V For Vendetta (+) -- Better than I thought it would be. For once, here's a movie in the comic book genre--excuse me, graphic novel genre--that doesn't suffer from the comic book curse. It wears the genre's conventions without dissolving into absurdity. The script is smart, the cast contains lots of classy actors, the action is impressive without going over the top--this one delivers what it promises. Posted 5/21/09.
Valkyrie (+) -- A good story, a great cast giving fine, professional performances, and some artful storytelling make this worth the ride. Oh, yeah, and it also offers everybody's favorite movie stars: Nazis! Enjoy. Posted 2/25/11.
(John Carpenter's) Vampires (~) -- Pretty much your standard undead bloodsuckers flick. John Carpenter can do better.
Vanilla Sky (+) -- For a while there, this one wasn't making much of an impact. The characters weren't that compelling, the story had little appeal...and then, about two thirds of the way through, there's a shift, and things become much more interesting. You suddenly realize that there is depth here, and an intriguing question is being asked. And it's a Cameron Crowe flick, so you know the music is good. All in all, worth it. Posted 11/4/03.
Vanity Fair (+) -- Boy, that Thackeray sure knew how to skewer the upper class. The target gets all it deserves, but one must wonder, would such a story as this exist at all except for the very noble class that the author despises? Probably not. Nevertheless, we benefit from that conundrum in the form of Reese Witherspoon, who makes a fabulous Becky Sharp and keeps the reels rolling, and the viewer's attention firmly where it should be. That, a well-crafted story, and a picture perfect presentation, make this a successful venture. Posted 2/13/07.
Venus Beauty Institute (~) -- Ah, those French do so love l'amour. Except, of course, when they don't, as with the cynical hairdresser heroine of this import. There are some nice scenes, plus some clever dialogue, but not enough of either here. And Natalie Baye, the putative star of this film, is too bland, and her character too off-putting, to make the viewer really care about what's going on here. (Though perhaps the presence of personal favorite Audrey Tautou--the reason I watched this--puts Baye in a comparatively unflattering light.) Posted 4/1/04.
Veronica Mars (+) -- Talk about putting the band back together...The big screen treatment of the big little TV show brings back virtually everybody who was anybody on the original series, and does so with almost all of the wit and style that made the show so appealing. It seems clear that viewers who were fans of the series will have a major leg up watching this flick versus those who are coming to it without that experience, so your mileage may vary as far as this review goes. But, as a loyal fan from way back, I can say I watched this movie with a big grin on my face the whole time, and I found the entire piece thoroughly enjoyable. You go girl, indeed. Posted 5/23/14.
A Very Harold & Kumar 3D Christmas (~) -- More evidence that the current 3D craze should go the way of one very specific D--namely, the dodo. The awkwardness of the movie's very self-conscious use of 3D effects is not just distracting, but clearly got in the way of the cast, crew and producers when it came to making good jokes, good characterizations, and a good story. H & K retain a certain stoned charm, and their antics are still good for a few out loud laughs, but mostly, the guys aren't quite what they used to be. All that adds up to something short of a good movie. This one will show up several times a season each Christmas on basic cable, and that's about its level. Give it a look if there's nothing else on the tube while you're wrapping presents. Posted 12/15/12.
A Very Long Engagement (+) -- Oddly exuberant, for a
somber "tragedy of war" story. The credit probably goes to director
Jean-Pierre Jeunet, who brings a lot of his trademark quirkiness to what
would otherwise be a mordant tale. Somehow, the frequent interjections
of odd and strangely humorous behavior work, even as Audrey Tautou's
mournful lead character rolls through a heart-wrenching quest for her
lost love. There's a bit of the mystery to this story, and if you're not
quite enthralled by those "put the clues together" machinations, you
may find that focus distracting. But the overall story holds its own, and
everything marches through to a satisfying conclusion. Posted 1/2/05.
Sunday, February 27, 2011
Thursday, February 24, 2011
Recently Read
Prisoner of Trebekistan: A Decade In Jeopardy!
By Bob Harris
My perpetual quest to make it onto Jeopardy! continues apace, and leads me down more and more oblique paths. For instance, this book, a combination "peek behind the curtain/mental travelogue" offered by one of the show's five-time champions.
In Prisoner of Trebekistan, author Harris relates his odyssey to, onto, and through the show, from growing up in Cleveland's suburbs to failing the tryout exam to his ultimate success, failure, and successful failure on the game itself. His breezy narrative is chock full of minor insights about the show, a lot of Harris's insights into himself (gleaned via his time preparing for and appearing on the show itself), and plenty of humor. The humor goes a long way towards making the book as appealing as it is. It also helps that Harris, once a stand-up comic, is funny. Not Aziz Ansari funny, but...
A big upside to Prisoner of Trebekistan, in this reader's eyes: if you want to go on Jeopardy!, you can get some good lowdown on what it takes to get there, and what it takes to win once you get on. It's both encouraging and discouraging, almost depending upon what page you're reading. But that's no criticism of the author; Harris is just giving us the goods, and it's up to the reader to figure out where to go with it.
The biggest weakness of this book comes from Harris's personal ruminations about life, the universe, and everything, as seen through the prism of his Jeopardy! experiences. A lot of what Harris describes in his book concerns some intensely personal--almost singularly personal--thoughts about how his wins and losses on the show have changed his life and outlook. The problem with intensely personal, idiosyncratic ideas is that they are--wait for it--intensely personal and idiosyncratic, and thus somewhat less accessible to those who have not had that experience themselves. Like, for instance, the vast majority of Harris's readers. Whether that's a flaw in the author's work, or in ourselves, is perhaps best left to the individual reader's judgment. For this reader, it must be said, some of the author's views and experiences (particularly the stuff relating to his family), while touching and obviously heartfelt, fail to connect, especially when the reader has his own narcissistic interest in learning about a certain quiz show.
But again, it's not necessarily the author's fault that his focus is not as tight as mine. Laying that one debate aside, then, one has to conclude that Prisoner of Trebekistan should be counted among Bob Harris's bigger wins.
By Bob Harris
My perpetual quest to make it onto Jeopardy! continues apace, and leads me down more and more oblique paths. For instance, this book, a combination "peek behind the curtain/mental travelogue" offered by one of the show's five-time champions.
In Prisoner of Trebekistan, author Harris relates his odyssey to, onto, and through the show, from growing up in Cleveland's suburbs to failing the tryout exam to his ultimate success, failure, and successful failure on the game itself. His breezy narrative is chock full of minor insights about the show, a lot of Harris's insights into himself (gleaned via his time preparing for and appearing on the show itself), and plenty of humor. The humor goes a long way towards making the book as appealing as it is. It also helps that Harris, once a stand-up comic, is funny. Not Aziz Ansari funny, but...
A big upside to Prisoner of Trebekistan, in this reader's eyes: if you want to go on Jeopardy!, you can get some good lowdown on what it takes to get there, and what it takes to win once you get on. It's both encouraging and discouraging, almost depending upon what page you're reading. But that's no criticism of the author; Harris is just giving us the goods, and it's up to the reader to figure out where to go with it.
The biggest weakness of this book comes from Harris's personal ruminations about life, the universe, and everything, as seen through the prism of his Jeopardy! experiences. A lot of what Harris describes in his book concerns some intensely personal--almost singularly personal--thoughts about how his wins and losses on the show have changed his life and outlook. The problem with intensely personal, idiosyncratic ideas is that they are--wait for it--intensely personal and idiosyncratic, and thus somewhat less accessible to those who have not had that experience themselves. Like, for instance, the vast majority of Harris's readers. Whether that's a flaw in the author's work, or in ourselves, is perhaps best left to the individual reader's judgment. For this reader, it must be said, some of the author's views and experiences (particularly the stuff relating to his family), while touching and obviously heartfelt, fail to connect, especially when the reader has his own narcissistic interest in learning about a certain quiz show.
But again, it's not necessarily the author's fault that his focus is not as tight as mine. Laying that one debate aside, then, one has to conclude that Prisoner of Trebekistan should be counted among Bob Harris's bigger wins.
Reel Reviews -- C
The Cat In The Hat (--) -- Occasionally, the creative joy of Dr. Seuss's work shines through. Occasionally, you get an inspired moment of Mike Myers doing his comedic thing. Unfortunately, occasionally is not nearly enough. Much of the storyline has nothing to do with the book--admittedly, a thin volume as a screenplay basis--and does not hold up to the original's 'vision' of inspired, crazy fun. Dump this kitty with the litter. Posted 12/28/05.
Catch Me If You Can (+) -- Almost a tough call; should you really recommend a movie about a criminal, especially one that celebrates its subject? Perhaps not, but apparently Frank Abagnale was not so bad, as criminals go. Some of this film is a little too cutesy--a Spielberg weakness--but most of it is just goofy fun. Overall, we have here an entertaining homage to cleverness, in all its forms, and that makes it worth it. Posted 11/30/03.
The Cat's Meow (~) -- Mildly amusing and/or involving, depending upon the moment and the scene. The story has its intrigue--mysterious deaths tend to be that way--and the presentation is well done, but something's missing. Maybe the failing lies with the cast, who have to capture some very famous personalities (for instance, Eddie Izzard playing Charlie Chaplin) and are not necessarily up to the task. If you're the mystery type, or an Jazz Age aficionado, check it out. Otherwise, the cat should nap. Posted 7/18/05.
Catwoman (--) -- Believe it or not, there actually is some fun stuff in here--but man, when the stupid hits, it hits! Someone was way too enthralled with being hip-hop and showing off the CGI. Wry, cynical humor--a staple of superhero stories--is noticeably lacking through most of the movie. And while Halle Berry may be easy on the eyes, that only goes so far. Not even the presence of a whole clowder of cats--a personal delight--can keep the interest level high. If you see this one coming, hiss and run away. Posted 6/10/06.
Cedar Rapids (+) -- Who knew the Upper Plains could be so funny? Ed Helms, apparently, who gives a note perfect performance as a naif who finds more than he bargained for--to his ultimate gain--at an insurance industry convention in the titular town. The story stays odd and appealingly skewed throughout, and--unlike many a self-aware 'zany' comedy--never veers off into the completely improbable. (There's one plot glitch--involving the Helms character's major sin--that's not really true to form, but it's a very minor, almost unnoticeable thing.) The result is often laugh out loud funny and a good time at the movies. Check it out. Posted 7/26/12.
Chain Reaction (~) -- I can't remember why I wanted to watch this one. I can say that it's nothing special. The story keeps moving, but some elements are just too obvious, the screenplay is occasionally terrible, and it never really grabs the viewer in any particular way. You can skip it. Posted 11/26/05.
Changing Lanes (~) -- It's a murky world out there, or so says this movie. I agree with it, but I'm not sure that's enough to recommend this movie. The story is good, the leads are good, the supporting cast is great, but overall it falls a little flat. The movie seems to be less than the sum of its parts. It's not a waste, but it's not must-see stuff, either. Posted 2/10/04.
Charlie and the Chocolate Factory (~) -- It seems that movie producers will never learn the lesson: they're not better/smarter/more inventive than the book writers who serve as their sources. Certainly not better than Roald Dahl. This version of Dahl's classic takes too many liberties in introducing Wonka's backstory, and makes the character less a fascinating enigma and more just plain weirdo. The changes detract from what is otherwise an admirable effort--especially in the other side of the dyad, where the story makes clear what a hero Charlie Bucket is. The kid really did deserve his very own chocolate factory. Posted 2/23/11.
Charlotte Gray (+) -- What did I learn from this movie? That Cate Blanchett is a better looking brunette than blond. Who knew? It's a tenuous plus-sign endorsement, as the story is fairly run of the mill WWII spy stuff. But good performances and some lovely south of France scenery make it worthwhile. Posted 2/11/03.
The Chateau (~) -- Cross-cultural cluelessness and camcorder production values are this film's hallmarks. Lively performances by Paul Rudd and Romany Malco as absurdly mismatched, adoptive brothers garner a lot of audience sympathy, as does the French setting (for those who like that sort of thing). But a premise full of holes drags the overall grade down a few notches. A decent way to spend 90 minutes. Posted 3/13/06.
Cherish (+) -- How did this movie not make Robin Tunney a grade-A, center of the spotlight hottie? Three years later, and she's still not a big name? Well...there's no accounting for taste. Tunney is very appealing, the film is quirky and engaging, the story--wrongfully accused woman copes with house arrest--overcomes its occasional common sense issues, and the soundtrack is dynamite. Overall, a winner. Posted 12/7/05.
Chicago (~) -- Best Picture, eh? If you say so. For me, it's an entertaining though by no means great movie. Nice work by the cast--all doing their own singing and dancing, apparently--and the story has its clever moments. But the film also illustrates why the classic movie musical is a mostly dead form: it's hard to get beyond the clear artificiality of the (in this case, literally) staged musical numbers. Such a presentation requires a level of audience acceptance that just doesn't exist these days. Don't place any sucker bets on the "revival" of the movie musical just yet. Posted 2/17/03.
Chicken Run (+) -- Short and sweet, and funny. It's nice to occasionally see animation that is not completely computer generated.
Children Of The Revolution (~) -- Weird, occasionally funny and interesting. The goofy plot (centering on the Australian love child of Josef Stalin--no, really) keeps it lively. Check it out if it shows up on your favorite niche cable channel.
Chocolat (+) -- Cute, mostly. It gets devalued some for indecision about what it wants to be (specifically, some awkward transitions from comedy to drama), but I don't want to fall into the trap of damning due to high expectations. This is, succinctly, a good movie, and that should be enough. (But not a Best Picture; it must have been a slow year.) NOTE: this is the Juliette Binoche/Johnny Depp/Judi Dench movie; there's another Chocolat out there, some movie about a chick returning to Africa. That other Chocolat is boring as hell. Don't be hoodwinked. Posted 6/29/03.
The Chronicles Of Narnia: The Lion, the Witch, and the Wardrobe (+) -- A faithful and honest rendition of the C. S. Lewis classic. Special props go to the young actress who plays Lucy Pevensie, who is adorable and delightful in the story's central role. Some of the Britishness might confuse American viewers, but it's actually a positive that they stuck to their guns and left that stuff in--more power to the filmmakers for remaining true to author and the story's origins. And no, the Christian stuff, as in the books, does not pound you over the head. Bottom line: if they want to make the whole series, I'm in. Posted 10/16/06.
Cinderella Man (+) -- The early scenes are almost too dour and depressing, but alas, that is the reality of the story. Thankfully, that story builds momentum, and a cast of fine actors--Crowe, Zellweger, Giamatti--do a great job of making you care deeply about the payoff. You won't be disappointed. A related note: this film provides yet another reminder of how compelling the fight game once was (and presumably could be, if the seediness was removed). Posted 4/21/07.
Citizen Kane (+) -- I recently checked in with this one after a long time, no see. Yeah, it really is that dazzlingly good. Welles was way ahead of his time. Posted 11/5/02.
Citizen Ruth (--) -- Kind of a disappointment. A pretty good cast headed by Laura Dern, and a good plot idea (satirizing the abortion debate), but it never really clicked.
City Of Joy (~) A tough call. There's a dramatic story here; several, in fact, and that's part of the issue. The movie careens all over the map. Is it a tale of one man's return from disaffection? Of a poor family's struggle to make it in an urban nightmare? Of caring in the midst of chaos? Of workers striving for fair treatment? It's sort of all those things, which causes the film to lose focus several times. However, the movie does maintain interest even through a long running time. Probably worth a look. Posted 8/15/05.
Clay Pigeons (+) -- Vince Vaughn: charming psychopath? Hmm, maybe this one's a docudrama. Vaughn is a little too convincing as a Montana ladykiller, with able backup from Joaquin Phoenix as the hapless schlub who almost takes the rap. The black comedy keeps moving and stays interesting throughout, but it is most entertaining when Vaughn is doing his nutty thing. A decent rental. Posted 2/17/06.
Clerks (+) -- The one that got Kevin Smith off and running, and the genesis tub wherein Jay and Silent Bob were spawned. Forerunner to two "Best Of All" films (Chasing Amy and Dogma), and few movies can make such a lofty claim. Watch it, or watch it again.
Clerks II (+) -- It seemed like not a great idea, but the sequel that shouldn't have been turns out to be a good movie in its own right. Lots of funny shit in here, with some real knee-slapping moments mixed in, and only a little bit of slowing down for slightly awkward sentiment and (perhaps) self-examination. I guess you really can go home again. Posted 4/7/09.
