. At only 96 minutes, however, the movie never drags and comes and goes before you know it, so that difficult to watch and difficult to understand parts are never excessive. The fine editing, direction, and acting produce a compelling thriller that is surprisingly entertaining, but may be just dark enough to only merit one viewing.

Good for: crime-film fans, fans of dark movies, Viggo fans

Bad for: people bothered by violent films

The Gallery
The Economist: * * * *
The Film Maker: * * * *

The Bank Job (2008)

2008-03-11T15:11:00.001-07:00

* * *

The Bank Job is a guilty pleasure; a thrill ride that is quite fun at the time but has little, if any, redeeming value. Thoroughly British, the film is based on the true story of the most lucrative and peculiar heist in the history of England. Jason Statham, most well known for his role in The Transporter series, stars as Terry Leather, a part-time villain given the opportunity to strike-big one last time before getting out of the world of crime. Saffron Burrows co-stars as Martine Love, the bombshell ex-model who gives Leather the tip on the caper. The heist is complicated but plausible, but what Leather doesn't know is the role and stakes Martine and the British government have in the heist. The back story involving government corruption, political and social radicals, and the underworld of pornography and the sex business provide a terrifically entertaining counterpart to the thrills involved with the heist itself. Unfortunately, beneath the shell of entertainment, the audience will likely find absolutely nothing. The acting is definitively mediocre, the direction rips off countless heist movies of the past, the score could not possibly be more chiche', and everything from the characters' names to most of the dialogue is pure cheese. The only noteworthy performances are by Peter De Jersey as Michael X, Britain's counterpart to Malcolm, and David Suchet as Lew Vogel, a smut-director and sex entrepreneur who has paid off Britain's finest for years. The two bad-guys are both deliciously dirty and the few scenes involving the two of them together stand out. There are more than a handful of honest laughs, most provided by the typical "team" of friends and specialists involved in the completing the heist. The laughs are supplemented by a twisting plot involving many shady characters who have a lot to gain and even more to lose. The silver-lining surrounding the entire film is that it is somehow based on truth. The plot seems inconceivable in terms of reality and cheesiness, yet the fact that the events actually happened the way they are presented takes away some of the shame felt for having enjoyed a film with zero emotional, artistic, or social value. The loony British humor and "how did this happen?" factor make The Bank Job an unexpected, yet slightly embarrassing, suspense-thriller indulgence.

Good for: heist fans, fans of "based on true story" films, British film fans, someone bored

Bad for: "film" lovers

The Gallery
The Economist: * * *

Gone Baby Gone (2007)

2008-03-11T14:40:00.000-07:00

* * * *

Ben Affleck was brilliant in choosing the source material for his first turn as a director. Gone Baby Gone is an adaptation (screenplay also by Affleck) of a novel written by Dennis Lehane, whose last novel to be adapted for the screen was Mystic River. Affleck stayed close to home in more than one sense; the film is shot in Boston and Affleck cast his brother Casey as Patrick Kenzie in the lead role. Kenzie and partner Angie Gennaro, played by Michelle Monaghan, are two private detectives asked to investigate the case of a missing girl. As the investigation ensues it becomes clear that there is more to the story than a simple missing girl or kidnapping. The child's mother, played by Amy Ryan, is found to be a drug-user, accessory to drug-deals, and neglectful mother with strange family members, and the private investigation begins to conflict with the police investigation headed by Captain Jack Doyle, played by Morgan Freeman. Casey Affleck delivers a surprisingly powerful performance, showing he is capable of starring the show, at least with his brother in the director's chair. Supporting roles by Freeman and crime-movie veteran Ed Harris playing a cop for what has to be double-digit times are what can be expected; competent and adequate. Amy Ryan, nominated for an Oscar for her performance, effectively plays the troubled mother in what is probably the most believable and most bizarre character in the film. Gone Baby Gone comes extremely close to falling into average-movie traps with some painfully cheesy lines, scenes, and performances. The character played by Michelle Monaghan is a combination of bland acting and completely forgettable writing. But what makes the film a success is the unexpected transformation from a simple spider-web plot suspense-thriller to a contemplation on personal values, morality, and humanity. All of the twists of a mystery, surprises of a thriller, and relevance of a drama are there, and the impact of the conclusion will just be icing on the cake for most. Gone Baby Gone rewards the viewer for having attention to detail and will leave many with something to talk about for a few days after. As Affleck's first film as director, it will be interesting to see what comes next.

Good for: mystery fans, a date, philosophers

Bad for: the easily confused, those bothered by violence

The Gallery
The Economist: * * * *
The Surfer: * * * *

Annie Hall (1977)

2008-03-11T14:05:00.000-07:00

* * * * *

For those who have never seen a Woody Allen movie, the door to his unique-brand of cinema should be Annie Hall, his 1977 romantic comedy and Best Picture winner. Annie Hall may be best viewed as a virgin to Allen's work, so that all of his idiosyncrasies and quirks as an actor, writer, and director can be experienced in a raw, to-the-point, finely crafted film. Allen is not a great actor, but the character he created for himself, Alvy Singer, is a great character, and only Allen could play him. Neurotic, witty, pessimistic, and bitingly sarcastic, Singer is a stand-up comedian that meets and falls in love with the young Annie Hall played by Diane Keaton. Hall is a simple yet talented girl that sharply contrasts with Singer who is beyond complicated. Keaton won the Best Actress award for Hall in 1977, and her performance is subtle and elegant, but not phenomenal. Despite the lack of mesmerizing performances to draw the audience to the characters, the perfect script and timeless dialogue produce effortlessly real characters. To add to the feeling that the audience is sitting in on real life, Allen adds abrupt asides where Singer speaks directly to the camera and absurd situations the scene breaks and Singer approaches extras to ask them a question or the topic of a random conversation happens to appear in the room. Singer's cynicism and references will seem over-the-top and over-the-head of some viewers, and some of the lines and scenes are a bit indulgent, but Allen clearly understands the beauty and pain of the human relationship, and explores it in a way that is clearly distinct in film history. The opening and closing passages, spoken to the camera and in voice-over by Singer, are perfect book-ends to the perfect romantic comedy. The romantic comedy has been beaten to death in the 30+ years since 1977, leaving little relevance behind. But with Annie Hall, Woody Allen delivered an enduring blend of intelligent, sharp humor and thoughtful meditations on how essential and absurd relationships are.

Good for: Allen fans, fans of romantic comedies, a date

Bad for: those bored with art-films

Michael Clayton (2007)

2008-02-25T17:10:00.000-08:00

* * * *

Despite having a remarkably unoriginal title, Michael Clayton succeeds due to a sharply written script, perfect casting, and strong performances from lead roles. Clayton is the directorial debut for Tony Gilroy, the writer behind all three films of the Bourne series, and stars George Clooney as an attorney who doesn't do typical "attorney" work, but works more as a fixer or legal handyman. Clooney has become synonymous with conspiracy films and this is no different, as the twisted inner-workings of the legal system are deeply explored. Clayton is responsible for pulling together the life of a manic depressant lawyer, Arthur Edens, played excellently by Tom Wilkinson, who has come off his medication and "seen the light" in terms of the case he had been working on for over five years. Tilda Swinton co-stars as Karen Crowder, one of the head-honchos for agricultural company U-North, who is trying to reach a settlement through the attorney Edens with those claiming they obtained cancer through U-North products. When Edens goes bananas, however, Swinton goes to all lengths legal and otherwise to maintain the integrity of her company and the settlement that is days from being completed. The dialogue that ensues is masterfully written and pieced together by Gilroy, as the pace of the film is quick, yet deliberate enough to envelop the viewer in the schemes being put in place by both sides of the story. Clooney fills the role of the down on his luck character who is smarter than everyone thinks he is just as well as he did in Syriana, and Swinton and Wilkinson are a double-dose of hysteria and conniving to balance the coolness of Clooney. Michael Clayton isn't anything that has never been seen before, in fact it plays like an homage to 1970s thriller/dramas that were well constructed and performed. In a genre full of average or worse entries, Clayton has a well-defined plot, doesn't over stay its welcome, and builds to an intense climax. The final scene, like most of Clayton, also isn't anything revolutionary. Unlike Clooney's last thriller, Syriana, which was too confusing for a vast majority of the audience, the plot of Michael Clayton is deep and clear. Because Gilroy built a plot in which every character's decisions, no matter how extreme, are made for a reason the viewer is shown and understands, the conclusion has much greater impact, and the case involved seems like something that could actually happen, and likely has happened. Hopefully Gilroy and Clooney will unite again in the future to continue to elevate the state of the conspiracy thriller genre and shed light on other shady dealings.

Good For: conspiracy-movie fans, Clooney fans, people who like legal movies

Bad For: those who are bored easily

The Gallery
The Economist: * * * *
The Surfer: * * *
The Film Maker: * * * *

Persepolis (2007)

2008-02-09T11:10:00.000-08:00

* * * * *

Persepolis is one of the most original, fresh movies of the year; a film that makes you feel like you have seen something unlike anything you have previously watched or thought of. The animated film, presented in French and with subtitles, is based on an autobiographical graphic novel by Marjane Satrapi and was adapted for the screen and directed by Satrapi and Vincent Paronnaud. Satrapi's self-narrated story begins as a little girl being raised by progressive parents in Iran during the Islamic Revolution of the late 1970s and the fallout that occurred afterwards in the 1980s. Her account of the events involving both her family and country reveals that a girl raised in an overtly tyrannical country isn't that different from an American or anyone else growing up in the same time period. The film's best character, Marji's grandmother, provides the story's funniest humor and most lasting relevance as she lends advice to Marji and tells stories and parables. The independent spirit imparted on her by her grandmother lead to some of the films greatest scenes, such as teenage Marji negotiating a deal to buy a new Iron Maiden album on the streets of Iran and subsequently rocking out to it. Due to the increasing conflict and violence, Marji's parents send her to France for high school, and these years illuminate even more of the world's harsh realities such as prejudice and isolation. As Marji becomes a woman we see her cope with issues such as finding an identity in society and starting and ending relationships. The film is fast-moving while covering many years and many events and is proportionally amusing and moving. What makes Persepolis so brilliant, however, is the style of animation used to present the story. The black and white, nontraditional, sometimes abstract illustrations and over-the-top flashes and and cut-ins create an environment that is not only entertaining but universal in that no preconceived notions will influence the audience in any of the scenes. Whereas real actors and film may have isolated particular audiences, the drawings provide a means to portray very specific situations very few have experienced in a way that everyone can relate to. The voice-over work is nothing extraordinary and the soundtrack is fairly generic, but the story in this case is so incredibly strong that it carries the entire film on its shoulders into film history. The script and presentation of the script is legendary, so imaginative, refreshing, and thoroughly enjoyable that it is one of the best coming-of-age stories in some time. Equal parts a reflection on history and the lessons learned by fire in life, Persepolis unites the audience and drives home the point that in such a large world, the differences between us aren't that vast, and everyone has the same common pursuit of love, freedom, and happiness.

Good For: all movie fans, people interested in history, fans of foreign films

Bad For: people who cannot read subtitles, mean people

The Gallery
The Film Maker: * * * * *

The Hoax (2007)

2008-02-09T10:40:00.000-08:00

* * * *

The Hoax is one of a very small group of movies that have very little depth or resonance but is a must-see simply for being a non-stop roller-coaster of entertainment. Based on a book and true story, The Hoax is the story of Clifford Irving, a down-on-his-luck writer who fabricated a mountain of lies to reach the top of the journalism industry in 1971. Irving is portrayed by Richard Gere, who turns in a surprisingly well-rounded performance. Irving is funny, charming, clever, creative, selfish, weak, greedy, devious, sly, obviously a bit crazy, and tremendously fun to watch. His writing partner, Dick Suskind, is played by Alfred Molina, one of the better character-actors in the business. Their friendship and partnership are constantly at edge as the high-stakes of their scheme weigh heavy on their personal lives. The Hoax, like other true stories, attains most of its drawing power from the amazement that something as unlikely and unfathomable as the events that take place actually did occur. To watch Irving and Suskind time and again hang on the fringe of failure and revelation but weasel their way forward in their quest for fame and fortune is enthralling. The supporting cast has no stand-out performances but is strong and creates an appropriate landscape of reality and reason against which the absurd events take place. Lasse Hallstrom, best known for directing the cult-classic What's Eating Gilbert Grape, stylistically presents the events in a fast-paced manner that keeps the audience guessing and at the edge of their seats, and creates the 70s environment of living to excess with a good soundtrack and real film clips. Although it could be said that The Hoax brings light to the inherent greed of both individuals (Irving) to go to such great ends to reach prosperity and of the corporate world (publishers) to be fooled so easily time and again in an effort to make a dollar, the film is much more of a thrill-ride than an expose'. It seems that only in America could something like the Hoax take place, where lies upon lies upon lies somehow begin to blur the scope of reality until something brings the truth into focus. The truth about this film, though, is that it is far from classic cinema, but will appeal to almost all audiences.

Good For: fans of conspiracy films, fans of "based on true stories" movies

Bad For: people who get frustrated with twisting storylines

The Savages (2007)

2008-02-09T10:17:00.000-08:00

* * *

Philip Seymour Hoffman and Laura Linney are two of the finest actors in Hollywood, and the pairing of the two seems like a great match, but even their subtle, nuanced performances cannot make the drudge of a script very memorable. Written and directed by Tamara Jenkins, The Savages is the story of a brother and sister brought together to care for their aging, ailing father who is rounding the last lap of life. The film is billed as a dark comedy/drama that takes an honest look at the dynamics of family. The Savages clearly approaches the family unit from a unique perspective, that of the baby-boomer generation coping with the role-switch from care-receiver to caretaker within their own family, but the story and script offer very few laughs and plenty of awkward sadness and pity. Hoffman and Linney, as Wendy and Jon Savage, both create distinct characters that come across as very real people the audience can identify with. Many will be able to relate to the older brother, younger sister relationship and all of the disappointment, tension, cooperation, competition, and ultimately love, that it involves. The most memorable performance is likely by Philip Bosco, who portrays the Savage father, Lenny Savage. Bosco embodies the infinite spectrum of mindsets that accompany dementia and the gradual loss of one's mind and self and reminds us all too well of someone we may have in our lives. But unfortunately, the performances alone cannot carry the film as the direction and writing don't pull the viewer into the storyline or leave a lasting impression. The most memorable scene occurs in the film's first five minutes and involves the use of bodily fluids. The Savages will appeal to those who can directly relate to the characters and the circumstances, but those looking for laughs may find that the wait is pretty long and may not have been worth it.

