United 93 (2006)

* * * * *

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)

* * *

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)

* * * * *

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)

* * *

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)

* * *


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)

* *

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)

* * * * *

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)

* * * *

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)

* * * * *

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)

* * *

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: * * * *