Cloud Atlas (~) -- What the fuck was that? If you can coherently answer that question, I guess you’re more intelligent than me. I’m a long way away from figuring out the point of this exercise, and that ‘so-so’ rating is perilously close to the damning negative sign. But...I must say, though I didn’t understand it, I didn’t ever really want to stop watching it, either. There was enough weird interest woven within this mess to keep it, in at least some respects, compelling. Perhaps the generosity comes from a number of good actors making the best of what they had, or maybe it comes from a desire to recognize the risk-taking that this film represents; at least someone tried to do something different. But for most folks, the story salad will be too difficult to follow, as the interconnections (apart from the actors) are too opaque to strike any real sparks of recognition and synthesis. All in all, a noble failure. Posted 10/20/13.
Cloverfield (+) -- Could it really be that the monster is a metaphor for...But no, it can't be. Best to avoid such speculations and just enjoy the horror show. And the horror show is well done, a clever presentation of what is (superficially, at least) an old genre. I am glad I watched it on DVD though; a wide screen look at that jangly camera work would have really made a mess of one's visual field and sense of balance. Posted 5/9/09.
Cold Comfort Farm (+) -- About as good as British eccentricity gets. Very funny, occasionally a riot. Good work from Kate Beckinsale, Ian McKellan, Rufus Sewell, etc.
Cold Mountain (+) -- A story as old as The Odyssey--an appropriate comparison, given the film's occasional forays into something close to lyricism. It's a story that has been told so many times, but the strength here lies in the performances: strong work by leads Nicole Kidman, Jude Law and Renée Zellweger, along with a host of actors in supporting roles. The movie runs long, but the story holds your interest most of the way through. Worth a look. Posted 5/30/05.
Collateral (+) -- An enjoyable thriller, made that much more watchable by Michael Mann's usual stylish vision. The intriguing set-up, and good interplay between Cruise and Foxx, combine with that stylishness to craft a movie that's better than it would be in lesser hands. Posted 4/7/09.
Confessions Of A Dangerous Mind (+) -- This is worth it just to see some of those old Gong Show acts coming back for one last wretched appearance. As for the story, you can't help but smirk over the "is it true or not" aspects of Chuck Barris's "unauthorized autobiography." It's preposterous, but just preposterous enough that it may be true. Meanwhile, first time director George Clooney proves himself to be...a first time director, with lots of self-aware camera angles and other directorial hooey. But none of that is too intrusive, and does not get in the way of an enjoyable story. Posted 3/12/04.
Constantine (+) -- Round up the usual apocalypse. Another bit of cinematic hokum, one that delivers lots of action and a fine sense of visual style to go along with a keen eye for the dirty gray areas between good and evil. The comic book panache more than makes up for Keanu Reeves's "unique" screen presence, and the lack of particularly big plot holes is a welcome change from what you usually get from these kinds of movies. Mix it together and you get a flick that's well done and fun. Posted 4/21/07.
Contagion (+) -- The most devastating affliction depicted in this movie? Grief. Lots of "disaster disease" movies get so wrapped up in the medical hokum that they lose sight of the human component to a deadly outbreak. Not so here--a terrific cast plays the emotional elements perfectly, and director Soderbergh does a masterful job with the presentation, giving the viewer a deep, connected, satisfying experience. Top notch. Posted 9/6/12.
Cool Hand Luke (~) -- More a collection of memorable scenes than a good movie. The difficulty comes in trying to stitch those scenes together into something coherent and compelling. Luke's nihilism bleeds out any real end to the hero's means; it's tough to know why you're on his side beyond Newman's personal charm and presence. It could have been more, but ultimately this film is a "not quite." Posted 4/16/09.
The Cooler (+) -- William H. Macy is the loser, lovable to one woman, in a story immersed in the old-fashioned world of "traditional" Las Vegas. It is interesting, on occasion, to watch people who are quite comfortable in their sleaze, and the performances--notably Alec Baldwin's ruthless casino manager--are first rate. The deus ex machina at the end is a little too pat, but you'll walk away at least break-even if you gamble on this game. Posted 1/17/04.
Cop Land (+) -- Yes, there really is such a thing as a good Sylvester Stallone movie (at least since the original Rocky).
Coriolanus (+) -- A new experience in so many ways. There are many Shakespeare plays that I have seen several times (in person and on film), a few I’ve seen once, several that I haven’t seen but know the story pretty well...this ain’t one of them. I had no clue what Coriolanus is about until I saw this film, yet I found it to be one of the more powerful presentations of the Bard that I’ve ever witnessed. Mad props go to Ralph Fiennes for both his performance and direction; he has put together a film that is not only entertaining in its totality, but the visual storytelling is so strong that you’d know what’s going on even if you were watching the movie with the sound off and no captions (good news for people who complain that they don’t understand Shakespeare’s language). A triumph, one any good Roman would hope to achieve. Posted 6/28/13.
Crimes and Misdemeanors (+) -- Woody Allen's well-crafted story comes with a light touch, but ultimately hits like a haymaker. The subtle descent of Martin Landau's compromised opthalmologist into further and further depths makes for riveting viewing, and while the secondary storyline--Allen and Alan Alda vie for the same woman--is less compelling, each tale reaches the same ending in a fascinating climax. Brief philosophical discussions, both bloodless and vibrant, and some crafty symbolism tie the whole thing together in a resolution that is surprising and provocative (and sadly, probably true). The film's impact comes not just in that resolution, but even past that ending, when you're thinking about it a day or two later. A powerful film. Posted 2/14/07.
Crouching Tiger, Hidden Dragon (+) -- Some of the "flying" action almost ruins it, but the story is good enough to redeem that flaw. And the scene where the girl busts up the tea house is worth the price of admission alone.
Cruel Intentions (+) -- What, like I'm not going to like a movie that has both Reese Witherspoon and Sarah Michelle Geller? Puh-leeze!
CSA -- Confederate States Of America (~) -- A nifty idea for a docudrama, one that turns Ken Burns on his head: what if the Rebels had won the Civil War? That's the nation that is described by this faux TV history program (complete with appropriate commercial breaks). The difficulty lies in knowing where the put-on stops and where the truth lies. That's a challenge even for one well-versed in the real history; it's probably beyond the average viewer's knowledge. The producers provide a helpful primer at the end of the film, which clears some things up for the uninitiated. Less helpful are some of the performances, especially in the overwrought dramatic scenes. Still, the film's ultimate message is worth noting: that country and this country are not as different as you might think. Posted 9/18/07.
Curse Of The Were-Rabbit (+) -- Wallace and Gromit's shot at the big time. Don't know if they'll get another one, but they certainly gave it their all here. This film has the whole W & G package: the brilliantly executed stop-motion animation, a flood of clever sight gags and in-jokes (including Wallace's typical Goldbergian contraptions), the goofy sense of flair--all wrapped around a smart, entertaining story. Full marks for this effort, and let's hope there's another one. Posted 3/28/07.
Catch Me If You Can (+) -- Almost a tough call; should you really recommend a movie about a criminal, especially one that celebrates its subject? Perhaps not, but apparently Frank Abagnale was not so bad, as criminals go. Some of this film is a little too cutesy--a Spielberg weakness--but most of it is just goofy fun. Overall, we have here an entertaining homage to cleverness, in all its forms, and that makes it worth it. Posted 11/30/03.
The Cat's Meow (~) -- Mildly amusing and/or involving, depending upon the moment and the scene. The story has its intrigue--mysterious deaths tend to be that way--and the presentation is well done, but something's missing. Maybe the failing lies with the cast, who have to capture some very famous personalities (for instance, Eddie Izzard playing Charlie Chaplin) and are not necessarily up to the task. If you're the mystery type, or an Jazz Age aficionado, check it out. Otherwise, the cat should nap. Posted 7/18/05.
Catwoman (--) -- Believe it or not, there actually is some fun stuff in here--but man, when the stupid hits, it hits! Someone was way too enthralled with being hip-hop and showing off the CGI. Wry, cynical humor--a staple of superhero stories--is noticeably lacking through most of the movie. And while Halle Berry may be easy on the eyes, that only goes so far. Not even the presence of a whole clowder of cats--a personal delight--can keep the interest level high. If you see this one coming, hiss and run away. Posted 6/10/06.
Cedar Rapids (+) -- Who knew the Upper Plains could be so funny? Ed Helms, apparently, who gives a note perfect performance as a naif who finds more than he bargained for--to his ultimate gain--at an insurance industry convention in the titular town. The story stays odd and appealingly skewed throughout, and--unlike many a self-aware 'zany' comedy--never veers off into the completely improbable. (There's one plot glitch--involving the Helms character's major sin--that's not really true to form, but it's a very minor, almost unnoticeable thing.) The result is often laugh out loud funny and a good time at the movies. Check it out. Posted 7/26/12.
Chain Reaction (~) -- I can't remember why I wanted to watch this one. I can say that it's nothing special. The story keeps moving, but some elements are just too obvious, the screenplay is occasionally terrible, and it never really grabs the viewer in any particular way. You can skip it. Posted 11/26/05.
Changing Lanes (~) -- It's a murky world out there, or so says this movie. I agree with it, but I'm not sure that's enough to recommend this movie. The story is good, the leads are good, the supporting cast is great, but overall it falls a little flat. The movie seems to be less than the sum of its parts. It's not a waste, but it's not must-see stuff, either. Posted 2/10/04.
Charlie and the Chocolate Factory (~) -- It seems that movie producers will never learn the lesson: they're not better/smarter/more inventive than the book writers who serve as their sources. Certainly not better than Roald Dahl. This version of Dahl's classic takes too many liberties in introducing Wonka's backstory, and makes the character less a fascinating enigma and more just plain weirdo. The changes detract from what is otherwise an admirable effort--especially in the other side of the dyad, where the story makes clear what a hero Charlie Bucket is. The kid really did deserve his very own chocolate factory. Posted 2/23/11.
Charlotte Gray (+) -- What did I learn from this movie? That Cate Blanchett is a better looking brunette than blond. Who knew? It's a tenuous plus-sign endorsement, as the story is fairly run of the mill WWII spy stuff. But good performances and some lovely south of France scenery make it worthwhile. Posted 2/11/03.
The Chateau (~) -- Cross-cultural cluelessness and camcorder production values are this film's hallmarks. Lively performances by Paul Rudd and Romany Malco as absurdly mismatched, adoptive brothers garner a lot of audience sympathy, as does the French setting (for those who like that sort of thing). But a premise full of holes drags the overall grade down a few notches. A decent way to spend 90 minutes. Posted 3/13/06.
Cherish (+) -- How did this movie not make Robin Tunney a grade-A, center of the spotlight hottie? Three years later, and she's still not a big name? Well...there's no accounting for taste. Tunney is very appealing, the film is quirky and engaging, the story--wrongfully accused woman copes with house arrest--overcomes its occasional common sense issues, and the soundtrack is dynamite. Overall, a winner. Posted 12/7/05.
Chicago (~) -- Best Picture, eh? If you say so. For me, it's an entertaining though by no means great movie. Nice work by the cast--all doing their own singing and dancing, apparently--and the story has its clever moments. But the film also illustrates why the classic movie musical is a mostly dead form: it's hard to get beyond the clear artificiality of the (in this case, literally) staged musical numbers. Such a presentation requires a level of audience acceptance that just doesn't exist these days. Don't place any sucker bets on the "revival" of the movie musical just yet. Posted 2/17/03.
Chicken Run (+) -- Short and sweet, and funny. It's nice to occasionally see animation that is not completely computer generated.
Children Of The Revolution (~) -- Weird, occasionally funny and interesting. The goofy plot (centering on the Australian love child of Josef Stalin--no, really) keeps it lively. Check it out if it shows up on your favorite niche cable channel.
Chocolat (+) -- Cute, mostly. It gets devalued some for indecision about what it wants to be (specifically, some awkward transitions from comedy to drama), but I don't want to fall into the trap of damning due to high expectations. This is, succinctly, a good movie, and that should be enough. (But not a Best Picture; it must have been a slow year.) NOTE: this is the Juliette Binoche/Johnny Depp/Judi Dench movie; there's another Chocolat out there, some movie about a chick returning to Africa. That other Chocolat is boring as hell. Don't be hoodwinked. Posted 6/29/03.
The Chronicles Of Narnia: The Lion, the Witch, and the Wardrobe (+) -- A faithful and honest rendition of the C. S. Lewis classic. Special props go to the young actress who plays Lucy Pevensie, who is adorable and delightful in the story's central role. Some of the Britishness might confuse American viewers, but it's actually a positive that they stuck to their guns and left that stuff in--more power to the filmmakers for remaining true to author and the story's origins. And no, the Christian stuff, as in the books, does not pound you over the head. Bottom line: if they want to make the whole series, I'm in. Posted 10/16/06.
Cinderella Man (+) -- The early scenes are almost too dour and depressing, but alas, that is the reality of the story. Thankfully, that story builds momentum, and a cast of fine actors--Crowe, Zellweger, Giamatti--do a great job of making you care deeply about the payoff. You won't be disappointed. A related note: this film provides yet another reminder of how compelling the fight game once was (and presumably could be, if the seediness was removed). Posted 4/21/07.
Citizen Kane (+) -- I recently checked in with this one after a long time, no see. Yeah, it really is that dazzlingly good. Welles was way ahead of his time. Posted 11/5/02.
Citizen Ruth (--) -- Kind of a disappointment. A pretty good cast headed by Laura Dern, and a good plot idea (satirizing the abortion debate), but it never really clicked.
City Of Joy (~) A tough call. There's a dramatic story here; several, in fact, and that's part of the issue. The movie careens all over the map. Is it a tale of one man's return from disaffection? Of a poor family's struggle to make it in an urban nightmare? Of caring in the midst of chaos? Of workers striving for fair treatment? It's sort of all those things, which causes the film to lose focus several times. However, the movie does maintain interest even through a long running time. Probably worth a look. Posted 8/15/05.
Clay Pigeons (+) -- Vince Vaughn: charming psychopath? Hmm, maybe this one's a docudrama. Vaughn is a little too convincing as a Montana ladykiller, with able backup from Joaquin Phoenix as the hapless schlub who almost takes the rap. The black comedy keeps moving and stays interesting throughout, but it is most entertaining when Vaughn is doing his nutty thing. A decent rental. Posted 2/17/06.
Clerks (+) -- The one that got Kevin Smith off and running, and the genesis tub wherein Jay and Silent Bob were spawned. Forerunner to two "Best Of All" films (Chasing Amy and Dogma), and few movies can make such a lofty claim. Watch it, or watch it again.
Clerks II (+) -- It seemed like not a great idea, but the sequel that shouldn't have been turns out to be a good movie in its own right. Lots of funny shit in here, with some real knee-slapping moments mixed in, and only a little bit of slowing down for slightly awkward sentiment and (perhaps) self-examination. I guess you really can go home again. Posted 4/7/09.
Cloud Atlas (~) -- What the fuck was that? If you can coherently answer that question, I guess you’re more intelligent than me. I’m a long way away from figuring out the point of this exercise, and that ‘so-so’ rating is perilously close to the damning negative sign. But...I must say, though I didn’t understand it, I didn’t ever really want to stop watching it, either. There was enough weird interest woven within this mess to keep it, in at least some respects, compelling. Perhaps the generosity comes from a number of good actors making the best of what they had, or maybe it comes from a desire to recognize the risk-taking that this film represents; at least someone tried to do something different. But for most folks, the story salad will be too difficult to follow, as the interconnections (apart from the actors) are too opaque to strike any real sparks of recognition and synthesis. All in all, a noble failure. Posted 10/20/13.
Cloverfield (+) -- Could it really be that the monster is a metaphor for...But no, it can't be. Best to avoid such speculations and just enjoy the horror show. And the horror show is well done, a clever presentation of what is (superficially, at least) an old genre. I am glad I watched it on DVD though; a wide screen look at that jangly camera work would have really made a mess of one's visual field and sense of balance. Posted 5/9/09.
Cold Comfort Farm (+) -- About as good as British eccentricity gets. Very funny, occasionally a riot. Good work from Kate Beckinsale, Ian McKellan, Rufus Sewell, etc.
Cold Mountain (+) -- A story as old as The Odyssey--an appropriate comparison, given the film's occasional forays into something close to lyricism. It's a story that has been told so many times, but the strength here lies in the performances: strong work by leads Nicole Kidman, Jude Law and Renée Zellweger, along with a host of actors in supporting roles. The movie runs long, but the story holds your interest most of the way through. Worth a look. Posted 5/30/05.
Collateral (+) -- An enjoyable thriller, made that much more watchable by Michael Mann's usual stylish vision. The intriguing set-up, and good interplay between Cruise and Foxx, combine with that stylishness to craft a movie that's better than it would be in lesser hands. Posted 4/7/09.
