movies, music and everything else

DO YOU BELIEVE IN MAGIC?

2011-01-02T23:53:00.000-08:00

The new film from Sylvain Chomet, based on an unfilmed semi-autobiographical script by Jacques Tati, is wonderful. Set in the 1950’s, THE ILLUSIONIST follows a magician who is playing to nearly empty crowds as he travels around Europe trying to find new gigs. The venues of these new gigs become more and more random and obscure as he struggles to capture an audience that’s preoccupied with rock and roll and material goods. While performing in a pub in Scotland, he meets a young girl who is convinced that he can really do magic. Out of loneliness, he feeds into this belief and she eagerly accompanies him on the road.The time and place of THE ILLUSIONIST is essential as it explores issues like the death of vaudeville style shows and the emergence of commercialism and pop music. It centers on artists whose lives are destroyed because they no longer have a place to do what they do best. Along with the magician, there’s a clown, a ventriloquist, midgets and acrobats, all who struggle to find a new place in the world now that there is no one left with them to connect. It also deals with meaning of friendship and the desire to share a life to make it enjoyable. THE ILLUSIONIST takes a look back at a lost world with a slight romanticism and melancholy through the eyes of a true visionary. It may sound like a downer, but while it gets into many dark issues, there is also a jovial and entertaining side to the film that enchants as you experience the magic of the world that Chomet creates.One of the most extraordinary things about this film is that there is essentially no dialogue. Through imagery, music sounds and colorful characters, Chomet weaves a very layered story deep with emotion and subtext. There is a mixture of wonder, mixed with loneliness and heartbreak that culminates in an ending that really caught me off guard. This is a film that will stay with me for a long time and makes me want to run home and watch the films of Jacques Tati.

On a side note… If you have yet to see Sylvain Chomet’s great fist feature, THE TRIPLETS OF BELLEVILLE, please do. It’s a very different film, but absolutely enchanting.

BEST MOVIES OF 2010

2011-01-02T17:10:00.000-08:00

10. INCEPTION
One of the most bold and original films of the year just happened to be one of the biggest hits. Inception is a huge film on every level yet takes risks on a narrative level that most films wouldn’t dream of. What keeps me coming back to Inception isn’t the great set pieces or the excitement, but the many different ways there are to look at the movie and deconstruct it. Taken at face value, the film works as a complex heist story that navigates different layers of the subconscious as well as deals with deep feelings of loss and pain. If you want to dig deeper, it also with make you really examine what is real and what is a dream with no clear explanation. The theories out there are complex and well argued as to what the movie is saying, but regardless of what you thought, you can’t deny that it made you think.

9. BIUTIFUL
On the surface, Biutiful is a dark and depressing film. It centers on a man played by Javier Bardem who is dying of a terminal illness. With the time that he has left, he tries to make the best of the difficult world he lives in, filled with corruption and make sure his children will be okay once he’s gone. There really is a beauty to this film and how it tells the story though. It is filled with hope underneath the surface and Bardem gives the best performance of his career so far. It’s an incredible film and one that has stuck with me for months since I saw it. Haunting and beautiful.

8. WINTER’S BONE
The indie darling of 2010 lived up to the hype. While the lead actress, Jennifer Lawrence got much of the accolades for her brave and wonderful performance; I think that John Hawkes steals every bit of the film he is in as the uncle. This is a subtle film that puts you firmly into a very specific time and place and never takes a false step. Director Debra Granik does a wonderful job capturing this world and its inhabitants with subtlety and grace.

7. THE AMERICAN
The American is not only one of the very best films of the year; it is also one of the worst marketed films of the year as well. The studio decided to sell it as a “Bourne” style action suspense thriller, when it is actually much more slow paced, thoughtful and precise and should be compared to films by masters like Melville and Dassin. Every frame is brilliantly composed and constructed, making it a pure pleasure to watch. George Clooney strips away the charm and charisma that has made him a movie star and delivers one of the best performances of his career. The American is a fantastic film and is a call back to a style of cinema that has been seemingly lost, requiring some form of patience from the audience, while rewarding that patience along the way.

6. ENTER THE VOID
Without a doubt, this is the most bold and daring film of the year. Many people will be offended and turned off by what they see, but no one can argue that Gasper Noe is absolutely an original visionary. The entire film is shown through the eyes (literally) of the lead character and he goes on quite a ride. There are many graphic scenes in the film, but the overall experience is like nothing I’ve had in the cinema. Noe is at the top of his game and while I prefer his previous film (the controversial Irreversible) I think Enter the Void is incredible.

5. ANOTHER YEAR
I’ve always been hit or miss with Mike Leigh despite all the love he’s gotten over the year. Another Year is my favorite of his films and he creates (with the help of Jim Broadbent and Ruth Sheen) one of the best on screen relationships I’ve ever seen. This is a movie about people, not plot, but it is always fascinating, entertaining, heart breaking and captivating a it covers four seasons with these wonderfully realized people. Lesley Manville is fantastic as the friend of the family that can’t quite seem to pull herself together and get on track with her life. This is a truly wonderful film.

4. BLUE VALENTINE
I first saw Blue Valentine at Sundance and it was my favorite film of the festival. It has since been slightly recut and has only gotten better. It focuses on the relationship of Dean and Cindy, played by Ryan Gosling and Michelle Williams in two of the best performance of the year. Crosscutting between the beginning of a relationship and the disintegration of one, this is a heartbreaking film, but totally worth the ride.

3. BLACK SWAN
I am a huge fan of Darren Aronofski and have loved all of his movies. They all have a very specific vision that is unmistakable. He makes his movies and I never see compromise in them. Black Swan is no different. There is no question of the similarities to the masterpiece The Red Shoes, but Black Swan takes a similar approach in a totally different direction. It is a dark, sexualized tragic horror film set in the world of ballet. The visuals of the film and the photography are fantastic, but the most striking element is the high level of tension that Aronofsky maintains. It’s a disturbing and beautiful film that grabs a hold and never lets go.

2. THE SOCIAL NETWORK
What more can be said of The Social Network? It is one of the greatest living writers, teaming with one of the greatest living directors and the result lives up to both. It’s a brilliant script by Sorkin that is complimented by a relatively restrained Fincher behind the camera and a whole film full of great performances. If you haven’t seen it, you’re missing out.

1. A PROPHET
When Malik is sent to a French prison, we don’t know the crime, but we do know that he is weak and way over his head. Over the next few years, we see him grow, develop and turn into a criminal beyond anything he could have been on the outside. This is a brilliant film that can be compared to crime dramas like City of God, The Godfather and Goodfellas, but is totally unique. I could not recommend this film more highly.

Here are my 11-21 (in order) if you're curious:

TOY STORY 3
EXIT THROUGH THE GIFT SHOP
THE KING'S SPEECH
THE ILLUSIONIST
RED RIDING
INSIDE JOB
THE FIGHTER
FOUR LIONS
TRUE GRIT
THE TOWN
ANIMAL KINGDOM

TOP 20 of the 2000's (part two)

2010-01-02T03:11:00.000-08:00

… and here is my choice for the TOP TEN of the decade:

10. WAKING THE DEAD

9. AMELIE

8. REQUIEM FOR A DREAM

7. INGLORIOUS BASTERDS

6. ALMOST FAMOUS

5. IN THE MOOD FOR LOVE / 2046

4. ETERNAL SUNSHINE OF THE SPOTLESS MIND

3. THERE WILL BE BLOOD

2. PAN’S LABYRINTH

1. CITY OF GOD

Let me know what you think and what movies you would put on your list…

TOP 20 of the 2000's (part one)

2010-01-02T03:02:00.000-08:00

Here is the list of my choice for the best films of this decade. I love every film on this list, so I won’t get into the specifics of why because it would be an EPIC post. When it came to narrowing down the list to 20, it was far more difficult than I had expected, but the choice for number 1 was easy.

Just a few mentions before I get into the list… There are no PIXAR films on this list, but they are without question the studio of the decade, consistently putting out fantastic films year after year. Likewise, I didn’t include LORD OF THE RINGS either because none of the films on their own would make the list, but I do believe it is the single greatest achievement in film for the decade and one of the greatest of all time. As one nine hour movie (or 12 if you’re looking at the extended edition) it would have made the list for sure.

So here is the list starting with 11-20…

20. LITTLE CHILDREN

19. MEMENTO

18. OLDBOY

17. INTO THE WILD

16. IN AMERICA

15. NO COUNTRY FOR OLD MEN

14. THE WRESTLER

13. UNITED 93

12. ZODIAC

11. MULHOLLAND DRIVE

BEST MOVIES OF 2009

2009-12-30T23:50:00.000-08:00

10. WHERE THE WILD THINGS ARE
This movie captures the mind and emotions of a young boy dealing with the real world problems of divorce and abandonment with the only thing he has… an overactive imagination. There is a magic and truth to this film that transported me as I watched it. The relationship that develops between Max and the leader of the Wild Things, Carol is touching and at times frightening. Sure the plot to the movie is thin, but the emotions and relationships are deep and complex. I salute a major studio for backing the vision of Spike Jones and allowing his to bring this personal and heartfelt story to the screen in only a way he could.

9. THE BROTHERS BLOOM
The script is sharp as a razor and the dialogue is crisp in this stylish and unique con-man film from second time director Rian Johnson (BRICK). This movie is simply fun. The entire cast digs into this material and delivers a gem of a film. With a one two punch of BRICK and no BROTHERS BLOOM, Johnson has announced himself as a major player in the film world.

8. UP
Yes… Pixar did it again. The opening sequence of this film is on par with the miraculous first 25 minutes of WALL-E from last year. I’m not sure how this studio does it, but time and time again, they create fresh and original stories that never cease to captivate and entrance audiences. If by some chance you’re one of the few that haven’t seen this film… please do.

7. AN EDUCATION
This is a great film. The thing that struck me the most of this film were the layered and clever script by novelist Nick Hornby and the performance by relative new-comer Carey Mulligan. To call this a breakthrough performance is an understatement. She is a revelation here as Jenny. I found myself carried away in the wildly inappropriate romance between her and David (Peter Sarsgaard) because she brought me into her world. I knew it was wrong and he was not what he represented himself to be, but I still got carried away in the story. This is a film that flew under the radar, but I hope that come Oscar time that more people will discover AN EDUCATION and this great new talent.

6. (500) DAYS OF SUMMER
The best romantic comedy I’ve seen in years. It is fresh, original and extremely clever in it’s storytelling and script. This is a movie that wouldn’t have existed without a film like ANNIE HALL and while I’m not saying it’s as good, it’s certainly from the same mold. I expected a cute harmless little indie film going in and got one of the best films of the year. The “expectations vs reality” sequence is maybe my favorite single scene of the year.

5. DISTRICT 9
I was blown away by this film when I saw it. This is what I’ve been looking for when it comes to summer blockbuster entertainment. It’s smart, exciting, thought provoking and has incredible action. This film also has the best integration of visual effects with real people that I saw this year (including AVATAR). If you factor in the low budget of the film, it is perhaps the most impressive feat of filmmaking of the year. It’s rare that you get a summer action film that is actually about something and has multiple levels (I’m looking at you Michael Bay and Steven Sommers).

4. THE HURT LOCKER
Katherine Bigelow has proven herself as a master filmmaker with this one. I have always been a fan, but the skill and precision that she displays here, she’s created one of the most tense and gripping movies in the last few years. The performances by Brian Geraghty, Anthony Mackie and especially Jeremy Renner are flawless. The first time I saw THE HURT LOCKER, the unique structure made the film seem longer and drag a bit, but seeing it a second time, I find that it is that structure that makes the movie that much better. There is real danger and this five act structure makes you feel lost at times and that anything can happen. It is a shame that the studio never found a way to properly market this movie because it deserved better.

3. FANTASTIC MR. FOX
After his first three films (BOTTLE ROCKET, RUSHMORE, ROYAL TANNENBAUMS), Wes Anderson quickly became one of my favorite filmmakers. With his next two (LIFE AQUATIC, DARJEELING LIMITED) his movies were underwhelming and seemed to be retreading on the same story but without the magic of the first three. Then cane FANTASTIC MR. FOX and wow did he deliver. This movie just makes me smile ear to ear every time I watch it. I feel that Mr Anderson has found his format with stop motion animation. He has always been specific in every visual aspect of his films, but here he is allowed to have complete control of everything visually and it shows. This is a gorgeous film and wonderfully scripted to make for not only one of the best family films of the year, but also one of the very best films of the year. There are three family films in my top ten this year, but this one stands far above.

2. A SERIOUS MAN
Joel and Ethan Coen have proven time and time again that they are masters of the craft of film. This is no exception. A SERIOUS MAN harks back to my favorite of the Coen’s films (BARTON FINK) and is a critical look at religion, the search for reason and what it means to be a good and serious man. No other movie I saw in 2009 made me think more than this one and no other film I saw a second time was more rewarding. This is a complicated and thought provoking film yet is also intensely and awkwardly hysterical. Only the Coens could make this film and I am very happy they are around to do so.

1. INGLORIOUS BASTERDS
When it came to picking my favorite film of 2009, it wasn’t even a choice. For me, INGLORIOUS BASTERDS is the best of the year, without question. It’s as simple as that. While I’m not sure he’ll ever top the masterpiece of PULP FICTION, he come close with this one. INGLORIOS BASTERDS is not only a brilliant script, but it is hands down the best directed film of Tarantino’s career. He announced himself as a real talent with RESERVOIR DOGS 17 years ago and has continued to back that up with each film. This is the most fun film of the year. I have seen the film seven times already and it is still as entertaining as the first time. The highlight of the film is the powerhouse performance from Christoph Waltz. He is a marvel from start to finish in the film and if he does not have an Oscar come March, there is something wrong. If you like movies at all, watch INGLORIOUS BASTERDS…

Here are my 11-20 in order (if you’re curious):

A SINGLE MAN
AWAY WE GO
AVATAR
GOODBYE SOLO
THE WHITE RIBBON
THIRST
ADVENTURELAND
MOON
BROKEN EMBRACES
ZOMBIELAND

Best of 2009 so far...

2009-07-01T14:35:00.001-07:00

We are half way through the year as of yesterday and I thought I’d make a list of the best movies I have seen thus far. It’s been a slow start to the year for me (I’ve only seen 45 movies) but there have been some very good ones. In alphabetical order, here are the 5 best movies I’ve seen so far this year:

AWAY WE GOSome people have problems with this one, but I found it charming, heartwarming and entirely entertaining. From the opening scene, this movie had me and it never let go.

THE BROTHERS BLOOMThis is a funny, clever, stylized and extremely well made movie. The second film from Rian Johnson (BRICK) is no sign of a let down. He further defines his voice and his status as one of the most exciting filmmakers for years to come.

GOODBYE SOLOThis is a really wonderfully simple film with complex characters. The third film from director Ramin Bahrani (MAN PUSH CART and CHOP SHOP) is my personal favorite and his most engaging. With standout performances by Souleymane Sy Savane and Red West, this is a must see.

THE HURT LOCKERThis movie was just released in select cities and I highly encourage people to check it out. It is so well directed and shot that it will have you on the edge of your seat for the entire film. Jeremy Renner is fantastic as the reckless bomb tech with seemingly litter regard for his own well being. Don’t dismiss this as “another Iraq war film”. Just see it.

UPIt’s Pixar so it almost goes without saying, but yes… it’s that good. The first 10 minutes alone will bring most to tears. This is a wonderful film that will make you laugh, cry and walk out wanting a talking collar for your dog. Most have seen it, but just in case you haven’t, please do.

One of the reasons I am writing this list is to encourage people to go see the movies that are coming out that are actually good. Not all movies are filled with cheesy dialogue and big explosions. But if people don’t see the movies like the ones above, they will stop getting financed.

Here are some more that I also really liked…
ADVENTURELAND
CORALINE
DRAG ME TO HELL
THE GIRLFRIEND EXPERIENCE
SUGAR

What are your favorites so far this year???

GRRRRRRRRRRan Torino

2008-12-30T02:38:00.000-08:00

THE EMPEROR HAS NO CLOTHES!!!

I have grown tired in the last few years of all the Eastwood love and people hailing him as one of greatest directors of all time. Ever since the release of MYSTIC RIVER in 2003, it seems like Eastwood can do no wrong in the eyes of the critics. Now I did like that film and his Oscar winning follow up, MILLION DOLLAR BABY, but I have watched as all four films since have gotten good to glowing reviews. Why do they? Are they actually good movies or are the critics just brainwashed into believing that everything Eastwood touches is gold…

I’m standing up and finally calling “BULLSHIT”.

Tonight I went to see his latest opus GRAN TORINO largely because of the acclaim for the film and specifically the lead performance by Eastwood. I didn’t expect too much for the film but thought it would be a decent film with a good performance. What I got was hands down one of the worst films I have seen all year (up to now I have seen 109 movies so far from this year). GRAN TORINO is poorly directed, horribly written and the acting is absolutely pathetic.

The story is that of Walt Kowalski (Eastwood) as the most grouchy, racist bastard in the world who fought in the Korean war, worked at a Ford plant and now finds himself living in a neighborhood filled with Asian (specifically Hmong) people. After his wife dies, he is left alone with nothing left to do but growl, spit out racial slurs and threaten anyone that comes in his path. When the Hmong teenage boy from next door tries to steal Walt’s most prized possession (his Gran Torino), things get more complicated. I won’t get into the rest, but there is lots more racial comments, gangs, growling, shootings, beatings, threats, growling, a well meaning priest, drinking, and even more growling.

The dialogue in this film is some of the worst that I have ever heard (at times it’s even worse than THE HAPPENING… yeah I meant that). All of the characters are drawn with extra broad strokes (think the white trash family from MILLION DOLLAR BABY but that’s everyone in the film). None of the interactions are even remotely believable and the situations are laughably ridiculous.

The actors are even worse than the lines they’re given to deliver… I’ll start with the big dog himself. Eastwood growls every line in the movie. I get it… he’s grump and bitter and mean, but to growl is not to act. I know I have used the word “growl” way too many times, but really, see this movie (or don’t) and you’ll see why. His racism is so over the top I couldn’t believe it. When I wasn’t laughing at the stupidity of what was coming out of his mouth my jaw just hung open. All of that said, he is by far the best performance in the film. I believe the reason critics seem to be praising him for this role is because compared to the rest of the cast, he’s AMAZING. By that rationale though, his dog should receive a nomination for best supporting actor.

The rest of the performances in the film are worse than what you would find in a grade school play. There are not enough words to describe how forced, wooden and false everyone was. The two standouts of crap were the lead boy, Thao (Ahney Her) and the priest (Christopher Carley). For all of those people that declare Eastwood one of the best directors of all time, please look at the acting in this film. I am so sick and tired of everyone praising Eastwood for only doing two takes and letting the cast do what they want. He rarely gives any direction to the cast in his films and moves on, making the crew love him because they shoot short days. Well you know what you get when he casts actors that aren’t named Morgan Freeman, Hillary Swank, Sean Penn, Tim Robbins or other marquee talented stars appearing on the poster? You get the terrible excuse for acting on display here and that litter many of his other films.

Now I know that I’m being extremely hard on mister Eastwood, but that is just because other have been giving him a free ride for years. I have been a big fan of some of his films and consider UNFORGIVEN to be one of the best of the 90’s, but how can they forget some of his other films? Between UNFORGIVEN (1992) and MYSTIC RIVER (2003), here are some of the movies he’s made: BLOOD WORK. SPACE COWBOYS. TRUE CRIME. ABSOLUTE POWER. MIDNIGHT IN THE GARDEN OF GOOD AND EVIL. Not all of his movies are bad. I’m just saying that just because he directed it doesn’t necessarily make it good.

While GRAN TORINO is one of the 5 worst films I saw in 2008, I can say one thing for it. I laughed more during it than almost any comedy I saw. The problem is… GRAN TORINO is supposed to be a drama.

BEST FILMS of 2007: 1 - 10

2008-01-12T17:56:00.000-08:00

10. AMERICAN GANGSTER
Ridley Scott has been on a roll in this decade making some of the best films of his career (BLACK HAWK DOWN, KINGDOM OF HEAVEN) and he continues with the stellar AMERICAN GANGSTER. This is the true story of an American entrepreneur Frank Lucas (Denzel Washington) who went from nothing to become the heroine kingpin of New York and is being pursued by Jersey detective Richie Roberts (Russell Crowe). TO call a drug lord an entrepreneur might sound odd, but Lucas treated the drug world like a corporation and built an empire, eliminating the middleman to maximize his profits. The portrayal of these two men is perhaps the most interesting aspect of this film. Lucas, while being a cold blooded drug dealer that will shoot a man in the head without second thought if it helps his cause, is on the surface a family man and one that looks out for his community. He turns his organization into a family business and takes care of the people that are close to him. Roberts, while he is a cop, is a mess in his own personal life. His family is falling apart and you see him as a mess of a person and a bad father. This creates an interesting examination of the real world of right and wrong. AMERICAN GANGSTER is extremely well made with the sharp attention to detail by a legendary filmmaker and a truly special collaboration with one of the best cinematographers in the business (Harris Savides). This is a beautiful film and a well crafted story with great performances by two of our very best actors.

9. LARS AND THE REAL GIRL
This is a plot that on paper should simply not work. Lars is a damaged and lonely young man that separates himself from the world around him and orders a “real doll” online and seems to think she is his actual girlfriend. What makes this movie rise above the pitfalls that this premise threatens is the delicate skill with which it is made and the fantastic performances throughout. Ryan Gosling delivers maybe the best performance of his career as Lars. He is sweet, charming and awkward without ever being creepy. He makes you root for him throughout and after a time, I started to see Bianca (his real doll) as a real person. In many ways, this is a magical film and I found myself transported by it.

8. RATATOUILLE
Pixar has done it again… When it comes to Pixar there are good movies, great movies and then there are instant classics. RATATOUILLE is a borderline instant classic. This movie is so well made, well crafted and has a stunning visual look. It takes no time at all to look beyond the fact that the lead character is a rat (something that is by definition pretty disgusting) and see him as a personality. We are not only not bothered with the idea of him cooking and handling food, we want him to, having complete faith in his ability. This is a fun and sweet movie and one that I have watched again and again and am still drawn into.

7. THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD

Aside from being the longest title of the year, it is also one of the best made, beautiful, captivating and fascinating films of 2007. Brad Pitt as Jesse James is note perfect as the outlaw in the last few months of his life, but this movie belongs to Casey Affleck. Affleck plays Robert Ford as a shy and disturbed man who not only idolizes James; he is obsessed with him and with what makes him. James was one of the most famous people in the country and Ford is his stalker. JESSEE JAMES takes its time unfolding the stories and examining the lives of the people involved, but it is done with such skill that time simply doesn’t matter. The photography by Roger Deakins is some of the best work of his career, not only complimenting the story, but also in many cases dictating it. This is a bold film and one that never got a chance to find an audience in the theater. Please take the time to check this one out when it hits DVD (or Blu-Ray if you can get access to one). In years to come, I believe that people will look back at this one as a classic.

6. THE DIVING BELL AND THE BUTTERFLY
Jean-Dominique Bauby was the editor-in-chief of French Elle magazine and a man that embraced life and lived it to the fullest. When he suffered a massive stroke and loses all motor functions with the exception of his left eye, he finds himself trapped in his own body. This is a true story and one of the most amazing films of the year. While in this state, Bauby managed to write a book about his experience through blinking his left eye. It is a wonderful story about hope and never taking anything for granted. He never gives up and uses his imagination and his memory to keep him going and to keep up his spirits. That combined with the support of his friends and family, lifts Bauby up from a crushing incident and allows his to continue to embrace life and all that it has to offer. There is one scene with Max von Sydow towards the end that will break your heart and is one of the best scenes I have seen all year.

5. NO COUNTRY FOR OLD MEN
For the story that it is telling and the themes that it explores, NO COUNTRY FOR OLD MEN is pretty much a perfect film. I watch this film and wonder why every movie is not made with the skill that this one is. Every frame and every shot is meticulously placed together to tell this story. The use of sound and the sparse use of music create an environment that grabs you and just doesn’t let go. Brolin and Bardem are amazing here creating fully realized characters involved in a cat and mouse game that will be remembered for years to come. This is the film that will bring the Coen’s their much deserved Oscar for director and probably for picture. It is their best film since FARGO. So why in the hell is it my number 5 film of the year??? To answer that I will say that any of my top five could be my number one of this year. In my eyes, there were five classic films made this year and made it a phenomenal year for film and the lovers of film. I’ve seen all of these at least three times and look forward to seeing them again and again.