Good For: psychologists, people who like family dramas, people who like sad films

Bad For: fans of dark comedies, Wes Anderson fans, the easily bored

There Will Be Blood (2007)

2008-01-21T17:03:00.000-08:00

* * * * *

The acting, direction, and score of There Will Be Blood may add up to the darkest film of 2007, but it is also one of those films in which everyone involved just may have been at the top of their game. Paul Thomas Anderson, who is well-known for his film gems Boogie Nights and Magnolia, has crafted his epic, masterpiece with There Will Be Blood. Anderson loosely adapted Upton Sinclair's novel Oil from 1927 for the film which chronicles three decades of the life of oil prospector Daniel Plainview. The story explores many themes including family, capitalism, and religion and each of these is presented in the countless memorable scenes and events. From the opening sequence, Plainview is branded as a symbol of the desire, passion, cunning, and greed that is as much a part of the American dream as of the nature of man. Together Anderson and Day-Lewis, who plays Plainview, have created one of the most memorable, haunting, and disturbing characters in film history. Day-Lewis' portrayal of the oilman is astonishing and obscene and is easily the best performance of the year. If there was an award for best performance duo, Day-Lewis and Paul Dano would win hands down. The fact that Dano, who plays Reverend Eli Sunday, is even noticed alongside Day-Lewis speaks multitudes to his performance. He is the perfect counterpart to the overt menace of Daniel Plainview; Dano portrays Sunday as a man of God with the conflict of service and power running deep in his soul. His performance will surely elevate him from the unknown actor in Little Miss Sunshine to one of the most talented young actors in the business. The film pulls no punches; there is no Hollywood fluff and no rewarding plot circles. Anderson employs everything one would expect of a director of his stature; long scenes, brutally emotional dialogue, beautiful cinematography, and more than enough symbolism and allegory to keep the audience talking for days after. The biblical and historical references add layers upon layers of depth to a film which already brings so much to the table. Anderson recruited Jonny Greenwood of Radiohead to record the score, which is spot-on and adds resonance to many of the scenes. The film runs a little long at over two and a half hours, and the weight of the film will start to feel heavy on some viewers shoulders about two hours in. Like most great directors, there are a select few scenes which likely could have been more tightly edited, but remain to appease the director's vision/ego. It isn't often, though, that a combo of such powerful performances and masterful directing are brought together, and this is where the audience finds their reward. As bleak as it is brilliant, There Will Be Blood is a modern classic that is as powerful as its title alludes.

Good for: PTA fans, film fans in general, fans of epics, people who like symbolism/allegory

Bad for: people bothered by violence, people who dislike dark, long films

The Gallery
The Economist: * * * * *
The Surfer: * * * *
The Film Maker: * * * * *
The Writer * * * * *

Cloverfield (2008)

2008-01-21T16:35:00.000-08:00

* *

Although Cloverfield has been marketed and acclaimed for being something different from the typical movie experience, in terms of horror films, its mostly more of the same. Borrowing from (inspired by?) a multitude of previous films such as the Blair Witch Project, Godzilla, Independence Day, and even I Am Legend, Cloverfield comes across as an over-extended, ninety minute Universal Studios ride with all of the requisite wall-shakes, sound effects, and in-your-face visuals. The premise, a disastrous attack on New York City filmed from a hand-held, first person point-of-view, is interesting enough to draw in the horror audience and other movie-goers looking for a scare, but anyone looking for anything more will be disappointed. The cast of unknown actors perform average at best as a group of friends trying to stick together under the bizarre circumstances. Director Matt Reeves makes some gutsy calls in his feature-film debut, but is moving a hand-held camera around in disarray and blasting sound effects and blinking lights art or just a thrill ride? The screenplay, written by Drew Goddard who also writes episodes for the critically acclaimed Lost TV series, has a few bright spots of wit but sucks away the realism the hand-held camera was intended to create. There are some laugh-out-loud lines, which actually give Cloverfield some more depth than most generic horror films, but they appear at entirely inappropriate times. The tone of the film is so inconsistent that it is almost impossible to be emotionally invested in the "drama" of what are supposed to be dire circumstances. The special effects are reminiscent of other CGI-laden disaster flicks, but for those who go to the movies to see the unreal, watching Lady Liberty's head come rolling down a Manhattan street like a bowling ball will be worth the price of admission. Its unfortunate that Paramount owns Cloverfield and not Universal, because it would fit perfectly in the theme park; just add some water sprays, vibrating seats and some 3D goggles to the film as it is now. Most of the audience will need Dramamine just to get through to the credits already.

Good for: horror movie fans, CGI fans, people who liked the Blair Witch Project

Bad for: people who get motion sick

The Gallery
The Surfer: *
The Film Maker: * *

The Orphanage (2007)

2008-01-13T12:50:00.000-08:00

* * * *

The Orphanage may be the most truly horrifying film released this decade. Produced by Guillermo del Toro, who directed last year's masterpiece Pan's Labyrinth, The Orphanage is another touching story that maintains a constant sense of mystery. The story is focused on Laura, played by Belen Rueda, who purchases the orphanage she was raised in and intends to return it to a house to raise orphaned children. After moving in, her son Simon begins to act strangely and then disappears. Laura's search for her son leads to countless scares involving supernatural and psychological events. Reuda portrays a frantic mother in a desperate struggle to find Simon with a strong performance. Although it is at times over the top, Laura is a sympathetic and very likable character, which is important to the advancing plot. Other notable performances include a creepy turn by the young Roger Princep as Simon and a chilling, memorable performance by Montserrat Carulla as Benigna, a mysterious figure that shows up at Laura's house one afternoon before Simon disappears. The star of the film, however, is the director Juan Antonio Bayona, who has created a template for how to make a film loaded with scares without using blood, gore, or typical Hollywood horror cliche. There are many real, jump-out-of-your-seat scares, and even more scenes when a scare is expected but doesn't come. The pacing is perfect, as simple scenes are shot so that every viewer will be sitting on edge waiting for something terrible to happen. With the exception of one short, nightmarish scene that includes gore, the cinematography, pacing, and sound create the spooky atmosphere. The plot unfolds beautifully, and the conclusion may be somewhat ambiguous but is near perfect. The audience will be greatly satisfied as each viewer is rewarded for having survived the horror with a plot that completes the circle of many aspects of the plot. There are some scenes which are debatable for what exactly happened, but make no mistake, the topic of conversation about The Orphanage will be the nightmares it induces. Many will be sleeping with the lights on, waiting to see what Juan Antonio Bayona comes up with next.

Good for: horror fans, mystery fans, people who like foreign films, a date

Bad for: easily frightened people, those afraid of the Boogeyman, people disturbed by scary movies, people who do not like to read subtitles

The Writer * * *

Sweeney Todd: The Demon Barber of Fleet Street (2007)

2008-01-13T12:29:00.000-08:00

* * * *

Tim Burton and Johnny Depp are a match made in heaven; two legends of the cinema that have teamed up to make the films they want to make, not those that will appease the Academy or major studios. Once again Burton has used Depp as a muse for his dark, gothic, fantastically over-the-top storytelling and anyone who enjoys either the director or actor will enjoy the ride that is Sweeney Todd. Based on the Broadway musical, the film version tells the same story of a barber who lost his family to a corrupt judge and the revenge he seeks after a long exile, but is framed in Burton's demonic vision. Depp will surprise many, not with his spot-on eccentric performance as Todd, but with his more than adept singing ability. He is in top form and has created yet another epic character that will surely be a pop culture phenomenon alongside Captain Jack Sparrow and Edward Scissorhands. Helena Bonham Carter, Burton's wife and another of his longtime film collaborators, is frightening and strangely attractive as Mrs. Lovett, who owns the building in which Todd's dangerous barber shop is housed. The supporting cast was well chosen including a hilarious but short-lived performance by Sacha Baron Cohen as Adolpho Pirelli, Harry Potter film veterans Alan Rickman as the deliciously evil Judge Turpin and Timothy Spall as the disturbing Beadle Bamford, and a strong performance by Ed Sanders in his first feature film role as the young boy Toby. The visuals are typical of Burton films; amazingly imagined and even more amazingly constructed. The bleak environment sets the perfect atmosphere for the buckets of blood that are to spill later in the film. Although the film succeeds as a musical, the songs are a bit long at times. Not all of the tracks are entirely unique, and some viewers will grow anxious for songs to end and for the dialogue to return. What makes Sweeney Todd a successful adaptation, though, are the great acting, frightening visuals, and appropriate recipe of horror and humor.

Good for: Depp and Burton fans, fans of musicals and plays

Bad for: squeamish people, people who don't like musicals

The Gallery
The Economist: * * * * *
The Surfer: * * *
The Writer * * * *

Juno (2007)

2008-01-13T11:59:00.000-08:00

* * * * *

With Juno, former stripper turned writer Diablo Cody has crafted one of the most original, appealing scripts in years. The near-flawless script is what shines brightest, but the spot-on acting, genius casting, stylish and quirky direction, and fitting score make Juno a classic film about teenage angst, family, love, and adversity. Ellen Page was born to play Juno MacGuff, a career-making role that portrays a sixteen year-old girl that becomes unexpectedly pregnant. Her controversial decision to go through with the pregnancy and find adoptive parents present a story full of odd decisions, bizarre circumstances, and strange and hilarious moments. Page is brilliant as a cynical, sarcastic teenager with a strong sense of individuality but no sense of purpose. Michael Cera co-stars as Paulie Bleeker, the cross-country star and father of Juno's child. Like his Superbad character, Bleeker is confused and awkward, but unlike the former character Paulie is far less perverted and far more mature. Like Page, Cera seems perfectly casted for the script and has countless memorable lines. The supporting cast is phenomenal and includes Jason Bateman and Jennifer Garner as the adoptive parents the Loring's, and Allison Janney and J.K. Simmons as Juno's parents the MacGuffs. All four roles were perfectly casted and performed precisely as the script intended. Jason Reitman, who also directed the satire Thank You For Smoking, presents the multi-faceted story beautifully capturing all the touching moments and laugh-out-loud scenes in a easy to watch, fast paced manner. The score is largely songs by Kimya Dawson but also includes a few classic rock gems that are key to certain scenes. There is no film this year or any recent years that can match the dialogue of Juno. The conversations are enthralling and each character has a blatantly distinct personality, each of which different people will identify with. Some may say that the script is so eccentric that it is over the top, particularly the character of Juno. But the constant sarcasm and wit, even to the point that it may be questioned, is what makes Juno so real. She says awkward things in inappropriate situations, taking it too far just like a teenager in her situation would in reality. The humor in Juno shouldn't offend most viewers, and the plot will charm those who may not get the jokes. Every character no matter how small or how large is memorable, each line is necessary, and all of the scenes lead to a great conclusion. Juno is both well-crafted and well-executed, the culmination of hitting a homerun with every element of the film.

Good for: families, a date, the young at heart

Bad for: those who feel uncomfortable often, mean people, conservative viewers

The Gallery
The Economist: * * * *
The Surfer: * * *
The Film Maker: * * *
The Writer * * * *

The Illusionist (2006)

2008-01-13T10:56:00.000-08:00

* * *

Like the magic tricks depicted in the film, The Illusionist is great fun to watch, especially if you allow yourself to be entranced within it, but the more it is analyzed the less special it seems. The Illusionist tells the story of a peasant magician who uses his magic to win the heart of an aristocrat girl. Its hard to go wrong with a cast headlined by co-stars Edward Norton and Paul Giamatti. Watching the story of Eisenheim the illusionist, played by Norton, is worth the time of anyone who enjoys movies simply for his performance. Norton is disturbing, mysterious, affectionate, at all times captivating and although this isn't a relatively important or award-winning film, he brings everything to the table, showing why he is one of today's best actors. He and Giamatti shine in the scenes they are in together, which are thoroughly enjoyable. Rufus Sewell is perfectly despicable as Crown Prince Leopold, rival to Eisenheim and tyrannical ruler of Austria. The three actors are involved in almost all of the scenes, which is good, because the cast outside of them is below average. The most notable example of poor casting was Jessica Biel as Sophie, Eisenheim's love interest. She is unbelievable as a high class nobility in a time piece set in a foreign country and cannot remotely compare to any of the actors, particularly Norton. The film is written and directed by Neil Burger, and as a mystery-romance holds its own against anything else released recently. The script is attention-grabbing, fast-moving, and entertaining, and the score, direction, and cinematography create a dark, mystic atmosphere and the tension is high throughout. The conclusion, like the rest of the film, is quite satisfying on the surface but breaks down a bit upon further inspection. The story of Eisenheim the Illusionist will appeal to anyone who likes David Blaine or Criss Angel and anyone else looking for a fun diversion.

Good for: a date, someone looking for a 90 minute distraction, fans of romance films, Norton fans, people who like mysteries

Bad for: people who figure out conclusions before the conclusion

The Gallery
The Economist: * * *
The Film Maker: * * * *

Syriana (2005)

2008-01-13T10:28:00.000-08:00

* * *

In just over two hours Syriana may say more about the oil industry than all other films about "big oil" combined. The film succeeds as an expose of the greed and corruption surrounding the industry, but if the inner-workings of oil and the spider web of political involvement are as confusing as Syriana, its no wonder it hasn't been stopped. No one can figure it out. Written and directed by Stephen Gaghan, the writer-director the multiple storyline Academy Award winner Traffic, Syriana weaves five or more stories together. George Clooney stars as Bob Barnes, a US government employee who finds himself caught up in the dealings of the oil business. Clooney gained over thirty pounds for the role, and is engaging and sympathetic in the role. Other narratives include characters played Matt Damon, Chris Cooper, and Jeffrey Wright, and the acting throughout is above average. The script is well written, illustrating the behind-the-scenes decision making, and is as educational as it is entertaining. Few films have as many meaningful things to say about a single topic and do so while maintaining the interest of the audience. Unfortunately, the tension that builds as the plots build and begin to entwine will never fully climax for most viewers. Although there is an emotional, possibly unforeseen conclusion, the revelatory epiphany will leave many viewers dissatisfied. The intricate script constructs a story that will leave no doubt as to the problems the entire planet faces concerning oil, but more time will be spent attempting to decipher the plot than debating the ethics and issues surrounding the oil industry.