Confessions Of A Dangerous Mind (+) -- This is worth it just to see some of those old Gong Show acts coming back for one last wretched appearance. As for the story, you can't help but smirk over the "is it true or not" aspects of Chuck Barris's "unauthorized autobiography." It's preposterous, but just preposterous enough that it may be true. Meanwhile, first time director George Clooney proves himself to be...a first time director, with lots of self-aware camera angles and other directorial hooey. But none of that is too intrusive, and does not get in the way of an enjoyable story. Posted 3/12/04.
Constantine (+) -- Round up the usual apocalypse. Another bit of cinematic hokum, one that delivers lots of action and a fine sense of visual style to go along with a keen eye for the dirty gray areas between good and evil. The comic book panache more than makes up for Keanu Reeves's "unique" screen presence, and the lack of particularly big plot holes is a welcome change from what you usually get from these kinds of movies. Mix it together and you get a flick that's well done and fun. Posted 4/21/07.
Contagion (+) -- The most devastating affliction depicted in this movie? Grief. Lots of "disaster disease" movies get so wrapped up in the medical hokum that they lose sight of the human component to a deadly outbreak. Not so here--a terrific cast plays the emotional elements perfectly, and director Soderbergh does a masterful job with the presentation, giving the viewer a deep, connected, satisfying experience. Top notch. Posted 9/6/12.
Cool Hand Luke (~) -- More a collection of memorable scenes than a good movie. The difficulty comes in trying to stitch those scenes together into something coherent and compelling. Luke's nihilism bleeds out any real end to the hero's means; it's tough to know why you're on his side beyond Newman's personal charm and presence. It could have been more, but ultimately this film is a "not quite." Posted 4/16/09.
The Cooler (+) -- William H. Macy is the loser, lovable to one woman, in a story immersed in the old-fashioned world of "traditional" Las Vegas. It is interesting, on occasion, to watch people who are quite comfortable in their sleaze, and the performances--notably Alec Baldwin's ruthless casino manager--are first rate. The deus ex machina at the end is a little too pat, but you'll walk away at least break-even if you gamble on this game. Posted 1/17/04.
Cop Land (+) -- Yes, there really is such a thing as a good Sylvester Stallone movie (at least since the original Rocky).
Coriolanus (+) -- A new experience in so many ways. There are many Shakespeare plays that I have seen several times (in person and on film), a few I’ve seen once, several that I haven’t seen but know the story pretty well...this ain’t one of them. I had no clue what Coriolanus is about until I saw this film, yet I found it to be one of the more powerful presentations of the Bard that I’ve ever witnessed. Mad props go to Ralph Fiennes for both his performance and direction; he has put together a film that is not only entertaining in its totality, but the visual storytelling is so strong that you’d know what’s going on even if you were watching the movie with the sound off and no captions (good news for people who complain that they don’t understand Shakespeare’s language). A triumph, one any good Roman would hope to achieve. Posted 6/28/13.
Crimes and Misdemeanors (+) -- Woody Allen's well-crafted story comes with a light touch, but ultimately hits like a haymaker. The subtle descent of Martin Landau's compromised opthalmologist into further and further depths makes for riveting viewing, and while the secondary storyline--Allen and Alan Alda vie for the same woman--is less compelling, each tale reaches the same ending in a fascinating climax. Brief philosophical discussions, both bloodless and vibrant, and some crafty symbolism tie the whole thing together in a resolution that is surprising and provocative (and sadly, probably true). The film's impact comes not just in that resolution, but even past that ending, when you're thinking about it a day or two later. A powerful film. Posted 2/14/07.
Crouching Tiger, Hidden Dragon (+) -- Some of the "flying" action almost ruins it, but the story is good enough to redeem that flaw. And the scene where the girl busts up the tea house is worth the price of admission alone.
Cruel Intentions (+) -- What, like I'm not going to like a movie that has both Reese Witherspoon and Sarah Michelle Geller? Puh-leeze!
CSA -- Confederate States Of America (~) -- A nifty idea for a docudrama, one that turns Ken Burns on his head: what if the Rebels had won the Civil War? That's the nation that is described by this faux TV history program (complete with appropriate commercial breaks). The difficulty lies in knowing where the put-on stops and where the truth lies. That's a challenge even for one well-versed in the real history; it's probably beyond the average viewer's knowledge. The producers provide a helpful primer at the end of the film, which clears some things up for the uninitiated. Less helpful are some of the performances, especially in the overwrought dramatic scenes. Still, the film's ultimate message is worth noting: that country and this country are not as different as you might think. Posted 9/18/07.
Curse Of The Were-Rabbit (+) -- Wallace and Gromit's shot at the big time. Don't know if they'll get another one, but they certainly gave it their all here. This film has the whole W & G package: the brilliantly executed stop-motion animation, a flood of clever sight gags and in-jokes (including Wallace's typical Goldbergian contraptions), the goofy sense of flair--all wrapped around a smart, entertaining story. Full marks for this effort, and let's hope there's another one. Posted 3/28/07.
Wednesday, February 23, 2011
Search me?
I'm bitter. As usual. And, as usual, I'm bitter because something in this world does not do the very thing it says that it is going to do. Of course.
I'm talking about this blog. One of the reasons I started porting over my old blog's movie review pages was that I wanted to have that database of movie capsules available and--wait for it--searchable, something I did not have over on my own, self-produced web space. Blogger lets you add a search box to your site, and it states somewhere in the mumbo-jumbo that with the search field, the whole web including your own blog is then searchable. Except for the part where NO, IT'S NOT. I've had several of these Reel Reviews posts on this site for quite a few weeks now, perhaps even a couple of months in the earliest cases, and I still get no results if I search for anything from this site that's in those posts, namely film titles or specific actors and such.
This is for shit. It should not take so long for the contents of this or any other blog to be searchable via this host's own functions. They're queering my deal here. And making this whole exercise nothing more than a routine of navel gazing. Unacceptable.
I'm talking about this blog. One of the reasons I started porting over my old blog's movie review pages was that I wanted to have that database of movie capsules available and--wait for it--searchable, something I did not have over on my own, self-produced web space. Blogger lets you add a search box to your site, and it states somewhere in the mumbo-jumbo that with the search field, the whole web including your own blog is then searchable. Except for the part where NO, IT'S NOT. I've had several of these Reel Reviews posts on this site for quite a few weeks now, perhaps even a couple of months in the earliest cases, and I still get no results if I search for anything from this site that's in those posts, namely film titles or specific actors and such.
This is for shit. It should not take so long for the contents of this or any other blog to be searchable via this host's own functions. They're queering my deal here. And making this whole exercise nothing more than a routine of navel gazing. Unacceptable.
Tuesday, February 8, 2011
Reel Reviews -- F
Fahrenheit 9/11 -- Propoganda? Sure. Unfair? Dependng upon your definition, probably. An important movie? Without a doubt. You can take a few of Moore's points and run with them, as the right wing has done, but overall the movie comes across as logical, well-researched, and sincere. The overall structure of Moore's argument--that Shrub & Co. do what's best for them, not the country--withstands any attempt to tear it down. Every registered voter should see this, for something to think about if not to be truly convinced. Posted 7/10/04.
Fairy Tale -- A beautiful little movie about a couple of English kids who claim to be on speaking terms with fairies during the Great War years. A sweet tale, good for the whole family. And Harvey Keitel, playing Harry Houdini (!), goes effectively against type. A must see, "Best Of All" inductee.
Fallen -- Always tough to go wrong when Denzel Washington is in the house. Good, creepy tale--a serial killer is really a demon's possessee--though the ending is a little bit obvious.
Fast Food Nation -- I agree with this movie's principles, but I think there are some big mistakes here. Throughout the running time, I kept feeling that a fictionalized treatment of the muckracking bestseller was the wrong approach; a documentary would have worked a lot better (though telling that much truth probably would have led to substantial lawsuits). Plus, the storyline here takes the problems with the fast food industry and externalizes them too much; most people watching this film aren't interested in what happens to poor Mexicans--their question is, "How does this affect me?" Again, I applaud the politics, but I think the heart of this matter, as shown here, will be too distant for most viewers. Posted 2/8/11.
Fear And Loathing In Las Vegas -- Tough to screw up one of the best books of the latter half of the twentieth century, but they did it. Everything is just a little bit off here; Hunter S. Thompson's weird behavior--which comes off as hip counterculturalism in the book--just looks like pointless stupidity here. A disappointment.
15 Minutes -- Hard to know what to say about this movie. It's not bad, but it never really catches that spark (ironic, given the prominence of Edward Burns's arson inspector character). The story's satirical slant seems obvious, and perhaps even a little out of touch. (Why are the media-obsessed villains foreigners? Given the targets of the cultural critique, you'd more likely get home-growns playing such a debased game.) One positive note: in the "credit where it's due" department, big props to Director of Photography Jean Yves Escoffier--this is a beautifully shot film. Posted 12/21/03.
50/50 -- You expect a story about a young guy dealing with cancer to give you schmaltz, and there's a dose of that here. But there's also a lot of sharp humor, believable characters--including great interplay between Seth Rogen and the ubiquitous Joseph Gordon-Levitt--and truth in storytelling, all of which come together to form a deeply satisfying viewing experience. Posted 12/31/12.
Fight Club -- It's tough to trust this movie at first, but it sure does reel you in by the time the fists start flying. Excellent story (with a twist), excellent performances, and a great ending. A "Best Of All" inductee.
The Fighter -- A revelation, gleaned from this movie: it actually helps not to be a fan of the real-life sport being depicted in a movie; that way, you don't already know the outcomes, thus heightening the drama. That's how this film played for me; I never knew if Micky Ward was going to win his big bout or not. Credit too must go to director David O. Russell for his canny decision to make the filmed fights look visually like the original HBO broadcasts, heightening still further the verisimilitude of the proceedings. Those facts, combined with terrific performances by Wahlberg, Bale and the rest of the cast, make for a deeply satisfying, deeply engaging film. Posted 9/30/11.
Final -- It's not that I don't believe Denis Leary as a traumatized man trying to cope with his mental problems. But the story here stays too shallow to make the struggle engaging. A film like this--a set piece with very little in the way of story progression--must be chock full of insight/wit/energy to keep the viewer tuned in. The pace here is too slow, and when the WTF moment comes, it's too unbelievable and its impact too muted to make a difference. Not worth it. Posted 1/20/06.
Finding Nemo -- Hate to say it, but this isn't as good as you think it is. The film is technically brilliant, of course; Pixar has that template down pat now. And the vocal performances are well done. But there are a lot of elements here which seem stale and recycled (the goofy sidekick, the motley collection of friends, even the Disney staple of the dead parent). If you've been paying attention, you have to feel like you're being suckered. If you're as uncritical as a child, then sure, go ahead. But adults might have a harder time... Posted 11/30/03.
Finding Neverland -- No, not a "Best Picture" movie. That doesn't mean it's bad. Quite the contrary; I found this to be an effecting movie--well-made, well-acted, and worth the price of admission. Of course, I have a particular interest, being an enormous fan of Barrie's "Peter Pan" (in its book form, at least), so the story held special significance for me. However, there are a few "not quite" elements here--some clunky exposition of Barrie's symbolism, trite interactions between characters--that pull the quality down just enough to keep me from raving. It's not "top of the mountain" great, but it's certainly good enough. Posted 2/12/05.
Five Easy Pieces -- Strange, stilted and seemingly pointless. Nicholson's character comes off as nothing more than a spoiled jerk. I sat through the whole thing, but just barely.
Flags Of Our Fathers -- An unusual mix of reverence and iconoclasm, featuring powerful direction and meticulous reproduction of period details, plus an outstanding performance by Adam Beach as a tormented, not-quite hero. One can see where this film isn't quite everyone's cup of tea; at such a distance in time and temperament, the movie's theme and theory might not generate a response in some. But thoughtful viewers will find a rewarding experience in this work. Posted 11/1/08.
Flight -- This time, maybe it isn’t Denzel Washington’s performance that seals the deal. Oh, sure, Washington is his usual amazing self; his performance certainly does lay the groundwork for this film’s payoff in the long run. But maybe some credit should be given to the storytellers as well. What cannot be denied is the fact that this film pulls off something of a miracle rescue of its own, telling the story of a character who tightropes the line between sympathy and damnation so precariously that it’s a wonder that the viewer can still be brought through to compassion and understanding when the moment of redemption arrives. It’s a remarkable achievement, all the more so because director Zemeckis, as usual, mixes his generally skillful storytelling with his all too typical ham-handed use of music to set mood and create emotional signposts for the audience. But let’s not quibble; this is ultimately an effective and affecting movie that should not be missed by anyone. Posted 10/20/13.
Flightplan -- Welcome to the not-so-friendly skies. The story is run of the mill thriller foderol, and it takes a while to lift itself above its cloudy beginning, but this film has a major asset in Jodie Foster, who still has her top notch acting chops and remains believable through all the hubbub. Don't expect brilliance--you just get an enjoyable ride. Posted 3/5/07.
The Fog Of War -- Foggy, indeed. There's plenty to digest in this documentary interview with '60s Defense Sec. Robert McNamara. The "lessons" of his life are worth hearing, as far as they go, but they can be hard to assimilate, particularly given the distracting presence of the man himself. The most chilling aspect of McNamara's presence: the physical resemblance, particularly in the archive footage, between him and the current Secretary of Defense--an odd omen that history may be repeating, regardless of past knowledge. Posted 7/18/05.
Forgetting Sarah Marshall -- A movie chock full of smiles and giggles. Is that enough? I think so; I can't imagine how you'd expect more from a movie like this. But even when this film seems weak, it keeps plugging away with smile and giggle moments, and eventually it hits enough marks to win the fight. Call it a TKO, if not an actual knockout, but that's enough to get the win. Posted 2/23/11.
Four Weddings And A Funeral -- The film that launched a thousand sheepish grins, a.k.a. star Hugh Grant's career. Not always a good thing, but it works to perfection here.
Frankenweenie -- I hate to be the one to have to say this, but this movie lacked a certain spark. The film had some nice touches--the Japanese kid and Gamera reference, for instance--but with a filmmaker as accomplished as Tim Burton involved, nice touches are the least you can expect. One interesting element was the undercurrent about the failure of U.S. society to appreciate and develop science and scientists, but it was little more than a couple of throwaway comments. I guess kids will enjoy it, but even then, I’m not so sure (they might not get why this film is in black and white, for instance; old references are lost on the young). Otherwise, it probably depends on how much you dig Burton and his oeuvre. Your call. Posted 8/21/13.
The French Connection -- The don't make Best Picture winners the way they used to. Maybe that's a good thing. This film really shows its age, beyond the facts of Gene Hackman's now advanced age and Roy Scheider's untimely death. And some of characters' actions, which probably seemed like tough, gritty police work back in the day, come across as ludicrous today. Still, this one does offer up some stylish touches--flourishes of contemporary, down-and-dirty realness, that famous chase scene, and interesting ambiguity all the way to the end. Not bad, but not an all time classic, either. Posted 3/11/11.
Frequency -- The premise requires a lot of "go along" goodwill from the audience--modern day cop talks to his long-dead father via ham radio, thanks to ionic storms--but get past that and the story really works. Exciting and touching at the same time.
Friday Night Lights -- There's a motto that always attaches to small town obsessions: "it's all they have." Indeed, but no one ever seems to raise the corollary observation: maybe it's all they are capable of having; maybe it's all they deserve. That idea, though unexpressed, permeates this study of a Texas town's high school football team. The evidence lies throughout and is a part of this film's signature veracity. So too with the game footage, which is mostly spot on and extremely well done. But there are also way too many sports film cliches--plot revealed via announcers, the crazy sports parent, unbelievable on-field exploits--that tarnish the overall presentation. Yet again, the film still hits some strong emotional marks, given that, after all, these are just kids. A tough call; your taste for sports movies may be the deciding factor. Posted 11/18/06.
From Hell -- The Hughes Brothers win points for ambiguity; the ending is neither happy, nor sad--it just is. Of course, movies about Jack the Ripper have a built in unhappy factor. This one touches on the most prominent suspects--the Duke of Clarence, Dr. Gull--and represents the period fairly well. On the other hand, Johnny Depp and Heather Graham are unconvincing as Victorian Londoners. Tread with caution: there's some serious gore here. Posted 4/30/03.
Frozen -- Cute, charming, and enjoyable. That’s pretty much the extent of it--not a bad movie by any means, but certainly not the manna from heaven that everyone (seemingly) was declaring it to be when it hit the theaters. It does get points for being mildly provocative in its denouement, and the songs are catchy enough (though they oddly disappear about two-thirds of the way through); but there are obvious shortcomings. Take the look of the thing: the landscapes and “effects” parts of the rendering look fine, but the characters seem to be almost lacking in detail. So it’s good, just not that good. Posted 10/4/14.