4. ZODIAC
David Fincher might have made his masterpiece with this one. This is his first film that takes an amazing story and lets the story dictate the style. He shows here that he is not only a master of visuals, but he has become a master storyteller. This is not just a movie that takes place in the seventies, by watching this, you actually feel transported to the seventies. There is so much effort put into the smallest details it comes across as effortless at times. I loved this movie when I saw it back in March, but I just picked up the HD disc and watched it with the commentary, the documentaries and the gorgeous transfer and I was reminded of the highest quality in every aspect of filmmaking. I love this movie and urge everyone that has not had the opportunity to check it out to do so. You will not be disappointed.

full review of ZODIAC

3. INTO THE WILD
When I read the Jon Krakauer, I was deeply affected by the talk of the 2 year journey of Christopher McCandless and its tragic outcome in the Alaskan wilderness. One of the many reasons was that when I read it, I was the same age as McCandless and found that I could really relate to him and what he was going through. When I saw Sean Penn’s film based on the book I was similarly affected. This is a wonderful film that captures the pure spirit of the book and the lead character. Many have complained that McCandless was stupid in his actions and his blind naivety of the world around him. Penn did not glorify the actions of his lead character nor did he judge them. He simply presented this fascinating person who at times I greatly admire and at others I cringe, knowing where his actions are going to lead him in the end.

One of the many things that really struck me about INTO THE WILD was the way that the country that I have lived in and traveled my entire life was portrayed in a visual and more so in an emotional way. I walked out of this film inspired and with my eyes opened to the world and more aware of the little things that surround us all that make life worth living.

full review of INTO THE WILD

2. ONCE
ONCE is the most magical film that I have seen this year and for all intensive purposes, it is my “favorite” film that I saw in 2007. It is so simple, so real and so emotional that it transported me into the lives of these two characters as they spent a small amount of time together recording music. What lifts ONCE above other small films is the music that was created for the film and performed by the film’s stars, Glen Hansard and Maketa Irglova. Music is such a big part of the story and of the film that it is and should be considered a musical. One example and it still might be my favorite single scene of the year is in which they play together for the first time. The song is “Falling Slowly” and should win the Oscar. This is such a tender and real moment.

I have never played in a band or written a song, but after watching ONCE, I felt like I was apart of the recording of these beautiful songs and I was emotionally invested with the characters and what they were creating. These feelings led to my reaction to a moment in the film when, after recording the album, the band heads to the beach to unwind. There is nothing that happens of note in this scene. It is a car ride followed by hanging on the beach, playing Frisbee and just fooling around. It is the emotional release that comes with that scene that makes it remarkable. I have had moments like this in my life and this film captured that feeling like I have never seen. This is an amazing film and one that was never released in theaters in most of the country. It is now out on DVD and I urge everyone to rent or buy it and experience on of the most personal and heartwarming films of the last few years.

full review of ONCE

1. THERE WILL BE BLOOD
“I have a competition in me. I want no one else to succeed. I hate most people. There are times when I look at people and I see nothing worth liking” - Daniel Plainview

There was no other movie that I was more excited for this year than THERE WILL BE BLOOD. There was also no other film that I had higher expectations for. Paul Thomas Anderson is my favorite working filmmaker and he has made a film that will stand as a benchmark in his career. This is an epic film about an amazing time in our country; focusing on one of the most dynamic and at time despicable characters I have even seen in a movie. THERE WILL BE BLOOD is the best film of the year.

I could spend hours dissecting this movie and all of the things that I love about it. Instead I will focus on a few key moments. The first is the first act of this film chronicling the rise of oil tycoon Daniel Plainview. There is not a word spoken for about fifteen minutes, but we get to know not only who Daniel is, but also the passion and drive that fills his every being. This is pure filmmaking. By the time that we hear the first words of the film (a speech to land owners by Daniel) we are with him for the long haul. He has sacrificed everything to get here and there is nothing that will stop him from going further. This is the basis for the downfall of a human being that we witness for the next two and a half hours.
The second moment that I will discuss is one when Daniel sits by the fire with his apparent brother Henry who has just entered his life. This is where the quote above is taken from. For those people that think that Daniel is just a monster I ask them to pay attention to all of the demons and layers that are in this scene. He is a fatally flawed man who attributes that make him successful and magnetic are exactly the things that eat away at him and destroy the man that he is, leaving an empty shell. He is aware of the direction that he is going, but his fierce competition is such that he cannot stop the train that was started years ago. This is the most emotionally revealing scene in the film in many ways and one that I point to reveal the man behind the legend that is Daniel Plainview.

There is the filmmaking in this film and I cannot put it on this list without mentioning it. This is a wonderfully accomplished movie and shows a deep maturity by director P.T. Anderson that he has not shown before. Every aspect of the film is done with extreme attention to detail and character and the story that it serves. The photography is stunning. The sounds range from loud and jarring to subtle but all are mixed to an effective result. The music is phenomenal in the way that it uses a variety of unique sounds blended with classical score to create an environment of tone that permeates the film. The editing is amazing, balancing the tone and the methodical pace of the film resulting in a symphony of emotions.
There is much that has been talked about regarding the end of this film and all that I will say that, for me, it is the only way to end this incredible story of a complex and damaged man. He is a giant in this film. Daniel Day-Lewis delivers perhaps the best performance in his career. THERE WILL BE BLOOD is an amazing film and one that not only met my unrealistically high expectations, but exceeded them.

BEST FILMS of 2007: 11 - 20

2008-01-11T01:26:00.000-08:00

20. THE WIND THAT SHAKES THE BARLEY
Ken Loach’s film is a disarmingly personal and tragic story of brothers torn apart by the guerilla war between the IRA and the British. It is a beautiful film that slowly develops into a heart wrenching one about politics, freedom, values and family. Having won the Palme d’Or at the 2006 Cannes film festival, I would have thought more attention would have been paid upon its release, but unfortunately it came and went with little fan fare. Please take the time to rent it on DVD… it is a true treasure of 2007.

19. LAKE OF FIRE
This balanced look at the abortion debate is the most compelling, thought provoking and disturbing documentary of the year. Made with extreme skill and an artful eye, Tony Kaye’s film is one that should be seen by everyone even though it is incredibly difficult to watch at times. This is not a film designed to answer questions or to pass judgment, but to make the viewer think and it succeeds tremendously.

click for full review of LAKE OF FIRE

18. LUST, CAUTION
Ang Lee followed up his Oscar winning BROKEBACK MOUNTAIN with this sexual spy thriller set in WW 2 era Shanghai during its occupation by Japan. It is one of the most visually stunning movies of the year and really takes its time developing complex characters and their intertwining relationships. It is tense, gives the world and the characters the time to breathe. Much has been made of the sexuality, but it serves the movie dramatically, drawing you in to the lives and emotions of the people that you are watching.

17. SWEENEY TODD
Tim Burton has come out and made his most skillful film in 13 years. The look, the shot selection, the performances and the songs are all top notch and while the plot is thin, SWEENEY TODD is a very enjoyable ride. Johnny Depp and Helena Bonham Carter shine throughout in this very dark and morbid tale seemingly tailor-made for mister Burton’s sensibilities.

16. I’M NOT THERE
In many ways Todd Haynes film based on the many faces of Bob Dylan is a masterpiece and the fact that it is number 16 on my list of the year is a testament to the quality of films released. This is an examination of a musical icon by casting different actors to play him at different stages of his life. While this is not a direct biopic, it captures the spirit of Dylan. It is an art film, but true to itself and becomes an amazing experience as you let a masterful filmmaker take you on a ride.

15. HOT FUZZ
This is a movie that succeeds on pretty much every level imaginable. It is one of the funniest movies of the year. It is fantastically clever in its parody of the action genre, while also succeeding to be an effective action film in its own right. The style pays homage (parodies) with skill, but also maintains a style of its own. This is not only maybe the most fun movie of the year, but it is made with precision and care.

14. THE LIVES OF OTHERS
At last year’s Oscars when THE LIVES OF OTHERS beat PAN’S LABYRINTH for best foreign language film, I almost screamed, but then I saw it. While not as good as PAN’S (little is in my eyes), this is a smart, well-crafted, beautifully acted film about a man that listens. Compelling and engaging, the less you know, the better so just see it.

13. ATONEMENT
The power of a word and the consequences of a misunderstanding. These are just two of the many themes explored in ATONEMENT. This is another film that is best seen knowing as little about the plot as possible. What I do want to comment on is the skill behind the camera in every way in this film. This is an amazingly well crafted story that will engage you from the opening sound cue. I will get more into details when I make my list of technical achievements of the year, but this is a fine film that will grab you and take you on a journey.

12. AWAY FROM HER
Writer/director Sarah Polley is best known from her acting work, but the beautiful and heartbreaking simplicity of AWAY FROM HER is the crowning achievement in her already impressing career. Julie Christie is amazing here as a woman that is having her life ripped away from her by Alzheimer’s. She captures the pain, confusion, sadness and loss with near perfection.

11. JUNO
JUNO is one of the most charming films of the year. While the first fifteen minutes are over written and too precious, the rest of the film more than makes up for it. Ellen Page is amazing here as a sixteen year old girl who finds out that she is pregnant and decides to not only go through with the pregnancy, but to give up the baby for adoption to an upper-class couple played wonderfully by Jason Bateman and Jennifer Garner. The dialogue is clever and sometimes very intentional and director Jason Reitman maintains the tricky balance of tone as to never lose the viewer on an entertainment level or an emotional one. This is a sweet, funny, well-acted and charming film. Check it out and you will not be disappointed.

pro-thought

2007-10-15T11:47:00.000-07:00

When it comes to subjects that it is best to stay away from in conversation, the debate over abortion is one that is at the top of the list. It is almost a pointless conversation. People have made up their mind one way or another and it will only lead to an argument or a fight. Knowing that, I walked into the new film by Tony Kaye (AMERICAN HISTORY X) very curious and open minded. It is a graphic look at BOTH sides of the abortion argument. Not only that, but it is black and white and runs two and a half hours long. Needless to say, the theater was almost completely empty. What a shame…
LAKE OF FIRE is one of the very best documentaries that I have seen in quite some time specifically for the reasons why it will be controversial. First, there is the graphic nature of the film. It is a film about abortion and in order to properly portray the issue at hand, there is a responsibility by the filmmaker to show exactly what is up for debate. There are two abortions shown in the film and while they are extremely difficult to watch, I believe they are completely necessary. It prevents either side from boiling this down to a talking point and makes it real… I would imagine too real for some. While the footage is graphic, it is not gratuitous, never using these images to sway the viewer one way or another; it simply presents it as what it is.
What sets LAKE OF FIRE above many of the other documentaries of recent years is its impartiality. There is no judgment here, only facts. It presents each side of the argument in an equal and compelling way. This is a very complex issue with many sides and cannot (and should not) be simplified to a talking point. This film should make anyone who watches it think and re-think their stance on abortion, as it presents the other side. Watching the film, I have no idea what Kaye’s stance is on the issue and that is fantastic. He is simply there to present the facts in an interesting and compelling way, not to judge. This manner of filmmaking stands in contrast to “documentarians” like Michael Moore, who set out to make a point with their film and take the facts that support their argument and twist the ones that don’t. Kaye spends a great deal of time with each side, both the extremists and the more rational, and asks the audience to make up their own mind.
This filmmaking is fantastic here. The use of the black and white photography works on many levels. The first and maybe the most obvious is that it makes the graphic scenes more tolerable to sit through (if anything could). The other is the artistic aspect it adds to the storytelling. This is a beautiful looking film with high contrast and wonderfully dynamic framing, making the visuals as compelling as the arguments. Kaye shot this movie himself over the last 14 years, but kept a style throughout, maintaining a stylistic coherence. The use of other footage intercut with interviews and footage that Kaye was able to capture at rallies and events is amazing. The way that he goes back and forth between the different points of view is done in a way that keeps you unbalanced and on your toes, never knowing which side of the fence you are on while watching. It is a very delicate subject and if handled at all improperly, would be painful at this running time. While it does run two and a half hours, LAKE OF FIRE never felt too long, but there is enough information and opinions presented that after watching it, I felt exhausted.
This is a movie that everyone should see. It is tough to sit through at times, but it is well worth it. I only hope that the people that do go are able to walk into the theater with an open mind and actually listen to what the film has to say. It does not tell you what the right answer is, but it does present both sides well and impartially. I hope that LAKE OF FIRE starts people talking about this issue and about the more complex facets of the subject. My fear is that people will ignore this film and any legitimate discussion and hold on to their pre-established stance, whether it is thought out or not.

a legal bore

2007-10-10T15:23:00.001-07:00

MICHAEL CLAYTON is the directorial debut from writer Tony Gilroy (the BOURNE Trilogy, DOLORES CLAIBORNE, THE DEVIL’S ADVOCATE). The ironic part about this is that the weakest part of this film is the script. MICHAEL CLAYTON is one of the best reviewed films of the year up to this point and I can see why. It tries to be so much. It tries to take a John Grisham type courtroom drama and make it more internal and character based. It tries to be subtle and complex in its portrayal of the lead character and the events that he navigates through. It tries to present a multi-layered villain that you can relate to on a certain level and not judge. The problem is… it fails.
Michael Clayton (George Clooney) is a “fixer” at one of the largest law firms in New York. What this means is that he is akin to Mister Wolf from PULP FICTION. He is not a litigator at the firm, but if one of them or their clients have a problem or find them self in an embarrassing situation, they call Clayton and he guides them. At least that is what we are told that he does. One of the many problems with this film is that we are told lots of things but never really get shown anything. The only glimpse that we are given into his job is in the beginning of the movie, he is called in at midnight to consult a client after a hit and run. The advice that he gives… “Call a lawyer”. Wow. What a genius! The other case that he is brought in on is the one involving Arthur Edens (Tom Wilkinson), one of the firms star attorneys that has apparently gone insane while handling a multimillion dollar case and is risking sacrificing everything. You know what Clayton does… screws it up.
From here there is a little (but not much) effort put into developing a back-story of the case and the people involved. It is a large company that is being sued by an unspecified number of people that were hurt in some way by their product. I am vague because the movie is as well when it comes to things like a plot. The point of the movie becomes not the case, but the man that is involved with the man that was involved with that case. Yeah… so Clayton has nothing really to do throughout the film but run around for no reason and look into a case that he doesn’t care about and I didn’t care about because I never got to learn what it was about or how people were effected. But at least there is suspense, right? Nope.
All suspense or tension regarding Michael Clayton is lost because the movie starts with a failed assassination attempt on him and then flashes back to how he got there. By the time that the movie catches back up, we realize that he will never be in any real danger, eliminating any suspense from the entire movie. The one thing that tries and creates suspense is the films score, but while it is a very well done score, it comes across as forced and silly because the story that it is supposed to be complimenting is not at all exciting or suspenseful.
One thing that I really did enjoy in the film is the performances by George Clooney, Tom Wilkinson and Tilda Swinton, all or who deliver strong and subtle performances. The problem is that they are handed very little with the script. Wilkinson gets to play bat shit crazy at one point and then comes across as a devilishly clever attorney a minute later. We never really buy into why he is doing anything that he is doing and we never get to spend enough time with him to care. Swinton is always good and she has some good pieces in this movie, but Gilroy’s attempt to make her real or sympathetic is to show her sitting on a toilet, sweating. Clooney is a really good actor and this is a great performance. It is a layered character full of intelligence and flaws, but there is simply nothing for him to do here in. There is nothing to fix after he makes a crucial mistake in judgment, so he is left to just walk around for no real reason. There is some unnecessary subplots thrown in regarding his drug addict brother and their failed business, but that seems to be there just to fill some time and distract from the fact that the plot of the movies was left behind in the first act.
This is not a terrible movie, but it is a slow and pointless one. For a movie that presents itself as clever, subtle and intelligent, there are far too many plot holes that kept me from ever becoming engaged. MICHAEL CLAYTON reminds me of a Grisham adaptation that focuses on a side character that has nothing to do with the actual plot. Because this person has nothing to do with the plot, that plot is ignored and we follow him as he walks around and has the occasional run in with someone that has something to do.

a stylish trip to nowhere

2007-10-08T15:50:00.000-07:00

Let me start off by breaking down my feelings on the other films in Wes Anderson’s cannon. I think that his first three are fantastic. RUSHMORE is my favorite, THE ROYAL TENENBAUMS is the best script and BOTTLE ROCKET will always hold a special place in my heart. I am a huge fan of his as a writer and a director. I was not, however, a fan of LIFE AQUATIC. I thought that it was pretty much a mess, lacked heart, a meaningful thru-line and was filled with nothing but one-dimensional characters. I was disappointed, but still was really excited about his new film, THE DARJEELING LIMITED. Before I saw it (and I strongly recommend this to everyone before watching the feature) I checked out the short film that serves as a prequel, called HOTEL CHEVELIER. This twelve-minute short focuses on Jack (the Jason Schwartzman character) and hits on the back-story between him and his girlfriend (played by Natalie Portman). This short will not only serve as in introduction to the film, but it provides all that you need to know about Jack.
THE DARJEELING LIMITED is the story of three brothers who are brought together in India by the oldest (Francis, played by Owen Wilson) in order to reconnect. The three were really close, but have drifted apart and haven’t spoken since the funeral of their father. There is no set-up, as the film starts with Peter (Adrian Brody) running to catch the train (The Darjeeling Limited), and then finding his brothers. Once the three are all together, Francis unveils his plan. They are to reconnect, bond, become brothers again and embark on a spiritual journey together. Various details of the plan are left out and we embark on this spiritual journey, getting to know bits and pieces about their past and relationships with each other as the film goes along. As expected, the journey does not go as planned, resulting in frustrations, but in the end, there is some what of an “unexpected” conclusion and they all are forced to deal with the past as it is finally unveiled to the audience.
This is a Wes Anderson film through and through. It has the quirkiness in abundance, the bright colors, the zoom shots, the slow motion and the Kinks in the background. The biggest problem is that is all it is. It suffers from much of what LIFE AQUATIC does in the way that it sacrifices real emotion and heart and character in lieu of “style”. Don’t get me wrong; there are some fantastic shots in this film including one outside the train that follows multiple stories in an unbroken shot. The problem is that I was never lost in the movie. Every time there was a long shot or a zoom or slow motion, I was slammed back into the reality that I was just watching a movie made by a man that has been told how clever he is. Wes Anderson has been making essentially the same film for ten years, but the problem is that they are not getting better. It is tired and done. He started off his career as potentially the new Hal Ashby (or was trying to be) but has turned into just a parody of himself.
The acting in the film is fine at times and really good at others. It is nice to see Owen Wilson take a more serious turn as the older brother trying to reunite the family. He is still quirky and funny, but there is a serious undertone throughout and he pulls that off nicely. Adrian Brody seems born to be in a Wes Anderson film. He is odd by nature, and eats up the opportunity to explore that in a world that encourages oddity. Jason Schwartzman is really charming and feels at home in this world as well. I feel like I connected to his character the most because of the short film and the fact that I knew some of who he was going in.
The biggest downfall is the script, written by Anderson, Schwartzman and Roman Coppola. Like LIFE AQUATIC, there just seems to be no real heart in the characters or love in the storytelling. Maybe it is a coincidence, but it seems like Anderson’s films lost their human element and compassion when he stopped writing with Wilson. All of the weird and quirky characters are there and the stylized dialogue is there, but it all seems shallow and forced because there is nothing concrete to hold on to. There is an attempt at the end of the film to tie together all of the people involved in the film with a long dolly shot that sticks out as a prime example of everything that is wrong with the film. It is a beautiful shot that is clever, but it says absolutely nothing about anyone and leaves you feeling cold.
This is a better script and a better film than his last one, but suffers from all of the same problems. It is thin at every turn. All of the colors and tricks and set dressing in the world cannot hide this fact. When he attempts to be emotional, the film falls flat because we don’t know or care about the people we are watching. I still think that Wes Anderson is a talented filmmaker, but was I wish is that he would forget that he is “Wes Anderson” and just go out there and tell a good story

follow Sean Penn "Into the Wild"

2007-10-02T14:06:00.001-07:00

When I read Jon Krakauer’s book “Into the Wild”, I connected to it on a level that I can’t really explain. While it is at its based a tragic story, I couldn’t help but have a certain admiration for the main character and a twinge of jealousy for the journey that he went on. When I heard that Sean Penn was adapting this book that I loved into a film I had two immediate thoughts. The first was one of envy. I had dreamed of making this film myself for years and now he was doing it. The second was one of fear. This is a personal book to me and I was afraid that he would screw it up. This is a hard story to pull off (if it could ever be done at all). Then I saw the final film…
INTO THE WILD, like the novel that it is based on, is inspired by the true story of Christopher McCandless, who after graduating Emory University with honors in 1992, decided to take a journey. He emptied his bank accounts, gave away all of his money, destroyed his identification, abandoned his car and walked away from his life as he knew it and set off across the country. He worked odd jobs, lived off the land, met a wide variety of interesting individuals, never staying in one place too long. He yearned to push past the corruption of society and money to purify his life, his ultimate goal becoming an extended stay in the wilderness of Alaska, living alone in nature. This journey lasted two years and the film is the documentation/recreation of that journey.
There is a boyish naivety that drives Chris through this story but it is this idealism that becomes infectious as you watch him. While it is easy to sit back and judge him as foolish, you find yourself being caught up in the magic of the voyage and the wonder in his eyes as he experiences the world as if for the first time. There is beauty everywhere if you open your eyes to it and that is exactly what he does. Every step of the way he finds himself in extraordinary situations or with fascinating people. Everyone that he encounters changes his perspective and his life and he theirs. But with the ultimate goal of the Alaskan wilderness calling him, he never lets himself stay and settle into a life, no matter what happens. It is this blind determination that ends in his eventual downfall.
Sean Penn adapted and directed this film and does so with a maturity and clarity that far exceeds anything in his previous films. There is love in every frame, but he never falls into the trap of idealizing McCandless or judging him. He simply presents his story and does so with care, recreating the magic of the book and the wonderment that Chris experiences at every turn. Everything seems fresh, as if Penn was able to capture the county in a way that I have never seen before on film. As example of his dedication to the film and the story, Penn spent over 7 months shooting and insisted on going to all of the actual locations that McCandless traveled to. It is by taking this time and being in the actual places that the movie is able to elevate above a “coming of age story” and become something much more.
Emile Hirsch plays McCandless in the film and if there is any justice in the film world, you will be hearing his name throughout the awards season. He is simply fantastic in the film as you watch him transform physically and emotionally. There is a subtlety and a raw nature to his performance that is rare in any film and he pulls it off without a hitch. There is energy and a charisma that he puts into his portrayal of McCandless that makes you fall in love with him again and again. There was never a point in the film where I wasn’t with him a hundred percent. He is the type of person that you want to be around and you can’t help but root for.
This is a fantastic film and easily one of the best of the year so far. Penn not only adapted the book better than I could have hoped for, he also captured the essence of the story in a way that I could never fully explain. It was a book that hit me on a personal level and now the film has done the same. INTO THE WILD is a beautiful film full of hope, love, discovery, tragedy, loss, happiness and wonderment. Through his experiences, it will make you think about family, relationships and what real happiness can mean. This is a really special film and one that I hope that everyone will take the opportunity to see.

October movies to look forward to...

2007-10-01T17:32:00.001-07:00

I am working on a few reviews to post. I know that it has been a while, but now I am back and there is no better time. It is the Fall… the time when the “good movies” come out and the Oscar race begins. So in honor of that, I will list the five movies each month that I am most looking forward to and why. Here is the list for the month of October:

LAKE OF FIRE
(October 3)
Tony Kaye (AMERICAN HISTORY X) makes a graphic and controversial documentary covering both sides of the abortion debate. This is going to stir up some serious debate and is already being touted as the clear front runner for the best documentary Oscar. That’s more than enough for me.

LARS AND THE REAL GIRL
(October 12)
Let’s all forget the ridiculousness that was FRACTURE and consider this the follow up for best actor nominee Ryan Gosling in what looks to be one of the most unique films of the year. “A delusional young guy strikes up an unconventional relationship with a doll he finds on the Internet.” That is the synopsis that is listed online. Intrigued? I know I am. The buzz on this one has been really positive and that Gosling delivers another amazing performance.

30 DAYS OF NIGHT
(October 19)
Not all of the movies I am looking forward are “Oscar bait”. This movie just looks plain cool. Set in Alaska, during a stretch of “30 days of night”, a small town is attacked by a group of vampires. Based on a graphic novel, this movie looks stylized, violent and scary. This is also the second film from David Slade, the director of the indie hit HARD CANDY. I have heard nothing from people that have seen this one, but the trailer has me excited.

GONE BABY GONE
(October 19)
Before anyone says anything… YES, this movie is directed and co-written by Ben Affleck. But before you groan, remember that this guy won an Oscar for writing and know that this is based on a book from the author of Mystic River. Not only that, but the early word is that this is not only just a good film, but a great one. Stay away from the trailers and possible spoilers and just check out the film when it is released. From everything that I hear, you will not be disappointed. It stars Casey Affleck, Morgan Freeman, Ed Harris and Michelle Monaghan. That alone is enough for this film geek.