Good for: fans of conspiracy films, Clooney fans, very smart people

Bad for: those who are confused or frustrated easily, people bothered by violence, people who ask too many questions

The Gallery
The Economist: * *
The Film Maker: * * *

Ratatouille (2007)

2007-12-18T09:55:00.000-08:00

* * * * *

Ratatouille is a success because like its main character, it never gives in. Disney Pixar comes through again with its story about a rat who wants to be a cook, and this may be its greatest achievement. Written and directed by Brad Bird, the story stars Remy (voiced by Patton Oswalt), a rat who aspires to be a chef despite family and peer pressures to stay with the clan and do what is safe. Ratatouille is loaded with allegory, fable, and life lessons but presents them in a fresh and funny way that never follows the beaten path. Another Pixar film enjoyable for both kids and adults, a viewer of any age can relate to the characters and situations in this film and can learn about themselves and others. There is equal doses of touching scenes involving decisions to be made and lives to be affected, and hilarious jokes, one-liners, and uncomfortable situations. Ratatouille never succumbs to gag jokes and never plays down to its intended young audience. The script and animation combine to yield some truly laugh-out-loud scenes and all of the voice-over work is spot-on. Somehow, beyond explanation, Pixar has yet again managed to make this film even more visually stunning than their previous efforts. The animation is remarkable and bring the viewer into a stunningly unique environment that is both engaging and entertaining. What makes this film important is the guts Bird, Pixar, and Disney had to stick to their instincts and make a movie that tackles issues ranging from leaving the family, pursuing goals, going against the grain, resisting peer pressure, and leaving a mark on the world without falling victim to cliche or using a preachy tone. The score sets the scene perfectly and the editing provides a fast-moving, appropriate length film that dashes fable, humor, and art like salt, pepper, and oregano. Ratoutouille approaches real-life issues facing children and adults through the eyes of an animated rat chasing his dream, and results in one of the best animated features of all time.

Good for: kids and adults of all ages, fans of Pixar's previous movies

Bad for: mean people, those afraid to go against the establishment

The Gallery
The Film Maker: * * * *
The Writer * * * * *

I Am Legend (2007)

2007-12-18T09:10:00.000-08:00

* * *

Will Smith's career has been a little unsatisfying. He is a veteran of big budget, box-office smashes, but has yet to become a staple of truly powerful films despite his surprisingly strong acting chops. I Am Legend, the story of the survival of the last man on Earth, had the potential to merge the two aspects of Smith's career, using a big budget to create a popular and meaningful film. For most of the film Smith is the only character on screen, so I Am Legend provided plenty of opportunity for him to shine. For the most part, Smith comes through, elevating a slightly-above average script and mediocre directing to a riveting character study on isolation and despair. As Dr. Robert Neville, Smith plays a scientist trying to find a cure in a post-apocalyptic New York City where he has been the only man alive for years. Except for a few scenes where the Fresh Prince of Bel-Air and Men in Black era-Smith shine through, he raises his game to what may be his best performance. There are several notable scenes that were both acted superbly by Smith and shot beautifully by director Francis Lawrence which truly take on the feelings of loneliness and grief. Lawrence's choice of CGI effects will likely bother some viewers, as nothing CGI is different from any other use of it in the past. But for what may be the first time, the CGI and special effects are not what make this Smith film worth watching. Science fiction fans will be interested by the attention to detail, and the plot isn't entirely predictable. As a whole, the film comes across as one of those cases in which the book was probably better than the movie. For those who haven't read the book, however, Smith has made I Am Legend a fun experience with a decent dose of suspense, humor, and creativity.

Good For: zombie movie fans, sci-fi fans, Will Smith fans

Bad For: people who don't like CGI, people who dislike big-budget films

The Gallery
The Economist: * *
The Surfer: * * *
The Writer * *

I'm Not There (2007)

2007-12-18T08:38:00.000-08:00

* * * *

There are two approaches to disrupting the monotony possessing the current trend of musical biopics; mock the films like the upcoming "Walk Hard" film, or create something entirely and completely different. Todd Haynes has chosen the latter, and with I'm Not There, he has created a film that depicts the life and times of Bob Dylan in a thoroughly non-traditional sense. I'm Not There divides Dylan's life into distinct segments, and each Dylan, or each aspect of Dylan, is played by a different actor. Whereas Ray and Walk the Line reenacted the exact events as they occurred, I'm Not There creates a somewhat abstract image of periods of Dylan's life and the character's and themes of his songs. These include an 11-year old boy, played nicely by Marcus Carl Franklin, who calls himself Woody Guthrie, who may or may not represent the young Dylan striving to make his own image in the shadow of his heroes, and Jack Rollins, played by Christian Bale, who may or may not represent Dylan's rise to fame, treatment by the press, and strange Gospel period. Other actors include Ben Whishaw, Richard Gere, and Heath Ledger who all are captivating as their own piece of what Bob Dylan means. All of the portrayals are about equal, except for the one glaring exception of Cate Blanchett. Her performance as super-star Dylan, the creative genius growing up in front of America in his mid-twenties, is not only legendary, but perfect in its subtlety and honesty and deserving of awards and acclaim. It is breathtaking how completely she captures the essence of Dylan and how effortlessly she becomes a mythic figure. Haynes has both hits and misses in his first widely-released film. Hits include the great soundtrack compilation of Dylan songs covered by a multitude of artists which is great for both the artists and the placement of songs within scenes, the psychedelic feel to the editing, and the mixture of color, black-and-white, and superimposed graphics. Misses include the sometimes too fast and confusing cuts and jumps between characters, and the Behind the Music style presentation of the Christian Bale scenes. The direction, writing, and performances produce a work of art in its own, but those completely unfamiliar with Dylan will almost certainly be confused, and even some Dylan fans will be scratching their heads at times. But the film truly embodies the spirit of Bob Dylan, whose songs and personal life never really went as planned, and could never be read only at the surface, or the same way by more than one person. I'm Not There is an experiment that worked because of the clear devotion of Haynes and the great cast to the legacy and meaning of Bob Dylan.

Good For: Dylan fans, Blanchett fans, people who like art, people looking for something different

Bad For: those who know nothing about Dylan, people looking for a straight-forward story, the easily confused

The Gallery
The Surfer: * * * * *
The Film Maker: * * * *

No Country For Old Men (2007)

2007-12-18T08:00:00.000-08:00

* * * * *

The Coen brothers have done something truly remarkable with No Country for Old Men; they have made a film that is equally funny, original, and groundbreaking as Fargo, and topped it with a more suspenseful, artistic, and bizarre work of cinema. It's not often that great casting, iconic performances, masterful camera work, ingenious editing, and sound-work beyond description come together once in a career, let alone twice as the Coens have now achieved. Adapted from a novel of the same name, No Country tracks a hunter who stumbles across a treasure in the desert and his fugitive-like flee from the senseless murderer to whom it belongs. Josh Brolin, who has had an amazing 2007 with stand-out performances in Planet Terror and American Gangster, turns in the performance of his career as Llewelyn Moss. Brolin's portrayal reveals a man trying to take advantage of what he believes is a once-in-a-lifetime event to change his life, and the personal conflict of morals and values associated with making decisions about his own life and others'. We see Moss as brave, scared, confused, certain, clever, and dumbfounded, as Brolin and the Coens mix the spectrum of emotions through a sequence of unlikely events. Tommy Lee Jones, who has played numerous gritty characters, plays Sheriff Ed Tom Bell, a cop near retirement who is unsure of his place in history and the value of his life to this point. The character is utterly human in relying on habit and past experience to solve problems all while feeling the uncertainty of having done the right thing. Almost anyone who watches the movie will relate to either Moss or Bell, or both. The most memorable character, however, is Anton Chigurh, as played by Javier Bardem. The combination of style, appearance, use of weapons, and delivery of dialogue are fantastic and sinister, and Chigurh is instantly a classic film villain. The Coens, who personally crafted the screenplay and film, pay attention to every minuscule detail, and in doing so create an atmosphere unlike any other. The suspense is so heavy you can feel it forcing you into your chair, and the emotions run so high the sound of a pin-drop could be heard in the theater. This is partly due to the superb sound-work done by the Coens, which is one of the best in that aspect of all time. There is no swelling music; actually, no music at all. No Country is one of those films that leaves the audience talking for days. The Coens leave something left on the table, respecting the audience's judgment and the viewer's role in cinema. The camera work, regular, everyday sound, and performances bring forth all that is needed from this, or any film. Script-writing, direction, and acting unite to create a beautifully twisted piece of art that is likely to be the film of the year.

Good For: all movie fans, fans of the Coens previous films, suspense fans, people who like art

Bad For: people who do not like violent movies, those who like to be told a film rather than presented a film

The Gallery
The Economist: * * * * *
The Surfer: * * * * *
The Film Maker: * * * * *
The Writer * * * * *

Fred Claus (2007)

2007-12-18T07:37:00.000-08:00

*

Four years ago Elf came along and showed that a big-name actor, the right cast, and the right intentions could result in a timeless Christmas movie meant to make kids and their parents smile. Fred Claus has shown that given a star-studded cast, a putrid script, and three weeks, Hollywood can put Christmas presents under a few actors and some cast members' trees. Three weeks may be generous; it looks like it took about a week to make this film. The joke is on the audience here though, as the film is a solid thirty to forty minutes in before the first joke that even elicits a smirk comes across the screen. Vince Vaughn, as Santa's delinquent brother Fred, got paid for being himself, which after ten years isn't so funny anymore. While other high-profile comedians such as Will Ferrell and Steve Carell have shown great diversity and have achieved success across multiple genres, Vaughn is still playing the same character that made him a star in Swingers. Paul Giamatti does play a respectable Santa Claus, but the script is so typical and unfunny that his performance it doesn't matter. Rachel Weisz and Kathy Bates are irrelevant in throwaway roles that someone else could have played for millions less, and Kevin Spacey is surprisingly disappointing in a role you would expect an actor of his caliber to avoid. The plot can be predicted twenty minutes in advance by a 4 year-old on the nastiest Sour Patch Kids sugar high, and is borderline painful for adults. There is nothing clever, witty, or original in Fred Claus, which is based on a premise that had some potential. It is possible to make a family Christmas movie that becomes a staple of the holiday season years after it was made, and it is possible to rob parents of a few hard-earned dollars that could go toward little Bobby's Playstation 3.

Good For: Vince Vaughn fans

Bad For: anyone 3 years of age or older, people who like to laugh at funny jokes

American Gangster (2007)

2007-12-18T06:54:00.000-08:00

* * * *

If you have the balls to name a movie American Gangster, it better be bad-ass. Ridley Scott, who teamed up with Russell Crowe to make another bad-ass movie, Gladiator, partners with Crowe again in Gangster, in a film that lives up to the hype and hits the audience with a .44 magnum blast to the side of the head. Crowe plays Det. Richie Roberts, a workaholic cop fighting through a divorce, studying for the Bar exam, and pursuing New York City's most wanted criminal, Frank Lucas. Scott used Crowe in Gladiator as a bottom-of-the-bucket warrior who used his wit, strength, and honor to rise above oppressive forces. But in Gangster, Scott's breadwinner is Denzel Washington who portrays the cunning, intelligent, ruthless Frank Lucas in his climb from a mindless muscle-man in the New York City crime ring to the king of the drug-trade. We should all be accustomed to Washington stealing the screen, but his chill-inducing turn as Lucas is a highlight in his legendary portfolio. Other noteworthy performances include Josh Brolin who is perfect as a rival cop to Crowe's character, and Ruby Dee as Frank Lucas's strong-willed mother. The film is one of the longest of the year at over two and a half hours, but the plot is constructed smoothly and never seems long. Scott develops the Lucas character so that we see how his personal and professional lives intersect and how his values determine his choice of actions. Unfortunately, the focus on Lucas leaves a little to be desired in terms of Crowe's character, Roberts. Crowe delivers a strong performance, but the lack of depth to support his character leave him standing in the shadow of Washington's menacing performance. American Gangster is clearly the crime film of the year and deserves substantial acclaim just for living up to the hype. The lack of character development separates it from being elevated from a crime hit to a crime classic on par with Good Fellas. And although there are a handful of memorable scenes and lines, the script isn't catchy enough to become a pop culture phenomenon like Scarface. But that isn't necessarily a bad thing, as the twisted side of Frank Lucas never strays from a strangely human element unlike the over-the-top, cartoonish nature of Tony Montana. Gangster captures Washington at the prime of his career in one of the most bad-ass roles in recent memory.

Good For: Denzel fans, fans of crime movies

Bad For: people bothered by violent movies, people who dislike long movies

The Gallery
The Economist: * * * *
The Surfer: * * * *
The Writer * * * *

Black Snake Moan (2007)

2007-11-15T13:45:00.000-08:00

* * *

How often does a film's soundtrack completely overshadow its plot? Aside from an entertaining performance by Samuel Jackson and a wild turn by Christina Ricci, the soundtrack is unfortunately all Black Snake Moan has to offer. The story of a down-and-out young sex addict who is taken in and nursed back to stability by a Bible thumping former bluesman is so over-the-top that even those who are attracted to it for being different will be overwhelmed. Scenes involving a girl chained to a radiator and violent sex driven flashbacks reminiscent of the Exorcist will chase away 90% of the potential audience, and the chance that that remaining 10% will find this film worthwhile due to a remarkably well chosen and executed soundtrack is slim. For those who do stick around for the ride, Christina Ricci is somehow both scorching hot and repulsive as a trailer-raised southern girl on a sex-spiked spiral after her boyfriend leaves to fulfill his service commitment. Justin Timberlake, who plays her boyfriend, seems to have been cast due to his name and not his talent. He doesn't fit into his role at all, takes most scenes beyond where they need to be without any nuance, and overall sticks out like a sore thumb in this dirty, gritty film. Written and directed by Craig Brewer, Black Snake Moan is an entertaining follow-up to Hustle and Flow, but not nearly as good. Where Hustle and Flow surprised many by being an excellent film, Black Snake Moan takes an intriguing premise and brings little substance to the screen. For those looking for a freak show, Jackson and Ricci are more than a good time, but for most the film goes too far in terms of content and time, running at least thirty minutes too long. Buy the soundtrack and fill in the blanks yourself.