Fruitvale Station -- I suspect philosophers could have a field day with this story, and spend any number of years and reams of the written word debating its significance. Did karma take Oscar Grant’s life, or was just a miserable accident? This film seems to invite the viewer to make that judgment for him or her self. What is undeniable is the fact that the filmmakers here have done a good job of making the tragedy of this story palpable; it’s impossible to get to the end of this movie without recognizing how devastating was the impact of that horrible incident. The best hope, perhaps: that Grant’s sacrifice will serve as an example, a reminder, and a warning--one that, in similar situations down the line, might save the lives of others. This movie may be a first step towards making that possibility real. Posted 5/23/14.
Fairy Tale -- A beautiful little movie about a couple of English kids who claim to be on speaking terms with fairies during the Great War years. A sweet tale, good for the whole family. And Harvey Keitel, playing Harry Houdini (!), goes effectively against type. A must see, "Best Of All" inductee.
Fallen -- Always tough to go wrong when Denzel Washington is in the house. Good, creepy tale--a serial killer is really a demon's possessee--though the ending is a little bit obvious.
Fast Food Nation -- I agree with this movie's principles, but I think there are some big mistakes here. Throughout the running time, I kept feeling that a fictionalized treatment of the muckracking bestseller was the wrong approach; a documentary would have worked a lot better (though telling that much truth probably would have led to substantial lawsuits). Plus, the storyline here takes the problems with the fast food industry and externalizes them too much; most people watching this film aren't interested in what happens to poor Mexicans--their question is, "How does this affect me?" Again, I applaud the politics, but I think the heart of this matter, as shown here, will be too distant for most viewers. Posted 2/8/11.
Fear And Loathing In Las Vegas -- Tough to screw up one of the best books of the latter half of the twentieth century, but they did it. Everything is just a little bit off here; Hunter S. Thompson's weird behavior--which comes off as hip counterculturalism in the book--just looks like pointless stupidity here. A disappointment.
15 Minutes -- Hard to know what to say about this movie. It's not bad, but it never really catches that spark (ironic, given the prominence of Edward Burns's arson inspector character). The story's satirical slant seems obvious, and perhaps even a little out of touch. (Why are the media-obsessed villains foreigners? Given the targets of the cultural critique, you'd more likely get home-growns playing such a debased game.) One positive note: in the "credit where it's due" department, big props to Director of Photography Jean Yves Escoffier--this is a beautifully shot film. Posted 12/21/03.
50/50 -- You expect a story about a young guy dealing with cancer to give you schmaltz, and there's a dose of that here. But there's also a lot of sharp humor, believable characters--including great interplay between Seth Rogen and the ubiquitous Joseph Gordon-Levitt--and truth in storytelling, all of which come together to form a deeply satisfying viewing experience. Posted 12/31/12.
Fight Club -- It's tough to trust this movie at first, but it sure does reel you in by the time the fists start flying. Excellent story (with a twist), excellent performances, and a great ending. A "Best Of All" inductee.
The Fighter -- A revelation, gleaned from this movie: it actually helps not to be a fan of the real-life sport being depicted in a movie; that way, you don't already know the outcomes, thus heightening the drama. That's how this film played for me; I never knew if Micky Ward was going to win his big bout or not. Credit too must go to director David O. Russell for his canny decision to make the filmed fights look visually like the original HBO broadcasts, heightening still further the verisimilitude of the proceedings. Those facts, combined with terrific performances by Wahlberg, Bale and the rest of the cast, make for a deeply satisfying, deeply engaging film. Posted 9/30/11.
Final -- It's not that I don't believe Denis Leary as a traumatized man trying to cope with his mental problems. But the story here stays too shallow to make the struggle engaging. A film like this--a set piece with very little in the way of story progression--must be chock full of insight/wit/energy to keep the viewer tuned in. The pace here is too slow, and when the WTF moment comes, it's too unbelievable and its impact too muted to make a difference. Not worth it. Posted 1/20/06.
Finding Nemo -- Hate to say it, but this isn't as good as you think it is. The film is technically brilliant, of course; Pixar has that template down pat now. And the vocal performances are well done. But there are a lot of elements here which seem stale and recycled (the goofy sidekick, the motley collection of friends, even the Disney staple of the dead parent). If you've been paying attention, you have to feel like you're being suckered. If you're as uncritical as a child, then sure, go ahead. But adults might have a harder time... Posted 11/30/03.
Finding Neverland -- No, not a "Best Picture" movie. That doesn't mean it's bad. Quite the contrary; I found this to be an effecting movie--well-made, well-acted, and worth the price of admission. Of course, I have a particular interest, being an enormous fan of Barrie's "Peter Pan" (in its book form, at least), so the story held special significance for me. However, there are a few "not quite" elements here--some clunky exposition of Barrie's symbolism, trite interactions between characters--that pull the quality down just enough to keep me from raving. It's not "top of the mountain" great, but it's certainly good enough. Posted 2/12/05.
Five Easy Pieces -- Strange, stilted and seemingly pointless. Nicholson's character comes off as nothing more than a spoiled jerk. I sat through the whole thing, but just barely.
Flags Of Our Fathers -- An unusual mix of reverence and iconoclasm, featuring powerful direction and meticulous reproduction of period details, plus an outstanding performance by Adam Beach as a tormented, not-quite hero. One can see where this film isn't quite everyone's cup of tea; at such a distance in time and temperament, the movie's theme and theory might not generate a response in some. But thoughtful viewers will find a rewarding experience in this work. Posted 11/1/08.
Flight -- This time, maybe it isn’t Denzel Washington’s performance that seals the deal. Oh, sure, Washington is his usual amazing self; his performance certainly does lay the groundwork for this film’s payoff in the long run. But maybe some credit should be given to the storytellers as well. What cannot be denied is the fact that this film pulls off something of a miracle rescue of its own, telling the story of a character who tightropes the line between sympathy and damnation so precariously that it’s a wonder that the viewer can still be brought through to compassion and understanding when the moment of redemption arrives. It’s a remarkable achievement, all the more so because director Zemeckis, as usual, mixes his generally skillful storytelling with his all too typical ham-handed use of music to set mood and create emotional signposts for the audience. But let’s not quibble; this is ultimately an effective and affecting movie that should not be missed by anyone. Posted 10/20/13.
Flightplan -- Welcome to the not-so-friendly skies. The story is run of the mill thriller foderol, and it takes a while to lift itself above its cloudy beginning, but this film has a major asset in Jodie Foster, who still has her top notch acting chops and remains believable through all the hubbub. Don't expect brilliance--you just get an enjoyable ride. Posted 3/5/07.
The Fog Of War -- Foggy, indeed. There's plenty to digest in this documentary interview with '60s Defense Sec. Robert McNamara. The "lessons" of his life are worth hearing, as far as they go, but they can be hard to assimilate, particularly given the distracting presence of the man himself. The most chilling aspect of McNamara's presence: the physical resemblance, particularly in the archive footage, between him and the current Secretary of Defense--an odd omen that history may be repeating, regardless of past knowledge. Posted 7/18/05.
Forgetting Sarah Marshall -- A movie chock full of smiles and giggles. Is that enough? I think so; I can't imagine how you'd expect more from a movie like this. But even when this film seems weak, it keeps plugging away with smile and giggle moments, and eventually it hits enough marks to win the fight. Call it a TKO, if not an actual knockout, but that's enough to get the win. Posted 2/23/11.
Four Weddings And A Funeral -- The film that launched a thousand sheepish grins, a.k.a. star Hugh Grant's career. Not always a good thing, but it works to perfection here.
Frankenweenie -- I hate to be the one to have to say this, but this movie lacked a certain spark. The film had some nice touches--the Japanese kid and Gamera reference, for instance--but with a filmmaker as accomplished as Tim Burton involved, nice touches are the least you can expect. One interesting element was the undercurrent about the failure of U.S. society to appreciate and develop science and scientists, but it was little more than a couple of throwaway comments. I guess kids will enjoy it, but even then, I’m not so sure (they might not get why this film is in black and white, for instance; old references are lost on the young). Otherwise, it probably depends on how much you dig Burton and his oeuvre. Your call. Posted 8/21/13.
The French Connection -- The don't make Best Picture winners the way they used to. Maybe that's a good thing. This film really shows its age, beyond the facts of Gene Hackman's now advanced age and Roy Scheider's untimely death. And some of characters' actions, which probably seemed like tough, gritty police work back in the day, come across as ludicrous today. Still, this one does offer up some stylish touches--flourishes of contemporary, down-and-dirty realness, that famous chase scene, and interesting ambiguity all the way to the end. Not bad, but not an all time classic, either. Posted 3/11/11.
Frequency -- The premise requires a lot of "go along" goodwill from the audience--modern day cop talks to his long-dead father via ham radio, thanks to ionic storms--but get past that and the story really works. Exciting and touching at the same time.
Friday Night Lights -- There's a motto that always attaches to small town obsessions: "it's all they have." Indeed, but no one ever seems to raise the corollary observation: maybe it's all they are capable of having; maybe it's all they deserve. That idea, though unexpressed, permeates this study of a Texas town's high school football team. The evidence lies throughout and is a part of this film's signature veracity. So too with the game footage, which is mostly spot on and extremely well done. But there are also way too many sports film cliches--plot revealed via announcers, the crazy sports parent, unbelievable on-field exploits--that tarnish the overall presentation. Yet again, the film still hits some strong emotional marks, given that, after all, these are just kids. A tough call; your taste for sports movies may be the deciding factor. Posted 11/18/06.
From Hell -- The Hughes Brothers win points for ambiguity; the ending is neither happy, nor sad--it just is. Of course, movies about Jack the Ripper have a built in unhappy factor. This one touches on the most prominent suspects--the Duke of Clarence, Dr. Gull--and represents the period fairly well. On the other hand, Johnny Depp and Heather Graham are unconvincing as Victorian Londoners. Tread with caution: there's some serious gore here. Posted 4/30/03.
Frozen -- Cute, charming, and enjoyable. That’s pretty much the extent of it--not a bad movie by any means, but certainly not the manna from heaven that everyone (seemingly) was declaring it to be when it hit the theaters. It does get points for being mildly provocative in its denouement, and the songs are catchy enough (though they oddly disappear about two-thirds of the way through); but there are obvious shortcomings. Take the look of the thing: the landscapes and “effects” parts of the rendering look fine, but the characters seem to be almost lacking in detail. So it’s good, just not that good. Posted 10/4/14.
Fruitvale Station -- I suspect philosophers could have a field day with this story, and spend any number of years and reams of the written word debating its significance. Did karma take Oscar Grant’s life, or was just a miserable accident? This film seems to invite the viewer to make that judgment for him or her self. What is undeniable is the fact that the filmmakers here have done a good job of making the tragedy of this story palpable; it’s impossible to get to the end of this movie without recognizing how devastating was the impact of that horrible incident. The best hope, perhaps: that Grant’s sacrifice will serve as an example, a reminder, and a warning--one that, in similar situations down the line, might save the lives of others. This movie may be a first step towards making that possibility real. Posted 5/23/14.
Monday, February 7, 2011
Why Do I Do This?
Why indeed? I know fully well that just about nobody will read these blog posts. I can't say I'm sharing with the rest of the world, when I know the rest of the world ain't buying what I'm selling (or really, giving away).
So why do I do it? Well, I just got something of an answer. As you can see from other posts, I'm porting over some of the content from my previous web site. This has led me to review some of the posts from back in the day, and I'm finding that things happened back then about which I have utterly forgotten. For instance, I had totally blanked my mind of the incident described in this gem (from my old blog, posted 2/8/07):
I had no clue this had happened to me until I read it on my back pages. And that's why I post these items on this blog: not to entertain the masses out there, per se, but as a reminder to myself about where I've been and what happened there. It is The Record of what went on back in the day. As such, I consider this blog a valuable resource. And that's why I do this.
So why do I do it? Well, I just got something of an answer. As you can see from other posts, I'm porting over some of the content from my previous web site. This has led me to review some of the posts from back in the day, and I'm finding that things happened back then about which I have utterly forgotten. For instance, I had totally blanked my mind of the incident described in this gem (from my old blog, posted 2/8/07):
I Prefer The Two In The Bush
Let me set the scene: I'm driving in to work, late as usual, getting off the freeway. I'm coming down the off-ramp, doing a fair sixty miles an hour, where I've rolled through literally hundreds of times. But this time was different. From my left flutters into view a bundle of feathers, flying erratically as it closes in on my car. The bird--which I barely had time to see--drops down below the front end of my car...and disappears. Didn't come out the side. Wasn't to be seen in my rear view mirror. Never made so much as the slightest impact 'thud.'
I say to myself, "Did that bird just...?" Minutes later, I pull into the parking lot at work. I get out and peer at the bottom of my car's front end. Sure enough, down on the underside of the fiberglass, I see a small tuft of feathers, sticking out of an oblique opening in the body. There's a dead bird stuck in the front end of my car. Great.
This leads to a dilemma: do I go digging for the bird, or do I leave it there and--after coming home and parking the car in my quite rural driveway--let the local critters take care of things. I opt for the latter, since I have little desire to grab a possibly scrambled bird out of my car's chassis.
Alas, the local skunks and stray cats did not do their duty over the course of the night. So I grab a trowel, from among the piles of junk left outside by my moronic neighbor/landlord, hit the deck, and start digging. When the trowel proved ineffective, I had to resort to a nearby pitchfork. There was a moment of panic when it seemed that the bird was wedged too tightly into the opening, but eventually the dearly departed began to leave its last resting place. At last, out plopped...not a little benighted chick like I was expecting, but a full-grown adult robin! Roughly 8" in length. Red breast and all. I didn't even know there was a space that big in the front end of my car.
I'm still amazed that that bird hit the one opening in the front end of my car where it would stick. Everything was perfect: angle, hole size, timing--perfect. It was one of those "you couldn't do it if you tried" kind of things. I wonder sometimes: Can it get any weirder? And apparently the answer is: Yes, it can.
I had no clue this had happened to me until I read it on my back pages. And that's why I post these items on this blog: not to entertain the masses out there, per se, but as a reminder to myself about where I've been and what happened there. It is The Record of what went on back in the day. As such, I consider this blog a valuable resource. And that's why I do this.
Reel Reviews -- M
Madagascar (--) -- Another animated film suffering from Familiar Voice Syndrome. When will someone realize that when you get big names to voice-over these flicks, they're not creating characters--they're just doing their shtick. And at this point, when we're well down the line of technical brilliance in computer animation, you've got to bring something more to the table than a nice look. This one has amusing moments, but a few laughs are not enough, and the overall story is weak. Mostly, this trip to the jungle is a very tame ride. Posted 4/21/07.
Made (~) -- The Swingers boys--Favreau and Vaughn--hook up once more for some comic stylings; this time they're small-time hoods in over their heads. It's satisfying, especially if you like your humor dry and sardonic (and laced with foul language); in that case the 'squiggly' turns into a 'plus' for you. But I suspect a lot of folks wouldn't "get" this, so the recommendation is tempered. Posted 6/26/03.
The Magnificent Ambersons (+) The often interesting, occasionally riveting second film by Orson Welles and his Mercury players. Many of the brilliant touches first seen in Citizen Kane show here as well, though without the larger than life story to inflate such work in the viewer's consciousness. Here the tale is one of heartbreak's toll, and the impact is more subtle. It's not a complete success--Welles apparently did not have complete directorial control, leading to the sacrifice of almost an hour's worth of scenes--and it won't be to everyone's taste, but film buffs probably owe themselves a look. Posted 1/20/06.
Magnolia (+) -- A bit overwrought, and the interwoven stories can be difficult to keep straight, but the ultimate payoff is worth it. Who came up with that whole frog idea? (Watch it; you'll understand.)
The Majestic (+) -- There are deep wells of pain beneath this seemingly genial movie. Not just in its presentation of America's history of betraying its principles, nor the recognition of the cost in sorrow that war can wreak on those who survive, but also in the simple nostalgia (in the word's truest sense: an ache for home and the past) over how different we are from the nation that once was. This is a tough call; not everyone will respond to its vision and presentation, but I think those who do will find it worthwhile. Posted 2/24/03.
A Man For All Seasons (+) -- Yes, good things did happen before you were born--or at least before I was born. It won Best Picture, and I for one wouldn't argue--wonderfully written, well-acted, and beautifully staged. And Thomas More's dilemma--sadly--remains relevant to this day. Posted 10/1/02.
Manhattan Murder Mystery (--) -- A tepid work--something all too typical for recent Woody Allen. Not enough good jokes to make it worthwhile.