RESERVATION ROAD
(October 19)
This is Terry George’s follow up to the fantastic HOTEL RWANDA and it stars Joaquin Phoenix as the father of a boy that is hit and killed by a car driven by Mark Ruffalo. Their lives are intertwined as the truth is uncovered and the repercussions are dealt with. Also starring in the movie is Jennifer Connelly and Mira Sorvino. Watching the trailer, this looks like it might be a poor imitation of 21 GRAMS, but with the writer/director and the caliber of the cast, this is a must see.

Other October movies to look for:
LUST, CAUTION
THE DARJEELING LIMITED
MICHAEL CLAYTON
ELIZABETH: THE GOLDEN AGE
THINGS WE LOST IN THE FIRE
SLEUTH
RENDITION

Is it Boxing Day yet???

2007-09-06T19:16:00.000-07:00

So now the "good movies" are starting to come out with the release of 3:10 TO YUMA and the beginning of the Fall movies. Today a teaser poster came out for the movie that I am most looking foraward to. Yup, that is the new one from perhaps my favorite living writer/director, Paul Thomas Anderson. Based on the great novel "OIL!" by Upton Sinclair and starring Daniel Day-Lewis, the movie is called THERE WILL BE BLOOD and here is the new poster...

Look for this one to hit theaters on December 26th.

WELCOME HOME, Jason Bourne!

2007-07-25T23:57:00.000-07:00

FINALLY a conclusion to a trilogy this summer that is actually worth going to the movies for…
If you have not seen the first two installments of the Bourne franchise, do yourself a favor. Stop reading. Watch them. THE BOURNE ULTIMATUM is the conclusion to the Bourne story and what a conclusion it is. This is every bit the movie that the fans will be hoping for. Being more of a continuation of the second film (THE BOURNE SUPREMECY) than a stand-alone film, there is not that much as far as a separate plot goes.
Jason Bourne has lost everything in his life (including his identity and the woman that he loved) and he is on a personal mission to find out not only who he is, but the people responsible for making him that way. The result is a non-stop adrenaline ride that spans countries like Russia, England, Italy, Morocco, and finally back home to the United States. THE BOURNE ULTIMATUM begins literally where the second one finishes because it is really one story. His quest is not over and as the memories are starting to come back, he gets closer to finding out the truth.
The Bourne films are centered on two things: Matt Damon and the style of the films (created by Doug Lyman and then perfected in 2 & 3 by Paul Greengrass). Damon is one of the best actors working today and he continues to impress and surprise here. He is tortured, driven, cold and calculating, and relentless as the assassin Bourne. His performance gets better and better with each film. There is not a second while watching this film when I have any doubt that he is capable of everything that he is doing. The weight of his past and the uncertainty of his identity is present throughout and key to driving the character and the story. It is a layered and complex performance that is rare in any film, especially a summer action film.
Paul Greengrass is one of the finest directors on the planet and he chose to follow up his Oscar nominated film UNITED 93 with another Bourne installment. The skill is there and he never skips a beat to create the heart pounding action and tension in every frame. Many people have tried to adapt a “hand held” style of filmmaking to infuse some realism and energy into a movie, but no one can do it like Greengrass. This movie is non-stop action and adrenaline. There is no setup, so it just keeps running at full speed from where THE BOURNE SUPREMECY left off and it never really slows down. This is also a rare sequel that does not simply try and top its predecessor. The first two films were famous for their car chases and while there are a few chases in the film this time around, he does not try and do it bigger and better, he just does it extremely well and it serves the story.
That being said, the movie is not perfect by any means. First of all there is the use of the flashbacks throughout that are slightly over stylized and distracting at times. These flashbacks lead to the biggest problem with the film and that is the obligatory explanation that we have waited three films for. We all know that it is coming, but when it does, it is the only time where the movie seems to lose its momentum, but only for a moment. A slight misstep, but one that could not really be avoided with the story that is being told.
There is also the subject of the cast. Returning to the film is Joan Allen (who continues to deliver strong performances) and the groan inducing Julia Stiles. I hope that one day someone will actually realize that Stiles is a bad actress and should be relegated to straight to DVD fair for the rest of her career. It has gotten to the point where when she is passable, people think she is good. Ugh… She actually is passable for most of the film, but her first scene is something that a community theater would be embarrassed about. Joining the cast this time around is the always fantastic Paddy Considine in a nice turn as a reporter, Albert Finney, Scott Glenn and David Strathairn.
The casting has crossed the line at this point. It is not necessary to cast “names” simply because you can. There comes a point where when a minor character pops up and it is a recognizable face, it is plain distracting. That is how I felt about Glenn and Finney. I am a fan of both, but they are just distracting in the film. Strathairn is a little over the top and moustache twirling here as Noah Vosen (deputy director of the CIA) but it only really stands out a couple times.
All things aside though, THE BOURNE ULTIMATUM is the movie that I have been waiting for most of the summer and I was not disappointed. This is a fast paced, kinetic, thrilling conclusion to a fantastic trilogy. If you liked the first two (especially the 2nd) you will not be let down here.

ONCE in a while...

2007-05-25T18:00:00.000-07:00

ONCE is the story of a heart broken man (Glen Hansard), a singer/songwriter, who divides his time between playing music on the sidewalk for change and working for his father fixing vacuum cleaners. One day, while playing his music, he meets a young woman (Marketa Irglova) and they begin a friendship. Together they write and record music forming a beautiful bond in the process.
While the story is very simple, the two characters are complex and their relationship feels real and layered as they get to know each other throughout the week. As you discover the details in both of their past they not only become more to one another, but to the audience as well. You get to go along with the ride of discovery and self-discovery with each of them through the other’s eyes. This is a movie about connections, small moments and finding the joy in your life and having the courage and motivation to go after it.
Music plays a huge part in this simple hour and a half film. It is the core of the connection between these two people. What ONCE captures with such grace is that effect that great music can on you, both emotionally and viscerally. A song can be a powerful, unexplainable force and it is on full display here. I didn’t keep track, but I would say that the songs comprise about a third of the film and if the songs themselves did not work, the movie would fail. Luckily the songs in the film (which were written and performed by the two leads) are very much like the film… simple, beautiful, filled with heart and emotion.
The story of ONCE is a simple one, but the feelings that it elicits are as complex as the characters that it presents. This is one of the most beautiful movies that I have seen in quite some time and it is difficult to explain what touched me about it without discussing specific moments, but talking about these moments in detail would spoil them.
One moment in particular that stands out as possibly my favorite scene in any movie this year is the first time that they play together. It is a simple scene with just a few shots and a song, but the entire movie is captured through their singing, their emotion and their connection. Seeing two people come together in this way for the first time can best be described as magical.
This is a tiny movie that was shot for a mere $150,000 and has landed in the middle of the summer blockbusters, so please take the time if it is playing anywhere near and treat yourself to this incredible film. I believe that if you like music, movies, love stories or just great characters, you will love this movie.

What you should be watching

2007-04-22T01:34:00.000-07:00

So it is the tail end of the spring season of films. What that usually means is that it is the time when the studios release garbage not worth shelling out $10 plus dollars to see in the theater. There have been a few movies released that are worth checking out and there are many that have recently come out on DVD that, if you missed them, should be seen. With summer starting in a few weeks with the release of SPIDER-MAN 3, here is a short list of “should see” films…

In the theaters:
HOT FUZZ
“From the guys who saw every action movie ever made and created SHAUN OF THE DEAD…” That was enough for me and having seen HOT FUZZ twice let me say that it is the most fun movie to come out this year by far. Much like SHAUN OF THE DEAD, they manage to take a genre, make a successful film that is not only effective in that genre, but also pokes fun at it in the process. The actors are great, the script is witty and sharp and the direction is seamless. If you like to laugh and like to have a good time, then please run out to the theater and check out HOT FUZZ. (There are also some funny cameos if you can spot them)

THE HOAX
Whenever a Lasse Hallstrom film is released it is usually in the fall and touted as “Oscar bait”, so when I read that his drama starring Richard Gere had been pushed to the Spring I was a little skeptical. Then I saw it and you know what? It is a pretty damn good film. This is a really solid script (by William Wheeler) about novelist Clifford Irving who sells his bogus biography to a high level publishing company in the 1970’s. Gere shines in this role and is able to utilize his charm, charisma, and fast-talking to walk this tightrope. This is one of his best performances and is given a chance to really dig into a deep and complex character. In addition to his performance, this movie is just a good time, watching the lie evolve and the characters slip deeper and deeper into in.

On DVD:
A GUIDE TO RECOGNIZING YOUR SAINTS
SEE THIS MOVIE!!! This is one of the best movies of last year and one that no one really got a chance to see in the theater. It is a phenomenal cast, a powerful directorial debut, and a compelling story. Most people missed this one in the theater. Please don’t make the same mistake now that it is available on DVD.

THE LAST KING OF SCOTLAND
If you didn’t get a chance to see this on in the theater, please check it out now if just for one reason… Forrest Whitaker’s powerhouse performance. THE LAST KING OF SCOTLAND is a good film that will shock you in its realism and brutality, but it is amazing to watch Whitaker in the performance of a lifetime.

CHILDREN OF MEN
CHILDREN OF MEN has some of the best shots I have ever seen in a movie. It is a masterfully made compelling film that should have gotten much more attention than it did when it was released. It did not make my top 20 of the year, but after having the chance to see it a few more times, it should have. This is a really good film and if you are looking for something to make you think, make you feel, and spark a conversation, then don’t miss this one.

THE SHIELD
Season 5 of THE SHIELD was just released on DVD and if you have not been watching this show, you don’t know what you are missing. Not only has the show maintained the quality from the first spectacular season, it has gotten even better. Forrest Whittaker co-stars in season 5 and delivers one of the best performances I have ever seen on television. There is all this talk about THE SOPRANOS, and while I am a huge fan of that show, THE SHIELD is the best and most consistent show of the last ten years. If you have never seen an episode, all five seasons are available. Rent them. Watch them. You will not be disappointed.

Chronicle of an Obsession

2007-03-05T01:37:00.000-08:00

Despite the marketing campaign, David Fincher’s newest film ZODIAC is not like his previous effort SE7EN. It is not a psychological thriller about a serial killer. ZODIAC is a movie about three people that became obsessed with hunting down the real identity of this infamous killer. If I were to compare ZODIAC to any other movie it would be the 1976 classic ALL THE PRESIDENT’S MEN.
In the late 1960’s and into the 70’s, the Zodiac killer struck at random, teased the police that were tracking him, toyed with the press, and struck fear in the people of California and San Francisco in particular. This movie touches on the killer and what he does, but it centers on three people that become obsessed with finding out his identity and stopping him.
The first of these is reporter Paul Avery (Robert Downey Jr.) of the San Francisco Chronicle who is covering the case. He is drawn into the story when the Zodiac sends three letters to various local newspapers (the Chronicle being one of them) demanding that they print his coded message on the front page of their paper and if they fail to do so, he will kill more. This begins the Zodiac’s relationship with the press and the public. Avery develops an obsession with the case that contributes to his downward spiral personally.
Inspector David Toschi (Mark Ruffalo) is the lead homicide investigator on the Zodiac case. He and his partner William Armstrong (Anthony Edwards) visit the scenes, put together the pieces and try everything to find the killer. Toschi is an “all-star” detective (who served as inspiration for the Steve McQueen character in BULLIT) who stops at nothing to exhaust all of the options and evidence in search of the killer.
The last of the three is cartoonist Robert Graysmith (Jake Gyllenhaal) who also works at the Chronicle and is brought in through Avery. He is the “every man” who feels like he has to step up and do something. He is not a cop and he is not a reporter, but he has the will, the intelligence and the passion to pursue (at the cost of his personal life) the killer. He is not a hero, just someone that has a knack for puzzles and is drawn into the situation. The movie itself is based on the book that Graysmith wrote based on his years of research.
ZODIAC is a long and very meticulous film that dives into every detail of the crimes, the time period and the evidence. This not only creates this world for the audience, it transports them to this specific time and place in the not so distance past. The entire movie is about the collection of evidence where nothing is too small and then taking this evidence and trying to make sense of it. At 158 minutes, this is (as I said) a long movie, but that is vital to capturing the scale of the case and everything that these people went through to track him down. The pace of the movie is deliberate and very much a “this leads to this, leads to that” structure. Despite this, the movie never drags and there is not a wasted moment.
I compared this movie to ALL THE PRESIDENT’S MEN and I do not do so lightly. They are both stories of men who stop at nothing to track down the truth and they are both based on true stories. The major difference (besides their subject of investigation) is that Woodward and Bernstein’s obsession only last a year or so and the Zodiac investigation and obsession lasted for more than 15 years and was still never really solved.
The performances are strong (if not great) top to bottom. There are two real standouts for me and they are Mark Ruffalo and John Carroll Lynch. Ruffalo has always been a favorite of mine, but it has been years since he has had a real meaty role to sink his teeth into. The layers that he presents are remarkable. He is a cop, a husband and a celebrity of sorts and be balances them all with precision. You feel his dedication and obsession to the case and really feel for him, as he is lead along the path of endless suspects and evidence with lives at stake. John Carroll Lynch is simply fantastic as Zodiac suspect Arthur Leigh Allen. While he has very little screen time, he dominates the scenes that he is in, primarily a questioning session between him and Toschi. In this scene, he does more with body language and facial gestures than any words could convey. From the unsettling calm that passes over him while talking about these murders and his alibi to the way that he casually crosses his legs mid conversation makes him not only threatening, but puts the you in the mind of Toschi “knowing” that he is the one. But is he?
The real star of ZODIAC is the director David Fincher. In an already impressive career (SE7EN, THE GAME, FIGHT CLUB) he delivers his most mature film and one of his best. It is not over stylized like previous films, but has a restraint that is absolutely necessary to tell the story presented here. That being said, Fincher knows how to use the camera like few others. Working with collaborator Harris Savides (THE GAME, ELEPHANT, BIRTH, LAST DAYS) as a cinematographer, they have created a beautiful and haunting film.
ZODIAC is a great movie... the first great movie of 2007 and will probably stand as one of the ten best films of the year.

"Knocked Up"... let down

2007-02-07T01:52:00.000-08:00

Judd Apatow’s follow-up to the hysterical 40 YEAR OLD VIRGIN has the funniest trailer I have seen in quite a while. So the question is, “Does KNOCKED UP live up to its trailer?” The answer is simple…

NO.

The setup is simple. An average guy, Ben (Seth Rogen) has a one night stand with a hot girl, Alison (Katherine Heigl)… 8 weeks later, he gets the news that she is pregnant. What follows is their journey to try and make their relationship work and find a way to make their lives, however different they may be, work together. There are many funny parts to this movie, but they are spaced throughout an overly long, poorly paced film.
The story of KNOCKED UP is one that could have (and tried to have) a great deal of heart with outrageous comedy. What resulted is a mess. The film, at just over two hours, is way too long and never once succeeds on an emotional level. You never see the real connection between Ben and Alison. Sure he is a funny and “cute” guy, but he has no direction, smokes pot all day and has never seemed to work a day in his life. He is crude and misguided and seems to fall for her for no other reason than she is hot and out of his league. The only reason that she seems to fall for him is that he knocked her up. That is the only thing that he has to offer her.
The only change that Ben seems to make is one of desperation at the end of the movie that rings false in every possible way. This is NOT a believable love story and fails in any attempt to be one.
As far as a flat out comedy, KNOCKED UP is too uneven. It seems like there was no script and that every scene was heavily improvised without thought to a story or any development or cohesion. Sure there are a handful of really funny moments, but most of those are either shown or touched on in the trailer (which I strongly recommend checking out). The fact is that funny moments were enough for the first 45 minute of the movie and then it just got old. They were too few and far between and they never seemed to lead to anything more than stupid jokes.
Ben’s friends are about as pointless as anything in the movie besides providing an illustration of how hopeless he is. They are screw-ups and quite stupid, making them and their friendship fake and pointless. Most of the people in this movie seem to have no issue living a normal life despite having no work or any source of income whatsoever. I know that I am pointing out logic problems in a “silly comedy”, but this aspires to be more that that.
KNOCKED UP bored me and every time that it tried to be a coherent film, it failed. There is a reason why movies have scripts and are not all improvised and this is a great example. It is a sloppy film. Poorly shot, constructed and plotted. Half of the scenes felt like they belonged on the DVD as bonus deleted scenes, stuck in there for no reason. You might have a few laughs, but especially following a movie like 40 YEAR OLD VIRGIN, this is nothing more than a disappointment and a step backwards for all involved.

Here are links to the VERY funny trailers for this very mediocre movie:

domestic trailer for KNOCKED UP

international trailer for KNOCKED UP

BEST FILMS of 2006: 1 - 10

2007-02-06T02:26:00.000-08:00

10. HALF NELSON
HALF NELSON is one of the most challenging, thought provoking and fascinating character studies of the year. This is about as far as you can get from one of the standard teacher/student movies. This time the teacher, (Gosling) is a drug addict whose life is spiraling out of control and the student (Epps) has a brother in jail, a mother that is always working and a drug dealer that is trying to help her. The characters are complex and seem real. Watching the movie, you believe what they do and who they are, flaws and all. I found myself wrapped up in Dan’s journey and his struggle with his demons. All that he wants is to be a good person, a good teacher and to make a difference in the world through teaching. He is not a “good” person or even one that you would want to teach your children, but that is not what the movie is about.

full review of HALF NELSON

9. THE LAST KISS
This might be the most realistic movie I have seen in years about relationships. Through the eyes of a group of 29 year olds struggling with the idea of the future and of growing up and relationships, it entertains, but more so, it makes you think. Maybe it is because I can relate, but this movie touched me and struck a chord personally. The writing is clean, clever and real and the performances are all great. Don’t go into THE LAST KISS expecting another GARDEN STATE from Braff. This is a different movie in every way and in my opinion, a superior one.

8. THE FOUNTAIN
This is the most emotional movie of the year. A movie about love, its power and its resilience. This is a movie about death, letting go and about finding peace. Darren Aronofski has made one of the most visually stunning movies in years and one that (if you let it) will grab you and make you look at how you live your live and how you see love. Simply, THE FOUNTAIN is a beautiful film from start to finish.

full review of THE FOUNTAIN

7. BREAKING AND ENTERING
I have said before that BREAKING AND ENTERING is the movie that CRASH wanted to be. I do not say that as a way to “bash” CRASH, but as a way to illustrate what makes BREAKING AND ENTERING special. This movie touches on so many issues: race, poverty, theft, morality, judgment, love, family, choice. It does all of this while intricately weaving several intersecting storylines and avoiding contrivances and forced coincidence. All of the performances are great and the writing and direction by Minghella illustrate why he is so respected as a filmmaker. I have no earthly idea why this movie was dumped by the studio and not promoted because it is really one of the best of the year.

6. A GUIDE TO RECOGNIZING YOUR SAINTS
I sang the praises of this movie when I saw it a year ago at Sundance. I thought that when it came out theatrically, people would come to the theater and it would be a huge indie hit. Wow was I wrong. Again, the lack of an add campaign combined with good (but not “great”) reviews and a beyond limited release lead to a flop. Please do yourself a favor and rent this movie when it comes to DVD this month. It is one of the most unique and well told stories of the year, with an amazing ensemble cast and an outstanding directorial debut. I hope that this movie will find the love that it so deserved in the DVD world.

full review of A GUIDE TO RECOGNIZING YOUR SAINTS

5. THE DEPARTED
A new crime movie from Martin Scorsese starring Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Alec Baldwin and more… THE DEPARTED not only lived up to the hype, but also is Scorsese’s best film in 16 years. It is a clever, witty, and fun movie that just gets better the more you watch it. While I do love INFERNAL AFFAIRS (the movie that this is based on), THE DEPARTED is a film of its own. The writing is great, the acting is fantastic and it is told by the greatest American filmmaker. If you haven’t seen it, you are missing out.

4. THE PROPOSITION
I describe THE PROPOSITION as a mix between UNFORGIVEN and MUNICH, directed by Terrence Mallick. This is one of the best westerns I have seen and one of the most dynamic and impressive films of the year. It is a shame that nobody bothered to see it in the theater, but there is another chance on DVD. It is meditative, thought provoking, well acted and complex. This is a movie that will stay with you long after walking out of the theater.

full review of THE PROPOSITION

3. LITTLE CHILDREN
LITTLE CHILDREN is the movie that I just couldn’t get out of my head. It is so layered and filled deep characters that it gets better and better the more times you watch and the more you think about it. It is one of the boldest films of the year both in subject matter, character exploration and filmmaking. Todd Field established himself a few years back with IN THE BEDROOM, but here he has come back with a superior film in every way. A four story arc punctuated by a third person narrator, LITTLE CHILDREN is one of the most impressive films in years.

full review of LITTLE CHILDREN

2. UNITED 93
This is not a movie about the tragedy of September 11th, it is a story about the courage of regular people put in an extraordinary situation. This is a movie and a subject matter that only works because it is perfectly made and exudes respect. It is not too early to have a movie out there like UNITED 93. It is a movie that will stand the test of time.

full review of UNITED 93

1. PAN’S LABYRINTH
A seamless balance between fantasy and a harsh reality. I have seen PAN’S LABYRINTH 6 times and it just keeps getting better. The themes and the complex layers combined with the superb direction make this stand out as the best film of 2006. I have written a lot about this film and if you have not seen it, then I don’t know what else to say. Here is a link to my full review…

full review of PAN'S LABYRINTH

BEST FILMS of 2006: 11- 20

2007-02-01T02:02:00.000-08:00

20. BORAT
I laughed harder in BORAT than I did in any other movie this year… it is as easy as that. I do not think that the film is God’s gift to comedy, but there are moments of inspired genius from Sacha Baron Cohen. Throwing dollar bills at cockroaches? Doesn’t get better than that.

19. THE DESCENT
This movie works on many levels. First, there is the personal story of a group of friends that are torn apart by infidelity and tragedy. Then there is the spelunking trip that goes wrong, trapping them in a dark, foreign place with no way out. Third, there are the creatures that live in the caves that eat people. All of these elements combined, make for not only the best horror film of the year, but one of the best movies of the year. The claustrophobia is frightening, but when you add the creatures, this movie has some of the best scares in years.

18. INSIDE MAN
Just when I seem to write off Spike Lee as a filmmaker, he comes back with another film that reminds everyone why he is respected in the first place. This time it is in a movie that appears to be a total “sellout film”. It is a bank robbery movie with big movie stars, produced by one of the biggest producers in Hollywood. What he delivered was one of the most fun movies of the year. Lee puts a new spin on the old story of a bank heist gone wrong and makes it feel fresh. The clever script combined with the fantastic performances by Clive Owen and Denzel Washington make this a must see for anyone who likes movies.

17. V FOR VENDETTA
Based on the Alan Moore comic from the 80’s James McTigue (director) and the Wachowski’s (writers) made an action movie that not only entertains you, but also makes you think. A great story about fighting for your rights against an oppressive government that uses fear against its people. This is as relevant today as it always has been.

full review for V FOR VENDETTA

16. BABEL
Four stories, in four different parts of the world that all intertwine to explain not only how close we all are, but to illustrate how very far we are apart. From the writer and director that made AMORRES PERROS and 21 GRAMS, BABEL is the final chapter in the thematic trilogy about cause and effect in today’s society. This is a bold and unique film that pushes the buttons and raises the questions that people should be talking about and not ignoring.

full review for BABEL

15. MISSION IMPOSSIBLE 3
MI:3 is the most fun movie of the year. I know that Tom Cruise made headlines for things that were unrelated to movies last year, but it didn’t seem to make the news that he had also made one of the most enjoyable films of his career. This is a great action film that is extremely well made, acted, and written and will keep you on the edge of your seat, wanting more. Can you ask for anything more from a summer movie?

full review of MISSION: IMPOSSIBLE 3

14. THE PRESTIGE
When I first saw THE PRESTIGE, I liked it, but was under whelmed. I thought it was cold and too removed, but well made. The second time I saw the film, I was able to see all of the layers and complexity in the characters that I had missed before due to the twisty plot. Many movies are better the more you watch them (at least the good ones) and THE PRESTIGE is certainly one of them. In the case of the movie it is not the magic trick that is impressive, but what lies behind the curtain that captured me... emotional and heartbreaking.

13. BRICK
Clever. Witty. Stylish. This is a great idea that was extremely well done. BRICK is what independent films should do more often. It is truly original and embraces its limitations instead of ignoring them. This is not a copy or a tribute to great film noir… it IS great film noir.

full review of BRICK

12. LADY VENGEANCE
A woman is imprisoned for a crime that she didn’t commit (the murder of a 6-year-old child). When she is released, she puts into motion her plan of vengeance. Vengeance upon the man guilty of the crime. This is a fascinating look at obsession, the search for justice and revenge. What it does you her… what it really means… and if it does any good. She is not only looking for her own reasons, but for all of the victims of the real killer. The path winds around, leading to a conclusion that will shock and amaze.

full review of LADY VENGEANCE

11. STRANGER THAN FICTION
Harold Crick finds himself the subject of a novel as it is being written, his path to an imminent death revealed to him through a voice over that only he can hear. This is one of the most unique and satisfying films of the year, going above and beyond the odd setup to reveal a truly heart warming journey. This is not ADAPTAION, though it has some comparative qualities. STRANGER THAN FICTION will make you laugh, think, and look at life in a new way.