Good for: blues fans, Ricci fans, people who go to carnival freak show tents

Bad for: the easily offended

The Gallery
The Surfer: * *

The Darjeeling Limited (2007)

2007-11-05T08:15:00.000-08:00

* * * *

There is no mistaking a Wes Anderson film. His signature style of dark humor and emotional button-pushing is omnipresent in the Darjeeling Limited, and is put to its best use since Rushmore. Anderson wrote the Script for Limited, but Jason Schwartzman, star of Rushmore, subsitutes for Owen Wilson as his screenwriting partner. Wilson is involved, however, as one of the co-stars alongside Schwartzman and newcomer Adrien Brody, who play three brothers reunited in a quest to meet their estranged mother on a revelatory trip through India. Only Anderson could make a good film based on such a bizarre premise, and he has made a solid career out of turning absurd family and personal hardships into comical and revealing stories. Limited is everything the Life Aquatic with Steve Zissou wasn't; laugh-out-loud funny, emotionally accessible, and not over most people's heads. The three stars occupy the screen for most of the film, and bring the script to life just as Anderson would have hoped for. Wilson and Schwartzman are veterans of Anderson's films and portray their characters as one would expect, but Brody is the pleasant surprise. As Peter, the middle brother, he is funny, violent, selfish, pathetic, and sympathetic. Sri Lankan actress Amara Karan plays supporting character Rita in her first major film role and delivers a noteworth performance that is both sexy and troubled. The setting of India itself becomes a character and is captured brilliantly. The contrast of the three financially spoiled but emotionally deprived brothers against the spiritual atmosphere of India and the authenticity of the Indian characters maintains an awkward but entertaining tone against which the odd circumstances occur. Unlike past Anderson films, Limited never seems too long or drawn out and will keep newcomers to his style interested. Although he has made yet another film in the same mold as all of his past works, he is still the only one making these movies. The script is so distinctly fresh and so unquestionably different from anything else that it is hard not to enjoy the films. The combination of humor and tragedy presents a film experience with something for almost everyone. And Anderson's use of slow motion, multiple frames, and repeating soundtrack's add even more unique style to already good dialogue and plot. Darjeeling is not groundbreaking, and it may be more of the same, but every two or three years you get a new version of the same successful formula. The approxiametly ten minute short that preceeds Darjeeling entitled "Hotel Chevalier" includes Natalie Portman in what may be her most sizzling performance.

Good For: Wes Anderson fans, someone looking for something new and different, fans of dark comedies

Bad For: people who don't like unconventional movies, people who are bored easily, people who enjoy comedies for the jokes only

The Gallery
The Film Maker: * * * *
The Writer * * * *

The Heartbreak Kid (2007)

2007-10-19T11:26:00.000-07:00

* *

Once upon a time in the nineties the Farrelly brothers towered together over the comedy realm after directing and producing Me, Myself, and Irene, There's Something About Mary, and Kingpin, after starting it all with Dumb and Dumber, a top ten comedy film of all-time. With comedy legends Jim Carrey and Ben Stiller at their disposal, the Farrelly's seemed destined to create countless classics. Instead, they started off the new century with a series of duds including Osmosis Jones, Shallow Hal, Stuck on You, and Fever Pitch. After using the likes of Jack Black and Jimmy Fallon, the Farrelly's returned to Stiller as their leading man with a script eerily similar in plot and raunchiness to Mary. Unfortunately, the revert back to Stiller doesn't make a difference as The Heartbreak Kid is not nearly as funny and twice as generic, continuing the brothers' cold streak. The plot involves Eddie Cantrow, played by Stiller, and his attempt to finally settle down with one woman at age forty. Malin Akerman plays the Cameron Diaz role and is just as unamusing if not more, but tries harder. Michelle Monaghan is cute but again, not funny, as a girl who catches Stiller's eye, and Carlos Mencia's performance will make you wonder who he knows in the industry how this guy is making a living as a comedian. The only noteworthy performance is by Jerry Stiller as Eddie's father. It's not entirely clear whether the lines are truly comical, or if it's just funny to see an old man say intensely profane things in front of his real-life and on-screen son. Now this isn't to say that there aren't any funny parts. Two or three scenes are laugh-out-loud funny and a few lines are particularly memorable, but the ten minutes of hilarity aren't worth the admission price or your time. Save the Heartbreak Kid for DVD or cable, or rent it from that friend we all have that thought Fever Pitch was hilarious.

Good For: people who like bad movies, obnoxious movie-quoting people, fans of either Stiller, guys who like attractive girls naked

Bad For: critical movie watchers

The Gallery
The Surfer: * *

3:10 to Yuma (2007)

2007-10-19T11:02:00.000-07:00

* * * * *

Remakes aren't often successful, and typically fail at trying to bring a modern twist to a previous work. 3:10 to Yuma doesn't try anything that groundbreaking or currently fashionable, but sticks solely to what made the film work the first time. The addition of Christian Bale and Russell Crowe, two of the best actors avaiable today, was enough of an update. Add in James Mangold as director, fresh off Walk the Line, a stellar supporting cast including Peter Fonda, and some surprising cameo appearances, and 3:10 to Yuma is one of the most enjoyable film experiences of the year. Mangold makes a remake original by employing every cliche of classic westerns until the viewer feels completely immersed in the dangerous, cutthroat atmosphere of the wild west. Christian Bale, who would be cast perfectly in any role, plays Dan Evans, a struggling Civil War veteran family-man trying desperately to make ends meet. When a huge bounty is offered to finally put an end to ruthless outlaw Ben Wade, Evans joins forces to bring Wade to Yuma. Russell Crowe is in full bad-ass mode as Wade and transforms him into a memorable villain both loved and hated. Ben Foster, who may be recognized from HBO's Six Feet Under, steals every scene as Wade's despicable, lunatic sidekick Charlie Prince. These powerful performances, an authentic western score, and the desolate landscapes combine to provide a trip back in time not just to the turn-of-the-century west, but to the fifties when films like this were made. Most directors would throw in a modern soundtrack, excessive violence or choreographed action scenes, but Mangold provides an overload of over-the-top machismo, perfectly timed subtle humor, and classic western shots and angles. The script is genius with amazingly well-crafted dialogue, and intriguing fast-paced plot, and a perfect resolution. Elmore Leonard would be proud of Mangold's Yuma, a respectful, perhaps even better-than-the-original update of a classic film and genre.

Good For: fans of Westerns, any male above age 20, particularly males above age 50, fans of bad-ass villains, people who liked Grindhouse

Bad For: guys who never watched Westerns with their dad, close-minded females

The Gallery
The Economist: * * * *
The Surfer: * * * * *

The Lookout (2007)

2007-10-19T10:38:00.000-07:00

* * *

The suspense-thriller genre involving mentally handicapped protagonists is beat. Memento and The Score, and dozens more have eliminated the "wow" factor of an actor playing an altered mind state in a pressing situation. The Lookout is no different, casting Joseph Gordon-Levitt, known from Third Rock from the Sun, as a young man trying to get his life back together after a deadly car accident. Struggling with simple daily life as a result of brain trauma, Chris Pratt tries to get his future on track both socially and professionally. The suspenseful twist comes courtesy of Gary Spargo, an older guy within the small town who hopes to rob the bank Chris works at. The catch is that Gary needs Chris to pull of the heist. Gordon-Levitt is impressive as a from-the-mold character and personifies the difficulty of having a malfunctioning mind. The supporting cast is just as impressive with notable portrayals by Matthew Goode as Spargo, Isla Fisher as Luvlee, and a handful of other characters that were clearly carefully selected. Jeff Daniels stands out as Pratt's blind friend, another cookie-cutter role. A heist involving a vulnerable, recovering mental patient and his blind sidekick plainly show the script is a little lacking in originality. Veteran screenwriter Scott Frank, who penned screenplays for Minority Report, Get Shorty, and Malice, steps into the director's chair for the first time and is somewhat successful. The Lookout keeps you on the edge of your chair for a few pivotal scenes and touches deep in others, but for the most part you know what is coming. Great acting can only take a lousy, rehashed script so far, but the skill shown in selecting an appropriate cast may earn Frank some attention toward his follow-up.

Good For: fans of heist films, Isla Fisher fans, people who like psychological thrillers, Jeff Daniels fans

Bad For: someone looking for something new, people who get frustrated easily

United 93 (2006)

2007-09-04T17:06:00.000-07:00

* * * * *

United 93 may be the most important film of the 21st century to date. Many will say that, because of how difficult it is to watch, this film is not for everyone, and those people are wrong. United 93 is a thoughtful, painstakingly effective portrayal of the events of September 11, 2001, particularly United flight 93 which crashed into a field in Somerset, Pennsylvania. Directed by Paul Greengrass, known for parts 2 and 3 of the Bourne series, the film employs no well known actors and many engineers, officers, and various personnel playing themselves. The direction is phenomenal as every single scene captures the raw emotion and intensity of the bizarre sequence of events. The casting of little known actors prevents the viewer from being star-struck, and eliminates the feeling of watching an actor in costume. There is no swelling, pulsing, sappy Hollywood score to tell the viewer how to feel because the emotions are right on the screen. The frantic editing and documentary-like cinematography create a window into how different people from all angles felt and acted throughout the events. Aside from the technical and artistic brilliance, United 93 is such vital film because of its presentation. The complete neglect of Hollywood techniques and marketability as a film leave behind truth and reality. This wasn't meant to be enjoyable but a chronicle of a terrible event, life lost, indecisiveness under pressure, and the sheer courageousness of humans fighting evil, grasping for their lives. A film like this could only be made about an event as tragic as 9/11, and no other film about 9/11 should ever be made. It may be too soon after the event for the brilliance of United 93 to sink in, and the fact that it was nominated (without winning) only two Academy Awards is an embarrassment to the Academy. In a country full of media and political bias divided along ideological lines, it is refreshing and necessary to take a step back and understand what happened, why it happened, and honor the life that was lost. This movie is a depiction of fact without any opinion, spin or twist. United 93 is a groundbreaking accomplishment and a landmark achievement in film that must be watched.

Good For: everyone

Bad For: overly emotional people

The Gallery
The Economist: * * *
The Film Maker: * * * * *
The Writer * * * *

The Birdcage (1996)

2007-09-04T16:42:00.000-07:00

* * *

The Birdcage, like the club it is named after, is a fun time for the night but just something you do and forget about the next morning. Directed by Mike Nichols, the Birdcage is not as strange or subversive as Closer but flamboyant and charming. Robin Williams and Nathan Lane star as a gay club owner, Armand, and drag queen, Albert, who together raised Armand's son Val. When Val falls in love with Barbara Keeley (Calista Flockhart), the son of right-wing politician Senator Kevin Keeley (Gene Hackman), Armand and Albert agree to act as if they have no relationship for the weekend as to not scare away Val's fiancee's family. Williams and Lane are hysterical when on screen together and clearly had a great time improvising with the script. Hank Azaria, known primarily for his many characters on the Simpsons, steals the show as the couple's butler Agador. Nearly everyone line spoken by Azaria is side-splitting and when he, Williams, and Lane are on the screen, watch out. Unfortunately, the good comedic acting, and acting in general, stops here. Hackman and Flockhart put in very average performances and Dan Futterman is sub-amateur as Val. The Birdcage screenplay was adapted from a Broadway show, so there was likely little room to make significant changes and retain authenticity. The film does very little to address actual issues, and the few scenes involving meaningful dialogue are few are far between. Gay rights, homophobia, and tolerance and intolerance are briefly skimmed across and the relationships between characters are not well developed. For these reasons the Birdcage is more fun than it is important and more silly than memorable.

Good For: watching after a few drinks, ladies night

Bad For: homophobes, Larry Craig

The Gallery
The Surfer: * * * *
The Writer * * * *

City of God (2003)

2007-09-04T16:18:00.000-07:00

* * * * *

City of God is one of the rare movies that is both entertaining and disturbing. If this film was a baseball player it would be a five-tool player, which means it has something for everyone. An urban drama about drugs and poverty, City of God chronicles a teenager's struggle to survive the slums of Rio de Janiero. The cast is almost entirely composed of amateur actors, and is narrated by Alexandre Rodrigues as Rocket, the main character. Fernando Meirelles directs and with genius combines style and purpose to create a unique film experience. The editing and cinematography are both top notch as multiple story lines and characters are interwoven into a fast-moving but deeply focused film. What makes City of God different from most urban dramas is the honest portrayal of how violence and poverty affect the development of children and young adults. The film is bleak but not without subtle bits of humor. It is this interjection of humor that allows the viewer to know and feel the young character's struggle. There are no Hollywood subplots, sappy plot twists, or exploitations of sex or violence. City of God beautifully shows a life of danger and desolation and how difficult it can be to make it out. But there is no happy ending. The film's veracious perspective of a cyclical pattern of violence and turmoil beg the question of what can be done to make changes.

Good For: genuine film fans

Bad For: those who can't read subtitles, people who liked Rush Hour 3

The Gallery
The Economist: * * * * *
The Film Maker: * * * *
The Writer * * * * *

Mean Girls (2004)

2007-09-02T10:40:00.000-07:00

* * *

Like far too many movies, Mean Girls comes out of the gate firing but halfway through loses steam and crawls across the finish line. The first forty-five minutes is entirely fresh, funny, and honest; the second forty-five is stale, bland, and cliche. This is a teen comedy, so the acting is nothing more than should be expected. Lindsay Lohan stars as Cady, a girl trying to fit into a new school and wade through the cliques and hierarchy that exists in a modern high school setting, and Rachel McAdams co-stars as Regina, the queen of mean. No individual performances are distinctly funny aside from SNL vets Tim Meadows as the high school principal and Amy Poehler as Regina's mother. What makes Mean Girls a success is Tina Fey's script. The film is brutally honest in portraying high school age girls and the high school experience and is entirely unique in this respect. The first half of the film is a no-holds-barred, hilarious perspective on shallowness, frivolousness, and superficiality. Almost anyone who grew up in the 90s and 00s personally knows these characters, some better than others. Poehler's portrayal of the tragically pathetic mother of the popular girl is written and performed perfectly. But, sadly, halfway through the movie Mean Girls begins to fall down the hill it climbed so bravely, and like a cliche-snowball builds and builds to the size of Lindsay Lohans coke lines. In an attempt to churn the humor into morality, Fey falls into every trap, using plot lines that have been beaten to death. Mean Girls has more than enough memorable quotes to be worth watching, but also more than enough rehash from all other teen comedies to be shut off halfway through.

Good For: fans of teen comedies, girls of all ages

Bad For: 99% of the male population

The Gallery
The Economist: * *
The Film Maker: * *

Say Anything (1989)

2007-09-02T09:58:00.000-07:00

* * *

Say Anything could be considered a teen movie classic for being one of the first of its kind, or a film travesty for inspiring the generation of terrible teen movies that followed. With Say Anything, Cameron Crowe became the first writer/director to use the teen romance/comedy as a platform to genuinely showcase the divergence within society known as Generation X. Released in 1989, the film start John Cusack as a confused post-high school graduate and his chase after an academic superstar and soon to be high school graduate played by Ione Skye. Before even mentioning any other cast members, it must be made clear that the only performance even worth noting briefly is Cusack; the acting is definitely not the strong point of this movie and at times is painful. Cheeseball performances paired with an even cheesier 80s-synth score create the typical atmosphere you would expect from an 80s film starring teenagers. Crowe's writing, however, pushes through the cheese at some points to cast light on relevant issues. The central theme is the confusion of which path to follow to adulthood that many 17-20 year old's experience. Lloyd, Cusack's character, struggles between joining the army, like his father, and becoming a professional kickboxer all while trying to coax a girl and her father. Although this may be a bit of a stretch, the dilemma of tradition and safety versus breaking the mold all while worrying about creating an image that will scare away others is presented surprisingly effectively through Cusack's performance. The side-plot involving John Mahoney (the dad from Frasier) as Diane Court's father seems unnecessary and the ending isn't particularly illuminating, but many of the scenes seem honest and real; much of the film could have actually happened. Say Anything should never surpass the Breakfast Club in terms of classic teen dramas, but does contain its fair share of memorable quotes and scenes, especially Lloyd holding the boombox over his head. For those who can look through the cloud of sappy 80s-ness, Say Anything will be a somewhat enjoyable experience.