Man of Steel (+) -- A surprise, in that it was much better than I thought it would be. By this point the Superman story is so played out that it seems impossible to make a movie out of it that will actually have any ability to impact the viewer, yet this one does so. The film accomplishes this by tapping into the fundamentals of the story--Superman being clearly the most messianic of all the comic book stories--and laying bare the reason why these movies have become such a huge part of the zeitgeist: our growing desperation and ever-burgeoning desire for someone to come and save us. It’s almost heartbreaking, in that sense, since we don’t live in a movie and can’t expect such a person to truly arrive--but at least we have these few hours of film during which we can dream that dream. Posted 1/31/14.
Man On Fire (~) -- There's great temptation to chalk this up as a waste of some fine actors. Certainly, the movie suffers from an all-too-familiar ailment: a director who's way too in love with himself to pull back from the visual shenanigans. Then again, there is a lot of visceral pleasure in watching Denzel's washed up badass violently go to town on the meanies. If you're in an angry mood, you might find this appealing. Posted 3/8/05.
Man On The Moon (+) -- Andy Kaufman's career in all of its shining, tarnished, and shining glory. Jim Carrey's performance is dead on, and the classic bits are still howlingly funny. It may be another twenty years before someone pushes the envelope like Kaufman did; in the meantime, we have this to serve as a very good reminder of where the goal should be set. Posted 1/17/04.
The Man With The Screaming Brain (--) -- A TV movie, but one starring camp king Bruce Campbell, so it must be worth a look, right? Right? (sigh) Maybe not. Sadly, it looks like Campbell has run his course. This one--which he wrote, starred in, and directed--is a mess: stupid, senseless, and cheesy, with only a few good moments mixed in with the muck. This makes two bombs in a row for Bruce, and this time the shrapnel may have hit something vital. Posted 10/9/05.
Marathon Man (+) -- More than anything else, I took from watching this movie a perspective on the stylistic differences between movie-making today and movie-making of the past (in this case, from 1976). If filmed today, this movie would probably have been hyperkinetic and obvious, with more explosions and a booming soundtrack--and it would have been much worse. As it stands, it's a tidy thriller (though the plot threads take their sweet time in coming together). And the satisfying yet not-exactly-happy ending, within today's context, comes across as unconventional and provacative. Oh, yeah--it has torturing Nazis, too. What more could you want? Posted 8/24/03.
Marvel's The Avengers (~) -- Mmm'okay. I guess. So this is what everyone was pissing themselves over last year? Sure, there are likable characters here--Captain Steve Rogers is an emblematic, admirable hero, plus there's that ever-reliable ton of fun, Tony Stark--but this film has too many "star" players to allow for anything like real character and/or storyline development. Plus all the pissy conflict among the team members--in the face of an immediate, known, deadly threat, no less--rings false. And then the climactic battle sequence is just plain dumb: an orgy of mindless destruction at the hands (claws?) of pan-dimensional but apparently mentally retarded aliens, who seemingly just show up without any particular battle plan, and are beaten back by a mere six beings (albeit superior or greatly equipped uber-beings). This is what stands as today's greatness? Joss, you'd better do WAY better with the next one, or you may wind up being known as the guy who queered the entire deal for everyone. Posted 6/4/13.
The Master (~) -- Here’s a film that seems to have been made with the belief that it is the journey, not the destination, that matters--and a good thing, too, since this story doesn’t seem to really go anywhere. P.T. Anderson is no slouch at the moviemaking thing, and this piece does have its interesting moment. But filmmakers forget, at their peril, that most movie audiences do not want engage in deep introspection; they want to be able to form some kind of bond with the characters presented. That can’t happen here; we never know enough about Joaquin Phoenix’s character to judge him adequately. The mere mechanics of character creation will hold the audience’s attention, and perhaps even admiration, in the hands of a brilliant actor--witness Daniel Day-Lewis in Anderson’s “There Will Be Blood”--but Phoenix does not hit that mark here (nor do his castmates, for that matter). Ultimately, this one falls into the noble failure category. Posted 1/8/14.
Master And Commander: The Far Side Of The World (+) -- An impressive, dynamic, realistic presentation of a terrific story. Sailing the oceans back in the day was no picnic, and this film makes that abundantly clear. That veracity, plus the rousing historical backdrop and fine work from some excellent actors, combine to give the viewer one excellent movie. Not to be missed. Posted 4/7/09.
The Matchmaker (~) -- This should have put to rest once and for all any ideas about Janeane Garafolo's supposed unattractiveness. That's a cute girl, no matter what she might say. Unfortunately, that's not really enough to carry this movie. It isn't bad, just not particularly memorable. There are a few funny moments, but not enough. The romance is all standard issue. And the subplot, about bringing some integrity to an otherwise dissolute politician, never really develops. Not terrible, but you're not missing anything, either. Posted 2/21/05.
Matchstick Men (~) -- The story remains engaging throughout, but there are a few too many hairpin turns from light and breezy to somber and serious. I make this a tough call; you won't want to forget it, but it's not particularly memorable either. Toss a coin. Posted 3/15/05.
Matilda (+) -- Hard to go wrong when your screenwriter is (for all practical purposes) Roald Dahl. This is based on one of his best, and they get it almost exactly right. Mara Wilson is great in the title role, and Danny Devito and Rhea Perlman do a fine job as her loathsome parents. Almost, but not quite, a Best Of All nominee. Posted 9/9/02.
The Matrix Reloaded (~) -- Hard to believe the hippest movie on the planet features a hero who spends most of his time wearing a dress. Sartorial disasters aside, this installment has its moments--some entertaining, some audacious--but not enough of them. As I said years ago, there was really not much more to say after the first movie; they probably should have quit while they were ahead. And don't bother spending brain cells on the philosophical ramblings, unless you get your jollies from tautologies. Posted 6/9/03.
The Matrix Revolutions (~) -- Almost a Plus mark, but it's not quite that good. The story, particularly in the early part, is too muddled; it clears itself up in the end, but not much new is added to the tableau. On more positive notes, the visuals are phenomenal (naturally), the conclusion comes with some unexpected twists, and some of the philosophy is more clearly expressed (and actually fits in the movie, giving the story thought-provoking dimensions). And the final confrontation even evokes something of Ragnarök--a nice touch for us mythology fans. Final analysis: not great, but nothing to be ashamed of. Posted 12/31/03.
Max (~) An odd movie to watch, not for its content, or philosophy, or performances--more for the whole, inconsistent package. Director Menno Meyjes shows a strong visual style, and an intriguing willingness to let a scene play out in silence. The screenplay includes some interesting expressions of artistic philosophy, particularly in the exchanges between Noah Taylor's young Adolf Hitler and his Jewish, quasi-friend art dealer Max Rothman (John Cusack). The film crackles when they are on screen together. Otherwise, the pace is slow and the performances ordinary, and some of the philosophical underpinnings of Nazism are presented in a ham-handed fashion. Probably worth it for history buffs (though this is fiction) and those with an artistic bent; others might not want to bother. Posted 2/14/06.
Mean Girls (+) -- Oh, Lindsay! This should have been an enjoyable comedy about teen/high school culture. Instead, when viewed a few years after release, it must be seen as an exercise in 'what might have been.' You were good then, giving a real nice performance in a movie with strong supporting actors and a fine script. It should have been just left at that, but more recent facts inevitably intrude upon that early promise. I guess we'll always have this film to remind us of better days. Posted 5/9/09.
Mediterraneo (+) -- A sweet, meditative, almost philosophical war comedy. There's plenty of Mediterranean charm (both Greek and Italian), and enough je ne sais quoi to get you wondering. Well worth a look. Posted 7/18/06.
Meet Joe Black (~) -- Unlike everyone else, I did not hate this movie. It's not wonderful, and it's a little too long, but it has appealing actors and a decent story. You could do worse.
Meet The Parents (+) -- Not as good as the hype made it, but still pretty damn funny.
Melinda And Melinda (--) -- Two divergent and competing story lines feature smug, pretentious, rich New Yorkers vs....smug, pretentious, rich New Yorkers. Perhaps that wasn't the wisest choice. But this one has problems from the ground up. The movie presents a concept story, one that may have merit in its own right, but all concepts take place within a context, here that context really works against the tale(s). The Architectural Digest interiors, the profoundly elite lives and professions of the cast, the insular feel of the presented milieu--all are distracting and work to hamper the viewer's appreciation of the philosophical puzzle being put on display. Worse still, the stories have their own share of weaknesses: the dramatic events seems shallow and unimportant, the comedic turn comes across as bland, unfunny and lacking in true wit. Both threads suffer from weak, stilted writing, and feel artificial, flat, and too "inside" to appeal to most viewers. Top it all off with the violently unfunny Will Ferrell pretending to be Woody Allen--a tired act we've seen before, and done better by better actors--and the movie comes up short in every facet. This film would have been an inferior effort from a first timer; from writer/director Allen, it's a disaster. Posted 6/23/07.
Memento (+) -- The moral of this story: sometimes you can't even trust yourself. That's not a bad thing to keep in mind, even if your short term memory is not on the fritz. Besides that, this one is clever enough; you almost certainly will get lost in the rewind narrative at least once, but don't sweat it. And Guy Pearce once more makes the case that he's the Aussie with the heavy-duty acting chops. Posted 7/5/03.
Men In Black II (~) -- Well, it's not the utter waste of time it could have been. And what it lacks in originality it certainly makes up for in brevity (gotta love a movie that barely clocks in at 90 minutes, especially in these overblown days). Mostly, it supplies a decent number of smirk-worthy moments, and if you expect no more than that, you'll do fine. Posted 11/28/04.
The Men Who Stare At Goats (~) -- That title? Dynamite. This movie? Well...more like a sparkler; it seems like it'll be fun, but then you start the thing and it just sits there, throwing off the occasional gleam of something good, but never really lighting things on fire. A good cast does perfectly fine work, but they don't have enough good material to really make this flick fly. The biggest takeaway is the idea that a documentary on the movie's germ of truth--weird military experiments into the psychic--would have made for a better, more interesting film. Posted 7/15/11.
Michael Clayton (+) -- The impressions grow throughout the running time: disparate, unconnected, confusing--though still interesting enough to hold the attention. And then it comes together in the climax, the plot's blurred lines resolving into a final, striking image in the film's jaw-dropping denouement. You're left with a terrific walk-away movie--something you're thinking about long after you've walked out of the theater or turned off the DVD player. Not to be missed. Posted 5/9/09.
Midnight in Paris (+) -- A work of singular irony, in that the most retro--some might even say backwards, or stuck in the past--of all filmmakers, Woody Allen, has made a movie that ultimately celebrates forward motion and moving on to new things in life. So much for context. The film itself, in terms of story, characters, and presentation, is fine, maybe even better than fine, though lightweight enough that it has little impact beyond a cute and clever way to kill a couple of hours. There is the barest subtext, fitting for these times, about the awfulness of rich people, and why Owen Wilson's protagonist is better off making the choice he eventually makes--but there's no ringing declaration made here. This is, after all, just a movie--one good enough that you should give it a look, if not an award. Posted 12/15/12.
Midnight In The Garden Of Good And Evil (~) -- Not so bad for the performances, but overly long, tepid in execution, and unfocused. The strongest part of the story centers on the relationship between the two main characters; when John Cusack and Kevin Spacey are on the screen together, the movie is much more interesting. Unfortunately, there's way too much sideshow here. Posted 1/17/04.
A Midsummer Night's Sex Comedy (~) -- This is a comedy; it says so right in the title. A sex comedy, no less. It's also a Woody Allen movie, from back in his more consistent days. So why is it so banal? The writing is occasionally funny, and it's gorgeously shot, but it never really catches fire. In fact, the most amazing thing in this movie is Tony Roberts's helmet-like hair. Posted 7/14/03.
A Midsummer Night's Dream (~) -- Shakespeare on the screen, so naturally I was ready to love it. The film isn't bad, but the performances and presentation are too uneven to draw a rave from me. Watch it if you're one of those cultured types who has to see every adaptation, but otherwise you may be better off going to a local staging of the show. (Note: I can't remember which version this is. I think Calista Flockhart is in it, but I'm not sure. You're on your own here.) Posted 9/9/05.
A Mighty Wind (+) -- Christopher Guest is still pumping out the parodies; this time '60s folk music gets the treatment. This one's a little more uneven that prior efforts, but the laughs it does have are extremely effective when they come. Special mention goes to Eugene Levy, who never breaks from a very weird character, even when the temptation to go nuts had to be there. Posted 4/30/03.
Million Dollar Baby (+) -- A great film for gruff humor. But then again, its calm and reflective tone casts a spell over the viewer, slowly drawing you in to its hidden world. The constant voice over narration gets irritating after a while, though it's forgivable when you get to the end and realize there was a reason for it all along. The story does take too long to get to its point at the climax, but the strength of the tale and solid performances overcome any issues. Worth a look. Posted 6/10/06.
Mimic (~) -- Eh...it won't kill you, but it won't excite you either. Besides, everyone already knows the roaches in New York City are big, mean and pushy...whether they're riding the subway or not.
Minority Report (~) -- The story holds together, which is more than can be said for a lot of sci-fi flicks. Cruise and his castmates acquit themselves well, but something never quite clicks with the movie as a whole. It may be the creepiness of the obvious contempt for personal freedom shown by the operative premise; though the story rebuts that premise, it seems to do so almost by accident, not for any philosophical reasons. And the product placements are absolutely grotesque for being so blatant. Posted 9/7/04..
Miracle (~) -- This is close to heresy, giving this movie the squiggle. It got a lot of critical acclaim when it hit the theaters, and it's hard to go wrong with one of the most compelling athletic stories of the 20th century. And it's not like I didn't enjoy it. But the hard fact is, there are plenty of sports movie cliches in Miracle, more than enough to drag it below the level of great moviemaking. And Kurt Russell's performance is strong, but if you don't remember the real Herb Brooks--the situation most viewers will be in--it's hard to say how well he captured the man. It's good, but could have been better. Posted 11/5/05.
Miss Congeniality (+) -- Sandra Bullock, doing what she does, which is be fun and appealing. Don't expect too much, and you'll go away satisfied.
The Missing (~) -- Half of a good movie. It's most interesting during the scenes between Tommy Lee Jones's "gone native" old man and his estranged rancher daughter, played by Cate Blanchett. That tense dynamic always keeps it interesting. Less successful are the scenes involving the missing daughter/granddaughter and her captors. Rather than add to the drama, the plain presentation of the captors and their evil leader actually detracts from the movie--it's much more intriguing when the girl just vanished into thin air. But it's not a total loss. Call it a toss up--watch if you have the time. Posted 11/1/05.
Mission To Mars (~) -- Much like the titular planet: lifeless and kind of stale. But a good cast gives it a few decent moments.
Moneyball (+) -- This is a really great movie, if you know nothing about baseball. If you do know a thing or two about baseball, it's still good, but there's a real mountain to climb in trying to separate the fact from the fiction, to ignore all the stuff that the movie ignores and take it for what it is--which is a highly fictionalized, very narrowly focused version of what happened with the 2002 Athletics. It is, perhaps, a tribute to the skill of the filmmakers that even a very involved fan can see beyond those limitations and still find a very enjoyable movie. Your personal history will decide how you perceive these two-plus hours of cinema. For this viewer, it was like a double play turn at second: the second baseman may have been off the bag, but the "neighborhood play" gets him the call. Posted 12/15/12.
Monkeybone (~) -- A movie about a man in a coma, which is strangely lifeless. I guess synergy does work. All the creative juice went into the visuals here; they are occasionally interesting, but that's barely enough to pull you in. At least the easy-on-the-eyes Rose McGowan is present. Brendan Fraser and Bridget Fonda can do better, and the Z-grade rest of the cast adds little to the mix. Mostly, there's just a feeling that this should have been much better than it is. Posted 8/16/03.
Monster (~) -- Lifestyles of the poor and infamous. Charlize Theron's performance may be showy, in a reverse sort of way, but the overall film is uneven in its story and questionable in its appeal. It's hard to get into a tale about a thoroughly unsympathetic character, even if her failings are arguably not all her fault. Sympathy is a key element, even for a villian; especially so if the villian is the key character. Posted 7/18/05.
Monster's Ball (+) -- One of the most melancholy movies I have ever watched. But that's not a pan, just the nature of the beast. Despite its heaviness, the story ultimately gets past all of its pain, anger, and sorrow to bring us somewhere near redemption. Not to be missed by any serious film watcher. Posted 1/24/03.
Monsters Inc. (+) -- The nice part about watching this movie: listening to the terrified screams of children, of course. All cynical humor aside, this really is an entertaining and amusing bit of animated schtick. It's well-designed--naturally; Pixar has the template down pat by now--and witty, without trying too hard to be hip and "now"; i.e., no surfer- and/or jive-talking characters. Just funny stuff. Posted 7/11/03.