2006 HUMBY'S: director

2007-01-31T23:19:00.000-08:00

10. Rian Johnson - BRICK
BRICK is a fascinating idea… a classic style film noir set in a high school. Rian Johnson takes this concept and with a very low budget, turns it into a great film. He pays homage to the great noirs of the 40’s and 50’s without ever seeming to copy, but instead, making it his own. It is a tight, intense and extremely well told story that oozes style.

9. Chan-wook Park – LADY VENGEANCE
With the third installment in the “vengeance trilogy (SYMPATHY FOR MR. VENGEANCE, OLDBOY), Park again continues to prove that he is one of the most talented filmmakers in the world today. LADY VENGEANCE follows a woman who, once released from prison for a crime that she didn’t commit, embarks on a well planned journey of revenge. As with all of his films, there is much more below the surface. It is stacked with layers of morality and repercussions that weave with the intricate plot to form one of the best movies of the year.

8. Christopher Nolan – THE PRESTIGE
I don’t know if Nolan will ever equal his breakthrough film (MEMENTO), but what he has delivered a string of well crafted, thought provoking and entertaining films. THE PRESTIGE is about as well made as a movie can be. The plot twists and turns, leading to a harrowing conclusion. This is a film that really shows its true colors upon multiple viewings so that you can see the planning and brilliance of execution by Nolan as he unveils this mystery one trick at a time. In a film about magic, Nolan proves to be the real magician.

7. Dito Montiel – A GUIDE TO RECOGNIZING YOUR SAINTS
While watching A GUIDE TO RECOGNIZING YOUR SAINTS, it just feels raw and right. Montiel had little training and had not made a film before, so he broke many of the established rules of filmmaking, but in the process he followed his instincts and showed his true instincts as a storyteller. This is the tale of his youth (based on his memoirs) and he was the only one that could tell it and capture the life as he lived it. SAINTS is a brilliant debut for any filmmaker and makes me excited for whatever he chooses to do next.

6. Anthony Minghella – BREAKING AND ENTERING
Minghella has proven he can make sweeping epics (ENGLISH PATIENT, COLD MOUNTAIN), but with BREAKING AND ENTERING he returns to his roots and tells a small and intimate story of real people and how their lives relate and interconnect. Like I have said before… this is the movie that CRASH wanted to be, but could not achieve. It deals with race, economic class, immigration, poverty, marriage, infidelity and much more and folds it into a story that never once feels forced or cliché. Issues are explored and points are made, but never preached and forced. This is a beautiful and painful film that challenges those who will see it and not pander to them.

5. Martin Scorsese – THE DEPARTED
Martin Scorsese is considered the greatest living American director and when he returned to “the streets” for another crime movie, the expectations could not be higher. Based on the brilliant INFERNAL AFFAIRS, THE DEPARTED takes on the complex story of a criminal undercover in the police force and a cop undercover in the criminal world. It moves fast and makes no apologies for what it is of how it is made. After “chasing the Oscar” for his last few films, Scorsese just seems to want to tell this story the way that he wants to. Filled with violence, racism, whip pans, steadycam shots, an extreme sound design, and language, he makes no apologies for this movie. This is not a film about winning the Oscar that has become so elusive, it is just a movie… and a damn good one. The irony is… this is the movie that might actually give him that Oscar that has always been just outside his grasp.

4. Darren Aronofski – THE FOUNTAIN
This is the most personal film of the year. Inspired by death and love, Aronofski set out to make this movie seven years ago, only to have the rug pulled from beneath him time and time again. Money falling through, actors leaving, and countless rewrites did not stop him from eventually bringing his vision to the screen. The result is a stunning look at love transcending time and space. It may be dismissed as an “art film” or pretentious, but this is a personal and raw look at love and should be not only seen, but embraced.

3. Todd Field – LITTLE CHILDREN
LITTLE CHILDREN has one of the trickiest tones of any film this year, balancing multiple storylines of hope, fear, apathy and dreams together. Field creates this world on film and guides us through it. With IN THE BEDROOM, Field introduced himself as a promising new talent, but with LITTLE CHILDREN, he delivered a mature and thought provoking film that delivered on that promise. In almost any other year, this would be my choice for best director.

2. Paul Greengrass – UNITED 93
To say that making a movie about the tragedy on 9/11 is a tightrope is the understatement of the year. For a movie about the passengers on board United 93 to work at all, the execution would have to be pitch perfect. Greengrass delivered THAT film. There is not one moment in this film that feels false, melodramatic or disrespectful. This is a movie that reminds us what we are all capable of when push to the limit of who we are. This is a respectful look at the people on that flight who stood up and fought for what was right. This is not a pro-American movie or an anti-American movie. It is simply the account of what happened based on what information we had about that event. Using a combination of a documentary style with many of the actual people that worked in the control center, this never feels like a “movie”, but succeeds in putting the viewer there, on the plane or with the air traffic controllers on that day. It does not make judgments or point fingers, it just tells their story the way that it should be told.

1. Guillermo Del Toro – PAN’S LABYRINTH
In the real world portion of PAN’S LABYRINTH, Del Toro captures the realism of war torn Spain. You feel the horror of the war and the terrible life that Ofelia has become immersed in. This is punctuated with the extreme (at times) violence that is difficult to watch. It is almost unbearable and that is why she must escape. This is where the fantasy world comes in.

Even though the fantasy world is dark and filled with frightening creatures you are not sure are trustworthy or menacing (some are simply evil), it is still an escape for Ofelia and a welcome one for her and for the audience. It is a place of magic, where there is still hope for her and for her dying mother. If she can only complete her journey, she will be able to escape her world and finally find peace in the underworld.

Del Toro juggles the extreme and sometimes surreal aspects of both settings and makes both of them seem real… because they are real to Ofelia. They blend together as one, seamless world. This is not only the core to the magic of PAN’S LABYRINTH, but to the brilliance of the direction of Guillermo Del Toro.

2006 HUMBY'S: actor

2007-01-25T19:03:00.000-08:00

10. Hugh Jackman – THE FOUNTAIN
Three men. Three time periods. One endless love. This is one of the most beautiful films in years and it hinges on Jackman’s performance as a man whose love transcends time and distance. He is strong, vulnerable and emotionally raw. It is a fantastic performance that should not be overlooked and never be forgotten.

9. Guy Pierce – THE PROPOSITION
Charlie Burns (Guy Peirce) is a bad man by any estimation, but there is more to him in this story of moral exploration and complexity. He is faced with the “proposition” of, to gain his freedom and the freedom of his fifteen year old brother; he must hunt down and kill his older brother, Arthur. While Arthur is a psychopath who doesn’t seem to know the difference between right and wrong, Charlie knows the difference, but seems powerless and too weak to stop his brother. Like I said, Charlie is not good man, but he is a human being and it is fascinating to watch this struggle between what is right and what is easy. This is an extremely complex character and one that Pierce excels in portraying.

8. Shia LaBeouf – A GUIDE TO RECOGNIZING YOUR SAINTS
Dito (Shia LaBeouf) is a young man struggling with life, friends, family and everything in this great film. It is a stripped down performance that allows the viewer to be immersed in a real time and place. The struggle between friends, family and himself is amazing. This is a performance that will stand as the beginning of an adult career for LaBeouf and hopefully is a glimpse of things to come.

7. Christian Bale – THE PRESTIGE
It wasn’t until the second viewing that I was able to really appreciate the different layers of Christian Bale’s complex portrayal of a magician at the turn of the century involved in a vicious competition with a rival. I won’t get into these layers as to not spoil anything, but THE PRESTIGE is worth watching just for this performance. Bale continues to surprise and amaze in almost every role.

6. Matt Damon – THE DEPARTED
Matt Damon is one of my favorite actors of his generation and he gets a juicy role here in THE DEPARTED. On one side, he is charming, clever, and fun to watch, but there is another side to this character. As a child, Colin (Damon) was drawn into a world of crime and somewhat adopted by crime boss Frank Costello. As a young man he enters the police force and quickly rises to the top as a valuable informant to Costello. It quickly becomes a cat and mouse game between him and Billy Costigan (DiCaprio), an undercover cop in Costello’s crew, in a race of who finds who first. There are moral complexities to Colin that Damon explores and is really able to dig into and makes his performance not only fun, but fascinating.

5. Leonardo DiCaprio – THE DEPARTED / BLOOD DIAMOND
Billy Costigan (DiCaprio) is a young cop, who has gone deep undercover into Frank Costello’s crew of criminals. The duality of being a cop, while also having to be a convincing criminal is tearing him apart. DiCaprio is subtle and effective at portraying this internal conflict and never once goes over the top. A fascinating character and a fantastic performance.

In BLOOD DIAMOND, DiCaprio plays a mercenary who finds himself involved with a man trying to reunite his family. His motivations change from that of greed to ones more pure. The emotions and moral complexity is added to the fact that DiCaprio delivers a spot on South African accent. If there was any doubt about DiCaprio becoming an “adult actor”, there should not be after great performances in THE AVIATOR, THE DEPARTED and BLOOD DIAMOND.

4. Will Smith – THE PURSUIT OF HAPPYNESS
There are no two ways about it… THE PURSUIT OF HAPPYNESS is an Oscar bait role for Will Smith. That being said, he is fantastic. It is an emotional true story of a man that does not listen to people who say “you can’t” and risks everything for his future and the future of his son. Will Smith is one of the most likeable actors around and he uses that to his full advantage as a man that refuses to quit and does any and everything to achieve his dream.

3. Sacha Baron Cohen - BORAT
The most bold performance of the year has to be that of Sacha Baron Cohen as Borat. It is shocking and offensive, sure, but the ONLY reason why this movie works (and is called one of the best comedies ever made) is solely due to the commitment and fearlessness of Cohen’s performance. I wish that the Academy Awards would have at least rewarded this performance with nomination. Is there no love for comedy?

2. Ryan Gosling – HALF NELSON
When I saw HALF NELSON at Sundance, I praised the amazing performance by Gosling. After watching the film again, I not only agree with my original assessment, but think it is even better on second viewing. As Dan Dunne, he is the epitome of a flawed lead character. He is a inner-city junior high school teacher that struggles with a drug addiction while trying to make a difference in the lives of his students. This struggle tears him apart and is destroying his life when he meets Drey, a young girl that needs someone in her life. In many ways she helps him as much or more as he helps her, but it is one of the most incredible relationships I have seen on film and hinges on a spectacular performance by Gosling.

1. Forrest Whitaker – LAST KING OF SCOTTLAND
There is no question. Whitaker’s portrayal of Idi Amin is THE BEST PERFORMANCE OF THE YEAR. Every so often an actor comes along with a performance that stands above all others and becomes not only career defining, but raises the bar for all other actors to come. This is that performance. There are no words that can capture the transformation of Whitaker. He is charming one minute and psychotic the next. He is charismatic and magnetic, and then turns to insane and fueled with hate and fear. Whatever he is doing on the screen, there is always one constant… you can’t tear your eyes away.

2006 HUMBY'S: actress

2007-01-25T18:46:00.000-08:00

10. Keke Palmer – AKEELAH AND THE BEE
In many ways, AKEELAH AND THE BEE is similar to LITTLE MISS SUNSHINE in the fact that it is one of the “feel good movies of the year”. It is also a movie that hinges on the performance of a your actress. Keke Palmer is sweet and endearing as Akeelah. She makes you want to root for her and care about what she is going through. This would have been an easy movie to come across as cheesy and forced, but it is the performances (especially Palmer) that elevate it to something more.

9. Meryl Streep – THE DEVIL WEARS PRADA
Streep is the most acclaimed actress around and yet she manages to find new and exciting roles that show even more range. While I did not care for THE DEVIL WEARS PRADA, Streep is irresistibly ferocious and chews up the scenery. It is just fun to watch her leave a path of destruction in her wake, but because she is such a talent, there is much more to her performance. She adds a heart and a vulnerability to a woman that is best described as a heartless, raving bitch. In any other hands, this would be a caricature, but with Streep, it is a fully developed human being.

8. Yeong-ae Lee – LADY VENGEANCE
As Geum-ja Lee, Yeong-ae Lee portrays a woman driven by revenge after being wrongly imprisoned for the murder of a 6 year old boy. It is fascinating to not only see the journey, but how she orchestrates this vengeance. Just when you think you know where she is going, Lee unveils the intricacies and viciousness of her plan. It is disturbing and effective and thanks to a great performance, you are with her, no matter what she is doing.

7. Ellen Page – HARD CANDY
Again, a movie that I had major problems with, but this is a bold and daring performance by Page as a young girl that traps a pedophile and proceeds to torture him in a variety of ways. Page plays both sides (the young innocent and the tormentor) to near perfection. This movie establishes her as a true talent and one to watch in films to come.

6. Ashley Judd – COME EARLY MORNING
This is the best performance of Ashley Judd’s career as a woman lost in her own life, searching for reasons to keep going. This movie was well received at Sundance last year, but was all forgotten when it was given a limited release. Do yourself a favor when it hits DVD and check out this film. It is raw and real and showcases a layered and impressive turn for Judd.

5. Juliette Binoche – BREAKING AND ENTERING
Juliette Binoche delivers yet another great performance in this subtle, effective view of society and people by writer director Anthony Minghella. She plays Amira, the mother of a young thief, who becomes involved with the married Will (Jude Law) in a relationship that is complex, romantic and manipulative. She is a woman that has lost her husband and finds a connection with a man, but nothing is more powerful than her love for her son. Amira is torn between the chance of happiness and the wellbeing of her family.

4. Judy Dench – NOTES ON A SCANDAL
Judy Dench takes the fierce dialogue from writer Patrick Marber and wields it like a master. She is the veteran teacher, Barbara, who finds herself completely obsessed with fellow teacher, Sheba (Cate Blanchet). When she discovers that Sheba is involved in a relationship with a student, her friendship takes the diabolical turn into obsession. In many ways she comes across as vicious, but also as pathetic and misguided. It is a real joy to see her dig into the character and shine in a performance like I have never seen from her before.

3. Ivana Baquero – PAN’S LABYRINTH
Ofelia (Baquero) is much like Alice in Wonderland, in this beautifully dark fairytale from master storyteller Guillermo Del Toro. As a young girl struggling with the harsh reality of war torn Spain, she finds herself drawn into a world of wonder and fantasy. The whole film rests on her shoulders and she carries it like a veteran. You feel her pain and her struggle along with the wonder in her eyes as she travels deeper into the rabbit hole. Ofelia refuses to give up her belief, whether it is in her hope for her mother or the knowledge that there is a magical force out there that no one else can seem to see. It is a pure and heart-wrenching performance that transcends age.

2. Helen Mirren – THE QUEEN
The most talked about performance by an actress this year and for good reason. Mirren takes a larger than life character in Queen Elizabeth II and throughout the film, makes her an accessible woman. While her public persona is one of calculated distance, the Queen has a true love for her country and its people, but only knows one way to show it. When it is apparent that her people want more of a reaction and response after the tragic death of Princess Dianna, she is met with a difficult choice. It has nothing to do with her personal feelings toward Dianna (who has been nothing but a disgrace and embarrassment to the crown), but has everything to do with her sense of duty and what is appropriate.

1. Kate Winslet – LITTLE CHILDREN
I have been a fan of Winslet for years and her performance in LITTLE CHILDREN is quite possibly the best of her young career. On the surface, Sarah Pierce (Winslet) is just a woman who, dissatisfied, has begun an affair with a married man. There is so much below the surface that Winslet brings, it is amazing. Sarah is at a crossroads in her life and marriage and has all but given up, but then she meets a married man (Brad) who shakes her up and makes her feel something for the first time in quite a while. Winslet does not present Sarah as an adulterer, but as a woman fighting and taking her life into her hands, even if it is the wrong way to do it. This is a movie about the fight against apathy and finding out what is truly important. The relationship with Brad (or the idealized fantasy) is the catalyst that changes her life. This is a movie and a performance that should be absorbed and digested. It will stick with you and make you think and that is one of the signs of a truly great performance.

2006 HUMBY'S: supporting actor

2007-01-25T01:11:00.000-08:00

10. Dustin Hoffman – STRANGER THAN FICTION
When Harold Crick finds himself a part of a novel in which he has no control over, he comes to a literary professor played by Hoffman to be his guide through this crazy tale. Hoffman delivers a great comical performance in STRANGER THAN FICTION that just adds to his career of memorable roles. This is an odd film and a bold choice and he come through as he always does, pushing himself as an actor. From skeptic, to believer, to motivated guide, Hoffman is really given a chance to shine.

9. Channing Tatum – A GUIDE TO RECOGNIZING YOUR SAINTS
I had never heard of Channing Tatum when I went in to A GUIDE TO RECOGNIZING YOUR SAINTS, and I will not soon forget him now. This is a raw performance as the best friend of Dito (Shia LaBeouf) who, wile struggling with the physical and emotion turmoil of his own life, has become something of a brother to Dito. He will do anything for his friend, no matter what the cost and think nothing of it. He owns this character and never once feels like he is acting.

8. Steve Carell – LITTLE MISS SUNSHINE
Carell is famous for his comic abilities, but in LITTLE MISS SUNSHINE, it is his stoic and dramatic performance that shines through. Through that, he is one of the funniest and most compelling parts of this “little movie that could”. From the first shot of his blank face, I was drawn into this character that has lost his way in life and love, only to be taken in by the dysfunctional family that he has no interest in being a part of.

7. Brad Pitt - BABEL
Brad Pitt is a movie star by every estimation, but he transforms himself yet again in BABEL to remind us all that he is also a damn good actor. He is hurt, emotionally damaged, angry and emotionally raw with his performance. He puts it all out there on the screen and creates a character that pulls you in and makes you feel something. This is a performance that I wish more “movie stars” would attempt, but are afraid to. Without his name, BABEL might have never been made, but he does not overpower the film. Instead, he blends into the world and joins the ensemble in this thought provoking and brave film.

6. Eddie Murphy - DREAMGIRLS
To be honest, I have not liked Murphy since his role in BOWFINGER. I think he does the same thing again and again in the crap that Hollywood puts out to make a buck. Then I saw DREAMGIRLS and saw an Eddie Murphy that I didn’t think existed. He is great in this film, using his charisma to create a dominating presence, but then shows him fall as he loses his fame. He sings, dances and pulls off the drama in this role that might just give him the acclaim and attention that (I hope) will be a turning point in his career.

5. Alan Arkin – LITTLE MISS SUNSHINE
As the grandfather in the dysfunctional family of LITTLE MISS SUNSHINE, Arkin is a crotchety old man that is addicted to heroin because “why not?”. He is just down right funny in this film and was my favorite part of it. His frankness and candor made me fall in love with him and when he gives advise to his teenage grandson… “Fuck a lot of women.” I almost fell out of my seat. In addition, his relationship with his Olive is the most touching parts of the film.

4. Michael Sheen – THE QUEEN
Everyone in the world is talking about Helen Mirren’s performance in THE QUEEN, but I think that Michael Sheen as Tony Blair is just as impressive. He adds a human and appealing quality to the Prime Minister who seems to be the only one that has perspective in this chaotic time in England. He is the man that tries to keep a country together. While I have personal issues with the real Blair now, this performance helps me understand how he got to where he is now and what he really did for his country in its time of need.

3. Ray Winstone – THE PROPOSITION
As Captain Stanley, Winstone can be looked at as the villain or the hero of THE PROPOSITION. He is just a man that comes to an area of Australia to try and implement some law and order. Everything he does in the film (whether you agree with the actions) is for the betterment of the community. While hunting the man that he feels is truly evil, he uses questionable techniques and methods. He is tortured by what has happened, but is an honorable man all too aware of the consequences that await him if things go awry. We get to see a totally different side of Stanley when he is around his wife, whom he tries to keep from all of the violence and horror that is surrounding her. Winstone conveys the drive and sense of duty as well as he does the intense love for his wife.

2. Danny Houston – THE PROPOSITION
Arthur Burns is painted as a monster. He is a cold-blooded rapist and murderer that Captain Stanley will stop at nothing to capture. Then when we finally meet him, we find out that he is so much more. In many ways he is a monster, but there is a philosophical depth and an awareness that is shocking. He is not a “good man”, but he is a fascinating character. A psychopath, Burns does not see most people as anything and thinks nothing of killing them for whatever reason he chooses. The other side of him that has a deep love and respect for his family and friends. Houston is amazing and captivating, making you drawn to Arthur, even though you feel like you should hate him.

1. Jackie Earle Haley – LITTLE CHILDREN
This is almost an impossible character to play. Ronnie is a convicted child molester that has moved back into his mother’s house to try and start his life again. He wants to be “normal” and he wants nothing more than to live up to his mother’s hopes. What stands in his way is a sickness that he can’t escape no matter how much he wants to. Haley takes this character and makes it not only work, but brings this tortured, flawed and somewhat pathetic man to life and makes you feel for him. One of the best scenes in any film this year involves Ronnie on a date that goes in places you would never expect.

2006 HUMBY'S: supporting actress

2007-01-25T00:37:00.000-08:00

10. Shareeka Epps – HALF NELSON
Drey (Shareeka Epps) is more than just an inner-city student that Dan tries to help. She represents a future that many see no hope for. She is a smart, kind good person that lives in a world filled with poverty, crime and drugs and is fighting against becoming a stereotype. No father… brother in prison… a mother that works all the time to support herself and her daughter. Her only hope lies with a drug dealer friend of her brothers, and a teacher addicted to crack. Epps delivers a mature and heartfelt performance, never slipping into cliché or convention. Drey is a real girl, with real problems and Epps is note perfect in her struggle for a chance at a future. The emotional center of a fantastic film.

9. Emily Watson – THE PROPOSITION
Much like Epps, Watson represents the hope in a hopeless world of the Australian “old west”. A world filled with violence, revenge and savagery. She is the balance for her husband and keeps him human with her love and support. There is an amazing moment in the film where she learns that her friend was raped and murdered and her husband is bartering a deal that might result in the guilty parties walking free. It is a raw and real performance that adds humanity to a dark and reflective western.

8. Rinko Kikuchi - BABEL
Kikuchi is the lead of my favorite section of one of the most critically acclaimed films of the year. She plays a deaf young girl that is reaching out for a connection. We feel her pain and her struggle as she does any and everything to reach out and be treated like a “normal” girl. It is a heartbreaking story and a great performance.

7. Cate Blanchet – BABEL / NOTES ON A SCANDAL
Blanchet is one of the greatest actors working today and this year, she delivers not one, but two great performances. In BABEL, she plays a young woman who is shot by a stray bullet while on a tour bus and struggles to stay alive while trapped in a third world country. It is real and it is raw as she lies on a dirt floor trying to fight to stay alive. While all of this is going on, there is a touching tale of her dealing with the deal of her child and her crumbling marriage. In NOTES ON A SCADAL, she plays a teacher that begins a sexual relationship with one of her students and forms a friendship with an obsessive older woman. It is a layered and complex performance in a compelling (but flawed) film.

6. Abigail Breslin – LITTLE MISS SUNSHINE
LITTLE MISS SUNSHINE is the feel good film of the year and Breslin is the core. A young girl that dreams of being a beauty queen and embarks on a road trip with her dysfunctional family to compete in the Little Miss Sunshine pageant. This movie would be a complete failure without a fantastic performance by this young actress, and while I have issues with the film, Breslin delivers a lovable performance that you can’t help but root for.

5. Emma Thompson – STRANGER THAN FICTION
Karen Eiffel is the all-powerful narrator of the life (and impending death) of Harold Crick. Thompson is a fine actor and delivers a subtle and effective performance here as not only a writer, but also exploring the moral issues of killing her character and in turn, a real man. It is an odd film and a tricky role, but Thompson (like always) is strong and spot on.

4. Vera Farmiga – BREAKING AND ENTERING / THE DEPARTED
Vera Farmiga delivers two fantastic supporting performances in two of my favorite films of the year. In THE DEPARTED, she plays the girlfriend of Colin (Matt Damon), who struggles with the issues of a lack of trust and after being shut out, is drawn to the tortured soul (Billy, played by DiCaprio). In BREAKING AND ENTERING, she plays a prostitute that befriends Jude Law and serves as his sounding board and moral compass in a way. While this might sound like an odd position for a prostitute, she creates a compassionate and flawed character that opens up the eyes of a man that has become lost in his own life. Farmiga has emerged as a true talent and I can’t wait to see where she goes from here.