Good For: teen comedy/romance fans, John Cusack fans, 80s movie fans, fans of Cameron Crowe

Bad For: anyone older (at heart) than 20

The Ice Harvest (2005)

2007-09-02T09:56:00.000-07:00

* *

Is the Ice Harvest supposed to be funny? dark? thrilling? stylish? funny? Considering a cast headlined by John Cusack and Billy Bob Thorton and direction from Harold Ramis, the Ice Harvest should be better than it is. The film attempts to be too many things at once without being really good at anything. A lawyer and strip club owner played by Cusack and Thorton, respectively, attempt a heist on Christmas Eve and madness, or dullness, ensues. The film takes place in one long night and involves a cast of shady characters strangely interacting with each other. There are a few interesting scenes of dialogue with both Cusack and Thorton including one that involves a man in a box. The only supporting actor worth noting is the typically over-the-top Oliver Platt who is surprisingly entertaining as a drunken husband and father unsatisfied with life. Richard Russo (with no previously noteworthy works) and Robert Benson (Kramer vs. Kramer, Superman, Bonnie and Clyde) collaborated on the screenplay which comes across as some sort of side project that didn't receive much attention. The plot twists are generally not surprising and by the time there are surprises you don't care about them. It seems as if Ramis had hoped to combine violence and unlikeable characters in a darkly humorous, Tarantino-like fashion but the Ice Harvest doesn't contain any of the wit or intelligence needed for this to work. What was meant to be a film noir-ish heist movie comes across as boring and worthless.

Good For: Billy Bob fans

Bad For: heist fans, those who are easily bored

The Gallery
The Economist: * *

Superbad (2007)

2007-08-21T07:36:00.000-07:00

* * * * *

There is usually one comedy each year that stands out head and shoulders above the rest. 2003: Bad Santa. 2004: Napolean Dynamite. 2005: 40 Year Old Virgin. 2006: Borat. 2007: Superbad. The sick masterminds at Apatow Productions (Anchorman, Virgin, Talladega Nights) have one-upped themselves yet again. After releasing the hilarious Knocked Up earlier this year, they have delivered the comedy of the year; a laugh out loud, endlessly quotable comedy timepiece that is non-stop funny. Superbad, which takes place in one day, is about two high school buddies' quest to party and get lucky one last time (or first time) before graduation. Of course this has been done before (American Pie), but never as funny or honest in depicting normal, everyday kids. Seth Rogen, who starred in Knocked Up and began writing this movie at age 13 in 1995, has brilliantly captured what it felt like to come of age in the late 90s and early 21st century. Jonah Hill and Michael Cera are cast perfect as best friends and deliver vulgar and profane dialogue like the camera just happened to catch one of their real conversations. Rogen, alongside SNL veteran Bill Hader, play two of the most memorable cops in film comedy, but Christopher Mintz-Plasse is the breakthrough star of Superbad. Mintz-Plasse plays Fogell (who has more than one alias), the lovable nerd on a bad streak. These characters encounter some unlikely events that on second-thought aren't that implausible when booze and girls are in demand. Superbad is genius for showcasing average people. There is no Chris Klein, Tara Reid, or Lindsay Lohan, and none of the actors will be modeling between this and their next movie, not even the token hot girls. The dialogue is hysterical but real, and the plot is surprising but mostly feasible. This is a comedy with more wiener jokes than one could even think is possible, but also genuinely delves into insecurity, first time experiences, and the bond between best friends. Anyone can relate to either Evan or Seth, or maybe even Fogell, and most people have experienced some or all of the feelings they portray. The film runs a little long at nearly two hours and could have been ten or fifteen minutes shorter, but the dry spots are only slightly less hilarious than the side-splitting bouts of laughter. Whether you’re in your 20s and watch in rememberance of similar adolescent experiences or in your teens and watch to learn how to be cool yourself, Superbad is the definitive film of what it felt like to grow up in the early 21st century.

Good For: a date, the 16-30 year old demographic, the young at heart

Bad For: those who are easily offended by four letter words and genitalia

The Gallery
The Economist: * * * * *
The Surfer: * * * * *
The Film Maker: * * *
The Writer * * * *

300 (2007)

2007-08-13T09:42:00.000-07:00

* * * *

For all its outrageous violence and gore, 300 is one of the most visually beautiful films ever. Yes, ever. It’s also safe to say that there may not be a more "kick-ass" movie premise than the tale of 300 blood thirsty warriors defending their honor, country, and pride against an army of thousands of savage men and man-beasts. Having said that, visually beauty and kick-ass premise aside, 300 is a fairly average film. Director Zack Snyder deserves all the credit in the world for taking Frank Miller's comic vision and somehow crafting it into a two hour picture. Snyder used a cast of little-known actors but got above average performances out of most all of them. Some acting is over-the-top, but almost everything in 300 is over the top. No actor stands out, but this agrees with the all-for-one mentality of the Spartan army anyway. The battle scenes are executed brilliantly but become a little repetitive. Emotions ride high throughout the film, but are limited to the testosterone fueled feelings of aggression, adrenaline, and power. There is very little beneath the surface of 300, but it was never intended to be an AFI Top 100 classic. Many films today use CGI, in fact, way too many, but there may not be one that has used it more attractively and effectively than 300. The out-of-this world experience of 300 will hit a grand slam with some audiences and strike-out with others. But make no doubt about it, 300 will definitely strike out swinging.

Good For: fans of war movies, men drinking beer, CGI fans

Bad For: squeamish viewers, art-movie types

The Gallery
The Economist: * * * *
The Surfer: * * * *
The Writer * *

Easy Rider (1969)

2007-08-13T09:11:00.000-07:00

* * * * *

Easy Rider has all the ingredients needed for a classic; groundbreaking direction, genius editing, thoughtful acting, and a killer soundtrack. Nearly 40 years from its release, the definitive film of the counterculture movement of the 1960s still feels as beautiful and shocking as it did during the summer of Woodstock, Vietnam, and the Manson family killings. The brainchild of writers/co-stars Peter Fonda and Dennis Hopper, the film details two rebels cashing in on a big score, traveling from LA to New Orleans in the search for Mardi Gras and the American Dream. Hopper's direction is phenomenal, especially considering the work he followed Easy Rider with. It is difficult to think of a movie that more artistically presents the natural landscapes of America. Hopper's acid trip sequence is as memorable as it is horrifying and must surely represent the most genuine visual reproduction the sensation. The film is purposefully slow in pace giving the viewer the true feel of a road trip. The acid-flash feel of the editing is so unique that Easy Rider may have been the first and only film since to use it. Hopper and Fonda completely embody their characters, but Jack Nicholson steals the show in his first major performance as the lawyer George Hanson. Nicholson's character is one of the most memorable in film history as he delivers carefully crafted lines with authenticity and distinctiveness. The soundtrack becomes a character itself as Easy Rider was the one of the first movies to take advantage of using previously recorded popular music, rather than a composed score, to color the action. The tracks are not only classics but fit the imagery perfectly. But what makes Easy Rider truly legendary is the layers of artistry it presents. Many films today are nice of the surface or entertaining, but Easy Rider is in the select group of films that are deeply thought out bodies of work, in this case glorifying and critiquing a diverse America. Strong characterizations illustrate the polarized America of the forward thinking hippie movement from the conservative backlash that was provoked. The film is full of visual and verbal allegory, metaphors, and symbolism, and the stunning conclusion questions just how successful the counterculture uprising was in changing America. When Peter Fonda's character says, "You know Billy, we blew it," it is one of the most crushing, thought provoking lines in film. Simply put, Easy Rider is a masterpiece that was and is mandatory viewing.

Good For: everyone, fans of road trip movies, artists, those in an alternate state of mind

Bad For: narrow minded viewers

The Gallery
The Surfer: * * * * *
The Film Maker: * * * * *

Hot Fuzz (2007)

2007-08-13T08:49:00.000-07:00

* * *

Hot Fuzz is the 21st century British version of the Naked Gun, but not as good. One of the most critically acclaimed movies of 2007, Fuzz had a lot of hype but does not live up to the billing. This is not to say it is a failure, but an overall funny movie with too much fat on the sides. Simon Pegg, who could stand in front of the camera making faces and be hilarious, and Nick Frost, his sidekick, have proven to be a top comedy tag-team. After Shaun of the Dead, however, Hot Fuzz feels like a bit of a letdown. The story is nothing groundbreaking; an over-achieving cop is transferred to a small town and runs into more trouble than he expected, but the lack of originality in story line is cancelled out by the tremendous death scenes (think Final Destination). Whereas Shaun of the Dead was solidly amusing throughout, many, but not all, of the best jokes in Hot Fuzz will have already been seen in the previews. The direction is as good as any comedy this year and action scenes feel authentic, but are way, way too long. Hot Fuzz loses steam time and again to be rebounded by a good joke, and many of the British jokes will fly right over most viewers’ heads. Fuzz is a solid comedy, which is hard to come by, but nothing special.

Good For: fans of cop comedies, Brits, stoners

Bad For: people who get bored easily, tired people

The Gallery
The Economist: * * * *
The Film Maker: * * * *

The Simpsons Movie (2007)

2007-08-02T14:35:00.000-07:00

* * * * *

Is the Simpsons Movie any different from the television series? Not really. Is that a bad thing? Not at all. The Simpsons is one of the greatest, most consistent television series of all time and fans have been waiting for the big screen version for years. It’s hard to believe how anyone could be disappointed with the feature film; it was worth the wait. The movie version is essentially a 90 minute episode which means a deeper plot and more laughs. Many notable characters from the series appear briefly, but the most important of all reminds us over and over again why we love him. Homer is a bonafide movie star and steals the show. His errors and triumphs as a father, husband, and man are what allow so many people to relate to the Simpsons. The remaining family members each have their time to shine as well, and provide both laughs and insight into the bizarre nature of the family unit. The story itself isn't shocking or groundbreaking, but the writers deserve high praise for delivering countless jokes full of irreverence, irrelevance, sarcasm, and wit all while keeping the story moving at a fast pace. There is absolutely no filler, and like any classic Simpsons episode, there are a handful of lines that are sure to be quoted time and again. The move from small to big screen and a PG-13 rating afforded the writers a little more creative freedom, but there is nothing any kid who watches the series shouldn't see. The fact that little or no profanity, obscenity, or vulgarity was used to make the funniest movie of 2007 shows the creative team’s brilliance. How else can a nearly 20 year-old franchise still feel so fresh? Those just discovering the Simpsons and die-hard fans who have been there from the beginning will love the Simpsons movie which is more than worthy to be on the big screen.

Good For: Simpsons fans, people who laugh at funny things

Bad For: people that suck

The Gallery
The Economist: * * * *
The Surfer: * * *
The Film Maker: * * *
The Writer * * * *

Sicko (2007)

2007-07-24T13:25:00.000-07:00

* * * *

A documentary is difficult to review because there is no acting, nothing really "special" about watching it on the big screen, and no overwhelming sense of creativity or artistry. Documentaries must, therefore, be critiqued for their thoughtfulness, relevance, entertainment value, and truthfulness. Michael Moore, one of the most polarizing figures in popular culture, is hated by one and loved by another. He has perpetuated this characterization by creating films that strongly attack distinct parties, persons, and ideologies, but Sicko is break from the old Michael Moore. For the first time Moore has singled out a problem that everyone in America can relate to because everyone gets sick, or has family that gets sick, and experiences the U.S. health care system. With his typical wit, humor, and ability to pull heartstrings, Moore explains the sad state of the system by showing how we have gotten to where are today, who has suffered along the way, and ideas for change. Whereas in the past his spotlight shined on conservative, right wing politicians and personalities, Moore points that finger at everyone responsible and delivers blows across the political spectrum (one of the hardest hits is aimed at Hilary Clinton, and its a knockout). The combination of touching personal stories and sprinkles sarcasm keep the viewer entertained, informed, and moved. Sicko isn't perfect. Few scenes come across as excessive or unnecessary but the ones that do stand out. In addition, Moore doesn't go too far in showing critiques of universal health care. But these problems are few are far between and don't take away from the relevance or importance of the film. Moore comes across not as an agitator or trouble maker but as a passionate human being trying to figure out how America can be a better place for everyone. Sicko challenges the viewer to consider how such a powerful country can overlook such a significant problem that affects so many people. Moore has raised a flag that should be at least noticed by all Americans.

Good For: everyone with a thinking brain

Bad For: people who cry at movies, the ignorant, the narrow-minded

The Gallery
The Film Maker: * * * *
The Writer * * * *

Harry Potter and the Order of the Phoenix (2007)

2007-07-17T10:29:00.000-07:00

* * *

Is it possible to recreate the detail of nearly 900 pages of source material in a little over two hours? The fifth installment of Harry Potter seems to point toward "no." New director David Yates and new screenwriter Michael Goldenberg, who have done nothing remotely close to the grandiosity of Potter, faced a terrific challenge adapting the massively detailed Order of the Phoenix into a film enjoyable for both those who have and have not read the book. In trying to make the film exciting, scary, action-packed and never a hint of boring, the two appear to have left out what makes the Potter series special; friendships, adolescent confusion, and multitudes of characters interwoven through shared experiences and fascinating dialogue. The film is so fast paced in its attempt to include as much as possible from the book that it feels like visual Cliff notes. There is considerably less acting compared to other Potter films because scenes are rushed and cut short, but what little acting is left has improved tremendously. As has become expected, Gary Oldman is once again a standout as Sirius Black and Ralph Fiennes is haunting as the dark wizard Lord Voldemort. Surprisingly, Radcliffe, Watson, and Grint all turn in their most funny and touching performances as the big three of the film. Radcliffe finally seems like a true actor, and Grint, despite seeing the least time on film of the three, displays subtlety as the hero's best friend. As in all the films, the most underrated actor in the series, Alan Rickman, is perfectly horrifying as Professor Snape. Newcomers Evanna Lynch as Luna Lovegood and Imelda Staunton (from Vera Drake) are some of the few spot-on representations of their literary counterparts. Although the film strays from the book more than any of the previous four, this should not count against it; it must be able to stand as its own for those who have not read the book. It's clear that such a fast pace will not recreate the intricate plot lines found in the book, but it also seems that the movie itself does not provide its own narrative reward for the viewer. With almost zero character development, way over-edited dialogue, and quick jumps in storyline, all that is left is dazzling special effects that would look amazing on the IMAX screen. The dramatic climax involving Harry and a close friend seems to pass by without in an instant, but the final fight scene between Professor Dumbledore and Lord Voldemort is massive and one of the most memorable in the film series. So maybe this is what the fifth Harry Potter movie truly is, more of a thrill ride than an art piece.