Monsters University (+) -- I watched this flick with little enthusiasm at first--I have an established bias against these later Pixar movies, for various reasons--but gradually I warmed up to this one. The story hit every college movie cliche imaginable, but the movie eventually comes out on top despite its deficiencies, mostly because of plenty of good gags and jokes, and one fairly unexpected twist towards the end that redeems a lot of the triteness. Posted 3/9/14.
Moonrise Kingdom (+) -- More cinematic mischief from the Quirkmaster General. Like other Wes Anderson movies, this film should be too precious and self-aware to be impressive, yet once again the final product is not just offbeat, but funny, charming, and highly entertaining. And if that’s not enough, this flick would be a delight based on its brevity alone--the end comes long before you’re ready for it. Most definitely worth a look. Posted 5/31/13.
The Mothman Prophecies (~) -- It tries a little too hard to engage the viewer. The movie's a bit creepy, but nothing you can't handle. See it if you have the time. Posted 1/23/03.
Moulin Rouge! (+) -- It succeeds despite itself. I wasn't sure what to make of it...and then Ewan McGregor began singing "Your Song," and I was hooked. He's great, and Nicole Kidman holds her own, but the real star is director Luhrmann's staging and direction (particularly the art direction, with the "3D postcard" views of Paris). And it gets better upon repeated viewing. A "Best Of All" inductee. Posted 10/1/02.
Mouse Hunt (~) -- If you're a fan of Nathan Lane...if you're a fan of animal movies...knock yourself out. Otherwise, you can probably skip it.
Mr. Blandings Builds His Dream House (~) -- You get the feeling that this movie should have been better than it is. A better narrative structure might have helped. We don't really need the narration--just give us the story straight, please. Then again, you get to spend a couple of hours watching Cary Grant, doing his usual comedic best, so that's nothing to sneeze at. Posted 5/30/05.
Mrs. Parker And The Vicious Circle (--) -- Strange that a movie about Dorothy Parker and the other wittys of the Algonquin Round Table could be so boring...and yet, here's your proof.
Much Ado About Nothing (+) -- There’s a hoot to be had here, to be sure, if you’re a Joss Whedon fan from way back. And yet, there’s also the undeniable brilliance of Shakespeare at work in this piece, showing yet again that the genius shines through no matter how much any producer or director or cast seeks to cloak the bard’s work in his/her/their own personal style. Shakespeare wrote for the ages, and the power of both his words and his sense of story takes what might have been one Hollywood clique’s mere vanity project and elevates it into a truly delightful experience. Posted 1/8/14.
Mulan (~) -- Not especially interesting; certainly not up to the usual Disney standard. Eddie Murphy as the dragon was much more successful--playing basically the same role--a few years later in Shrek.
Mumford (+) -- Nice, quirky little story of a small-town psychologist who isn't exactly what he seems to be. Amusing and momentarily poignant. And it makes a pretty good case that psychotherapy isn't all it's cracked up to be, either.
The Mummy Returns (~) -- Not quite as amusing as the first one (which I liked a lot). It never really has that spark, though it does get more interesting when the story begins to refer more closely to the backstory of the previous flick. And the stuff with The Rock and the "Scorpion King" is mostly retarded. Posted 4/4/03.
Munich (+) -- Moral ambiguity and bad fashion collide in 1970s Europe. Spielberg tells us old news--revenge is an ugly and dehumanizing business--but does so with all the skill you'd expect from an acknowledged master of the medium. Tremendous attention to detail, an inherently fascinating story (the aftermath of murders at the '72 Olympics), and strong performances stand as the film's strongest selling points. There are a couple of minor problems (the washed-out cinematography is distracting, and the film runs just a little too long), but nothing to pull down the overall rating. Oh, and pay close attention to the final shot--if you don't, the maker's message might totally go to waste. Posted 3/28/07.
The Muppets (~) -- This is a very difficult call. Today's kids will undoubtedly be able to enjoy this movie in a very straightforward way, but if you're old enough to remember the original Muppet Show--and those people are in many ways this film's intended audience--watching this movie is very much a mixed bag. A lot of the film is a downer--a necessary component, perhaps, given the fall-and-rise plot--but still, this story can be surprisingly depressing. It's very easy to get caught in memories of the faded glory that was our youth, and that's a harsh juxtaposition against the presumably light-hearted romp a Muppet movie should be. But then again, it is the Muppets, and there is still something there, in those characters, in the very idea of the Muppets. You probably should watch it, but just go in knowing it may not be what you expect. Posted 1/21/13.
My Big Fat Greek Wedding (~) -- Sure, it has its funny moments. And it has its charming moments. Maybe that's enough for you. (It is for most people.) But a few noticable elements--the cardboard portrayal of the groom's parents, the reduction of his friend to a hoary, cliché punchline--render the "love conquers differences" theme into a superficial and narcissistic idea. Most wouldn't notice this, but it makes a potentially fine movie into something less than it should have been. Posted 9/12/04.
My Darling Clementine (~) The key takeaway here is the reminder of how good, how versatile Henry Fonda was as an actor. His Wyatt Earp here covers a lot of range, from calm to courtly to hardass, and all of it seems real and natural. The overall movie suffers from misplaced elements--some of the stabs at humor, including recurring jokes, feel out of place in the broad range of the plot--and that pulls the rating down, despite an otherwise satisfying Western adventure. Posted 2/7/11.
My Dinner With Andre (~) -- An interesting idea for a movie: two guys just talking. A must see if you want to have all of your proper intellectual credentials in order. But it won't hold the attention of most people. It probably needs to be seen several times in order to digest everything (pun intended).
My Dog Skip (+) -- A very charming movie. Frankie Muniz before he was Malcolm, and good supporting work from Kevin Bacon as the dad. One of those rare "family" movies that's nice, but doesn't drown in treacly sentiment.
My Man Godfrey (~) -- Screwball comedies should be a little more--oh, I don't know--comedic. This one is about halfway there: not hilarious, but it hits the mark with a regular set of howlers. There's also a taste of social commentary running through the film, though even in its most explicit appearances it remains underdeveloped. The cool presence of William Powell helps the proceedings immensely, and that fact raises the bar high enough for a tentative recommendation. Posted 1/20/06.
Mystery, Alaska (+) -- Simple, yet sweet--very straightforward, and in this case that's enough. It could almost be for hockey fans what Field of Dreams is for baseball fans. And there is a tremendously important lesson to be learned from the ending. Posted 10/1/02.
Made (~) -- The Swingers boys--Favreau and Vaughn--hook up once more for some comic stylings; this time they're small-time hoods in over their heads. It's satisfying, especially if you like your humor dry and sardonic (and laced with foul language); in that case the 'squiggly' turns into a 'plus' for you. But I suspect a lot of folks wouldn't "get" this, so the recommendation is tempered. Posted 6/26/03.
The Magnificent Ambersons (+) The often interesting, occasionally riveting second film by Orson Welles and his Mercury players. Many of the brilliant touches first seen in Citizen Kane show here as well, though without the larger than life story to inflate such work in the viewer's consciousness. Here the tale is one of heartbreak's toll, and the impact is more subtle. It's not a complete success--Welles apparently did not have complete directorial control, leading to the sacrifice of almost an hour's worth of scenes--and it won't be to everyone's taste, but film buffs probably owe themselves a look. Posted 1/20/06.
Magnolia (+) -- A bit overwrought, and the interwoven stories can be difficult to keep straight, but the ultimate payoff is worth it. Who came up with that whole frog idea? (Watch it; you'll understand.)
The Majestic (+) -- There are deep wells of pain beneath this seemingly genial movie. Not just in its presentation of America's history of betraying its principles, nor the recognition of the cost in sorrow that war can wreak on those who survive, but also in the simple nostalgia (in the word's truest sense: an ache for home and the past) over how different we are from the nation that once was. This is a tough call; not everyone will respond to its vision and presentation, but I think those who do will find it worthwhile. Posted 2/24/03.
A Man For All Seasons (+) -- Yes, good things did happen before you were born--or at least before I was born. It won Best Picture, and I for one wouldn't argue--wonderfully written, well-acted, and beautifully staged. And Thomas More's dilemma--sadly--remains relevant to this day. Posted 10/1/02.
Manhattan Murder Mystery (--) -- A tepid work--something all too typical for recent Woody Allen. Not enough good jokes to make it worthwhile.
Man of Steel (+) -- A surprise, in that it was much better than I thought it would be. By this point the Superman story is so played out that it seems impossible to make a movie out of it that will actually have any ability to impact the viewer, yet this one does so. The film accomplishes this by tapping into the fundamentals of the story--Superman being clearly the most messianic of all the comic book stories--and laying bare the reason why these movies have become such a huge part of the zeitgeist: our growing desperation and ever-burgeoning desire for someone to come and save us. It’s almost heartbreaking, in that sense, since we don’t live in a movie and can’t expect such a person to truly arrive--but at least we have these few hours of film during which we can dream that dream. Posted 1/31/14.
Man On Fire (~) -- There's great temptation to chalk this up as a waste of some fine actors. Certainly, the movie suffers from an all-too-familiar ailment: a director who's way too in love with himself to pull back from the visual shenanigans. Then again, there is a lot of visceral pleasure in watching Denzel's washed up badass violently go to town on the meanies. If you're in an angry mood, you might find this appealing. Posted 3/8/05.
Man On The Moon (+) -- Andy Kaufman's career in all of its shining, tarnished, and shining glory. Jim Carrey's performance is dead on, and the classic bits are still howlingly funny. It may be another twenty years before someone pushes the envelope like Kaufman did; in the meantime, we have this to serve as a very good reminder of where the goal should be set. Posted 1/17/04.
The Man With The Screaming Brain (--) -- A TV movie, but one starring camp king Bruce Campbell, so it must be worth a look, right? Right? (sigh) Maybe not. Sadly, it looks like Campbell has run his course. This one--which he wrote, starred in, and directed--is a mess: stupid, senseless, and cheesy, with only a few good moments mixed in with the muck. This makes two bombs in a row for Bruce, and this time the shrapnel may have hit something vital. Posted 10/9/05.
Marathon Man (+) -- More than anything else, I took from watching this movie a perspective on the stylistic differences between movie-making today and movie-making of the past (in this case, from 1976). If filmed today, this movie would probably have been hyperkinetic and obvious, with more explosions and a booming soundtrack--and it would have been much worse. As it stands, it's a tidy thriller (though the plot threads take their sweet time in coming together). And the satisfying yet not-exactly-happy ending, within today's context, comes across as unconventional and provacative. Oh, yeah--it has torturing Nazis, too. What more could you want? Posted 8/24/03.
Marvel's The Avengers (~) -- Mmm'okay. I guess. So this is what everyone was pissing themselves over last year? Sure, there are likable characters here--Captain Steve Rogers is an emblematic, admirable hero, plus there's that ever-reliable ton of fun, Tony Stark--but this film has too many "star" players to allow for anything like real character and/or storyline development. Plus all the pissy conflict among the team members--in the face of an immediate, known, deadly threat, no less--rings false. And then the climactic battle sequence is just plain dumb: an orgy of mindless destruction at the hands (claws?) of pan-dimensional but apparently mentally retarded aliens, who seemingly just show up without any particular battle plan, and are beaten back by a mere six beings (albeit superior or greatly equipped uber-beings). This is what stands as today's greatness? Joss, you'd better do WAY better with the next one, or you may wind up being known as the guy who queered the entire deal for everyone. Posted 6/4/13.
The Master (~) -- Here’s a film that seems to have been made with the belief that it is the journey, not the destination, that matters--and a good thing, too, since this story doesn’t seem to really go anywhere. P.T. Anderson is no slouch at the moviemaking thing, and this piece does have its interesting moment. But filmmakers forget, at their peril, that most movie audiences do not want engage in deep introspection; they want to be able to form some kind of bond with the characters presented. That can’t happen here; we never know enough about Joaquin Phoenix’s character to judge him adequately. The mere mechanics of character creation will hold the audience’s attention, and perhaps even admiration, in the hands of a brilliant actor--witness Daniel Day-Lewis in Anderson’s “There Will Be Blood”--but Phoenix does not hit that mark here (nor do his castmates, for that matter). Ultimately, this one falls into the noble failure category. Posted 1/8/14.
Master And Commander: The Far Side Of The World (+) -- An impressive, dynamic, realistic presentation of a terrific story. Sailing the oceans back in the day was no picnic, and this film makes that abundantly clear. That veracity, plus the rousing historical backdrop and fine work from some excellent actors, combine to give the viewer one excellent movie. Not to be missed. Posted 4/7/09.
The Matchmaker (~) -- This should have put to rest once and for all any ideas about Janeane Garafolo's supposed unattractiveness. That's a cute girl, no matter what she might say. Unfortunately, that's not really enough to carry this movie. It isn't bad, just not particularly memorable. There are a few funny moments, but not enough. The romance is all standard issue. And the subplot, about bringing some integrity to an otherwise dissolute politician, never really develops. Not terrible, but you're not missing anything, either. Posted 2/21/05.
Matchstick Men (~) -- The story remains engaging throughout, but there are a few too many hairpin turns from light and breezy to somber and serious. I make this a tough call; you won't want to forget it, but it's not particularly memorable either. Toss a coin. Posted 3/15/05.
Matilda (+) -- Hard to go wrong when your screenwriter is (for all practical purposes) Roald Dahl. This is based on one of his best, and they get it almost exactly right. Mara Wilson is great in the title role, and Danny Devito and Rhea Perlman do a fine job as her loathsome parents. Almost, but not quite, a Best Of All nominee. Posted 9/9/02.
The Matrix Reloaded (~) -- Hard to believe the hippest movie on the planet features a hero who spends most of his time wearing a dress. Sartorial disasters aside, this installment has its moments--some entertaining, some audacious--but not enough of them. As I said years ago, there was really not much more to say after the first movie; they probably should have quit while they were ahead. And don't bother spending brain cells on the philosophical ramblings, unless you get your jollies from tautologies. Posted 6/9/03.
The Matrix Revolutions (~) -- Almost a Plus mark, but it's not quite that good. The story, particularly in the early part, is too muddled; it clears itself up in the end, but not much new is added to the tableau. On more positive notes, the visuals are phenomenal (naturally), the conclusion comes with some unexpected twists, and some of the philosophy is more clearly expressed (and actually fits in the movie, giving the story thought-provoking dimensions). And the final confrontation even evokes something of Ragnarök--a nice touch for us mythology fans. Final analysis: not great, but nothing to be ashamed of. Posted 12/31/03.
Max (~) An odd movie to watch, not for its content, or philosophy, or performances--more for the whole, inconsistent package. Director Menno Meyjes shows a strong visual style, and an intriguing willingness to let a scene play out in silence. The screenplay includes some interesting expressions of artistic philosophy, particularly in the exchanges between Noah Taylor's young Adolf Hitler and his Jewish, quasi-friend art dealer Max Rothman (John Cusack). The film crackles when they are on screen together. Otherwise, the pace is slow and the performances ordinary, and some of the philosophical underpinnings of Nazism are presented in a ham-handed fashion. Probably worth it for history buffs (though this is fiction) and those with an artistic bent; others might not want to bother. Posted 2/14/06.
Mean Girls (+) -- Oh, Lindsay! This should have been an enjoyable comedy about teen/high school culture. Instead, when viewed a few years after release, it must be seen as an exercise in 'what might have been.' You were good then, giving a real nice performance in a movie with strong supporting actors and a fine script. It should have been just left at that, but more recent facts inevitably intrude upon that early promise. I guess we'll always have this film to remind us of better days. Posted 5/9/09.
Mediterraneo (+) -- A sweet, meditative, almost philosophical war comedy. There's plenty of Mediterranean charm (both Greek and Italian), and enough je ne sais quoi to get you wondering. Well worth a look. Posted 7/18/06.
Meet Joe Black (~) -- Unlike everyone else, I did not hate this movie. It's not wonderful, and it's a little too long, but it has appealing actors and a decent story. You could do worse.
Meet The Parents (+) -- Not as good as the hype made it, but still pretty damn funny.
Melinda And Melinda (--) -- Two divergent and competing story lines feature smug, pretentious, rich New Yorkers vs....smug, pretentious, rich New Yorkers. Perhaps that wasn't the wisest choice. But this one has problems from the ground up. The movie presents a concept story, one that may have merit in its own right, but all concepts take place within a context, here that context really works against the tale(s). The Architectural Digest interiors, the profoundly elite lives and professions of the cast, the insular feel of the presented milieu--all are distracting and work to hamper the viewer's appreciation of the philosophical puzzle being put on display. Worse still, the stories have their own share of weaknesses: the dramatic events seems shallow and unimportant, the comedic turn comes across as bland, unfunny and lacking in true wit. Both threads suffer from weak, stilted writing, and feel artificial, flat, and too "inside" to appeal to most viewers. Top it all off with the violently unfunny Will Ferrell pretending to be Woody Allen--a tired act we've seen before, and done better by better actors--and the movie comes up short in every facet. This film would have been an inferior effort from a first timer; from writer/director Allen, it's a disaster. Posted 6/23/07.