3. Maribel Verdu – PAN’S LABYRINTH
As Ofelia is losing her mother to illness and to her ruthless stepfather, Mercedes (Verdu) emerges as a mother figure of sorts for a girl lost in a world of fantasy and reality. In many ways, she used to be Ofelia until she began to lose her faith and hope and ability to believe. While many of these childlike qualities are gone, there is still a strong and complex woman that not only has belief, but also stands up and fights for it. This is maybe the most complex and interesting character in PAN’S LABYRINTH and Verdu steps up and makes her real and compelling. There is so much love, frustration, anger and drive in her performance, it is impossible not to connect with her.

2. Phyllis Somerville – LITTLE CHILDREN
Somervile plays a loving mother of a convicted pedophile. She refuses to give up on her son, no matter what he has done or what people think, knowing that he is her good boy and is a good person deep down. Through her, we can see Ronnie for more than what he has done and can see him through her eyes as what he can be. The Ronnie storyline in LITTLE CHILDREN is the most difficult I have seen all year and the only reason it succeeds is by the performance of Ronnie (Jackie Earle Haley) and that of Somerville. Without her strong performance, Ronnie would be dismissed as a pervert and never given a second thought. She is pure representation of hope and the love of a mother.

1. Jennifer Hudson - DREAMGIRLS
Without Jennifer Hudson’s powerhouse debut as Effie, DREAMGIRLS would have been nothing. She dominates the film and drives it in every possible way. Her presence is magnetic and commands your attention and when she lets loose in her many numbers, you can’t help but be drawn in. To think that this is her fist role in a film is unbelievable. If you have any doubts whatsoever about who the best supporting actress of 2006 is, just watch her show stopping number in this film. From American Idol to Oscar… who would have guessed?

2006 HUMBY'S: adapted screenplay

2007-01-22T18:50:00.000-08:00

5. A GUIDE TO RECOGNIZING YOUR SAINTS – Dito Montiel

Based on his own memoirs, Dito Montiel has recreated a time and place from his childhood in 1980’s New York. The filmmaking is unconventional and so is the screenplay. It is as if Dito had no idea how to “write a script” and was forced to make up his way as he went along and trust his instincts as a storyteller. The result is a story that feels real and feels right. The narrative is fragmented as is the structure, but it all comes together to form a compelling and heart wrenching story of a young man struggling with his life, his family and his friends and coming to terms with what really matters in life and who is really important.

4. THE PRESTIGE – Christopher & Jonathan Nolan
The writing team (and brothers) that brought us the fantastic MEMENTO, are back and this time they tackle the story of two rival magicians facing each other in a bitter feud. This movie works on two levels… The first is the first viewing as the plans and the plots of the two are unveiled, following the twists and turns until the end. The second level is once all of the “secrets” are revealed, there is a core emotion that can be not only discovered, but explored. The complexity of the structure and of the characters is a tribute to the two writers, who while they do not quite match their previous effort, deliver an extremely well crafted screenplay and an engaging film.

3. THE DEPARTED – William Monahan
In a film that came out last year, but was released in its uncut form in 2006 as one of the best of recent memories (KINGDOM OF HEAVEN) Monahan delivered on a brilliant epic about the crusades. This year he delivers a gritty and complex crime movie with some of the best dialogue in any movie this year. It has wit, style and balls. This is a movie that pulls no punches and gives director Martin Scorsese something to really dig his teeth into, and maybe that Oscar that has eluded his throughout his career. In addition, the characters of Billy Costigan (DiCaprio) and Colin Sullivan (Damon) are some of the best of the year… conflicted and complex. In this world, the line between good and bad is not only fuzzy... it does not exist.

2. THE LAST KISS – Paul Haggis
This is an uncomfortably real look at men in their late twenties faced with the often frightening and unsettling look at their potential future. When released, it was marketed as a GARDEN STATE like film, but the reality is that it is so much more. What Michael (Zach Braff) and his friends go though strikes home with anyone of this age group. It is a real look at relationships and about “settling” or the fear of "settling". In many ways, this is the most personal movie of the year for me because of the thought and the feelings that it stirred up, but that aside, THE LAST KISS is a well crafted script with touches of heart and pain that are not easy to shake.

1. LITTLE CHILDREN – Todd Field & Tom Perotta
In terms of tone, I think this is the most challenging movie of 2006 and the only reason that it succeeds is because of the amazing script by Field and Perotta, based on Perotta’s book. It juggles multiple stories that intertwine both literally and thematically, to a thought provoking and emotional conclusion. The complexities of the tone were not enough though, as they also intertwined the use of a third person narrator throughout the film. This use is what makes the film stand above and beyond any other script this year.

By using this narrator, they put the audience at a distance so that we can observe what is going on, while keeping a perspective on the events that are occurring and their relationship to each other. Walking the tight rope between voyeur and participant, LITTLE CHILDREN is never dull and un-engaging. It also gives the film an element, making it feel like a rich and textured novel filled with lots to sink your teeth into. Many people I have talked to were thrown by the choice of the narrator, but I think if you get past the initial shock, it opens up a completely new and fascinating level to the film. It is a bold and unconventional choice that is rare to see in films today.

2006 HUMBY'S: original screenplay

2007-01-22T16:54:00.000-08:00

Before I get into my top five original screenplay of 2006, here are some more that did not quite make the top five, but deserve some recognition: THE PROPOSTION, BRICK, THE QUEEN, THE FOUNTAIN, BABEL and THE SCIENCE OF SLEEP. It was hard to narrow it down to my 5 favorites, but here they are...

5. UNITED 93 – Paul Greengrass

This is one of those films that blend fact and fiction and it tackles one of the most difficult and terrible events in US history. Especially considering that the attack on 9/11 was only five years before the release of the film, it is beyond a tricky job for any screenwriter to take on. Greengrass uses a combination of actual events recorded and reenacted by the ground crew in air traffic control with a pure imagining of what happened on board the flight of United 93. The result is something that feels not only natural and real, but also boarders on a documentary. UNITED 93 is a respectful look at a group of people that could have been anyone… a group of people that stood up and fought… a group of people that are true heroes.

4. HALF NELSON – Anna Bowden & Ryan Fleck
I love stories with main characters that are flawed and there is no better example this year of a flawed character than that of Dan Dunne (Ryan Gosling) in HALF NELSON. He is an inner-city junior high school teacher that is also the basketball coach that is struggling with an addiction to crack. Dan wants nothing more than to make a difference in the world and to make a difference in the lives of his students, but his addiction stands in his way. When he is befriended by a young student, Drey, this struggle becomes much more specific and much more personal. Bowden and Fleck create a dynamic and fascinating character in one of the most challenging scripts in years.

3. BREAKING AND ENTERING – Anthony Minghella
Minghella is, for my money, one of the best writers at adapting books into films (THE ENGLISH PATIENT, TALENTED MR. RIPLEY, and COLD MOUNTAIN), but with BREAKING AND ENTERING, he returns to the world of original screenplay and he does so with grace and maturity. It is a story of several people in London, struggling with elements of their lives (marriage, children, poverty, crime, and the future). This is a look at a difference in class and social and economic levels in the world today. This is the movie that CRASH tried to be, but this time it does not feel like a contrived TV movie. It feels like a piercing look at our culture and at human beings in general. The movie receives a release later this month and I hope everyone has a chance to check it out.

2. PAN’S LABYRINTH – Guillermo Del Toro
This is a fantasy and a fairytale intertwined with the real world. At it’s core, this is a dark and beautiful fairytale of young Ofelia who, while in the midst of a war, escapes to a world of wonder, that parallels that journey taken by another girl in another fantasy. There are direct parallels between PAN’S LABYRINTH and ALICE IN WONDERLAND. That is just one of the many layers that makes this not only one of the best films of the year, but one of the most engaging scripts of the year as well.

1. STRANGER THAN FICTION – Zack Helm
STRANGER THAN FICTION is a clever, unique story about a man named Harold Crick and his watch. This is the setup and it unwinds into a wonderfully original tale that can’t help but remind me of ADAPTATION. Harold finds himself able to hear the narration of the story that is his life. The odd part is that the writer of his story is the author Karen Eiffel, who exists in his world. As she writes her book, Harold becomes aware that the end of his “story” is a tragic one. This bizarre story is just the setup for a really personal and heart-warming tale of a man that discovers the joy in his life and the joy that the world has to offer. However brilliant ADAPTAION was as a script, it felt distant and removed, which is where STRANGE THAN FICTION succeeds without falling into the trap of cliché and melodrama. In the category of “Original Screenplay”, there is no more original story that succeeds on as many levels as this one.

2006 HUMBY'S: technical awards

2007-01-20T12:29:00.000-08:00

BEST CINEMATOGRAPHY
1. THE FOUNTAIN
This is simply one of the most beautiful films I have ever seen. Taking place in three intersecting time periods, each has its own look, but all come together to form a piece of art. This is the third collaboration between director Darren Aronofsky and D.P. Matthew Libatique and it is their finest. Each frame of THE FOUNTAIN looks amazing. The fact that the story is as beautiful as the photography is enough to make this a must see for anyone that loves movies.

2. PAN’S LABYRINTH – A beautiful and haunting look in the dark imagination of a master filmmaker.
3. CHILDREN OF MEN – Some of the best camera work I have ever seen in a film. While the lighting is not “pretty”, it achieves the stark natural look of a world gone past the point of no return. Or is it?
4. THE PROPOSITION – Stark, yet stunning. The use of light and the natural landscape is stunning.
5. THE PRESTIGE – This is a film made by masters of the craft. It is precise and calculated in its beauty.

BEST EDITING
1. A GUIDE TO RECOGNIZING YOUR SAINTS
Every so often a movie comes along and throws out the rule book on what is allowed. There are many reasons why the style in A GUIDE TO RECOGNIZING YOUR SAINTS should fail, but it all fits together to transport you into this world. There is a saying that great editing should never be noticed. Here, the editing works to create the feel of the movie and is vital to what makes this film so damn good.

2. THE DEPARTED – Thelma Schoonmaker is to editing what Martin Scorcese is to directing. Good thing they collaborate on every film.
3. LITTLE CHILDREN – One of the trickiest balancing acts of the year in tone and in style.
4. THE PROPOSTION – Slow and steady in parts and kinetic in others, but it comes together flawlessly.
5. UNITED 93 – It feel like a documentary in all the right ways.

BEST COSTUME
1. PAN’S LABYRINTH
The combination of the fantasy and the real world intertwine, yet feel completely unique. Like the rest of the film, there are moments of beauty, moments of surrealism and moments of darkness and gritty realism and the costumes add to all of this.

2. DREAMGIRLS – Great outfits, multiple time periods and LOTS of changes.
3. A GUIDE TO RECOGNIZING YOUR SAINTS – A key element to the realism created in capturing this specific time and place.
4. LAST KING OF SCOTLAND – Once again, vital in capturing this time and place.
5. THE PROPOSITION – It is Dark, dirty, dusty and feel %100 accurate, putting you right there in the story.

BEST MAKE-UP
1. PAN’S LABYRINTH
There is no question. The creature effects alone make this the stand out of the year. Add to that the accomplishment in the real world make-up of scars, blood, horrifying wounds, and you have a clear-cut winner.

2. PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST – Much of the effects make-up was done in the computer, but Bootstrap Bill was ALL make-up Fantastic!
3. APOCOLYPTO – The scarring, tattoos and piercing were the only thing about this film that felt real to me.
4. THE DESCENT – Great blood and really cool creatures on a low budget.
5. THE FOUNTAIN – Multiple time periods, styles and looks that intertwine and stand apart at the same time.

BEST ART DIRECTION
1. PAN’S LABYRINTH
There is another world created in this film. The fantasy world is dark and daunting. In particular the lair of the Pale Man is one of the best sets of the year. The creation of the Mill, the town and the Labyrinth in the real world is fantastic and never for one second feels like a set, no matter how fantastical the movie gets.

2. THE FOUNTAIN – Some is simple and others are complex. This is one of the best looking films in years.
3. PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST – It is so big. There is so much. All of it is well done.
4. CHILDREN OF MEN – Realism in a world filled with apathy that is not far off from the present.
5. THE PRESTIGE – Like the photography, precise and calculated, but it still always feels real.

BEST SCORE
1. PAN’S LABYRINTH
What is a fairy tale without a lullaby? Taken from a touching moment in the film where Mercedes hums a lullaby to comfort Ofelia, the theme of the film is simple, but the score is anything but. Music sets the tone for a film and this is no exception. Beautiful and haunting.

2. LITTLE CHILDREN – Thomas Newman is one of the greatest around and this is a different kind of score, but lives up to his other great works.
3. THE FOUNTAIN – Beautiful and transcendent.
4. BREAKING AND ENTERING – Gabriel Yared breaks into new territory working with Underworld.
5. MISSION IMPOSSIBLE 3 – This is just a great score. Nuf said.

BEST SOUND
1. THE PROPOSITION
Layered and textured. The gunshots punch through you as much as the silence fills you with a sense of emptiness and reflection.

2. PAN’S LABYRINTH – The sound is heightened, adding to the fairy tale aspect of the film.
3. PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST – Just great effect for the sound with the larger than life action.
4. THE FOUNTAIN – As complex as the story and the emotion.
5. THE DESCENT – Claustrophobic. Terrifying. Effective.

BEST VISUAL EFFECTS
1. PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST
Once again… the clear cut choice. As Kong was last year, Davey Jones is a standout in how far CGI has come and shows where it can go when used well. Aside from that character, the scope, the scale and of course… the Kraken. Impressive.

2. THE FOUNTAIN – One of the most innovative use of effects I have ever seen. %90 of the effects in this film are not computer generated.
3. PAN’S LABYRINTH – The effects work hand in hand with the make-up and art direction to create a world.
4. SUPERMAN RETURNS – Sure we believe a man can fly in today’s world of film, but the plane sequence is fantastic.
5. NIGHT WATCH – Low budget and Russian. There is some of the most creative use of effects of 2006.

take a trip down the rabbit hole

2007-01-19T18:31:00.000-08:00

PAN’S LABYRINTH is a dark fairy tale that will engage and delight you if you are one of the lucky ones that go out and see it. How is that for a build up for a film?
I have been a fan of director Guillermo Del Toro since I first saw CRONOS (a low budget Spanish language vampire movie from 1993). Since then, he has made several “Hollywood” films, but returned to his roots a few years back with the fantastic DEVIL’S BACKBONE (if you haven’t seen it… rent it). So as soon as I heard that he was making a dark fairy tale with fantasy elements, I was in from the get go. With all of my expectations going in, I was not let down. As of now I have seen PAN’S LABYRINTH five times and I could go again tonight. This is one of those rare films that just get better the more you watch it.
While the movie is a fairy tale at its core, most of the story is set in the real world of war torn Spain. A fascist regime has gained control, but is still finding resistance from a small group of rebels. The story is set at a mill and outpost for the military, overseen by the merciless and seemingly heartless Captain Vidal. The story starts with a young girl named Ofelia coming to live at the outpost with her mother, Carmen, who has married Vidal and is pregnant with his child. Ofelia is an avid reader and has an overactive imagination. Along the way she encounters what she believes to be a fairy that ends up leading her along a journey that is just as fantastical as one of her books.
The journey that Ofelia embarks on can be described as a retelling of the classic Alice in Wonderland even as far as many of the characters and creatures she meets directly parallel those in the novel. When the fairy brings her to a menacing creature named Fauno, he sets her path and tasks her with three “tests”. He believes that she is the princess of the underworld and these “tests” will verify that she has not become too human so that she can return home and take her rightful place at the throne.
The backdrop of the story is the revolution and the terrible Captain Vidal and his ruthless treatment of all of the people around him. There are moments in this film of severe violence that serve to illustrate the brutality and pain of the real world, making the promise of a peaceful dreamland all the more appealing for Ofelia. The intertwining of the real world and the fantasy world is intricate and one with layers that will stand out on further viewings. This is a complex film, but an engaging one.
Visually, PAN’S LABYRINTH is one of the most magical movies I have seen in years. There is nothing that doesn’t feel real, no matter how fantastical it may be. The use of the camera movement and the combination of visual effects and practical effects weave together to create another world. The creatures in the fantasy world are amazing. It is as if we are allowed in the mind of the imaginative of Del Toro and while there is a certain amount of horror to the creatures, there is also a sense of beauty as well. Even Ofelia’s guide, Fauno is sinister in appearance and we are never really sure if he should be trusted. When she encounters the most dangerous task and comes face to face with the Pale Man, it is one of the very best scenes in any film this year. He is a truly creepy and unique villain.
There are many layers to the story of PAN’S LABYRINTH. Like all great fairy tales, it is about much more than the surface. This film deals with (among other things) the loss of innocence and imagination, and the fight for hope and what you believe is right. Many might describe this film as “depressing” or too dark, but at its core this is a movie ABOUT hope and never letting go of what you believe in. This is a beautiful story, just a more complex one than we are used to. There is a pure beauty in the dark imagination of Del Toro and through that, he is able to tell this remarkable tale.
PAN’S LABYRINTH opens nation wide today and I ask everyone that reads this to see it. It is rare that movies like this are made and they should be embraced. I know that the film is in another language and there are subtitles, but don’t let that get in your way. Go and see this film and let Del Toro transport you to another place… a place that is a little dark and somewhere you have not been before… you will not regret it.

just for fun

2007-01-10T17:10:00.000-08:00

I know that I have not posted the rest of my year in review...
It will be coming soon, along with a series of reviews, but in the mean time, I saw this selection of scenes from THE WICKER MAN (a film that I have not yet seen) and it is one of the funniest things I have seen in a while. I hope that you enjoy it as much as I did...

2006: A Look Back

2007-01-04T14:25:00.000-08:00

So 2006 is in the books and I find myself looking back at the highs and lows in the world of film. Here is a list of some of those things that stood out to me throughout the year.

FUNNIEST MOVIE OF THE YEAR:
BORAT: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakstan
Now I know that this is not the groundbreaking choice, but it just simply the funniest movie that was released in 2006. I didn’t like it nearly as much as most of the critics did and I don’ think that it is a genius film, but I do believe that it is filled with moments of inspired comic brilliance. I cross my fingers that Sacha Baron Cohen will be nominated for a Best Actor Oscar because it will show some balls that the Academy truly needs. But more than anything, this movie just made me laugh.

SCARIEST MOVIE OF THE YEAR:
THE DESCENT
This is a great horror film. The setup is simple… A group of women go spelunking in an uncharted cave, thing go wrong and they are trapped… then monsters come. It might sound a little silly, but it is amazingly effective in its use of the location, the fear, the stress and the impending danger that surrounds them. The best thing about THE DESCENT is that it would work without the monsters in the film at all. There is enough drama and character development to keep you on the edge of your seat. But you add a bunch of cave dwelling monsters that eat people to that and you get a bad ass horror film.

BEST TRAILERS OF THE YEAR:
LITTLE CHILDREN
The sound, the images, the music and the structure create a world that pulls you in within seconds. This is a phenomenal trailer that engages and captivates in a way that I hadn’t seen in most films, let alone any other trailers this year.
300
This might be a huge piece of crap or it might be a work of brilliance. We will find out in March. Until then, what we do have is a fantastic trailer. Here is link to my review of the trailer.

300 Trailer REVIEW

BEST SURPRISE OF THE YEAR:
JENNIFER HUDSON in DREAMGILRS
This is a good film, but Hudson is absolutely incredible in it. All that I knew about her going in was that it was her first film and that she was on a show (American Idol) that I had never watched. What I found out is that she is the heart and soul of this film. There are a handful of numbers that stand out, but there is one in particular that stands out. You will know this song when you see it because it will make you stand up and cheer.

BIGGEST DISAPPOINTMENT OF THE YEAR:
M. NIGHT SHYAMALAN
There was the whole mess with his fallout with Warner Brothers, the book that documented not only that break, but also highlighted the appearance that he is a spoiled child of a filmmaker. Then, to top it off, he went out and made the movie that caused the rift with Warner Brothers… LADY IN THE WATER. To say that this is a piece of crap can’t sum it up. It is a disaster. I think that he is still a talented filmmaker… I just hope that he can have the sense to pull his head out of his ass and realize that he is not untouchable and that sometimes, he is wrong. He can fail. He has failed.

BEST DVD OF THE YEAR:
KINGDOM OF HEAVEN (Director’s cut)
I wrote about this version of the movie earlier in the year and it is one of the best movies of the decade. The 4-disc DVD is just as good, filled with hours of documentaries and several commentaries. If you like movies at all, this is a must own DVD for your collection.

Here is a link to my post about the movie/DVD…

Kingdom of Heaven REVIEW

MOVIE THAT I DISLIKED THAT CRITICS LOVED:
LETTERS FROM IWO JIMA
Now I didn’t “hate” LETTERS FROM IWO JIMA, but I do think that it is an overrated film to say the least. It is a cinematic mess that is presented as a masterpiece. I think that I said it all in my review, so here’s the link…

Letters From Iwo Jima REVIEW

Soon I will be posting my best of the year lists… aka THE HUMBY’S 2006

"Little Children" for adults

2007-01-03T15:46:00.000-08:00

When I first saw Todd Field’s follow-up to the Oscar nominated IN THE BEDROOM, I liked the film, but was not what I wanted it to be. What I did notice was that the movie stayed with me long after I left the theater. The themes, the characters and the storytelling stuck in my mind and when I was able to go and revisit the film a month later, I saw it for the film that it really is.
LITTLE CHILDREN is not a film that is easily summarized. On the surface it is the story of three people living in upstate New York that are all dealing with their own issues and the issues of the people in their lives.
First there is the character of Sarah Pierce (Kate Winslet), a woman that married a rich man, moved into a big house and had a daughter. This development in her life has caused her to put herself and her life on hold and settle into a life that she never really seemed to want. Her marriage is stale and filled with apathy and her relationship with her daughter is one peppered with resentment. She loves her daughter, but there is a feeling that she doesn’t like her much. While she refuses to get a baby sitter, she is also frustrated that there is never any time for her to have to herself. The only solace that she finds is in her evening walks when she is away from her daughter, her husband and she can just have “her time”.
Then there is the character of Brad Adamson (Patrick Wilson) who is a househusband. His wife Kathy (Jennifer Connelly) is a documentarian and he is the one that stays at home, makes dinner and cares for their son Aaron. Brad loves his son, but there is something that is in the way of their connection. It is a connection that Aaron shares with Kathy that, no matter how hard he tries, Brad cannot compete with. This leaves him feeling like a substitute parent. His relationship with his wife is equally as frustrating. She is successful, brings in the money and he is reliant on her. There is no real passion in their marriage and it seems more like a parental one. She tells him what to spend money on and robs him of what pride that he has at this stage in his life. The one thing that he is working for is to pass the bar exam. Something that she wants, but not what he does. Because of that, when he leaves at night to go to the library to study, he never quite makes it there. Instead, he stops by a group of teenagers and watches them skateboard, remembering the time in his life when he felt free and took chances. This is the time when he is able to step out of his life and find a semblance of happiness.
Ronald James McGorvey (Jackie Earl Haley) is the most controversial character in LITTLE CHILDREN. He plays a convicted sex offender that moves back into his mother’s house in the neighborhood. While we don’t get introduced to his character until about 45 minutes into the film, there is much talk about him from the first scene. His presence in the area causes a panic. His struggle is more internal with what he wants and who is wants to be rather than with the outside world. His mother May is the only person in the world that believes in Ronald and pushes him to be the person that she believes he can be. While he wants nothing more than to make his mother happy and to be that person, he can’t overcome his demons. This is the trickiest of the stories in the film and the one that worked in ways that I didn’t think possible.
The last of the four lead characters is that of ex-cop Larry Hedges (Noah Emmerich) who leads the campaign against Ronald, attempting to warn the parents in the community that there is a sex offender in their midst. This campaign becomes an unhealthy obsession that consumes him and ruins his life. While there is motivation to this obsession, I won’t get into it for spoiler reasons.
The real stand out of the movie is the director Todd Field though. He uses really unconventional filmmaking techniques that draw you into this world and capture a difficult (and almost impossible) tone. It is a complex story with even more complex characters and he balances them like a master. Then there is the unusual use of narration… not voice over from one of the characters, but a third party narration, that provides a much needed distance from the action that helps in the creation of that specific tone. The narration is consistent throughout the film and creates an atmosphere for the film that resembles a book. This is helpful due to the fact that the movie is based on the book by Tom Perrotta (who co-wrote the script with Field).
I know that it might appear that I have given too much information, but the movie is so complex with it’s emotions and moral questions, that this does not even scratch the surface of what LITTLE CHILDREN is about. It is a movie about judgment (both of others and of one’s self), about self worth, about complacency, tolerance, and taking action in your own life.
LITTLE CHILDREN is a really unique film and one that really should be seen multiple times to be able to absorb all that is going on. On first viewing, it might feel slightly off or unbalanced as it did for me, but I recommend that you let it settle. Allow yourself to think about the film before rushing to judgment. If you don’t, I feel like you might miss one of the best films of the year and one of the most interesting films of the last few years. This is a challenging movie that does not play by the rules and actually asks the audience to think about what they are watching.

return to sender

2006-12-21T18:58:00.000-08:00

LETTERS FROM IWO JIMA is a film about the battle of Iwo Jima (made famous by the photograph of the raising of the American flag) as told from the point of view of the Japanese soldiers. The center of the film is General Kuribayashi (Ken Watanabe) who is brought onto the island to oversee its defense against the Americans. Before long, it becomes clear that there is no chance for victory and the movie turns into a portrait of a group of soldiers facing certain death and how they deal with it. With all of this, the films is also almost entirely in Japanese and directed by two time Oscar winner Clint Eastwood.
Just the plot alone, I went in wanting to love this movie. It had also been popping up on top ten lists and had won the best picture for the National Board of Review. The movie that I saw though was slow, wildly uneven and overly melodramatic.
Like many other films from the year, LETTERS FROM IWO JIMA suffers from being too long. With a running time of about two and a half hours, it drags throughout and suffered from it. To better capture the characters and feel who they are and where they came from, the film’s structure is peppered with flashbacks of them before the war and who they were with their family and what they have are going to lose. While this seems like a good idea, the way that Eastwood used the flashbacks, it is extremely heavy handed and felt forced. I was never lost in the characters and able to really feel for them because the way that it was handled felt like the filmmaker was trying to make me care. I always felt like I was watching a movie.
When the movie was focused on the actual soldiers and on the invasion and ensuing battle, the result was just a jumbled mess. There was a general lack of geography and I never felt like I had a clear view of what was going on and when it was going on. There are instances when this chaos works (BLACK HAWK DOWN), but here, it just came across as poor direction. There are a handful of moving sequences and moments, but they just did not come together to really tell a story.
Another thing that realty bothered me was the look of the film. It took the bleach bypass look of SAVING PRIVATE RYAN way too far, making the film look distractingly like a black and white film with the only real colors being a muted red and yellow. It looked like sloppy color timing trying to create a style. The result was characters that looked less than human. The skin tone was an ashy grey that was more like a ghost than a human. This might be construed as intentional, but I thought it looked lazy. Again, some of the shots are great, but the look overall just seemed too much.
Also, the score is terrible. I have never been a fan of Eastwood’s score choice in films, but his use of a minimalist piano didn’t fit the tone here at all. It was almost as if they pushed up the release date and had a weekend to record the score so he thought that it would just call it “minimal” and people would not notice. For me, this was possibly the worst score of the year.
LETTERS FROM IWO JIMA is one of the best-reviewed movies of the year and will no doubt be nominated for many Academy Awards, but I just can’t help but feel like I saw a different version of the film. The one that I saw was too long, poorly paced, melodramatic, lazy and just plain cheesy.