Good For: Harry Potter fans, fans of action movies

Bad For: those who have not read the book, those who who have not seen all four films

The Gallery
The Film Maker: * *

Shrek (2001)

2007-07-17T10:12:00.000-07:00

* * * *

Shrek was billed as "the greatest story never told," and may infact be one of the best non-Disney/Pixar animated films. By now everyone knows the story about Shrek, the ogre voiced by Mike Myers, and his unlikely quest for Princess Fiona (Cameron Diaz), and this is a testiment to both the writing and direction. Shrek is filled with both child and adult humor ranging from fart jokes to pop culture references. Although there are few weak points to the film, nothing is as strong as scenes involving both Shrek and Donkey, voiced to perfection by Eddie Murphy. Hearing Murphy completely embody the outlandish Donkey makes one wonder how he has done films like the Adventures of Pluto Nash and, of course, Norbit when he is one of the very few comedians who can be hilarious both dropping F-bombs or saying "poop." Being a fairy tale, Shrek has the typical, sentimental hero rescues Princess from evil Prince storyline, but the Donkey/Shrek combination make what is commonplace seem new and fresh. Memorable characters like the Gingerbread Man get too little screentime, whereas above-average (at best) characters like Lord Farquaad get too much. The visuals, however, are amazing and when combined with an impressive score transport the viewer into what truly feels like a land far, far away. Shrek isn't a landmark film but is the type of movie that can be watched repeatedly and quoted and who doesn't like those?

Good For: kids, families, a date, people who like donkeys

Bad For: mean people, people who don't like donkeys

The Gallery
The Film Maker: * * *

On the Waterfront (1954)

2007-06-26T13:31:00.000-07:00

* * * * *

Most people forty or younger will only recognize one thing about On the Waterfront; the line "I coulda been a contender." Movie fans will have seen the film listed on all-time best lists and some know Marlon Brando is considered the Babe Ruth of acting but don't know why. It’s hard to imagine that any film created over a half-century ago can still have impact on young viewers. One watch of On the Waterfront, though, is like a revelation of why acting, directing, and scoring of films is the way it is today. One can see that each shot, line, acting choice, etc., inspired a film that followed it. The film is more than a history lesson, but the coming-of-age, fight against corruption story of Terry Malloy (Brando) and his decision to testify against the mob which controls the waterfront union. Watch any movie from years before On the Waterfront and it becomes clear that the subtle choices Brando brought to the screen had never been conceived by previous generations of actors. Every scene with Brando is magical, but this isn't a classic only because of him. Karl Malden plays Father Barry, the waterfront's local priest, and is almost as crucial to the film as Malloy. Malden plays a priest in a way that is rarely, if ever, seen on film. Father Barry is a regular person, drinking and fighting with society, but has the courage to stand up against injustice, speak out against corruption and initiate movement toward change. Elia Kazan, also known for A Streetcar Named Desire, created an efficient masterpiece with no fluff; every scene is necessary and overflowing with emotion, beauty, and relevance. It seems that many "classics" are overrated films that are more nostalgic than artistic, but On the Waterfront is everything it is hyped to be and more. The movie transcends Hollywood, popcorn, and DVDs, and saturates the viewer with a complete, powerful film experience.

Good For: anyone who watches movies, a date, to watch with mom or dad or even grandpa/grandma, film buffs, future actors

Bad For: people who can't stand black and white films

The Gallery
The Film Maker: * * * * *

Smokin' Aces (2007)

2007-06-26T13:02:00.000-07:00

* *

Smokin' Aces runs 108 minutes; edit out 45 or 50 minutes and you have a good movie. Trailers made Aces appear to be a fun, stylish action/comedy and the first half of the movie is just that. The second half of the movie, however, completely falls apart leaving an unlikely, unimaginative, and disappointing resolution with heaps of useless violence. The idea of hit men and cops both after a snitch to wipe him out or keep him afloat, respectively, is a good idea that should have worked. Don't fault the actors for the collapse. Jeremy Piven of Entourage fame plays the Vegas showman turned drug dealing gangster wanna-be turned rat. The character seems like a strung out Ari Gold that finally gave up chasing Vincent Chase around and succumbed to women and cocaine, but is that a bad thing? Ryan Reynolds, who plays one of the cops chasing Buddy "Aces" Israel, can actually be taken seriously for decent acting, which surprised me more than any of the plot twists. Ben Affleck, Andy Garcia, and Ray Liotta are all above average characters, and Common and the beautiful Alicia Keys both shine in their first appearances in a major Hollywood release. The story is presented in stylish text, quick cuts and short scenes that provide a fast moving plot. Even the soundtrack is put together well with a mix of old and new selections. Unfortunately, after about an hour the writing begins to fall apart until it is riddled with bullets just like most of the characters in the movie. Writer-director Joe Carnahan, who made the above average crime film Narc, attempts to tie many unrelated characters together and resolve a plot full of holes in the last forty minutes. In doing so, he rips off True Romance, Pulp Fiction, Usual Suspects, Reservoir Dogs, and more while providing absolutely nothing of substance or artistry. Watch this movie for an hour of fast-moving dialogue between interesting characters as they pursue Buddy Israel. About an hour in, shut off the movie and make up your own conclusion. Trust me, it will be more satisfying than the "is that it? who cares?" ending to Smokin' Aces.

Good For: Jeremy Piven fans, drunk people

Bad For: people upset by violence

The Gallery
The Economist: * *

Knocked Up (2007)

2007-06-03T11:31:00.000-07:00

* * * *

There hasn't been much competition, but Knocked Up is the funniest movie so far in 2007. The simple premise of a guy played by Seth Rogen "knocking up" a girl way out of his league is colored with over-the-top raunchy, laugh-out-loud jokes. Rogen is known as the big guy from the 40 Year Old Virgin, and in his first starring role gets the job done but isn't great, and I'm not sure he could star in any film except this which seems to have been written for him. Regardless, because the jokes appear to have been written particularly for him he delivers them perfectly and most of them are made better by a great supporting cast. Katherine Heigl is suprisingly funny for an attractive lead and will draw in the Grey's Anatomy crowd, but Leslie Mann, also in 40 Year Old Virgin, steals the show as the funniest female. Her character is similar to Jeff's wife on Curb Your Enthusiasm as a brutally honest, profane wife of a rich, successful Hollywood husband. Her on-screen husband Pete, played by Paul Rudd, is the movie's best character. Hilarious and sensitive, he provides a laugh almost everytime he is shown with subtle sarcasm and simply great acting. Rogen's crew of stoners include the fat guy, the pervert, the oddball, and the Jesus look alike-blunt of the jokes, and each are equally funny and memorable. As Judd Apatow's follow up to the 40 Year Old Virgin, Knocked Up may be just as funny but less consistent and a little too long at over two hours. Rogen isn't nearly as strong a lead as Steve Carell, but Apatow has shown a knack for selecting great supporting casts. Knocked Up's highs are much higher than its lows and has countless great writing including one at a gynecology appointment which may be an all-time movie line. It's not perfect, but Knocked Up is a great summer comedy that anyone with a good sense of humor will thoroughly enjoy.

Good For: immature people, people who like jokes about weiners, bongs, and the combination of the two, a date

Bad For: easily offended people

The Gallery
The Economist: * * * *
The Surfer: * * *
The Film Maker: * * *

Shrek the Third (2007)

2007-05-20T16:26:00.000-07:00

* * *

Disclaimer: I saw Shrek the Third without having seen the first two, but I think that this provides a better review as to how the movie stands on its own feet. Having seen about half of the computer animated movies that have been released this decade, I was blown away by the visual aspect of my first Shrek experience. Whatever animators the Shrek series is using, hopefully they are getting paid well. The animations look amazingly life-like, and they alone provide an interesting movie experience. The story behind Shrek the Third seems a little cookie-cutter. The king has died, Shrek must find the heir, the heir isn't worthy of being king, a villain takes the throne, madness ensues. What makes Shrek stand out among other animated movies is the amount of immature slapstick humor. There is no shortage of poop and vomit jokes, which I found to be excellent. I could listen to Mike Myers talk in his strange ogre accent for hours (although he still doesn't do the accent as well as Norm MacDonald), and Eddie Murphy doesn't suck as Donkey. Antonio Banderas and Cameron Diaz are both average at best in voicing their characters, and Rupert Everett, Justin Timberlake, and Larry King all fail to stand out as the supporting cast. The Shrek series has received praise for being so different in an industry that produces four and five remakes of the same film and retreads of the same storyline. Shrek the Third, however, seems a good place to bring the series to an end as the story and characters begin to lose their uniqueness. There are no surprises, and the use of many former Disney characters isn't cute or necessary. No one wants to see Captain Hook or Sleeping Beauty again, and everyone wants to see more characters like the wild little Gingerbread Man. I also don’t understand the scoring of the film. How does a Wolfmother song fit into a land called Far Far Away with a frog as king? Unfortunately, like most sequels, part three of Shrek doesn’t appear to live up to its predecessors and shows signs of wear and tear. It doesn't seem necessary at all to have seen the first two Shreks to enjoy the third, and it may be possible that someone who has seen the first two will be more suspect to disappointment. I would recommend, though, that someone who truly enjoyed the first two should take the time to finish the series. Overall, Shrek the Third is funny but not hilarious, and interesting but not captivating.

Good For: Shrek fans, kids, Mike Myers fans

Bad For: sophisticated individuals, mean people

Happy Feet (2006)

2007-05-20T16:02:00.000-07:00

* * * *

It’s not often that a movie can be incredible for children and even reasonably tolerable for adults. Happy Feet, however, employs a typical animated, children's movie storyline but entwines parable, symbolism, and allegory to bring much more value as a film. Will young kids pick up the deeper meanings behind the characters and their actions? Who knows, but if they do notice anything beneath the surface and begin to ask questions, Happy Feet has considerable value. In the Antarctica of Happy Feet, penguins are all born with a song unique to their personality. The main character, Mumble, is dropped while in the egg and is born unable to sing a note but has better dance moves than Emmitt Smith. His striking difference leads to isolation and persecution, and a cast of interesting characters join him on the resulting journey to find acceptance. None of the characters are as funny as the Penguins of Madagascar, but each is much more complex and contribute more to an evocative story. Happy Feet has an A-list of celebrity voiceovers including Nicole Kidman, Brittany Murphy, Elijah Wood, Hugh Jackman, Hugo Weaving, and even Fat Joe, but none are very noticeable. This may be a plus, though, as none of the characters are looked at as a cartoon version of the person doing the voices. Robin Williams voices a few characters and turns in his least annoying voice-over performance since playing the Genie in Aladdin. The only other notable film by director George Miller was the Mel Gibson cult-classic Mad Max. However, the entire production team also created Babe, one of the best films of the 1990s. Although Happy Feet doesn't quite live up to Babe-status, it is similar in that is an entry in the under-12 genre that appeals to an audience of all ages. Happy Feet has received acclaim and criticism for both subtle and blatant messages about issues such as the environment, but it is Happy Feet's depth as a story and talking point that make it something that should be seen by both children and adults. It isn't just another computer animated movie designed to make money at the box office, and has earned a spot in the conversation with legitimate cinema.

Good For: kids, a date, someone babysitting, hippies

Bad For: people who enjoy littering, zoo employees

Fracture (2007)

2007-04-22T11:58:00.000-07:00

* * *

Fracture is somewhat similar to Breach in one way, and similar to 9 out of 10 suspense films in every other way. This movie should be seen for one reason only; the on-screen interaction between Anthony Hopkins and Ryan Gosling. It should be skipped for many reasons, including a terribly unrealistic plot and impossible circumstances, bad acting outside the two stars, and generic direction. Hopkins plays a genius engineer who kills his wife and acts as his own lawyer in court. He is matched up against Gosling's character, William Beachum, who plays an up-and-coming prosecutor in the LA law system. Gosling, who is proving time and again that he is a seriously good actor that is here to stay, holds his own on screen with film legend Hopkins. Beachum is a good character both on script and on film, and many college-age and business men/women viewers will compare him to an over-achieving, charming golden boy they know in real life. Hopkins character Ted Crawford is, suprise, surprise, a genius psychopath. But, fortunately, Hopkins plays the character very well and creates yet another spin on this over-used persona. None of the supporting actors are worth mentioning as good or bad, they are all completely forgettable. There are a few twists and turns that aren't apparent at first and provide an actual mystery, however I was disappointed with the conclusion. Despite everything that won't be remembered from this movie, Hopkins and Gosling are great fun to watch, and its a shame that they didn't have more to work with.

Good For: fans of psycho-genius suspense films, people who like movies about the legal system, people with a crush on Gosling

Bad For: lawyers who can pick apart the conclusion at least an hour early

The Gallery
The Surfer: * *

Grindhouse (2007)

2007-04-22T11:35:00.000-07:00

* * * * *

Grindhouse can be viewed in two ways; Planet Terror and Death Proof individually, or, as it should be, as a complete double feature with segments before and in between the movies. As a double feature Grindhouse runs right around three hours, but unlike grueling three-hour epics, it is split into two films with plenty to keep you entertained during and in between the films. True film fanatics can't ask for a better pairing of modern writers/directors than Robert Rodriguez and Quentin Tarantino. Regardless of your opinion of the two individually, they are two of the few directors in Hollywood with the balls to make groundbreaking movies each time out. And with Grindhouse, they have done it again. The viewer is entirely transported into the 1970s where double feature B-grade horror movies were showing at drive-ins every weekend. From the first frame, the sounds and pictures are 100% genuine retro-exploitation, and it is clear that meticulous attention was paid to every detail. The scripts are sure to provide countless lines that will be quoted for years to come, along with action scenes that will be talked about for days. To get the real taste of Grindhouse, you have to watch the not funny, but hilarious fake trailers that come before and in between the movies. Directed in part by Rodriguez, Tarantino, and Hostel director Eli Roth, each preview is so funny that you will be wishing one of the directors next work actually somehow turns out to be Machete, Don't, Werewolf Women of the S.S., or Thanksgiving. There is a distinction between being different just for the sake of difference, and bringing something new to the table. Grindhouse is genius in giving its viewers a no-holds barred, over-the-top, thrilling trip in the way-back machine. The films can be discussed at-length both as independent works and as a whole, but few people will watch Grindhouse without having a good time. It won't, and shouldn't, win an Oscar, but it will not be soon forgotten.