Memento (+) -- The moral of this story: sometimes you can't even trust yourself. That's not a bad thing to keep in mind, even if your short term memory is not on the fritz. Besides that, this one is clever enough; you almost certainly will get lost in the rewind narrative at least once, but don't sweat it. And Guy Pearce once more makes the case that he's the Aussie with the heavy-duty acting chops. Posted 7/5/03.
Men In Black II (~) -- Well, it's not the utter waste of time it could have been. And what it lacks in originality it certainly makes up for in brevity (gotta love a movie that barely clocks in at 90 minutes, especially in these overblown days). Mostly, it supplies a decent number of smirk-worthy moments, and if you expect no more than that, you'll do fine. Posted 11/28/04.
The Men Who Stare At Goats (~) -- That title? Dynamite. This movie? Well...more like a sparkler; it seems like it'll be fun, but then you start the thing and it just sits there, throwing off the occasional gleam of something good, but never really lighting things on fire. A good cast does perfectly fine work, but they don't have enough good material to really make this flick fly. The biggest takeaway is the idea that a documentary on the movie's germ of truth--weird military experiments into the psychic--would have made for a better, more interesting film. Posted 7/15/11.
Michael Clayton (+) -- The impressions grow throughout the running time: disparate, unconnected, confusing--though still interesting enough to hold the attention. And then it comes together in the climax, the plot's blurred lines resolving into a final, striking image in the film's jaw-dropping denouement. You're left with a terrific walk-away movie--something you're thinking about long after you've walked out of the theater or turned off the DVD player. Not to be missed. Posted 5/9/09.
Midnight in Paris (+) -- A work of singular irony, in that the most retro--some might even say backwards, or stuck in the past--of all filmmakers, Woody Allen, has made a movie that ultimately celebrates forward motion and moving on to new things in life. So much for context. The film itself, in terms of story, characters, and presentation, is fine, maybe even better than fine, though lightweight enough that it has little impact beyond a cute and clever way to kill a couple of hours. There is the barest subtext, fitting for these times, about the awfulness of rich people, and why Owen Wilson's protagonist is better off making the choice he eventually makes--but there's no ringing declaration made here. This is, after all, just a movie--one good enough that you should give it a look, if not an award. Posted 12/15/12.
Midnight In The Garden Of Good And Evil (~) -- Not so bad for the performances, but overly long, tepid in execution, and unfocused. The strongest part of the story centers on the relationship between the two main characters; when John Cusack and Kevin Spacey are on the screen together, the movie is much more interesting. Unfortunately, there's way too much sideshow here. Posted 1/17/04.
A Midsummer Night's Sex Comedy (~) -- This is a comedy; it says so right in the title. A sex comedy, no less. It's also a Woody Allen movie, from back in his more consistent days. So why is it so banal? The writing is occasionally funny, and it's gorgeously shot, but it never really catches fire. In fact, the most amazing thing in this movie is Tony Roberts's helmet-like hair. Posted 7/14/03.
A Midsummer Night's Dream (~) -- Shakespeare on the screen, so naturally I was ready to love it. The film isn't bad, but the performances and presentation are too uneven to draw a rave from me. Watch it if you're one of those cultured types who has to see every adaptation, but otherwise you may be better off going to a local staging of the show. (Note: I can't remember which version this is. I think Calista Flockhart is in it, but I'm not sure. You're on your own here.) Posted 9/9/05.
A Mighty Wind (+) -- Christopher Guest is still pumping out the parodies; this time '60s folk music gets the treatment. This one's a little more uneven that prior efforts, but the laughs it does have are extremely effective when they come. Special mention goes to Eugene Levy, who never breaks from a very weird character, even when the temptation to go nuts had to be there. Posted 4/30/03.
Million Dollar Baby (+) -- A great film for gruff humor. But then again, its calm and reflective tone casts a spell over the viewer, slowly drawing you in to its hidden world. The constant voice over narration gets irritating after a while, though it's forgivable when you get to the end and realize there was a reason for it all along. The story does take too long to get to its point at the climax, but the strength of the tale and solid performances overcome any issues. Worth a look. Posted 6/10/06.
Mimic (~) -- Eh...it won't kill you, but it won't excite you either. Besides, everyone already knows the roaches in New York City are big, mean and pushy...whether they're riding the subway or not.
Minority Report (~) -- The story holds together, which is more than can be said for a lot of sci-fi flicks. Cruise and his castmates acquit themselves well, but something never quite clicks with the movie as a whole. It may be the creepiness of the obvious contempt for personal freedom shown by the operative premise; though the story rebuts that premise, it seems to do so almost by accident, not for any philosophical reasons. And the product placements are absolutely grotesque for being so blatant. Posted 9/7/04..
Miracle (~) -- This is close to heresy, giving this movie the squiggle. It got a lot of critical acclaim when it hit the theaters, and it's hard to go wrong with one of the most compelling athletic stories of the 20th century. And it's not like I didn't enjoy it. But the hard fact is, there are plenty of sports movie cliches in Miracle, more than enough to drag it below the level of great moviemaking. And Kurt Russell's performance is strong, but if you don't remember the real Herb Brooks--the situation most viewers will be in--it's hard to say how well he captured the man. It's good, but could have been better. Posted 11/5/05.
Miss Congeniality (+) -- Sandra Bullock, doing what she does, which is be fun and appealing. Don't expect too much, and you'll go away satisfied.
The Missing (~) -- Half of a good movie. It's most interesting during the scenes between Tommy Lee Jones's "gone native" old man and his estranged rancher daughter, played by Cate Blanchett. That tense dynamic always keeps it interesting. Less successful are the scenes involving the missing daughter/granddaughter and her captors. Rather than add to the drama, the plain presentation of the captors and their evil leader actually detracts from the movie--it's much more intriguing when the girl just vanished into thin air. But it's not a total loss. Call it a toss up--watch if you have the time. Posted 11/1/05.
Mission To Mars (~) -- Much like the titular planet: lifeless and kind of stale. But a good cast gives it a few decent moments.
Moneyball (+) -- This is a really great movie, if you know nothing about baseball. If you do know a thing or two about baseball, it's still good, but there's a real mountain to climb in trying to separate the fact from the fiction, to ignore all the stuff that the movie ignores and take it for what it is--which is a highly fictionalized, very narrowly focused version of what happened with the 2002 Athletics. It is, perhaps, a tribute to the skill of the filmmakers that even a very involved fan can see beyond those limitations and still find a very enjoyable movie. Your personal history will decide how you perceive these two-plus hours of cinema. For this viewer, it was like a double play turn at second: the second baseman may have been off the bag, but the "neighborhood play" gets him the call. Posted 12/15/12.
Monkeybone (~) -- A movie about a man in a coma, which is strangely lifeless. I guess synergy does work. All the creative juice went into the visuals here; they are occasionally interesting, but that's barely enough to pull you in. At least the easy-on-the-eyes Rose McGowan is present. Brendan Fraser and Bridget Fonda can do better, and the Z-grade rest of the cast adds little to the mix. Mostly, there's just a feeling that this should have been much better than it is. Posted 8/16/03.
Monster (~) -- Lifestyles of the poor and infamous. Charlize Theron's performance may be showy, in a reverse sort of way, but the overall film is uneven in its story and questionable in its appeal. It's hard to get into a tale about a thoroughly unsympathetic character, even if her failings are arguably not all her fault. Sympathy is a key element, even for a villian; especially so if the villian is the key character. Posted 7/18/05.
Monster's Ball (+) -- One of the most melancholy movies I have ever watched. But that's not a pan, just the nature of the beast. Despite its heaviness, the story ultimately gets past all of its pain, anger, and sorrow to bring us somewhere near redemption. Not to be missed by any serious film watcher. Posted 1/24/03.
Monsters Inc. (+) -- The nice part about watching this movie: listening to the terrified screams of children, of course. All cynical humor aside, this really is an entertaining and amusing bit of animated schtick. It's well-designed--naturally; Pixar has the template down pat by now--and witty, without trying too hard to be hip and "now"; i.e., no surfer- and/or jive-talking characters. Just funny stuff. Posted 7/11/03.
Monsters University (+) -- I watched this flick with little enthusiasm at first--I have an established bias against these later Pixar movies, for various reasons--but gradually I warmed up to this one. The story hit every college movie cliche imaginable, but the movie eventually comes out on top despite its deficiencies, mostly because of plenty of good gags and jokes, and one fairly unexpected twist towards the end that redeems a lot of the triteness. Posted 3/9/14.
Moonrise Kingdom (+) -- More cinematic mischief from the Quirkmaster General. Like other Wes Anderson movies, this film should be too precious and self-aware to be impressive, yet once again the final product is not just offbeat, but funny, charming, and highly entertaining. And if that’s not enough, this flick would be a delight based on its brevity alone--the end comes long before you’re ready for it. Most definitely worth a look. Posted 5/31/13.
The Mothman Prophecies (~) -- It tries a little too hard to engage the viewer. The movie's a bit creepy, but nothing you can't handle. See it if you have the time. Posted 1/23/03.
Moulin Rouge! (+) -- It succeeds despite itself. I wasn't sure what to make of it...and then Ewan McGregor began singing "Your Song," and I was hooked. He's great, and Nicole Kidman holds her own, but the real star is director Luhrmann's staging and direction (particularly the art direction, with the "3D postcard" views of Paris). And it gets better upon repeated viewing. A "Best Of All" inductee. Posted 10/1/02.
Mouse Hunt (~) -- If you're a fan of Nathan Lane...if you're a fan of animal movies...knock yourself out. Otherwise, you can probably skip it.
Mr. Blandings Builds His Dream House (~) -- You get the feeling that this movie should have been better than it is. A better narrative structure might have helped. We don't really need the narration--just give us the story straight, please. Then again, you get to spend a couple of hours watching Cary Grant, doing his usual comedic best, so that's nothing to sneeze at. Posted 5/30/05.
Mrs. Parker And The Vicious Circle (--) -- Strange that a movie about Dorothy Parker and the other wittys of the Algonquin Round Table could be so boring...and yet, here's your proof.
Much Ado About Nothing (+) -- There’s a hoot to be had here, to be sure, if you’re a Joss Whedon fan from way back. And yet, there’s also the undeniable brilliance of Shakespeare at work in this piece, showing yet again that the genius shines through no matter how much any producer or director or cast seeks to cloak the bard’s work in his/her/their own personal style. Shakespeare wrote for the ages, and the power of both his words and his sense of story takes what might have been one Hollywood clique’s mere vanity project and elevates it into a truly delightful experience. Posted 1/8/14.
Mulan (~) -- Not especially interesting; certainly not up to the usual Disney standard. Eddie Murphy as the dragon was much more successful--playing basically the same role--a few years later in Shrek.
Mumford (+) -- Nice, quirky little story of a small-town psychologist who isn't exactly what he seems to be. Amusing and momentarily poignant. And it makes a pretty good case that psychotherapy isn't all it's cracked up to be, either.
The Mummy Returns (~) -- Not quite as amusing as the first one (which I liked a lot). It never really has that spark, though it does get more interesting when the story begins to refer more closely to the backstory of the previous flick. And the stuff with The Rock and the "Scorpion King" is mostly retarded. Posted 4/4/03.
Munich (+) -- Moral ambiguity and bad fashion collide in 1970s Europe. Spielberg tells us old news--revenge is an ugly and dehumanizing business--but does so with all the skill you'd expect from an acknowledged master of the medium. Tremendous attention to detail, an inherently fascinating story (the aftermath of murders at the '72 Olympics), and strong performances stand as the film's strongest selling points. There are a couple of minor problems (the washed-out cinematography is distracting, and the film runs just a little too long), but nothing to pull down the overall rating. Oh, and pay close attention to the final shot--if you don't, the maker's message might totally go to waste. Posted 3/28/07.
The Muppets (~) -- This is a very difficult call. Today's kids will undoubtedly be able to enjoy this movie in a very straightforward way, but if you're old enough to remember the original Muppet Show--and those people are in many ways this film's intended audience--watching this movie is very much a mixed bag. A lot of the film is a downer--a necessary component, perhaps, given the fall-and-rise plot--but still, this story can be surprisingly depressing. It's very easy to get caught in memories of the faded glory that was our youth, and that's a harsh juxtaposition against the presumably light-hearted romp a Muppet movie should be. But then again, it is the Muppets, and there is still something there, in those characters, in the very idea of the Muppets. You probably should watch it, but just go in knowing it may not be what you expect. Posted 1/21/13.
My Big Fat Greek Wedding (~) -- Sure, it has its funny moments. And it has its charming moments. Maybe that's enough for you. (It is for most people.) But a few noticable elements--the cardboard portrayal of the groom's parents, the reduction of his friend to a hoary, cliché punchline--render the "love conquers differences" theme into a superficial and narcissistic idea. Most wouldn't notice this, but it makes a potentially fine movie into something less than it should have been. Posted 9/12/04.
My Darling Clementine (~) The key takeaway here is the reminder of how good, how versatile Henry Fonda was as an actor. His Wyatt Earp here covers a lot of range, from calm to courtly to hardass, and all of it seems real and natural. The overall movie suffers from misplaced elements--some of the stabs at humor, including recurring jokes, feel out of place in the broad range of the plot--and that pulls the rating down, despite an otherwise satisfying Western adventure. Posted 2/7/11.
My Dinner With Andre (~) -- An interesting idea for a movie: two guys just talking. A must see if you want to have all of your proper intellectual credentials in order. But it won't hold the attention of most people. It probably needs to be seen several times in order to digest everything (pun intended).
My Dog Skip (+) -- A very charming movie. Frankie Muniz before he was Malcolm, and good supporting work from Kevin Bacon as the dad. One of those rare "family" movies that's nice, but doesn't drown in treacly sentiment.
My Man Godfrey (~) -- Screwball comedies should be a little more--oh, I don't know--comedic. This one is about halfway there: not hilarious, but it hits the mark with a regular set of howlers. There's also a taste of social commentary running through the film, though even in its most explicit appearances it remains underdeveloped. The cool presence of William Powell helps the proceedings immensely, and that fact raises the bar high enough for a tentative recommendation. Posted 1/20/06.
Mystery, Alaska (+) -- Simple, yet sweet--very straightforward, and in this case that's enough. It could almost be for hockey fans what Field of Dreams is for baseball fans. And there is a tremendously important lesson to be learned from the ending. Posted 10/1/02.
Tuesday, February 1, 2011
Reel Reviews -- L
Lantana (~) -- Maybe it's just me. Despite the shitload of critical praise this movie received, I found it to be not very interesting. I'm not much of a mystery person, so maybe that was the problem. Then again, the characters all seemed like jerks--it's tough to care when you don't really like anyone in the film. Posted 11/18/02.
The Laramie Project (+) -- Gut-wrenching, but, I think, necessary. If for no other reason than to ask once again--in the wake of the Matthew Shepard murder--the question, why does this country (or all of humanity, for that matter) have to be like this? Maybe watching movies like this could help some people find some meaningful answers. Posted 3/1/03.
Last Man Standing (~) -- A ham-handed remake of A Fistful of Dollars and/or Yojimbo. It's a bad sign from the start when the movie relies on a lot of voice over narration to clue you in to what's going on--especially when neither of its progenitors needed that device. Bruce Willis is all right, but most of the rest of the cast really go over the top and chew the scenery. However, it does deliver a fair amount of entertaining violence, so it's not entirely irredeemable. If you're home some night with nothing better to do and this one comes on the TV, you could do worse. Posted 7/15/12.
The Last Picture Show (--) -- Another of those "coming of age" movies, the kind that usually leave me asking, what's the point? The slices in this slice of life piece are a little too thin for my taste. I suspect this movie's reputation is largely the product of the fact that so many of its cast--numerous familiar faces--got naked in it, something daring at the time but passé now. There are good scenes, some fine moments, but it never adds up to a worthwhile sum. Posted 4/23/08.
Laura (~) -- Pretty flat for a supposed classic. The story just isn't that interesting.
Laurel Canyon (~) -- It's probably just me, but I reacted to this film with a shrug of the shoulders. I personally don't get into movies like this; I can't help but look at hedonistic storylines and see people living lives of undeserved leisure, and that just never sits with me. On the other hand, there's some good music on the soundtrack. That might be enough to pull you in. Tread with caution. Posted 4/21/05.