Kenneth Turan Can't Count

2006-12-18T15:14:00.000-08:00

So I am working on a whole lot of different reviews, but in the mean time, I was checking out the top ten lists that are starting to pop up. As you might have noticed, I love top ten lists (both reading and creating my own). So, I happened upon the LA TIMES top ten list from resident film critic KENNETH TURAN. Here is a link to his full article…

Turan’s Top Ten

And here is the list of his “top ten” films of 2006…

1. Flags of Our Fathers
Letters From Iwo Jima

2. The Ground Truth
Iraq in Fragments
My Country, My Country
The War Tapes
Darwin’s Nightmare

3. Friends With Money
Half Nelson

4. The Queen
Venus

5. The Lives of Others
L’Enfant

6. Little Miss Sunshine
Thank You for Smoking

7. Volver

8. Pan’s Labyrinth
Children of Men

9. Dreamgirls

10. Sweet Land

Now, I won’t get into what I thought about the films on the list (many of which I have problems with), but I do have one question…

Why are there 20 films in his top ten?

I understand having a tie for number one or wanting to squeeze in an extra movie or two, but this is just silly. Just something that I found funny. I will make more comments about the films on his list when I compile my own. The only thing I will say is that he left out the best film of the year without question.

take a HOLIDAY???

2006-12-11T13:38:00.000-08:00

Every so often, a romantic comedy will come along and capture a world and a relationship that will melt your heart and take you to a magical place. Nancy Meyer’s THE HOLIDAY is NOT that movie. This movie is one of the most ridiculous excuses for a film that I have seen all year.
I will start with the reason that I saw the film in the first place (if you are wondering)… the cast. The pairing of Kate Winslett, Jack Black, Jude Law and Cameron Diaz was worth me risking the $10 to check out this cheese fest. I never thought I would say this, but I actually lost some respect for Winslett in this film. For the first time in her career, she is not good. While it is the script that ultimately fails her, she was wondering lost for the majority of the film. Black, who I am a big fan of, was just plain terrible here. He plays a film composer and it seems, in this film, that he not only knows what a composer does, but how a human being acts. There was even a point in the film where he does the patented Jack Black singing scene… my eyes rolled so far back in my head it caused me actual pain. Then, about 30 minutes later, he did it again. Terrible.
Diaz has some cute moments, but was bland and false. Her character plays the owner of a trailer company and it this world, she only needs two employees, and this company earns her enough to be a multi millionaire. There is nothing resembling a real reaction to anything that happens to her in this film. When she comes to England and is lost and alone, how does she finally relax and have fun? She blasts The Killer’s Mister Brightside and dances around the house like a fool. I like the song, but this scene was as forced as forced can possibly get. Jude Law was the only performance that I felt overcame the script to rough in a real character. That is about as much praise that I will give to this film. I actually believed a few of the things that he did.
Now on to the writer/director Nancy Meyers…
Put as simply as I can. She is a terrible director and a pathetic writer. I would ask why she is allowed to keep making movies, but I know that her last two films (WHAT WOMEN WANT and SOMETHING’S GOTTA GIVE) made tons of money. While I didn’t like either of those, THE HOLIDAY is far worse. If you are saying that this is a “chick flick” and that is why I didn’t like it, you are just plain wrong. The situations, the reactions and the dialogue are really some of the worst that I have seen. This is like bad television in its execution. It feels forced, fake and is just pathetically bland. It tries so hard to be cute and clever, using film language to explain situations, but it is just a sad attempt at storytelling.
This movie looks like a bad sitcom. It is flat, boring and sucks out whatever energy the scene might have. Meyers has a reputation of doing a ridiculous amount of takes (60 or more per shot) and I have never seen it more evident than in this film. Everyone seems tired and bored with what they are doing. If you are in the mood for a romantic comedy with an utter lack of either romance or a shred of comedy, than THE HOLIDAY is for you. For anyone else, I would recommend renting a good romantic comedy like WHEN HARRY MET SALLY, IT HAPPENED LAST NIGHT, SLEEPLESS IN SEATTLE, FOUR WEDDINGS AND A FUNERAL, or NOTTING HILL.

now THAT'S a trailer

2006-12-08T17:25:00.000-08:00

It is not often that I decide to write about a trailer, but it is also not often that a trailer like this one comes along and just kicks my ass. First I will say that I hated Zack Snyder’s first film, the remake of the classic DAWN OF THE DEAD. There were some interesting visuals, but you pretty much start off with three strikes against you when you remake a classic. So when I heard that Snyder was making a film adaptation of Frank Miller’s 300, I really didn’t care. I had never read the book and I had no interest in the director.

Then I saw the trailer.
This looks like one of the most visual films I have ever seen and has an energy to it that I can’t really capture in words. 300 looks to take what Rodriguez accomplished with SIN CITY and elevate it to a whole new level.
The visuals look incredible, the acting looks appropriately over the top, and the style speaks for itself. This looks like beautiful painted comic that has burst to life. I saw the teaser for this movie a few months back and thought that it looked kinda cool, but that is nothing to seeing a larger, more completed version of Snyder’s vision.
The action looks like it pulls no punches and simply kicks ass. I don’t know if there is as much action in the film as there seems to be, but I hope so. There have been so many action films in recent years that have wowed audiences (LORD OF THE RINGS, KINGDOM OF HEAVEN, GLADIATOR, TROY, BRAVEHEART) and it is nearly impossible to do anything different. 300 does something different. This action feels fresh and raw, showing me a world that only existed before in the mind of Frank Miller.
Lastly, there is the plot, which is pretty rad. Simply, there is an incoming army of a million soldiers looking to conquer Sparta and the only thing in their way is an army of 300 Spartans. These are the best soldiers that the world has ever known and they are facing their certain annihilation. But they still stand their ground. Bring it on!
I hope this movie is 1/2 as cool as it looks to be. It also gives me tons of hope that Zack Snyder will do justice to his next film, the adaptation of the classic comic THE WATCHMEN. After a film that I hated, this trailer alone has turned me around on Snyder as a filmmaker.

Here is a link to the trailer, presented in HD and in standard…

300 TRAILER

BLAH DIAMOND

2006-12-06T15:51:00.000-08:00

BLOOD DIAMOND should be a very compelling and thought provoking film. The subject matter alone would make you think that this is one of the ones to watch for come awards season. The film centers on the diamond trade in South Africa and uses Sierra Leone in the early 90’s as the backdrop. This controversial subject is seen through the eyes of three very different people.
First is Danny Archer (Leonardo DiCaprio), a smuggler and ex-soldier that uses the war, the bloodshed and the demand of the stones for his benefit and is making money from it. He sells weapons to the rebels in exchange for illegal diamonds and then smuggles those diamond across the boarder, where he sells them for a large profit. Second is Solomon Vandy (Djimon Hounsou), a fisherman who wants nothing more than a good life for his wife and three children. When the rebels come into his town butchering innocent people, he is separated from his family and taken into the world of diamond mining and used as a slave by the rebels who use the illegal diamonds to fund their revolution. The third point of view is that of Maddy Bowen (Jennifer Connelly), an American Journalist who is trying to cover the story on the diamond trade, but more than anything else, she wants to make a difference in the world and not just write about its problems.
The story gets more complicated when Solomon stumbles across a rare and extremely large pink diamond that is virtually priceless. All that he wants of to get his family back. All that Archer wants is to use Solomon to get the stone, sell it and get away from South Africa for once and for all. Maddy Bowen is the key for each to get what they want and all she wants to do is make a difference. The three of them are now together and on a journey across the country and through a revolution.
The issues that are dealt with in BLOOD DIAMOND are important. The use of diamonds to fund a revolution and the corporations that uses that revolution and the senseless murder of thousands to make a profit. The demand for diamonds that exists in the world and how that demand (however constructed it may be) encourages this bloodshed and profiteering. The whole world just seems to watch, but take no notice of what was going on in this region. Hundreds of thousand of people being butchered and it was hardly a blip on the radar of the world. The horror of the rebel invasion, the fall of Free Town and the loss of life in that attack alone. Is Archer wrong for giving up on his hope because of all that had happened and simply trying to make some money and take care of himself? Is there anything that any one person can do? Even if there isn’t, does that mean that we should stop trying? What are this war and this greed based killing doing to the country and the innocent people involved? BLOOD DIAMOND tries to deal with all these issues and more. The result is an unfocused mess.
This is simply a bland film. It tries to hit too many subjects and issues to focus on one enough to get you to care. The storytelling is not compelling or particularly interesting and neither are the situations presented. That is the real shame of this film because the issues should be fascinating and spark a debate from anyone that watches. It does not. It just lulls the viewer into a stupor until you really dot care about what is going on in front you because you know it is a movie and you just want it to end. Edward Zwick (the director) is a competent filmmaker who has made one great film (GLORY). The problem is that GLORY was 17 years ago and every movie that he has made since is a varying degree of bland. His films don’t engage. They are pretty, well made on a technical level, but lack a certain heart or emotion that makes them jump off the screen and come to life.
The other real shame here is the waste of the performances by DiCaprio and Hounsou. DiCaprio delivers a really strong performance here and his South African accent is spot on to the fact that there were times where I forgot it was him. He throws himself into the role here even to the extent of delivering a portion of his lines on another language without skipping a beat. He does everything he can but is still let down by the aimless script and nothingness of the film. Hounsou also delivers a strong performance filled with heart and emotion. He is raw and out there on the screen for all to see, but it is not enough because there is not a movie there to support him.
This is not a “bad” film. It is just there. I wanted this movie to make me think and make people talk, but I really forgot most of it as soon as I was walking out of the theater. In America it is "Bling Bling". In South Africa it is "Bling Bang". In the theater it is "Bling Bland".

a day in the life of... way too many people

2006-12-03T18:26:00.000-08:00

BOBBY is the story of the day the Robert Kennedy was assassinated in Los Angeles at the Ambassador Hotel. The whole country was affected by his death, but this film is a look at a very specific cross section of individuals, what they were doing, and how it affected them at that moment in their lives.
The first thing that should be mentioned when talking about Emilio Estevez’s new film, BOBBY, is the cast that he put together. I know it is a long list, but here are some of the actors that have significant roles in the film:

Harry Belafonte, Nick Cannon, Emilio Estevez, Laurence Fishburne, Heather Graham, Anthony Hopkins, Helen Hunt, Joshua Jackson, Ashton Kutcher, Shia LaBeouf, Lindsey Lohan, William H. Macy, Demi Moore, Freddy Rodriguez, Martin Sheen, Christian Slater, Sharon Stone, Jacob Vargas, and Elijah Wood.

How is that for a list?
The cast is my first problem with the film. I am a fan of most of these actors and they are good here, but there are so many recognizable faces that it completely takes away from any story that might be going on. Every few minutes I was taken out with “Is that so and so?” or “I didn’t know ___________ was in this movie!”. When you have a cast of all people that you know from other things, it makes it nearly impossible to let them become the characters in your mind. It is simply distracting.

Another thing that bothered me about BOBBY was the fact that there were far too many story lines. The story is about the day of Bobby Kennedy’s assassination and how it affected not only the world, but more specifically a select group of people that were there that day. With so many stories (I lost count) most of them don’t feel like they are there for any other reason than to just fill space and drag out the running time. I found only two or three of the stories to be at all interesting or engaging. Most didn’t have much of a point besides setting up people just to show their reaction to the assassination. BOBBY felt like a series on sub-plots strung together as an excuse for a film.
The most interesting and captivating part of the film was the actual footage of Kennedy and the speeches that they play. All this movie made me want is to do is watch a movie ABOUT Bobby and not about random people in the Ambassador Hotel. He was a fascinating person with great aspirations for this country and its future. Who knows what would have happened if his life was not tragically cut short. Could he have changed the world the way that the country hoped he would? His life and tragic death is a great and fascinating story and would be a fantastic film. BOBBY is not that film. It seems like someone made that film, then took out all of the sub-plots and strung them together, leaving out the main story and the result was BOBBY.
Don’t get me wrong… There are many good things about this film. The acting (as I mentioned) is for the most part very strong, and technically it is a very well put together film. The photography (by Michael Barrett) is simple and effective, but beautiful, capturing the time and the mood very well. The editing, production design and the costume design are all first rate, making this a very watchable movie and fairly compelling on a visual level. And as far as Mr. Estevez, this is a pretty well directed movie as well. He juggles multiple (way too many in my opinion) storylines with grace. The shot selection is dynamic and not over the top as it might be in the hand of another filmmaker. This is a movie that is contained within a hotel and it is still kinetic and visceral.
The main fault with BOBBY is the focus (or lack there of) of the script and the story. There is no story here and the most frustrating part is that there is an amazing story right there in front of them that they choose to primarily ignore. I only assume that the reason that BOBBY is not actually about Bobby is due to financial restrictions, but that is no excuse for the mess that they were left with.

A primary example is Kennedy’s speech at the end of the film. All that was needed was to play the actual speech from the day, but instead, Estevez chose to do a montage of all the stories cut to a Simon and Garfunkel song. I was immediately taken out of the movie and was focused on the great song that was playing and thinking about the far superior film (THE GRADUATE) that made that song famous. It is the climax of the film and the last place I want to be is with the cast. I just want to be with Bobby and listen to what he was saying.

a truly unique film experience

2006-12-01T17:33:00.000-08:00

Darren Aronofsky’s newest film THE FOUNTAIN is difficult for me to write a review for because it is not a movie. I know that might sound strange, but in a narrative sense, this is not a movie by the standard definition, it is more of a poem presented in a visual medium. Before you start rolling your eyes and dismiss what I am going to say as pretentious, just let me explain. There is about 15 minutes worth of a narrative story in the film and the rest uses a combination of music, amazing visuals and events to simply capture the emotions explored in the film. That is why I compare it to a poem, because it spends most of the time not trying to tell a story, but to capture the emotion that the story explores.
The plot (or plots) in THE FOUNTAIN is three fold. There are three stories that are intercut that span 1000 years and all star Hugh Jackman and Rachel Weisz. First is the story of a conquistador (Thomas) who is sent on a journey by his queen (Isabel) to Central America to find the tree of life. Upon his return, she will be his and they will be together forever. The second story (and centerpiece) is a story of a scientist (Tommy) who is desperate to find a cure for his terminally ill wife (Izzy). When his team of researchers stumble upon a sample from a tree from Central America, he makes a potentially groundbreaking discovery. The third story is 500 years in the future and centers on a man (Tom) who is in a bubble of sorts traveling through space in an attempt to keep the tree of life alive. I know that this story might not make sense, but it fits in many ways with the bigger picture.
I am sure that while watching this film, many people will simply dismiss it as nonsense and pretentious art for the sake of art, but this is one of the most intimate and personal films that I have seen in quite a while and touched me on a level that I can’t explain. You can tell while watching this movie that it was an extremely personal film for Aronofsky and while I might not go through the journey that he did or even the specific one that he intended, it caused me to ask myself questions about myself, my life and what was really important. I mean this in the most complimentary way. This movie made me think long after I left the theater.
I don’t want to get into what I saw in this film or give you my interpretation of what the different stories meant and what I thought was literal and metaphorical, because I think that it will and should have a different meaning to everyone that watches it. My view and my interpretation of THE FOUNTAIN will no doubt change over the years as my viewpoint on the world shifts, but that is the beauty of the film. It should. While the story is simple, there are so many layers throughout the film, symbolically, literally and emotionally, that I feel like I have barely scratched the surface on a single viewing.
What I can talk about is the pure beauty of the film. The photography, art direction, score, effects, sound and editing all work together to make a stunning piece of cinema. If I were to compare THE FOUNTAIN to any other film that I have seen there is only one that comes to mind… 2001: A SPACE ODESSEY. The main difference between the two is that while 2001 focused on the past, present and future of mankind and its relationship to the universe and technology, THE FOUNTAIN is a much more intimate tale of love, loss, grief, understanding and acceptance. Both dismiss conventional storytelling and rely on the visual medium of film to convey the story and themes that it presents.
THE FOUNTAIN is a unique film and one that is challenging to anyone who watches it. It is an easy film to dismiss, but if you listen to what is has to say, it can touch you and make you think like very few films have the courage to attempt. This movie opened a week or so ago to a weak box office performance and in today’s market that means that there will be a limited chance to see it in the theater before it is yanked and called a failure. This is a movie (like 2001) that should be seen on a big screen. Please do yourself a favor and go out and take a chance on it. You might hate it, but try and be open to a different kind of film experience and it might affect you like few movies can.
If you are interested, here is a link to a review that I found to be really observant. It is much more detailed than my own and might spoil some things, but it is worth a read especially once you have seen the film…

Devin Faraci review of THE FOUNTAIN

reaction to a reaction

2006-11-30T21:34:00.000-08:00

So I was looking around on the internet today and I clicked on a headline on www.moviecitynews.com about Don Murphy and something about how he was going to boycott Sundance this year because they were screening a movie called CHAPTER 27. This film stars Jared Leto and is about Mark David Chapman.
here is a link to his site...

Don Murphy blog

here is what he wrote, followed by the response that I posted.

I'm Not Going To Sundance
http://www.indiewire.com/ots/2006/1...ty_07_su_1.html

"Chapter 27"/ USA, Director and Screenwriter: Jarrett Schaefer
A terrifying glimpse into the deranged mind of A FUCKING ASSHOLE KILLER WHO DID IT FOR FAME during his days in NYC prior to the murder of John Lennon, which is played out through his obsession with JD Salinger's classic novel 'The Catcher in the Rye'. World Premiere.
-----------------------
I addressed this before-

THIS DICK KILLED A GENIUS AND AN ICON FOR FAME AND ATTENTION.

THESE ASSHOLES MADE THIS MOVIE WHICH WILL GIVE HIM WHAT HE WANTED.

THAT IS THEIR RIGHT.

SUNDANCE IS SCREENING THIS SURE TO BE PIECE OF SHIT.

THAT IS THEIR RIGHT.

I AM NOT GOING TO SUNDANCE THIS YEAR BECAUSE OF THAT.

THAT IS MY RIGHT.

IT IS MY MOST FERVENT HOPE THAT OTHER PEOPLE IN HOLLYWOOD EXERCISE THAT RIGHT AS WELL.After reading that declaration of contempt for the film that has not been seen, I was moved to "join" his blog so that I could make a comment. Maybe I got suckered into a fight, but what can you do. The other thing that bothered me was the response from his readers joining him in his contempt, asking for an address to send hate mail, blasting the filmmaker and the festival, and standing on their moral high ground all without having actually seen the film.

HERE IS MY RESPONSE...

before everyone decides to bash the filmmaker for this film, is anyone going to bother to give the film the benefit of the doubt or just condemn it based on a 3 line description on a festival website page. why jump to conclusions and not wait and see for yourself if the film is disrespectful or if it glorifies Chapman in the first place. just because he is the center of the film doesn't mean that he is a hero or that he is being portrayed in a positive manner.

i have not seen the film or read the script, but i would do one or the other before condemning the ones involved in the film's production or distribution. "chapter 27" might be in bad taste. it might glorify mark david chapman for killing a music legend for only the purpose of fame, but if you have not seen it or read it, don't send hate mail or slam a film festival because it is being shown. it might be a thought provoking, responsible, well made film.

my only point is that i wish people were not so narrow minded and quick to judge. everyone is entitled to their own opinion, but please make it based on more than just speculation and assumption.

and mister Murphy...
if you are going to include the synopsis of the film from the Sundance page, please do not editorialize it. here is the portion of the synopsis from the announcement released today:

"Chapter 27"/ USA, Director and Screenwriter: Jarrett Schaefer
A terrifying glimpse into the deranged mind of Mark David Chapman during his days in NYC prior to the murder of John Lennon, which is played out through his obsession with JD Salinger's classic novel 'The Catcher in the Rye'. World Premiere.

there is nothing in this synopsis that would lead me to believe that this movie at all glorifies chapman or what he did. if you are worried that a film being made will make him famous i have some news. he already is famous and he is famous for the terrible crime that he committed. the name "mark david chapman" is known for one thing and one thing only, the murder of John Lennon.SO....

Also keep in mind that Don Murphy is the man that produced NATURAL BORN KILLERS and BULLY...
While I like both of these movies, they were both blasted for their violence and BULLY is a story of a real life murder of a teenager. Why is it okay to make a movie about real people that killed a teenager and it is not okay to make a movie about a man that killed a great musician? Is it only because Lennon was famous and the teenager wasn't?

What do you think?
Is his claim valid?
Did I just overreact like a fool?
What is your take on this film that is already stirring up more "buzz" than I ever thought it would?

RUN AWAY!

2006-11-10T00:14:00.000-08:00

Ryan Murphy made a name for himself creating the hit FX show, NIP/TUCK. Now he has decided to make his feature directorial debut adapting Augusten Burroughs best selling book, RUNNING WITH SCISSORS.
RUNNING WITH SCISSORS begins with the narration from Augusten telling us that this is his story and that no one would ever believe him. The story could be compared to stories by J.D. Salinger and David Sedaris and films like THE ROYAL TENNENBAUMS in the way that it is a portrait of a bizarre family that is filled with quirks and idiosyncrasies. The difference with this story is that the quirks are all that this story has to offer. There are no real characters or anyone that you can identify with or even feel anything for while watching the film.
The mother is certifiably insane and emotionally abusive to her son. The father is an alcoholic and abandons his family. Augusten has had such a staggeringly traumatizing childhood that at age 15, he is already messed up beyond belief. This is the time when his mother decides to send him to the house of her shrink (a whack job all unto himself). He is delusional, eccentric, and extorts money from people to keep his house. The house that he lives in with his crazy family is so bizarre that it steps well over the border of cliché. His family is just as troubled as him. I won’t get into all of their issues, because it is just silly and ridiculous.
I like interesting stories about interesting people. I love quirky little movies. This is neither. This is a movie that tries so hard to be quirky just for the sake of being different, it loses everything that makes it identifiable. All that is left is a cast of characters that you care nothing about and a story that is just sad. Not sad in a dramatic way, but sad in an unbelievable and why am I even spending two hours of my life watching it kind of way. There is nothing to this movie at all.
The cast is filled with great talent (Annette Benning, Brian Cox, Joseph Fiennes, Evan Rachel Wood, Alec Baldwin and Gwyneth Paltrow) and it makes you wonder why. All of their talents were completely wasted. Murphy does nothing here but act like what he really wants is to be like Wes Anderson. The story telling is sloppy and the narrative is just bad. There is no story here, just a sad portrait of really uninteresting people who are all so “quirky” it is supposed to be amusing. The movie tries to pull on the heartstrings at the end, but those string were cut early on in the film.
I know that this is the first review that I have written in quite some time and I wish it were for something that I liked much more than this, but the timing was not there. There are many movies that are out there that are well worth seeing. BABEL, LITTLE CHILDREN, BORAT, and THE QUEEN are the ones that pop into my mind, but please stay away from RUNNING WITH SCISSORS. You will thank me.