Good For: a summer night, a date, with friends, horror-movie fans, fans of the directors, adventurous people

Bad For: tight asses, people against film violence, people who like romantic comedies, squeamish people

Death Proof (2007)

2007-04-22T11:19:00.000-07:00

* * * *

Death Proof, the second half of the Grindhouse double feature, is pure Tarantino. Extensive dialogue sets the mood and pushes the plot, and major plot turns are accentuated by action and violence. Death Proof isn't as fun as Planet Terror, but like all of Tarantino's works, it puts a brand-new, unprecedented twist on a thoroughly explored genre, and his new version is just as good if not better than the what has come before. The story revolves around Stuntman Mike, played by Kurt Russell, who preys on groups of females with his death-proof car. The only other well-known actor (other than a Rose McGowan appearance) is Rosario Dawson, who plays Abernathy. She and three friends go to test-drive a Dodge Challenger and encounter Stuntman Mike's death-proof car on some back roads. The movie plays out in two parts; Stuntman Mike's meeting and chase after two different groups of girls. Each part comes with plenty of dialogue that humorously explores each character and plenty of action involving the cars. Just like the B-movie genre Death Proof was made to be a part of, the movie has its fair share of cheesy lines, unrealistic action, and fantastic gore. The acting is top-rate, the directing is always on point, and the soundtrack and visuals create a "what's going to happen next" atmosphere. As an entire film, Death Proof may not be as thrilling as Planet Terror, but it presents something different for part two of the double feature so that you aren't watching the same movie twice.

Good For: people who like action scenes, car junkies, Tarantino fans

Bad For: people who get bored with dialogue, people with weak stomachs

The Gallery
The Economist: * * *
The Film Maker: * * *

Planet Terror (2007)

2007-04-22T09:27:00.000-07:00

* * * * *

A good film will take you out of reality and into a world you haven't seen or heard before. Simply put, Planet Terror is an hour and a half trip to a different time and place that most people under 35 haven't seen or been to. This is the perfect zombie-gore, B-movie, exploitation film. But its not just a remake. Everything about the film is 1970s except the setting and the characters. The plot involves infection with a strange virus and the uninfected running from and fighting the infected, nothing groundbreaking or never-before seen. Unlike anything that has been released in my lifetime, though, this movie is over-the-top everything. Every minute detail has been carefully put in place so that each shot, line, and sound, is authentic. There's laugh-out-loud lines and visuals, cheesy love scenes, unrealistic action sequences, jump-out-of-your-seat scary moments, and the best gore ever captured on film. Every character is perfectly bizarre, including comedian Freddy Rodriguez as El Wray, Josh Brolin as Dr. Block, Jeff Fahey as J.T. the barbeque man, appearances by Bruce Willis and Fergie, and Rose McGowan, as hot as ever as Cherry Darling. Planet Terror is more than just a pretty (or horrifying) visual piece; its a completely overwhelming sensory experience. Robert Rodriguez has created a masterpiece in both direction and writing that hits the bull's-eye over and over again.

Good For: people who like thrill rides, zombie-movie lovers, B-movie fans, someone looking for a good time

Bad For: people with weak stomachs

The Gallery
The Economist: * * *

Prime (2005)

2007-04-15T16:01:00.000-07:00

* * * *

To call Prime a romantic comedy is to banish it to movie wasteland where no normal humans will watch it, especially no males with functioning testicles. But Prime is essentially a romantic comedy; a story that tracks the ups and downs of a couple with bits of humor injected here and there. The difference between this and every other romantic comedy, though, is that this is what a romantic comedy should be. Great acting, a good script, and unique direction. Uma Thurman stars as Rafi, a 37 year-old career woman fresh out of divorce. Meryl Streep plays a psychologist who helps her to cope with the divorce and her surprising new relationship with 23 year old David, played by Bryan Greenberg. Thurman is as hot as she has ever been, and one can understand why a 23 year old would be in love with her character. Streep is fantastic as an eccentric, dominant, Jew who can help her patients handle stress but cannot deal with her own. Thurman and Streep are the only actors most people will recognize. Greenberg is okay as the male lead but seems to be a better fit for TV, which is what most of his career has been besides Prime. The film was written and directed by Ben Younger, whose only other major film was Boiler Room with Vin Diesel. The script is intelligent, funny, and has a modern feel that is very fresh. I'm anxious to see what is next for Younger. Although it wasn't a box office hit, Prime stands out among the trash heap of Romantic comedies. Sandra Bullock was originally slotted to play Thurman's character but left the film after the director refused to make major changes in the script. It makes me wonder if Bullock does this to every movie she stars in. Her last ten films have been garbage, and the film she leaves due to creative differences is a smart, unique entry in a terrible category of movies.

Good For: a date, women, people with a crush on Uma Thurman, people in relationships with odd age differences

Bad For: rednecks, people who like action movies

Blades of Glory (2007)

2007-03-31T11:05:00.000-07:00

* * * *

If anything, Blades of Glory proves, once and for all, Will Ferrell is the funniest person in the world. Ferrell takes a movie that has no business being funny and fills it with scenes and quotes that will be rehashed over and over again. The trailers for the movie tell you everything you need to know about the plot, there isn't a single surprise or twist waiting for you in the theater. But unlike what I, and likely many people may thought going in, all of the jokes are not in the preview. In fact, Blades of Glory has some hilarious, dirty, adult jokes, and not all of them are Ferrell's. Napolean Dynamite, aka Jon Heder, is basically a feminine Napolean on skates. He doesn't bring anything new to the table, but with Ferrell by his side, this is his best non-Napolean performance. Amy Poehler, a loud-mouth who is rarely funny on Saturday Night Live, finally is worth a laugh. She and Will Arnett play a brother-sister skating duo that make incest funny again. Jenna Fischer, otherwise known as Pam from the office, plays a role somewhat similar to Pam. She is not quite as sarcastic, but be careful eating popcorn when she talks. She has the funniest line of the movie. Craig T. Nelson doesn't really do anything spectacular, but his somewhat serious role allows Ferrell's role to be that much more ridiculous. The storyline is no different than any other sports comedy, that being introduction to the characters at their height, a fall, and a rise back to the top met with a resistance that almost takes everything away. The difference between this and other sports movies is the writing. I expected a lot of "falling down, knocking things over" type humor, and there is a fair share. But what makes this movie a must-see is the hilarious lines that hit you over and over. It's not as funny as Anchorman or Talladega Nights, but it is in the same ballpark, and Ferrell fans will be pleasantly surprised.

Good For: immature people, Ferrell fans, a date, sad people

Bad For: old people

The Gallery
The Economist: * * *
The Surfer: * *
The Film Maker: * * *

The Number 23 (2007)

2007-03-10T09:07:00.000-08:00

* *

While I was watching The Number 23, I was trying to decide if it was a one or two star movie. Then, I decided that it maybe a two star film. One plus two; three. The number of stars I gave it; two. Two, three. 23. If reading that made you ill, then you will hate The Number 23. If you can stand to watching connections like that be made for 90 minutes, The Number 23 may be your favorite movie of all time. Joel Schumacher, who has made other terrifically average movies such as Phone Booth, Batman Forever, and Batman Returns, has created yet another mediocre-to-bad thriller that is more confusing than anything. Jim Carrey stars as a man obsessed with the number 23 and its bizarre connection to almost everything in the world. Like almost all of Carrey's films, he is fun to watch whether funny, dramatic, or crazy. This is clearly not the dramatic role he played in Eternal Sunshine of the Spotless Mind, and comparing the two is a mortal sin, but watching him in his emo-haircut go insane will probably be enjoyable for the casual movie watcher. Virginia Madsen (who looks very good with dark hair) also collected a paycheck for this movie and is as average as she could get. Although neither her nor Carrey are terrible, the writing for this movie was dreadful. The lines were written and delivered like they were meant for a high school or junior high play. This doesn't seem to be a fault to the acting though, as every character delivers their lines with the same bland, fake tone. Despite all of this, the film keeps you at least somewhat interested until the plot twists start to unfold. At this point, the Number 23 reverts into every other thriller with the same, predictable explanations, bringing nothing new to your movie-watching experience. As a thriller, you aren't too scared or thrilled, and as a mystery, you're more confused than intrigued. But for the average movie watcher, the Number 23 is something to do on a Friday night. (The number of words in this review; 348. 8 divided by 4; 2, which leaves 32. 32 backwards; 23.)

Good For: mindless movie watchers, general suspense/thriller fans, a date

Bad For: easily confused movie watchers, obsessive compulsives

The Gallery
The Economist: *
The Surfer: *

The Doors (1991)

2007-03-10T08:45:00.000-08:00

* * *

The Doors is a great musical, and an okay film that is enjoyable for a select audience. Oliver Stone recreates the sixties with a vivid atmosphere of peace, love, and the Vietnam War, but like almost all his movies, it is also filled with explicit symbolization, over-the-top acting and story lines, and truth-stretching. Because of this, Stone fans will love the Doors as a quintessential Stone film. Others may be confused or frustrated by scene-after-scene of Val Kilmer as a destructive drunk. Regardless, Kilmer's performance as Jim Morrison may be the best of his career. At times it is scary how much he resembles the Lizard King, and the great similarity in looks helps you to truly imagine Morrison on the screen. He captures the poetic genius of one of rock's most legendary frontmen, and also portrays a rambling madman. In the late sixties and early seventies, Morrison was both the very essence and a complete waste of life, and Kilmer shines in both roles. Kyle MacLachlan, now more well known for parts on Sex and the City and Desperate Housewives, is very good as Ray Manzarek, the keyboardist for the Doors. His relationship with Kilmer's Morrison produces some of the more memorable scenes. Also worth mentioning is Meg Ryan, whose role as Morrison's most steady love interest is far from anything she played in any of her nineties romantic comedies. She holds her own as the sex and drug crazed girlfriend. For rock fans, the Doors is worth watching for the music alone, as all of the Doors prominent songs (except Peace Frog) are included. The live performances are where Kilmer and Stone shine brightest. Kilmer reproduces Morrison's eccentric stage act almost flawlessly, and Stone recreates the exotic atmosphere of a Doors live show perfectly. Unfortunately, Stone gets a little carried away with the music and abandons dialogue for a good part of the film. Watching more of Morrison speaking with his philosophical quips and deep, profound thoughts would have been nice. Those who can't catch the vibe of the music may be ready for Morrison to pass away in his bathtub after two hours of drunken mistakes and abuse.

Good For: Doors fans, Stone fans, stoners

Bad For: alcoholics, spouses of abusive alcoholics

The Gallery
The Surfer: * * * *
The Writer * * * *

Idiocracy (2006)

2007-03-04T13:41:00.000-08:00

*

Throughout the nineties Mike Judge proved he could make versatile comedy across multiple genres. Office Space was a cult classic, smart, and satirical. Beavis and Butthead was the complete opposite, the ultimate display of immaturity that used its stupidity as genius comedy, and King of the Hill was a mainstream comedy that is still in syndication. Idiocracy, which has garnered a respectable cult following as it has lingered in Hollywood purgatory for years, is none of the above. Absolutely nothing is smart about Idiocracy, the stupidity is not funny, and after not being released in theaters or distributed by any major film company, it is unlikely to ever gain a mainstream audience even on DVD. The premise of Idiocracy is in itself brilliant. Joe Bauers, played by Luke Wilson, is the most average human being on earth. As part of a U.S. army experiment he is frozen to be re-thawed a year later, but actually is not rethawed until over 500 years later. In the distant future, 500 years of evolution has selected for an incredibly stupid human race and Joe finds himself as the smartest human being on earth. Maya Rudolph plays a prostitute who is also a part of the experiment. Wilson and Rudolph are painfully not funny especially when they are on the screen together. Dax Shepard plays one of the humans of the future and talks in an awful future "hick, ebonics, valley girl" combination accent that is way more annoying than funny. Where Office Space was the perfect satire of life in the cubicle, Idiocracy completely whiffs at the chance to poke fun at the increasing stupidity of the human race. Occasionally there are a few fart jokes or plays on four letter words that get a chuckle, but as a full length feature, the film falls flat on its face. I'm not sure what Judge was thinking, and I see myself for the first time siding with the film companies. This should not have been released and needed major work, probably a hit of the reset button. Its a shame such a great idea is wasted on a terrible plot with a funny joke every 30 minutes.

Good For: people who liked Norbit, Beavis and Butthead (themselves)

Bad For: people with a double digit IQ, people with hobbies/friends/relatives

The Gallery
The Economist: *
The Film Maker: * * *

Zodiac (2007)

2007-03-03T10:25:00.000-08:00

* * *

Zodiac is a hit-and-miss movie, as its three star rating states, but in a movie this long, thats a significant amount of misses, and the misses overshadow the hits for the most part. Based on the true story of the Zodiac killer, Zodiac is more of a chronicle of how detective work is done than a jump-out-and-scare-you, hold you to your seat thriller. The "based on a true story" factor is one of the strong points of the movie, as it is interesting and entertaining to watch how such a bizarre turn of events over such a long period of time could happen. You are led down several paths, but unlike most films, all of the characters are right along with you with either no idea who the culprit is or sure they have him when it is in fact wrong. The directing is done quite well, as you feel transported right into the late sixties. The style of the set and wardrobe are completely authentic and the soundtrack could be a #1 album. Although David Fincher creates a genuine atmosphere for a true story to take place, fans of his other great films Seven and Fight Club will be disappointed. The biggest miss of this film is the length; it is entirely too long. There is a nearly forty-five minute stretch of the film where the main character, Jake Gyllenhaal, is not on camera. The acting is very average with no stand-out performances. The previously mentioned Gyllenhaal is not bad but not great as Robert Graysmith, who tirelessly researched the Zodiac killer and authored the book Zodiac. Robert Downey Jr.'s performance is very, very entertaining, but does not hold much artistic merit. He is memorable as an eccentric coke-snorting drunk Paul Avery, but is this any different from the real life Robert Downey Jr.? His wardrobe, including some late sixties dress-shirt-scarf combinations, is without question sweet. Mark Ruffalo is completely forgettable as Inspector David Toschi. John Carroll Lynch, who many will remember as the lovable Norm Gunderson from Fargo, is only on-screen briefly but performs well as a possible suspect. Another performance worth mentioning is Donal Logue, the taxi driver in early nineties MTV commercials and the star of the former Fox series Grounded for Life, as Ken Narlow. Unforunately, the small roles outshine the stars in the film, and even so only by a little. As can be said for Robert Downey Jr.'s performance, the film is entertaining, but is it really art? Or even good film? For a suspense movie, this is far above the usual five Hollywood suspense thrillers that are released each week, and will find a certain audience. With more editing, a more concise story line, and a stand-out performance, it would be a must-see.

Good For: suspense fans, a date, people who like movies based on truth

Bad For: people who can't hold their pee well

The Gallery
The Economist: * *
The Surfer: * * * *
The Film Maker: * * * *

Babel (2006)

2007-03-03T09:48:00.000-08:00

* * * *

Babel is a moving film about the inter-connectedness of the world we live in, but the most important message it conveys may be the importance of recognizing the equality of individual people across the globe. An ensemble performance with a huge cast, Babel is a scene-jumper which weaves multiple story lines together that don't form a whole until the film's last ten minutes. The plot may be difficult to follow for some. The scenes not only jump between characters but also back and forth in time, and it takes some time to understand where the film is at. The acting is great across the board as it shows how people react to incredibly demanding situations. Brad Pitt and Cate Blanchett are the big names, and both perform well in their roles, but it is the little known actors who make Babel a success. Adrianna Barraza and Rinko Kikuchi are both phenomenal as a Mexican housekeeper and Japanese school girl, respectively. Both had extremely difficult roles and are nearly flawless in every scene. Kikuchi, whose character is deaf, does not even speak a word and still steals every scene. Her performance is a model of what acting should be and was robbed of the Oscar she was nominated for. One of the story lines involves an Arab family whose names as actors I do not know, but the two young boys and the man who plays their father were tremendous and should be recognized. The score is fantastic, one of the best of 2006, as it creates a distinct atmosphere for each scene, and the visuals that it complements across multiple cultures (a Japanese rave, rocky wasteland of the Middle East, a U.S. desert land) are breathtaking. The acting rarely seems forced as well as the point it is trying to get across, and this may almost be to a fault. The directing is great, but it seems as if Alejandro González Iñárritu was trying to whisper his message rather than shout it or even say it with authority. Regardless, I am very anxious to see what he comes with next. Overall, Babel has great acting, an intricate storyline, and an important message. Those are three things you rarely find in movies these days.

Good For: people who like socially conscious films, people interested in many cultures, fans of little known actors

Bad For: people who can't read subtitles, people upset by full frontal nudity, ethnocentrists

The Gallery
The Economist: * * *
The Surfer: * * * *
The Film Maker: * * * * *

Half Nelson (2006)

2007-03-03T09:08:00.000-08:00

* * * *

There is nothing great about Half Nelson, but there's nothing wrong with it either. It is a dark, honest drama about a drug addict school teacher and a student he forms a close bond to. The film is very quiet with no pounding score to accentuate the emotional scenes and short, terse dialogue with quick cuts. Throughout the movie you get a sense that the director was trying to create a feel of reality with scenes that get right to the point without sugar coating. You aren't told when or what to feel, and the acting alone gets the point across. Ryan Gosling's performance as Dan Dunne was worthy of an Oscar nod (but not a win). His character is "getting clean" from past drug use but transforms from a teacher who dabbles with drugs at night to a man whose life is nearly destroyed by substances. Shareeka Epps more than holds her own as Drey, a student in Dunne's history class, and we will surely see her pop up in more films in the near future. She portrays a young girl trying to stay straight with a crack-addict teacher, a mother constantly getting the double shift, and neighborhood dealers trying to get her to run dope. It's the connection between Epps and Gosling which makes Half Nelson worthwhile. The film exposes the harsh reality of what can happen to someone who can't get loose from the hold drugs place on them. This is clearly an independent film that doesn't use any of the Hollywood cookie-cutter techniques to make a statement. This is both its flaw and its bright point, as general audiences may become bored at some points. Half Nelson isn't for everyone, but its honest illustration of drug addiction and its effects make it worth watching.

Good For: independent movie fans, people who like movies about the inner-city, someone interested in drugs

Bad For: people who get bored easily, crack-cocaine addicts

The Gallery
The Film Maker: * * * *

The Deer Hunter (1978)

2007-03-01T13:13:00.000-08:00

* * * * *

There are great movies, and then there are the ones that change the way you look at other movies, society and the world. The Deer Hunter, simply put, is one of the most powerful movies, start-to-finish, of all time. It chronicles the story of a few small-town guys from rural Pennsylvania that are swept into the whirlwind that was the Vietnam War. Unlike other Vietnam movies which focus on the violence and corruption, The Deer Hunter illustrates the devastation a war imparts on not only an individual but an entire town. Clocking in at an epic three hours and two minutes, the film shows a group of guys' daily life from work, to a bachelor party, to a wedding and how it all changes when they go to and return from Vietnam. Robert Deniro plays the lead role of Michael and is in his prime as one of the greatest actors ever to appear on the screen. He is flawless as the staunch, but softspoken leader of the group. Christopher Walken turns in a performance most people from this generation have never seen from him, as Nick, a powerful supporting character and best friend of Michael. Meryl Streep, another legend of the big screen, is excellent as is the rest of the gang including John Savage and the late John Cazale. The Deer Hunter includes a few of the most memorable scenes I can remember, such as an emotionally rivetting game of Russian Roulette that showcases some of the most phenomenal acting I've ever witnessed. The acting is clearly top-notch throughout, but the directing is what sets the Deer Hunter apart from other films. There has never been such a vivid portrayal of the impact war has on a community. The characters in this film could be anyone; the kid next door, your best friend in high school, or even you. War changes the characters deeply, and parallels can easily be drawn to what war has done to communities in the present time. The conclusion is heartbreaking but extremely meaningful, and the three hour film will leave you exhausted. However, this is what good films are supposed to do; stimulate your deepest senses and pull at your heart strings.

Good For: people who like epic movies, fans of socially conscious films, Best Picture fans, Vietnam film fans

Bad For: people who can't enjoy long movies, people with no emotions

The Gallery
The Film Maker: * * * * *
The Writer * * * * *

Breach (2007)

2007-03-01T12:43:00.000-08:00

***

Yes, Breach is another one of those government conspiracy movies. It is the true story of "the greatest security breach in U.S. history," directed by Billy Ray who had a minor hit with Shattered Glass a few years ago. Let's get this clear from the start; this film would easily, without question be a one or even zero star movie if it wasn't for the extraordinarily disturbing performance by Chris Cooper. Cooper's portrayal of Robert Hanssen, the conspirator, is dark and horrifying, yet at the same time an every man that earns your sympathy. Ryan Phillipe returns to his pre-Crash form of bringing absolutely nothing to the table. Laura Linney, who is great in both Kinsey and the Squid and the Whale, is tremendously awful as Philippe's boss. Linney is almost always reliable, but every scene she is in is so painful to watch that I question whether the error was on the screenwriter or her acting chops. The director may have had a goal to pack as many stereotypes into one film as possible; foreign wife who takes emotional spousal abuse, christian sexual deviant, powerful yet lonely boss, young guy who will do anything to get ahead, etc. The story has enough twists and turns to keep the casual movie fan interested and the fact that it is based on truth adds another dimension to the story. Regardless, there is no way around it, the only scenes that are even remotely entertaining, or even not laugh-out-loud awful, are the ones including Cooper. Other laugh-out-loud moments include every single scene containing Lumbergh, aka Gary Cole (you going to go ahead and have those TPS reports for us this afternoon?), as Cooper's boss, and Dennis Haysbert, aka the All-State insurance guy. Cooper was good in Adaptation and better in American Beauty, but this is far and away the best I have seen him. Its disappointing that such a terrific performance is marred by almost everything else about the film. Afterward you will either be terrified by Cooper or wondering, Are You In Good Hands? That's All-State's stand.

Good For: people who like government conspiracy/suspense movies, actors in training (watch Chris Cooper), a date (a dark performance and a good laugh), Reese Witherspoon (a good laugh)

Bad For: someone looking for a serious suspense film, Chris Cooper

The Gallery
The Surfer: * * *

Children of Men (2006)

2007-03-01T12:20:00.000-08:00

* * * *

Alfonso Cuaron's last American release before Children of Men was Harry Potter and the Prisoner of Azkaban. Children of Men's storyline of a desolate not-so-distant future where women have been sterile since 2009 is a bit more powerful than Harry's adventures at Hogwarts. This is the most realistic "bleak future" film I can remember with some jaw-dropping cinematography. Clive Owen stars as Theo, a government employee who, by some chance events, must help to protect the first pregnant woman on planet earth in almost 20 years. Owen is suprisingly solid and has established himself as one of "just-below-top-tier" leading men in Hollywood. Michael Caine, mostly known by this generation as Austin Powers' father, plays the hilarious and heartbreaking Jasper, a close friend to Owen's character. The film carries many British overtones as most of the cast is British, and in the film Britain is one of the last remaning safe havens with refugees from around the world flocking into the country. There are many religious and political allegories weaved into the plot, and at times they are difficult, yet a challenge to decipher. The images of terrorism, facism, and immigration are clearly aimed at the unfortunate situations society faces today. As mentioned earlier, the cinematography is breathtaking as Children of Men has some of the most realistic war scenes and terrorist/refugee attacks I've seen. A car attack scene and another in which the camera follows Owen for nearly five minutes without a cut are two notable examples. The film will no doubt have you enticed throughout, and may raise more questions than answers. This is likely a good thing though, as it will have you talking and may be one of those movies you need to watch a second or third time. Although its not perfect, hopefully Children of Men will spark more films of its kind.

Good For: people who like futuristic movies, political theorists, literature majors, people into symbolism

Bad For: unrelenting United States flag-waving patriots

The Gallery
The Economist: * * * *
The Film Maker: * * * * *

Volver (2006)

2007-03-01T11:55:00.000-08:00

* * * *

Penelope Cruz has always been beautiful, has always had a terrible voice, and has always been an average to below average actress. That is until she speaks in Spanish. Cruz is in a totally different realm in Volver, her first performance worthy of attention. Volver, directed by the critically acclaimed Pedro Almodovar, has equal parts comedy and drama. The cast is almost entirely female with little to no camera time for male roles. The women light up the screen, however, in an interesting story of family and death, different from almost anything I have seen. The dialogue is sharp, the visuals are full of color and imagery, and the score has a Hispanic flavor, particularly a scene in which Cruz may or may not sing an emotional, acoustic song. Regardless, she is as hot as ever as the main character, Raimunda, and deserves the nod she received for best actress. Lola Duenas is excellent as Cruz's confused, quiet sister Sole, and Blanca Portillo is memorable as Agustina, the weed smoking, anti-establishment neighbor/long-time friend of the sisters. The film seems to get better each scene as its humor and plot twists take turns keeping you interested. This is the first of Almovodar's films I have seen, but after Volver, I would like to see more.

Good For: a date, women, general movie audience

Bad For: people who can't read subtitles, misogynists

The Gallery
The Film Maker: * * * *

Pan's Labyrinth: El Laberinto del Fauno (2006)

2007-03-01T11:51:00.000-08:00

* * * * *

Pan's Labyrinth will not leave you speechless, because you will be discussing it with whoever is lucky enough to watch it with you. The film captivates you from the first scene until the culminating in a phenomenal ending, one of the best in film history. A fairy tale for adults, Pan's Labyrinth is a perfect blend of reality, fantasy, horror, heartbreak, and magic. The story is told through the eyes of Ofelia, played masterfully by Ivana Baquero and follows her journey in both an imaginary and real world. Beside the groundbreaking performance by Baquero, The cast is highlighted by Sergi Lopez as Capitan Vidal, one of the most evil characters in memory, and a powerful performance by Maribel Verdu as Mercedes. The special effects are some of the best ever created and can be appreciated because they are wonderfully placed and not overwhelming. You will be humming music from the score for days and will hear the theme music in your dreams. Guillermo del Toro has made a masterpiece that illustrates the brutality of war and the innocence of childhood. A fable and a fairy tale in one, this film should not be missed by anyone. A great film initiates discussion, and this one could be talked about for days as it is open to every viewer's interpretation. Everything in this film; the cast, direction, cinematography, score, effects, and script is memorable.

Good For: everyone who likes movies, especially great ones

Bad For: people who can't read subtitles, people upset by realistic blood/injuries

The Gallery
The Economist: * * * * *
The Surfer: * * * * *
The Film Maker: * * * *
The Writer * * * *

Stranger Than Fiction (2006)

2007-02-28T10:37:00.000-08:00

* * * *

Will Ferrell is the new Jim Carrey. Except better. Ferrell has proven to be more consistent with Old School, Anchorman, and Talladega Nights (not to mention countless cameos) than Carrey ever was in his prime during the 90s. Now, with Stranger than Fiction, Ferrell has scored a great performance in a dramatic role just as Carrey did with the Truman Show. Marc Forster, the director of Finding Neverland, has created a movie that appeals to almost anyone. As can be expected from Farrell, there are scenes that make you laugh out loud. But what may surprise you is a plot that twists enough to keep you riveted, and a narrative that tugs at your heart. The great story is brought to life by a phenomenal cast. Maggie Gyllenhaal lights up the screen as Ferrell's love interest, Dustin Hoffman is electrifying as a professor, Emma Thompson is brilliant as a neurotic writer, and Queen Latifah holds her own as the writer's assistant. As mentioned above, Ferrell shines brightest as a character completing an arc both funny and touching for the first time. The script may be too deep for some, but this is one of the most original movies I have seen in years. Stranger Than Fiction was great in the theater and looks to be one of those movies that is better a second and third time at home.

Good For: a date, existentialists, general movie watchers

Bad For: mean people

The Gallery
The Economist: * * *
The Surfer: * * *
The Film Maker: * * *

The Good Shepherd (2006)

2007-02-28T10:12:00.000-08:00

* * *

The Good Shepherd looks like it has all the ingredients to be a great movie; good cast, legendary director, government conspiracy story, and no explosions. But the movie is a disappointment thanks to average performances and a way too long, way, way, way, too complicated storyline. Matt Damon is far from bad as one of the first agents in the CIA, but also isn't anywhere near his performance earlier this year in The Departed. The story has its twists and turns that keep you briefly intrigued, but at times you may miss what is happening because you are trying to decipher what you have just witnessed in the previous scene. I sincerely believe you either have to be a history major or have lived through this time period to fully comprehend the entire story. Deniro's character is much more enjoyable than what he has done behind the camera, and a cameo by Joe Pesci was a high point. Angelina Jolie and Alec Baldwin are both capable but have been better. John Turturro, a favorite, stands out as Damon's assistant. Overall, the film would probably be much more enjoyable as a book. If you're a fan of Deniro, Damon, or conspiracy films, it is worth checking out. Otherwise, you may have better ways to spend three hours.

Good For: Deniro fans, history buffs, very intelligent people

Bad For: people who don't want to think at movies, someone with limited time

The Gallery
The Economist: * * *