Don't miss this one...

2006-08-12T21:21:00.000-07:00

A little movie opened in limited release this weekend that I had a chance to see at the Sundance Film Festival. The film is called HALF NELSON and it is a treasure. This is a really good film with great performances from its two leads. Ryan Gosling Proves yet again that is he one of the actors to watch. His performance here stands with his performance in THE BELIEVER. Please, when this movie hits a theater near you... SEE IT.

There is too much crap that gets made. Please reward the small movies that take a chance and tell a powerful and effective story. Click on the link below to read my review of the film from Sundance...

HALF NELSON sundance review

a little movie worth seeing

2006-07-30T17:24:00.000-07:00

Earlier this year I saw the movie that became the “talk of Sundance” and sold for more money than any other had before it. That movie was LITTLE MISS SUNSHINE and it is opening around the country this week. My opinion of this film is one of a shrug… it is cute, but lacking in a magic or anything that captured my imagination or made me think.
I do, however recommend seeing this film because it is cute and fun and I must say that everyone around me in the screening at Sundance liked the movie FAR more than I did. LITTLE MISS SUNSHINE will serve as a well needed break from the barrage of summer flicks.

Here is a link to my review from Sundance…

full LITTLE MISS SUNSHINE review

Cock & Bull

2006-07-25T00:33:00.000-07:00

Steve Coogan is a big star in Europe, but we have never really heard of him here in the states. TRISTRAM AND SHANDY: A COCK AND BULL STORY is a great introduction and I hope that it finds an audience here. This movie was released earlier this year and just hit DVD last week.
The story is pretty bizarre… It is an adaptation of a book (THE LIFE AND OPTIONS OF TRISTRAM SHANDY, GENTLEMAN) that is regarded as essentially unfilmable. How did they adapt it then? It is not only an adaptation of a farcical book, but a look at a film crew that is adapting the book into the film that we are watching. In this “fictional crew” is the real star of the film and the film within a film, Steve Coogan. We watch him in the adaptation as well as his exploits of ego, perversion, and his struggles of fatherhood. All of this takes place over a few days of filming. Does that sound confusing? It is, but it all makes sense as you watch it.
The humor is very British, but exceptionally clever and witty. Coogan shines as Tristram and as his fictional self, trying to be a movie star and be recognized in a room of people who only seem to remember him from a television show from 8 years ago. His battle of ego and pride with his co-star and the rest of the production are hysterical, as is his lusting after a cute set PA that escorts him from location to location. This is an odd bled of Monty Python, Christopher Guest and Steve Coogan. When you combine all of those pieces, to get a really clever comedy with many many layers.
There is one thing that I did not like about the movie though. Throughout the film, I enjoyed it, laughed and had a great time, but when the ending came, I felt overall empty. There is a lack of a certain something in TRISTRAM SHANDY that makes it totally work as a feature. That aside, it is a great time and one of the most original comedy in recent memory. I can only hope that people will discover this film on DVD and in turn discover Steve Coogan. If you don’t know who he is, you are missing out.

now THAT'S a poster!!!

2006-07-21T20:13:00.000-07:00

I saw this poster and I had to say something about it.

WOW!!!
Now that’s what I call a poster! I know that it is sick and disgusting, but what the hell do you expect from the third SAW film? This is one of the better posters that I have seen in a while. It gets its point across, sells exactly what the movie is and has a fun/disgusting/ clever tag line on it. It says it all. If you don’t like the poster then good… the movie is probably not for you. I think that this poster will be the first step in an add campaign that will spell a huge opening for SAW 3.

“Opening wide this Halloween”

Nice.

does bigger mean better?

2006-07-20T05:33:00.000-07:00

SO it is now more than official… PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST is the big hit of the summer and might just make more than every movie in the history of cinema put together. The stunts are bigger, the characters are zanier, the effects are more impressive and more plentiful, and the budget is ranks among the biggest of all time (220 – 250 million depending on who you listen to). The real question is, “how is the movie?”
In my opinion, PIRATES 2 is a lesser film when compared to the first one. I know that it is bigger and more and all of that, but that is exactly why it is not as good. First is the action scenes…
In the PIRATES 1, there was action and it was motivated by the story and the characters. Because of both of these things, the action was fun and engaging. We wanted Captain Jack Sparrow to escape and had a blast watching him wiggle out of tough spot after tough spot. In PIRATES 2, the story came out of the action. It felt like the writers started with about 5 big set piece action scenes and developed a story to connect the set pieces. Because of this, the action was not engaging and felt like separate pieces, not a whole movie. Was it impressive? Hell yeah. The action is well done and impressive, but I was still not drawn in on a story level.
The character of Jack Sparrow was what had everyone talking after the first film, so when it came to bringing him back for a sequel, they tried to make him bigger and better. What they did was make him beyond cartoonish. Depp walked a fine line in the first film of fun and silly and realistic. This time around, the character can’t even see where the line is anymore. Is he fun? Sure, but he is not the character that I was rooting for in the first installment. The other characters also wanted more to do, so there are action scenes and “big moments” for Bloom and Knightly, but that just weighs the story down and makes the two and a half hour running time feel longer. When everyone gets their moment, there may be just too many moments.
The effects in PIRATES 1 really surprised me and impressed me. The effects in the second one simply knocked me on my ass. The effects work on Davey Jones alone are some of the most impressive visual effects that I have seen. They rank up there with the effects work with KING KONG last year and this film is almost guaranteed the Oscar for that department. WOW!
PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST is a fun film, don’t get me wrong. It is, however, about 30 minutes too long and gets carried away in trying to be “bigger and better” than the first. I wish they would have spent a little more time with the story and the writing and a little less time planning the “big moments”. If you try too hard, you can easily fail. PIRATES 2 is not a failure, but I really wanted it to be better than it was. That being said, I am still excited for the third installment next May.

a very, very, very mean house

2006-07-18T15:35:00.000-07:00

Using the motion capture animation technology that was developed for POLAR EXPRESS, producers Robert Zemeckis and Steven Spielberg team up to bring us a tale of a house. This is no ordinary house though. Most children growing up are faced with a house in their neighborhood that is off limits. Does a mean and scary man live there? Is it deserted and dangerous? Haunted? In the case of MONSTER HOUSE, the answer to all of those questions is “yes”, but this particular house also seems to have a life of its own. On the days approaching Halloween, it comes to life and literally eats everyone that comes knocking. Three children (DJ, Chowder and Jenny) take it on themselves to do something about this “monster” and develop a plan to stop its reign of terror.
MONSTER HOUSE reminded me of an animated combination of THE GOONIES and THE BURBS. I know that might seem like an interesting combination, but this is an interesting film. The story is clever and original enough to keep anyone interested to see what will happen next and the use of the children and their banter along with the adventure that they face is just plain fun.
The look of MONSTER HOUSE is far better than that of POLAR EXPRESS. It does not have the creepy look to all of the humans that POLAR did. On the contrary, the characters look animated for sure, but also possess a unique quality from the motion capture. The camera is more free than in a “regular” film and the director (Gil Kenan) takes full advantage of it, sucking us into his world of the neighborhood from the opening shot. MONSTER HOUSE is well plotted and paced, creating a good adventure that most kids will eat up and most adults will enjoy.
Like many other animated features that come along, this one is filled with familiar voices throughout. The voice talent include Steve Buscemi, Maggie Gyllenhaal, Jason Lee, John Heder and several others. What I really liked is that none of the three leads were recognizable. Why I liked this is because they were simply the characters to me, nothing more or less. One of the mistakes of most animation is casting “names” because it does nothing but distract while we watch the film. MONSTER HOUSE does not suffer from that.
MONSTER HOUSE is a really fun movie, but not a great one. It does not possess the magic or the wit of the Pixar films, but it stands above most other animated films of recent years. Because of the technology and the quality of the film, look for this one to grab the Oscar at next March.

the many faces of Meryl Streep

2006-07-15T17:33:00.000-07:00

So I might be the first one to say this but I will go out on that limb… Meryl Streep is an incredible actress. While this statement is almost to the point of cliché, she comes out time and time again and proves it. This summer she has two movies in which she stars and plays two characters that are polar opposites.
In A PRAIRIE HOME COMPANION, the new film from film legend Robert Altman, Streep plays Yolanda Johnson, a folk singer who, along with her sister, performs on a local radio show. She is sweet, caring, a little silly and eccentric and is able to showcase a talent for singing. The banter between her and her sister (played by Lily Tomlin) is rapid fire and feels real and as natural as can be. I know that Garrison Keillor wrote the script, but you could never tell with the way that these two bounce the dialogue off each other. In an instance, you can feel the history between the two.
The relationship with her daughter (played by Lindsay Lohan) is the other side of her character. While Yolanda tries and tries to understand her daughter to no avail, there is never any doubt of the love she has for her. Meryl is as sweet as sweet can be in A PRAIRIE HOME COMPANION, but is never over the top. It is a joy to just sit back and have her around, even if it is for a brief two hours.

In THE DEVIL WEARS PRADA, Streep plays Miranda Priestly, the editor of a Vogue-like magazine. Miranda is as close as you can get to the devil incarnate. As Andy (Anne Hathaway) gets the job as Miranda’s second assistant, we see just how horrible a person can be. She is career driven and treats everyone around her as garbage or even worse. She is pure evil.
The other side that Streep brings to Miranda is a reluctant vulnerable side that she refuses to let anyone see. If she ever did, it might compromise her position of power. Despite her actions and by the fact that everything she does is evil, we manage to develop a caring for her throughout the film and at times understand her or feel a little sorry for her. This is entirely a credit to the wonderful performance of Streep.
She can play anything and we all know that, but this summer is a perfect example of that. Released a month apart, Meryl Streep plays pure kindness in one film then pure evil in another and manages to make them both real and engaging. Yeah… she’s not that bad.

worth the wait?

2006-07-14T21:58:00.000-07:00

Keanu Reeves and Sandra Bullock re-team and this time there is no bus, no bomb, and no gold watch. In THE LAKE HOUSE, there is loss, regret, and love.
Reeves plays Alex Wyler, an architect living in the shadow of his famous father, who is struggling to find something real to hold on to. He moves into a house on the lake outside of Chicago and remodels it. Bullock plays Kate Forster, a doctor who just moved from the lake house and got a place in the city and a new job at a hospital. She too is lost and looking for a connection to something real. Overwhelmed by her new surroundings, she returns to the one place where she felt most alone, the lake house.
The two start to form a relationship through a series of letters and quickly they discover that they are not only separated by space, but also by time. Alex is in 2004 and Kate is in 2006 and the only way that they can communicate is through a mailbox at the lake house. What is formed is an odd but pure relationship in which they slowly fall for each other despite the fact that they are in a different time and can never meet… or maybe because of that.
One filmmaking choice that was made was to discard the use of the written letter in favor of voice over so that the letters that they send to each other becomes a conversation on screen. Because of this, we are able to really feel the connection between the two and understand the emotion that the written word could never convey. There are even a few times in the film in which they occupy the same space (two years apart) and have a conversation of sorts. This might sound silly, but it worked for me. I found it a really interesting way to tell the story.
There is a theme that is hit on in THE LAKE HOUSE of love and loss and timing. Kate’s favorite book is “Persuasion” by Jane Austin, and in many ways, this could be a time traveling version of that story. If you meet someone and really have a connection and a love but the time is just not right, will it be there again if you wait for it? How long can you wait for something better without letting your life drift by? The themes of love and loss and faith are wonderful and will give you something to think about.
THE LAKE HOUSE is a really sweet film and one that, if you let it, will capture your heart and tell you a really unique love story. The trick of it all is to be sure and turn off the logic side of your brain. There are many, many plot holes and points in the movie that, if you can’t look past it, there is no hope of enjoyment. I won’t go into these illogic parts because you will be able to find them for yourself, but try and look past it and let the movie transport you. Leave your cynicism at the door and this becomes a nice little love story.

2006 so far...

2006-07-04T14:51:00.000-07:00

As of a few days ago, 2006 is half over, so I thought that a good way to acknowledge that would be to take a look at my five favorite movies that I have seen this year.

5. BRICK
This is a great indie that succeeds on many many levels. First it takes a fresh look at the genre of the film noir. Set in a high school and featuring a plot filled with teenager, where the “big bad” is an old man of about 26. Second, it pays homage to the great film noirs of the 40s with the incorporation of the stylish dialogue and mannerisms. The over stylized manner of speech might catch you off guard at first, but go with it and it alone will immerse you in this fascinating world. Third, with a minuscule budget, they manage to present a really slick and polished film. It looks great. Fourth, the performance by Joseph Gordon-Levitt is fantastic. He embraces the character and dictates the tone as the high school version of Bogart. Finally, this is just a really really good film and I hope that everyone will give it a chance when it hits video this fall.

full BRICK review

4. THE PROPOSITION
This is a gritty and violent look at the “old west” of Australia. The performances are first rate and the script by Nick Cave had so many layers to not only the plot and the characters, but to the overall theme of the movie. THE PROPOSITION is a look at violence, evil, punishment, and especially the search for redemption. Visually stunning and emotionally complex. If you like movies like UNFORGIVEN and MUNICH, this is a movie for you.

full THE PROPOSITION review

3. LADY VENGEANCE
A great look at vengeance and at what toll it can take. This is a similar film to THE PROPOSITION in many ways, but the tone is vastly different. The third film in the trilogy of vengeance by Chan Wook Park, LADY VENGEANCE is my favorite and one that everyone should at least check out. It is violent and disturbing at points, but the ride is more than worth it.

full LADY VENGEANCE review

2. BABEL
I know that this movie is not released until the fall, but I had a chance to see it right after it won the prize for best director at the Cannes Film Festival this May. It is simply a great film with many layers that raises questions that most movies don’t. The acting is first rate and the direction is superb.

full BABEL review

1. UNITED 93
There are no two ways about it… This is the best movie to open this year. I understand people’s hesitation at checking it out and I respect it, but this movie is respectful, honest and not “Hollywood”. It is as well done as it could have been and in my opinion, only a perfect movie about September 11th would work. There will be many other films made about this event (including Oliver Stone’s WORLD TRADE CENTER this August), but I think that the this will stand above all of the others as the definitive look at a tragic, yet heroic time in our nation’s history. It comes to DVD in September. Please do yourself a favor and check it out. What happened on board flight 93 was only 5 years ago, and while it might be painful to watch, it is too soon to forget the courage and unity of the passengers on board displayed. This film is a testament to the resilience and possibilities that we all possess.

full UNITED 93 review

divided we fall

2006-06-11T01:06:00.000-07:00

As told in the book of Genesis, the story of the Tower of Babel…
All mankind unties together and decides to build a tower that reaches to the heavens so that they can be like God. Due to their arrogance and blasphemy, God curses man, making them all speak different languages, there fore causing mass confusion and stopping the construction of the tower. No one can communicate and they spread out around the world.
BABEL is the new film from Alejandro Gonzalez Inarritu (AMORES PERROS, 21 GRAMS) and his collaborator, Guillermo Arriaga who wrote both of his previous films as well as this new one. This is the third part of a planned trilogy of films involving multiple storylines, loss, confusion and redemption that show the connection between all of the characters involved. This film premiered last month at the Cannes Film Festival where it won the Best Director prize.
BABEL is a look at four different stories that take place all around the world and have both literal and thematic connections to each other. The title refers to the confusion that fills the entire world motivated not only by a language barrier, but every difference that we have with our fellow man. These differences include language, culture, borders, and disabilities. This confusion leads to fear and misunderstanding that leads to violence and tragedy.
I don’t want to get into the specifics of the four stories, but they are all equally interesting and engaging, so it did not matter to me that their connections were not obvious right away. The people and their journeys entranced me. I would recommend going into this film knowing as little as possible about the plot and the circumstances that these people go through.
The performances in the film are fantastic, but there are two standouts. The first is a young actress, Rinko Kikuchi, who plays a young girl in Japan that is deaf and mute. You feel her frustration, pain and desperation as you follow her story. The other performance and the best of the film is delivered by Brad Pitt. He will be the marketing key to the movie as he is the only real movie star, but he is incredible. The range of emotion and realism that he conveys will catch you off guard and will surely be remembered come Oscar season.
Inarritu is an incredible talent as a filmmaker and it is clearly evident here. His style and hand held approach puts you into all of the stories so that you can immediately identify with them. While the stories jump back and forth in both time and location, I never felt lost or confused, just captivated. All of the stories have a literal connection, but the one that stuck with me was the thematic connection. By highlighting all of our differences and showing how they can tear us apart, he really shows how we are all the same. Human beings, despite their differences in language, culture, boarders and disabilities, are all linked and similar.
BABEL is a somber movie that seems to dwell in the misery and desperation of its characters, but I think there is much more to it than that if you let it. There is a hope and a call for understanding so that our differences do not continue to tear us all apart. For me, this is a movie of unity at its core and I really hope that people can keep an open mind while watching it. It will stay with you long after you leave the theater and give you plenty to think about.

extra cheese!!!

2006-06-10T02:20:00.000-07:00

Jack Black plays a priest who, due to an obsession for wrestling, decides to become a luchador (Mexican wrestler). A pretty funny premise for a silly comedy and if that wasn’t enough, it is directed by the man responsible for the indie phenomenon, NAPOLEON DYNAMITE. The result is the sloppy mess by the name of NACHO LIBRE.
Before anyone criticizes me of being too pretentious. I realize that NACHO LIBRE is a silly comedy and that is what I was looking for. The fact is... it didn’t make me laugh. I did not find this movie funny. There are only two times when I chuckled and that makes this “silly comedy” a failure in my eyes.

Now why did the movie fail?

This is an amateur display of filmmaking. The construction is sloppy and there is little to no point to any scene, many of which seem to begin and end at random. While there is a funny premise and potential for a story and fun characters, they are sacrificed for silly fart jokes and sophomoric attempts at humor. There are points in the movie that they are trying so hard to get a laugh where a laud fart noise is inserted. No reason. I guess Jordan Hess (the director) feels that farts are funny.
Then there is the matter of the execution of the film. The foundation of the movie is the wrestling. Nacho loves wrestling and aspires to be good. It turns out that he is terrible and that is where it is supposed to be fun and silly. The problem is that the wrestling scenes are so poorly handled with the apparent lack of choreography, that there are no real payoffs to the fights and matches. It is not funny that he loses, but it should be funny how he loses. Hess tries to compensate by having Nacho wrestle ridiculous characters such as two fierce midgets that look like they are part lion. It is not funny, but just stupid.
Then there is the role of Nacho’s partner. All of his humor is that he is really skinny (Nacho is not) and he has really messed up teeth and an extremely toothy smile. So when we are supposed to “laugh” they cut to a shot of the partner and his stupid smile. I’m sorry, but I want a little more to a joke than a toothy smile. Most of Jack Black’s jokes are simply that he speaks in a Mexican accent. It doesn’t matter what he says, but that he has an accent. With the talent involved in this film, they couldn’t come up with some funny lines? No.
The “heart” of NACHO LIBRE is two fold. First there is the love that Nacho has for the orphans at his church. He constantly says that he cares about the children, but we never really see it. But since he says it a lot, that should be enough, right? Then there is the poorly developed romance between Nacho and the new nun who looks like Penelope Cruz’s younger sister. There is never one moment where I bought the mutual attraction or any connection of a real level. I know that it is a “silly comedy”, but the comedy didn’t work, so I was hoping that it might have some heart so I could care about someone. I did not.
NACHO LIBRE is a cheap looking, poorly executed, sloppy excuse for a comedy. If you laughed at the trailer, my advice would be to leave it at that and avoid the movie. The trailer has more laughs than the entire film. I like Jack Black and it is a shame to see his talent completely wasted.

don't try this at home...

2006-06-03T18:38:00.000-07:00

This movie kicks ass!
DISTRICT B13 is the first feature from cinematographer Pierre Morel, starring stuntman Cyril Raffaelli, and professional athlete David Belle. It is not a great movie, but it would be hard for an action movie to be more fun than this one here.
The plot is really simple… In the year 2010, Paris built a giant wall around the bad area of town (District B-13) and gave up on it and the people inside. In this place, chaos reigns and Taha is the man that leads the chaos and the criminal element. One good man stands in his way and his name is Leito (Belle). He teams up with super cop Damien (Raffaelli) to storm Taha’s compound and take back a bomb that was stolen from the military. The plot is not the reason to see this movie though.
The action and the stunts are simply amazing. Actor David Belle invented the sport called “Parkour” which consists of moving freely in a natural area. This sport includes climbing on buildings, up walls, and jumping over/on anything that comes in his way. Parkour plays heavily in this film. Leito is from the ghetto and navigates it with precision and skill that is incredible. Nothing can get in his way. If someone happens to though, he just beats the hell out of him. He is like a combination on Jackie Chan and Jet Li, but really pissed off.
Damien is introduced as a do good, badass cop that will take on anything in his way. When we meet him, he basically wipes out a room full of about 35 criminals by himself. He kicks ass. So when the two come together to take on the bad guys, you know it will be special and you will not be let down. Together they take on a criminal army, jumping off walls, over cars, and beating anyone who tries to stop them.
At just under 90 minutes, this movie moves like a bullet. It tears through all potential boredom and creates tension and excitement. There is very little digital work needed because of the physical ability of the two leads and the skilled camera work of the director, Pierre Morel.

Morel’s experience as a D.P. on action films like THE TRANSPORTER and UNLEASED has prepared him to excel given the tools in DISTRICT B13. The camera is the third lead as it sweeps through the sets with as much ease as Leito. It glides through hallways and up and down sides of buildings, adding to the action and the excitement.
I wouldn’t get into the problems with DISTRICT B13 because they really don’t matter. This is a fun movie. If you like action and amazing stunts, please look past the bad poster and the fact that it is subtitled and treat yourself to a really really good time.

the KING is dead

2006-06-02T00:03:00.000-07:00

Before I get into my review of Steven Zaillian’s ALL THE KING’S MEN, I will preface it with the fact that it is a work in progress. All of the music was temp, the visual effects were rough and the print looked to be an Avid output. So what I am saying here is that there is hope… just not much.
ALL THE KING’S MEN was first a novel, then a feature film that won best picture in 1949 and now it resurfaces in a new reincarnation starring an outstanding cast; Sean Penn, Jude Law, Anthony Hopkins, Kate Winslet, and James Gandolfini. With this talent group and the man the wrote SCHINDLER’S LIST and wrote and directed SEARCHING FOR BOBBY FISHER, this movie should be a home run, right?
Willie Stark (Penn) is a simple man who wants what is best for his community. He is dedicated to the fight against corruption and the struggle of the “little man”. When he finds his voice and calls out to the “hicks”, they respond and elect him the governor of Louisiana. Now that he has power, he struggles with his own corruption. Jack Burden (Law) plays a reporter who follows Stark around for a while, then ends up on his payroll, also sliding down the same slippery slope.
There are so many possibilities with the moral struggles presented. Can right be made from wrong? Are good intentions enough to excuse questionable actions? When and where does Stark become the same man the he was so dedicated to fighting? All of these fascinating character questions are left unanswered for the most part. The reason for this is that the “characters” are exactly what is left out of ALL THE KING’S MEN. There is never a point where we get to know ANY of the them. What makes them tick. Why they make their decisions. Because of these failures of the storyteller, we don’t care about anyone in the film.
For this movie to work, we must like and understand Stark. He is the powerhouse of the film and the one that perpetuates all of the action throughout. We must be with him as he is slowly overtaken by the forces that he fights against. He is the real tragedy of the movie, but we never get to know him or like him at all. Penn plays the character as a naive buffoon in the beginning, but when he gets mad and starts drinking, he starts to yell and gain momentum and then power. Flash forward and he is already corrupt. There is no journey, so there is no tragedy, only confusion. Why do people follow him?
The lead of the movie is Jack Burden and you could not ask for a more uninteresting lead and narrator. Like the rest of the cast, he has no character and because of that we simply don’t care. He takes no action and just follows like the boring sheep that he is. No motivation. Forced emotion. Watching the action and not taking part in it.
Watching ALL THE KING’S MEN, it felt like there was a 3 hour film that Zaillian made and there was about an hour that was randomly cut out. What suffered was all semblance of any arc and character. What stayed in was an abundance of rhetoric and overwritten preachy dialogue. There are no two ways about it. This is a bad film. I don’t know what Zaillian left on the cutting room floor, but he should go back to it and maybe he can save this from becoming the biggest disappointment of the Oscar season.

the end of the world as we know it?

2006-06-01T08:10:00.000-07:00

In my opinion, the issue of the environment and global warming is the single most important issue in the world today. The fact that there are people out there that really believe that global warming is a hoax makes me sick. Do these people also believe that the world is flat and that the government faked the moon landing? It just seems ridiculous to me, but those people are out there. These people that don’t believe and those that are not aware is who AN INCONVENIENT TRUTH is made for.
Al Gore has dedicated a large portion of his life to discussing the impact of pollution on the environment and the ecosystem. It is a noble crusade and an important one, but unfortunately it is also one that does not win glory. No one has ever won an election by campaigning on environmental issues. People who are pro-environment are dismissed as anti-business. This is the world that we live in and that world is being destroyed. If you do not believe that… watch this movie.
The film is based around a slideshow that Gore has done more than a thousand times all around the world about the effects of global warming on the ecosystem. There are some shocking images that cannot be ignored and data that has been collected throughout the last forty years that cannot be denied. This problem is more than real and it spells disaster for the entire world and everyone living on it.
Gore uses examples like showing pictures of Glaciers from the 70’s and the 80’s and then showing what they look like today. This is evidence and it is something that everyone should become aware of. The ice caps are melting and it effects everything in the world. There are events that can be traced to global warming such as the increase of tropical storms, hurricanes, tornados, and typhoons. These “warning signs” can be devastating (Hurricane Katrina), but they are just signs of worse things to come. The data is not disputed. Temperatures are rising in direct correlation with the amount of CO2 being emitted into the atmosphere. It is scary and it is true.
There are some things that I did not like about AN INCONVENIENCT TRUTH. First of all this film is way too pessimistic and even nihilistic. With a running time of 100 minutes, over 90% of the film focuses on the problem and tells us that the world is being destroyed and we are all facing certain death and that the earth is doomed. Then at the end, there is about 4 minute dedicated to what we can do. Buy a Hybrid. Use energy efficient light bulbs. Vote for Democrats. My problem is that the balance is off in the film. The goal of this journey that Gore is on is to make people aware of what we are doing to the earth and encourage them to do something about it. This movie focuses on the destruction, but revels in it and destroys hope in the process. There is a way out of this and there are things that people can do and I wish there was a little more focus put into what people can do. Not what the world can do, but what a difference an individual can make. Before you can motivate a person to take action, the person must believe that their actions can make a difference. This movie shocked me. It scared me. It did not inspire me to change.
If we are going to be able to change the world and make up for the damage that has occurred, it is not going to be easy. It is going to require sacrifice and inconvenience for everyone. It is important that people know that, but also realize that it is worth it. A person without hope will be a person without action. Watching this movie I felt doomed. Until the very end, there was nothing said about reversing or slowing the process of global warming.

Another filmmaking aspect that bothered me was the inclusion of Gore’s personal life in the film. There are three 5 minute segments that are dedicated to his personal life and does not relate to the subject of the film. The near death of his son. The loss of the 2000 Presidential election. His childhood on a farm and the death of his sister to cancer. This is not a movie about Al Gore. It should not be. AN INCONVENIENT TRUTH is about something far more important than any single man. Gore would be the first to agree with that point.
This is an important film. I hope that those who take the time to see it will walk away scared, but also motivated and ready to make a difference now. If you don’t have the time or the opportunity to check it out, please take a few minutes and look at the website mentioned at the end of the film. What I wanted in the film is here. There is hope and there is something that we can all do. It shows the difference that a single person can make. Here’s the link…

CLIMATE CRISIS

Now is the time to take action.

the ballad of ricky bobby

2006-05-30T21:53:00.000-07:00

review by Jane Doe

TALLADEGA NIGHTS registers as an okay mindless summer comedy – not great, but not awful. I guess, if you saw ANCHORMAN and loved it, then you’ll get a kick out of this, as it’s basically the same story reset into the world of Stock Car racing. It’s a serviceable comedy for the first half, then, midway through the laughs begin to drop off… and they don’t really come back.It’s pretty hard to critique this sort of film as they’re never about plot or character. Each scene is basically a delivery system for the next gag. On that level, I guess, the film is ok for the most part. At least for the first thirty minutes or so. When there’s an actual physical gag, it works really well, but when they try and inject anything else (like a bit where Ricky always leaves tickets waiting for his dad), it just drops with a resounding thud.
In a lot of ways, this film is like an episode of SNL; little bits of great comedy, surrounded by long moments of flat boredom. In a summer full of action spectacle, comic-book heroes and the occasional romantic comedy, it is the stand-alone goofball gag movie, and that alone may keep it afloat at the box-office, but it won’t be remembered as a “great comedy” by any means. When it works, it works because of the great group of actors assembled. When it doesn’t, it fails for the same reason. You expect more.
What’s good?
Ferrell. He’s doing his thing. I got what I expected. At least he’s back to what he’s good at – flat out stupidity (instead of something like, say, “The Producers.”) Academy Award Nominee Amy Adams. She’s in about 4 scenes and her character has virtually no set-up whatsoever, but she has one seen where she just knocks it out of the park.
The scenes involving product placement. At one point, they even drop in a full commercial for Applebee’s! They actually get a lot of mileage (pun intended) out of this. Gary Cole. He’s awesome in this as Ricky’s absentee alcoholic father. John C. Reilly. The always reliable character actor finds some amusing notes in this. Molly Shannon. In what I’ll refer to as the “flirtation and good vibration” scene, she is hilarious. Sacha Baron Cohen. Kinda good. He starts off amusing, playing Ricky’s gay French rival, but his portrayal quickly runs out of steam. Racing shots. Surprisingly for this type of film, some of the race sequences and crashes are really well shot!

What’s bad?
Hard to say. Nothing’s flat out bad… It’s just… there. And not necessarily funny.So. There you have it. Did you love ANCHORMAN? You’ll like this. Bored of Will Ferrell’s schtick? Skip it. Want to see it just for “Ali G”? Wait for BORAT in November. Did I like it? I guess. Honestly, I forgot most of it by the time I stepped past the exit of the theater.

broken code

2006-05-29T11:31:00.000-07:00

Everyone read the DA VINCI CODE, and now it seems that everyone is seeing the movie based on the book. After I read the book (yes, I was one of the 40 million) and I heard about the film, I was worried. I didn’t think they could capture what made the book interesting for me. Unfortunately, I was right.Aside from being poorly written, the novel had a really thin story. There was nothing that interesting in the actual plot of the book. It was running from one clue to another avoiding the bad guys and the police. What captured my attention was the exploration of the symbology and the historical and religious implications contained within. The plot just served as some sugar to make the information easier for the masses to accept. Reading the book made me look at pieces of art in a way that I never had before and it opened up the potential of a conspiracy that would shake the foundation of the church. I found that really interesting. What the movie did was focus on the weak plot and gloss over all of the information that I found fascinating. What was left was nothing more than a glorified video game without action. You go from clue to clue for no other reason than to get to the next clue. When you find the answer to the new riddle, it is portrayed as “obvious”, but is actually so random it could not be obvious to anyone except the writer that created the clue.The acting is as bland as you could possibly get. When you take out most of the symbology, there becomes no point for a symbologist to be in the movie. Tom Hanks is dry and bland, but that is more the characters fault than his. He just walks through the movie and seems bored as he does it. Audrey Tautou plays Sophie who is intelligent one minute and seems stupid and incompetent the next. While she is a cop, when she holds a gun, she could not look more uncomfortable. Paul Bettany as the crazy killer Silas, is just silly. His performance is relegated to looking like he smells something bad and staring with wide eyes as he tries to be creepy. The only character that I liked in the film was Sir Teabing (Ian McKellan). He was the only one that had a little fun and therefore he was the only on that was kinda fun to watch.I like Ron Howard, but here he struggles to make this film visually interesting. How? The letters glow in A BEAUTIFUL MIND style and he relies on flashbacks when they are talking to make it a little more interesting. It failed. This movie is just plain boring. The worst thing is that it runs a very clunky two and a half hours. Why? The plot is so simple it is boring and most of the interesting information was left out. If you are going to try and make a chase movie, make a chase movie and have it be exciting and fast paced with action and suspense.While watching DA VINCI CODE I was brought back to a movie that was made a year and a half ago. It had a similar subject matter, but was just an action movie and a chase movie. That flick was NATIONAL TREASURE and you know what? It is a better movie. There is shallowness to it, but I had fun watching it. There are some good chase moments and some cool action. It really felt like that was the movie that Howard was trying to make and what he ended up with was a mess because he had to be faithful to one of the most popular books of recent memory.Maybe DAVINCI CODE is just better as a book and should have stayed that way. All that I know is that the movie didn’t work. Most of the blame (or credit if you like it) falls of the shoulders of screenwriter Akiva Goldsman. He took a poorly written book and delivered a poorly written, clunky mess.

a trip to HEAVEN

2006-05-27T18:22:00.000-07:00

When KINGDOM OF HEAVEN was released a year ago, it was met with mixed reactions at best. Ridley Scott had returned to the period piece epic and most people either didn’t show up or were disappointed if they did. I liked KINGDOM OF HEAVEN when I saw it a year ago. It was an ambitious movie with a great cast, great action, impressive set pieces and thought provoking themes. While I had some problems with the movie and didn’t think it worked as a whole, I liked it and was very curious when I heard that there was a director’s cut to be released this year in a 4 – disc DVD. Along with the extended film is a feature length documentary on the making of the movie that is worth the price alone.

The theatrical cut ran 144 minutes. That is not a short film by any stretch, but when you compare it to the director’s cut with a running time of 194 minutes, the difference is night and day. What kind of difference is there besides the length? Just to name a few…

There is the motivation of the lead character, Balian (Orlando Bloom). In this new cut we get to know the character and really understand what drives him and why he does what he does. He is a real hero with complex emotions, personal demons and moral questions. Here he is fully fleshed out and the performance of Bloom is given the chance to breathe. I am not the biggest fan of Orlando as an actor. I think that he is limited and often stiff in movies, but he really shines here, showing sides of his talent that I didn’t think were there.

One of the biggest omissions in the theatrical cut was the character of Sibylla (Eva Green). I never understood her significance in the film. She just seemed to be there as an unnecessary love interest for Balian. Having seen the complete version, it turns out that there is a complex and really fascinating character that provides one of the most compelling stories in the movie. I won’t get into the specifics of her story, but there is the issue of her son. Yes, she has a son in the movie that was completely left out of the previous version. He is the heir to the throne and effects everything she does. Without this story, there are many questions and inconsistencies with all of the characters.

KINGDOM OF HEAVEN is an epic. This is the movie that GLADIATOR wanted to be and TROY tried desperately to be. The movie runs over three hours, but the subject and the scope demands it. I found that the director’s cut seemed shorter than the theatrical cut. How can a movie that is 50 minutes longer seem shorter? The story is more compelling, engaging, better paced and simply a far better film.

There are many aspects of the film that make it the as impressive as it is. The look of the film is simply brilliant. John Mathieson has worked with Scott several times and is one of the best cinematographers in the business. This is a beautiful film. Every frame looks as if it were painted with precision and care. The sets and the scope of the cities and castles are stunning. The attention to detail will transport you to the world of the Crusades.

What separates this movie from others that have come before it is the complexity of the characters and the issues that are discussed? The issues of the Christians fighting against the Muslims deals with something that is as relevant today as it was back then, the lack of understand and tolerance of another culture and their religion has lead to some of the most violent and bloody conflicts in the history of the world. KINGDOM OF HEAVEN looks at not only the Christian side of the conflict, but also takes a look at the Muslim side. Through this perspective, we can see how easily a war can start even when the leaders are striving for peace. It looks at the foundation of religion and the dangers that lie within the heart of it. While taking this look, it doesn’t take a critical look at either religion, but at a select few that use that religious extreme to feed hatred and encourage war. KINGDOM OF HEAVEN will give you much more than a good time. It will give you something to think about.

It is a shame that this version was not released in theaters a year ago, but I am thankful that it can finally be seen. Imagine if when LAWRENCE OF ARABIA (216 minutes) was released, the studio decided to put out a version that was an hour shorter. How would that film be remembered today? If this version would have been released last year, it would have been one of my ten favorites of the year. What was the studio thinking? Ridley Scott is one of the few great directors and has proven himself time and time again. Let him release the movie you hired him to make.

If you have seen KINGDOM OF HEAVEN and did not care for it, please check this version out. It is a totally different movie. If you have not seen the film, please check out the director’s cut. You will not be sorry.

the X factor

2006-05-26T18:39:00.000-07:00

Here’s my review of X-MEN: LAST STAND…

TERRIBLE

Now the real question is… Who is to blame?

THE STUDIO?

Much of the blame must fall to the producers and the studio that financed the film. When Bryan Singer decided to go to Warner Brothers and make SUPERMAN, the folks at Fox seemed to take it personally and rush X-MEN into the theater with one goal… Release it before Singer could release SUPERMAN. Everything that is wrong with the movie can be traced back to that act of pride and ego. When you rush the script and then the shooting and post, you are not going to get a quality film. You are going to get a mess.

THE WRITERS?

This is a terrible script. That is all there is to it. The dialogue is pathetic and there is little to no respect paid to the characters or how they have been set up. But what do you expect? The studio brought in Zak Penn whose credits include the miserable films LAST ACTION HERO, INSPECTOR GADGET and ELECTRA. He can write a screenplay, sure, but can he write a good one?

The other writer was brought in to “help”. Simon Kinberg’s credits include Mr. & MRS. SMITH and XXX: STATE OF THE UNION. I don’t know what his contributions were, but he did not do anything to get rid of the ridiculous one-liners and did nothing to develop the characters that I had grown to love. Major characters are killed with no regard and no sense of loss. This is an emotionally dead film with no drama and no sense of fun.

BRETT RATNER?

Most of the critics are saying that it is not Ratner’s fault how this movie turned out. I couldn’t disagree more. He is the director and the final product is HIS responsibility. He signed on to make this movie based on the script and his paycheck. He signs on and now it becomes HIS movie. The main problem might be the writing, but this is a poorly directed movie without question. With the exception of a select few cool moments, the action scenes are clunky and amateur. Some movies you can watch and see the skill of the filmmaker, but watching a Ratner film is like staring into nothingness. The only thing that I will give him credit for is getting to direct all of these big movies. He must have a great agent.

Whoever is to blame, this movie is a real shame…
The fist two films set up a great world with interesting characters and a well-developed story heading into the final chapter. X-MEN: LAST STAND took that and completely dropped the ball, destroying the world that Singer created. I will do my best to forget I saw this movie and just look forward to SUPERMAN next month.

a simple code?

2006-05-25T18:35:00.000-07:00

By Furious George

It’s ironic that the guy who is writing book reviews might be the only person in America not to have read THE DA VINCI CODE (A little too ironic? Yeah I really do think). This does give me a more interesting take on the movie however. I did not have the expectations; in fact I had little interest in seeing it until I heard the cast list and director.

I saw the movie on opening weekend and enjoyed it quite a bit. It is the quintessential summer movie in just the way the book is the perfect airplane read. Though it did drag a bit at the end, the pacing was quick and kept me in my seat. The performances were exactly what you would expect. Tom Hanks was the detective/professor, calm and unflappable despite the constant threat of police, betrayal, and some sort of super-albino. Audrey Tautou is every bit as charming as you would expect, though not very believable as a police woman. Every performance was solid, as was the directing. I don’t consider Ron Howard to be a genius by any means but his is always proficient. DA VINCI CODE is no different.

As for the plot, I was not impressed. I found it very predictable. The “big surprise” is so heavily foreshadowed that you would have had to be one of the original cast members of DELIVERANCE to miss it. I guess the biggest disappointment for me was the lack of detail. Everything I heard about the book bragged about the incredible amount of research and the Dan Brown put into it. Little of this showed up on screen. Some of the history was there but little about the art made it into the film.

I also failed to find the church sinister. It was clearly set up to “creep” people out but it failed to do so. I don’t know if Silas (played by Paul Bettany) was an albino with mysterious superpowers in the book but I found the character slightly ridiculous. I found the self flagellation scenes superfluous and his entire back story seemed to be thrown in there for no good reason at all. It was not scary! If you want to frighten me show me something real. Show me men with rock solid convictions and good intentions doing horrible things. That would have been more sinister on camera that a stereotypical evil bishop with his albino sidekick.

Overall, as a summer movie, THE DA VINCI CODE is a fun flick. It’s light and entertaining but on no level impressive. I’m glad I saw it but what little desire I have to read the book has fled. In fact of you want the world’s biggest conspiracy, in my opinion it’s the fact that over 40 million people read this story then all decided to tell the rest of us that it was genius.

(There are things about this review that I agree with, but for the most part I found the DA VINCE CODE to not be a good movie at all. In the next few days I plan to write a review of my own, but thanks again to Furious George for his contribution. - HUMBY)

R.I.P. channel Z

2006-05-24T17:45:00.000-07:00

Growing up outside of Los Angeles, I had never heard of the groundbreaking pay cable channel in the 70’s and 80’s that specialized in obscure films from around the world. The Z channel is like nothing that came before it and nothing since its cancellation in 1989. It was before the age of the VCR and brought movies to the subscribers that they would otherwise never have the opportunity to see. A treat for filmgoers and a dream for cinefiles, Z gave a chance to films that would have been forgotten otherwise.

Z CHANNEL: A MAGNIFICENT OBSESSION is a documentary by filmmaker Xan Cassavetes that looks at the Z channel, but looks more in detail at the brains behind the station and the head programmer, Jerry Harvey. In 1988, Harvey killed his wife and then turned the gun on himself. That is how this film begins. The rest is the story of his life and what he accomplished for the world of cinema, past, present and future.

What could a pay cable channel do for cinema? You first must remember the time period and think back to how things were. Fewer theaters. No market for art house and foreign films. No movie channels on television. If a movie opened even in a few theaters and did not have immediate success, it was taken out of the theater and lost to the public forever. What Harvey did as a lover of film is find these movies and give them a stage to play on and exposed the public to their potential brilliance. Many, many films would not be what they are today had it not been for Harvey and his passion for cinema.

When SALVIDOR opened in the spring of 1986, it was barely released and received mediocre reviews from the few critics that bothered to see it. Harvey saw this film and saw its importance and relevance and decided to do something about getting it noticed. What he did was acquire the rights and air the film behind an add campaign in his affiliated magazine promoting the brilliance of the film. The result of the campaign was overwhelming. The film was now seen, well reviewed and received Oscar nominations for its lead actor (James Woods) and writer (Oliver Stone).

One of the other things that Jerry Harvey was responsible for was the release of the “director’s cut” of films. In the age of DVDs, the idea of the extended cut and the chance to see the director’s original vision is taken for granted. It was not so in the 80’s, when Harvey was responsible for the release of the director’s cut of THE WILD BUNCH, 1900, PAT GARRETT AND BILLY THE KID, HEAVEN’S GATE, and many others. For this feat alone, all film lovers and filmmakers owe him a great debt.

While the Z channel and the films programmed on it was a focus of the film, the other focus is the man behind it all. While watching Jerry Harvey display his passion and his devotion, you can’t help but like admire and respect him, but at the same time, you also can’t forget the horrible and sudden conclusion to his life. He murdered his wife in cold blood, sat on the bed for an hour and then fired a shot into his temple. Harvey was a brilliant but severely damaged man who was haunted by his demons throughout his life.

Interjected throughout the film are interviews from prominent filmmakers like Robert Altman, Quentin Tarantino, Alexander Payne, James Woods, Jim Jarmusch, and Paul Verhoeven. Harvey and his contribution to the world of film impacted every one of these people. This is a great story and an extremely well handled documentary. As a film lover, I imagine that I like Z CHANNEL more than most would, but anyone who likes movies would be fascinated by this story of a man overcome by passion and the need to share it.

The loss of Harvey and the Z channel is a loss for film. There will never be another Jerry Harvey, but the work that he did and the contributions to the art form that he loved will never be forgotten.

The Road to Censorship?

2006-05-21T23:19:00.000-07:00

Nothing seems to stir up controversy faster than pointing a critical finger at the United States government. That seems to be the case regarding the newest film from director Michael Winterbottom, THE ROAD TO GUANTANAMO.

This is the story of three British-Muslim men who, while in route to a wedding, were taken by the U.S. military and imprisoned for years without proof or charges. This is a true story.

The controversy as reported by the Washington Post yesterday, revolves around the poster for the film. The MPAA refused to approve the original poster, citing it as too violent and depicting torture. Here is that poster…

Shocking? Yes. But so is the subject matter. The poster that was approved of was simply a close up on the hands of the prisoner to avoid the appearance of torture. Here is the approved poster…

Is ROAD TO GUANTANAMO being singled out due to its criticisms of America? I don’t know, but it’s not the craziest idea I have heard. What I do know is that a story like this NEEDS to be told. The only way to ward off corruption is to make the corrupt accountable for their actions. Kudos to Winterbottom for taking on such a harrowing subject and having the courage to bring it to the screen. I hope that people will check it out. I know that I will.

Here is a link to the article in the Washington Post…

WASHINGTON POST ARTICLE

And here is a link to the trailer for the film…

ROAD TO GUANTANAMO (trailer)

What do you think?

good kitty

2006-05-20T22:57:00.000-07:00

Carroll Ballard was a contemporary and classmate of fellow filmmakers such as George Lucas, Walter Murch and John Milius. A fine filmmaker, he has never really been given the credit that he deserves. With a background in photography, all of his films are visually stunning and contain a beauty that is difficult to capture in words. His movies are few and far between (THE BLACK STALLION, NEVER CRY WOLF and FLY AWAY HOME), so you would think that when he releases a movie, people would notice, but when it came time for the release of his newest film, DUMA, last year, it was not only overlooked, but it was basically shoved to the side by the studio. The release was pulled and a straight to video release was planned until a handful of critics got a chance to see the film and gave it rave reviews and called for a theatrical release. What did the studio do? They released in on one screen in Chicago and only expanded it to a few screens before pulling it. Last week the film hit DVD and I got my chance to see it.

DUMA is a simple story, but one of unspeakable heart and beauty. It revolves around a young boy, Xan, who found and rescued a baby cheetah. The cheetah, Duma, was raised and cared for by the boy and his family, but the time came when it was time for Duma to return home to the desert and that is when the story really begins. Xan takes a journey with the now fully-grown cheetah into the heart of the deadly desert to return Duma to the live that he deserves.

This is a beautiful film.

There is the photography, which will take your breath away with the landscapes and vastness of the desert. There are no mechanical animals here. Everything is actually the cheetah, along with all of the other creatures throughout. This adds not only a documentary feel to the movie, but there is nothing to take you out of the film and remind you that it is not real. It is not a movie that you watch, but one that you experience.

The other aspect of beauty in DUMA that captured me was the story of the boy and his love for his unusual pet. Everything in Xan’s life is falling apart. He is trying to deal with the death of his father and a move from the country into the big city. When it comes time for him to let go of his best friend (Duma), he embarks on more than just a journey of destination, but more like one of self discovery. On this voyage alone into the desert, Xan becomes an adult. There is no doubt that the person he was has forever been changed. Over 100 minutes, you get to watch a boy become an adult.

It is a shame that DUMA was overlooked and I hope that it finds an audience now that people have the chance to check it out. It is not a great movie, but I really believe that it is a special one. Like him or not… know him or not… Carroll Ballard is a unique filmmaker who makes beautiful films. It is time for people to finally take notice of his talent.

What do you think???

2006-05-17T04:35:00.000-07:00

So today the trailer for the new Oliver Stone film WORLD TRADE CENTER hit the internet. I assume that it will roll out in theaters this weekend with THE DA VINCI CODE and we will hear a lot about reactions like the ones when the first trailers for UNITED 93 came out.

Here is the link for:

WORLD TRADE CENTER (trailer)

Now I am curious to hear what people think about the movie after seeing the trailer. What is your gut reaction? Do you think this honors the memories of the brave men that sacrificed their lives? Does it exploit them?

I had some reactions to this trailer and most of them were negative. WORLD TRADE CENTER really looks like a movie. I know that may sound obvious, but think about it for a second. The reason why I loved UNITED 93 was that it felt real and not like Hollywood making a movie out of a tragedy for a profit. It didn’t feel like a movie. WTC is all about sweeping cinematic shots, grandiose music, wide beautiful shots of New York, heroic moments in the style of Michael Bay, and it has movie star Nicolas Cage as the lead. In short… it feels like a movie.

I love movies, but I don’t like the fact that this one seems to be capitalizing on 9/11 only 5 years after. That is how this trailer made me feel. They are making this movie for no other reason than to make tons of money. I may be wrong and I certainly hope that I am. I have been a big fan of Oliver Stone in the past and I think he is capable of making a great film again. I just don’t think WTC is that film.

Please let me know what you think about this movie and how watching the trailer affected you, if at all. I’m all ears…