Laws Of Attraction (+) -- I wanted to rave about this one, because it starts out nice and nasty (or at least acerbic, and often that's enough), but then it kind of wimped out towards the end. Ah, well, it's still an enjoyable film to watch, largely on the strength of the leads. Pierce Brosnan once again demonstrates that he'd have a grand film career if he could just get away from that Bond garbage. And Julianne Moore gives a smart, vibrant performance (and looks just fabulous in the process). Give it a shot in one of your lighter moments. Posted 6/19/05.
Le Divorce (~) -- Whatever the story, however it is presented, set it in Paris and you have magic. Just the look of a film shot in Paris is entertaining, especially in the hands of a pair of old pros like Merchant and Ivory. Ah, but what about that story? The complicated lives of two American sisters (Naomi Watts and Kate Hudson) living among the frogs hold the interest for the whole running time, and the cast is strong from top to bottom (especially the two leads). Still, the denouement is a bit unseemly, and the viewer is left feeling not quite sure what to make of all this. Overall, a quintessential "so-so" review. Posted 3/10/06.
Lee Daniels’ The Butler (+) -- Kind of like a differently shaded Forrest Gump. In this case, however, the Forrest character is divided up between the titular butler Cecil Gaines and his not-seeing-eye-to-eye son, both of whom get to experience various seminal moments of the 20th century firsthand. The strengths here lie mostly in the performances by the ensemble cast; no one gives a truly outstanding performance--not even a heavy hitter like Forest Whitaker in the lead role--though everyone acquits himself or herself quite well. The film never quite rises to the epic and important heights to which it wishes to ascend, but it is still an entertaining and admirable work. Definitely worth a look. Posted 5/23/14.
Legally Blonde (+) -- Maybe it's just my appreciation of Reese Witherspoon overwhelming my critical faculties, but I did enjoy this movie. It's mostly formulaic, but it does throw at least one welcome curve that breaks its otherwise standard mold. And there's just enough absurdity to generate sufficient laughs. Posted 8/3/02.
Legends Of The Fall (+) -- Worth it for the Montana scenery alone. The story about battling brothers holds the interest, too.
Les Misérables (+) -- Simply spectacular stuff. I was surprised by all the complaints I heard and read about this film; the issues raised never amounted to more than quibbles in my eyes. What I got out of it was a great viewing experience: tremendous performances from several of the cast members (Jackman, Hathaway, and Barks in particular), a lot of memorable music, and a rich visual presentation that truly enhanced the complex and deeply emotional story. I was especially intrigued by how Javert prefigures the soldiers of Nazi Germany, and by the moral contrast between Javert's failures and Valjean’s powerfully redemptive story. Not just bang-up entertainment, but heavy, interesting stuff to think about, too. A must see. Posted 6/28/13.
Letters From Iwo Jima (+) -- This mirror image of Flags Of Our Fathers is, clearly, the superior, more effective movie. Director Eastwood serves up a contemplative, sympathetic portrait of the island's Japanese defenders that makes transparent some things that are otherwise opaque. Even so, there are still nuances of character, concept and culture that are impossible to convey, especially in subtitles. It is, then, a testament to the strength of the performances that they shine brilliantly despite the language and cultural barriers. Highly recommended. Posted 11/1/08.
The Libertine (~) -- Not exactly a laugh riot, though it has its moments. Hell, it's damn near impossible not to have 'moments' in a Johnny Depp film, and this one delivers a couple of nice ones. But they're too few and too disconnected to add up to a good flick--especially when the ending as as much of a downer as you have here. A nice try, but ultimately not really worth it. Posted 11/14/08.
The Life Aquatic With Steve Zissou (+) -- It's weird. It's absurd. It's deadpan. It's frequently hilarious. Not everyone's cup of tea, to be sure, but those who get it will really enjoy an offbeat adventure. Special mention must go to the wonderfully mocking parodies of Cousteau-style nature films and books; the animation is a wry joy, and the artwork and look are spot on (and riotous). If you've liked other Wes Anderson movies, definitely take this plunge. Posted 10/24/06.
Life Is Beautiful (+) -- Amazingly good and funny, considering its Holocaust setting. Roberto Benigni's first big American hit, and deservedly so.
A Life Less Ordinary (--) -- Almost awful, and unnecessary.
Life of Pi (+) -- That positive recommendation is slightly more tenuous than I would have suspected, given this movie’s source material and the high esteem granted to both the book and this film itself by many readers and viewers. The storytelling is not a problem here; in fact, the actual storytelling part of the film, personified by the performance of Irrfan Khan, is one of the best parts of the movie. But the weaknesses of the source story are magnified in this version, and much of what comes across as interesting, even arresting, in the book can seem a little silly when viewed on a big screen. I guess this film is worth seeing for the technical marvels that were achieved, and the actual story is not so much a dumpster fire as it is a near miss--or, perhaps, it is more like a circus trick that almost succeeds. Posted 10/20/13.
The Limey (+) -- Terence Stamp give a granite-like performance--in this case, that's a good thing--as a hardass British ex-con who's visiting Los Angeles on some very grim business. Director Steven Soderbergh is up to his usual tricks--the syncopated, desynchronized camera work, etc.--but they're not too distracting or detracting. The ending's a bit unsatisfying, but otherwise, this is a good ride. Posted 8/20/02.
Lincoln (+) -- A typically reverential treatment of (roughly) the last half-year of our most iconic president’s life. Given the source--Spielberg--one shouldn’t be surprised that this film comes across as equal parts dutiful myth-telling (or retelling, really) and vigorously-applied varnish, the latter especially so in the service of Mary Todd Lincoln, though her takedown of Thaddeus Stevens (great work by Tommy Lee Jones) is one of the highlights of the film, beyond Day-Lewis’s masterful work in the title role. In other words, this could have been a lot better, could have rejected the schmaltz and the hagiography, could have presented a more probing, more insightful interpretation of Lincoln--and yet, it is still a good enough movie about a more than great historical character, and that elevates the accomplishment into the positive review range. Posted 10/20/13.
Little Miss Sunshine (+) -- I guess a curmudgeon might agree that this movie isn't all that, like it was claimed to be upon its theatrical release. But it is hard to resist its cute, sweet, funny charm. In an ocean of shit, such as comes out of Hollywood every year, it makes sense to applaud a movie that's this together. Again, it's nothing supreme, but well worth your time and your laughs. Posted 4/7/09.
The Long Good Friday (~) -- Boy does this flick look dated. It seems even older than it actually is (circa 1980). This film made a name for Bob Hoskins, and he certainly delivers the goods. But, while it does hold the interest, becoming more engrossing as it progresses, the story takes too long to develop, and it's tough to get past the movie's age. A tough call, but you can probably miss it. Posted 3/9/05.
Looking For Richard (+) -- You know I like Shakespeare. Not only does director Al Pacino present the lion's share of the Richard III in this documentary examination of bringing the play to life, but he, the other actors, and various scholars pour an enormous amount of analysis and perspective onto the screen. Watch this and you will feel like an Elizabethan scholar for days thereafter. Posted 8/15/05.
Looper (+) -- The cleverness here comes from a conscious decision not to be clever. Writer and director Rian Johnson declares early on (through the Bruce Willis character) that he’s not interested in getting bogged down in time travel paradox puzzles (although the film’s denouement arguably does rely on just such a puzzle). The key decision allows both the filmmakers and the audience to focus on the business at hand: a well-made, stylish thriller that keeps you entertained all the way to its mobius knot ending. The only sour note: Joseph Gordon-Levitt’s distractingly bad makeup job; suspension of disbelief could have been achieved without the odd look. Otherwise, this flick’s a good one, and worth a look. Posted 5/9/13.
The Lord Of The Rings: The Fellowship Of The Ring (+) -- Upon a second viewing I conclude that this film is indeed as good as I originally thought. The differences from Tolkien's story don't deviate so much as fill in the blanks. The only negative note: Cate Blanchett is awful as Galadriel. Posted 11/5/02.
The Lord Of The Rings: The Return Of The King (+) -- They got it mostly right, veering off from the hard and true only in little, forgivable touches. Most impressive of all, the spectacle never really overwhelms the "human" story; the emotions are present and true. A bang up way to end a three-year-long, wild and exciting ride. Posted 12/31/03.
The Lord Of The Rings: The Two Towers (+) -- That plus sign is perilously close to a squiggle. The movie still rates as a positive viewing experience, with brilliant visualizations, impressive scenery and composition, eye catching battle scenes, wonderfully strong characters--including the astounding presentation of Sméagol-Gollum--and some very nice allegorical touches (I particularly dig the "Nature fighting back" undercurrent of the Ent storyline). Despite all of those pluses, there are a number of divergences from the written story which are distracting and disappointing; unlike in TFOTR, where the differences are more "complimentary," filling in the gaps in the narrative, this movie's alterations fundamentally change several characters and their motivations, uniformly for the worse. It's still a good movie, but it comes alarmingly close to being less than its potential. Posted 12/29/02.
Lost Highway (--) -- Yes, it's exactly the sort of pulpy, avant garde noir you'd expect David Lynch to make. Which is to say, it's brilliant...or possibly retarded--sometimes it's hard to tell. The few clues we have: murky storytelling, amateur hour acting (I've seen better acting in an Ed Wood flick), a turgid pace--and all that's before the inexplicable story shift. I can be forgiving, but not that forgiving. Posted 4/19/07.
Lost In La Mancha (~) -- This is interesting, if you are very much into movies and movie making, but I have trouble imagining your average person being interested in this. The story is compelling, especially in the midst of things going to hell (fighter jets, hail storm, an ailing actor), but some of the "crew argues amongst themselves" scenes can be hard to track in the larger scheme. If you're a Terry Gilliam fan (hand raised here), or, again, if you're an "inside" person when it comes to film, you might appreciate seeing how everything went horribly wrong on one particular shoot, it's worth a look. But I suspect most folks can comfortably let this one slide by. Posted 1/31/11.
Lost In Space (~) -- Not truly awful--Gary Oldman is always good for a few nice moments--but not really necessary.
Lost In Translation (+) -- An excellent little movie. The focal relationship, between Bill Murray's washed-up, middle-aged actor and Scarlett Johansson's misplaced, uncertain young woman, always feels perfectly natural and organic; their interplay is never strained or actorly. And director Sofia Coppola makes good use of the alien city of Tokyo as a reflective backdrop for the main characters' alienation. Oh, yeah--it has some nice laughs, too. Posted 9/23/03.
Love And Death (+) -- The best of this movie comes in the form of great one liners and gags. The rest of the film is just silly stuff that doesn't play as well. But really, those great jokes really are great jokes, more than enough to keep you interested and laughing. Posted 5/30/05.
The Laramie Project (+) -- Gut-wrenching, but, I think, necessary. If for no other reason than to ask once again--in the wake of the Matthew Shepard murder--the question, why does this country (or all of humanity, for that matter) have to be like this? Maybe watching movies like this could help some people find some meaningful answers. Posted 3/1/03.
Last Man Standing (~) -- A ham-handed remake of A Fistful of Dollars and/or Yojimbo. It's a bad sign from the start when the movie relies on a lot of voice over narration to clue you in to what's going on--especially when neither of its progenitors needed that device. Bruce Willis is all right, but most of the rest of the cast really go over the top and chew the scenery. However, it does deliver a fair amount of entertaining violence, so it's not entirely irredeemable. If you're home some night with nothing better to do and this one comes on the TV, you could do worse. Posted 7/15/12.
The Last Picture Show (--) -- Another of those "coming of age" movies, the kind that usually leave me asking, what's the point? The slices in this slice of life piece are a little too thin for my taste. I suspect this movie's reputation is largely the product of the fact that so many of its cast--numerous familiar faces--got naked in it, something daring at the time but passé now. There are good scenes, some fine moments, but it never adds up to a worthwhile sum. Posted 4/23/08.
Laura (~) -- Pretty flat for a supposed classic. The story just isn't that interesting.
Laurel Canyon (~) -- It's probably just me, but I reacted to this film with a shrug of the shoulders. I personally don't get into movies like this; I can't help but look at hedonistic storylines and see people living lives of undeserved leisure, and that just never sits with me. On the other hand, there's some good music on the soundtrack. That might be enough to pull you in. Tread with caution. Posted 4/21/05.
Laws Of Attraction (+) -- I wanted to rave about this one, because it starts out nice and nasty (or at least acerbic, and often that's enough), but then it kind of wimped out towards the end. Ah, well, it's still an enjoyable film to watch, largely on the strength of the leads. Pierce Brosnan once again demonstrates that he'd have a grand film career if he could just get away from that Bond garbage. And Julianne Moore gives a smart, vibrant performance (and looks just fabulous in the process). Give it a shot in one of your lighter moments. Posted 6/19/05.
Le Divorce (~) -- Whatever the story, however it is presented, set it in Paris and you have magic. Just the look of a film shot in Paris is entertaining, especially in the hands of a pair of old pros like Merchant and Ivory. Ah, but what about that story? The complicated lives of two American sisters (Naomi Watts and Kate Hudson) living among the frogs hold the interest for the whole running time, and the cast is strong from top to bottom (especially the two leads). Still, the denouement is a bit unseemly, and the viewer is left feeling not quite sure what to make of all this. Overall, a quintessential "so-so" review. Posted 3/10/06.
Lee Daniels’ The Butler (+) -- Kind of like a differently shaded Forrest Gump. In this case, however, the Forrest character is divided up between the titular butler Cecil Gaines and his not-seeing-eye-to-eye son, both of whom get to experience various seminal moments of the 20th century firsthand. The strengths here lie mostly in the performances by the ensemble cast; no one gives a truly outstanding performance--not even a heavy hitter like Forest Whitaker in the lead role--though everyone acquits himself or herself quite well. The film never quite rises to the epic and important heights to which it wishes to ascend, but it is still an entertaining and admirable work. Definitely worth a look. Posted 5/23/14.
Legally Blonde (+) -- Maybe it's just my appreciation of Reese Witherspoon overwhelming my critical faculties, but I did enjoy this movie. It's mostly formulaic, but it does throw at least one welcome curve that breaks its otherwise standard mold. And there's just enough absurdity to generate sufficient laughs. Posted 8/3/02.
Legends Of The Fall (+) -- Worth it for the Montana scenery alone. The story about battling brothers holds the interest, too.
Les Misérables (+) -- Simply spectacular stuff. I was surprised by all the complaints I heard and read about this film; the issues raised never amounted to more than quibbles in my eyes. What I got out of it was a great viewing experience: tremendous performances from several of the cast members (Jackman, Hathaway, and Barks in particular), a lot of memorable music, and a rich visual presentation that truly enhanced the complex and deeply emotional story. I was especially intrigued by how Javert prefigures the soldiers of Nazi Germany, and by the moral contrast between Javert's failures and Valjean’s powerfully redemptive story. Not just bang-up entertainment, but heavy, interesting stuff to think about, too. A must see. Posted 6/28/13.
Letters From Iwo Jima (+) -- This mirror image of Flags Of Our Fathers is, clearly, the superior, more effective movie. Director Eastwood serves up a contemplative, sympathetic portrait of the island's Japanese defenders that makes transparent some things that are otherwise opaque. Even so, there are still nuances of character, concept and culture that are impossible to convey, especially in subtitles. It is, then, a testament to the strength of the performances that they shine brilliantly despite the language and cultural barriers. Highly recommended. Posted 11/1/08.
The Libertine (~) -- Not exactly a laugh riot, though it has its moments. Hell, it's damn near impossible not to have 'moments' in a Johnny Depp film, and this one delivers a couple of nice ones. But they're too few and too disconnected to add up to a good flick--especially when the ending as as much of a downer as you have here. A nice try, but ultimately not really worth it. Posted 11/14/08.
The Life Aquatic With Steve Zissou (+) -- It's weird. It's absurd. It's deadpan. It's frequently hilarious. Not everyone's cup of tea, to be sure, but those who get it will really enjoy an offbeat adventure. Special mention must go to the wonderfully mocking parodies of Cousteau-style nature films and books; the animation is a wry joy, and the artwork and look are spot on (and riotous). If you've liked other Wes Anderson movies, definitely take this plunge. Posted 10/24/06.
Life Is Beautiful (+) -- Amazingly good and funny, considering its Holocaust setting. Roberto Benigni's first big American hit, and deservedly so.
A Life Less Ordinary (--) -- Almost awful, and unnecessary.
Life of Pi (+) -- That positive recommendation is slightly more tenuous than I would have suspected, given this movie’s source material and the high esteem granted to both the book and this film itself by many readers and viewers. The storytelling is not a problem here; in fact, the actual storytelling part of the film, personified by the performance of Irrfan Khan, is one of the best parts of the movie. But the weaknesses of the source story are magnified in this version, and much of what comes across as interesting, even arresting, in the book can seem a little silly when viewed on a big screen. I guess this film is worth seeing for the technical marvels that were achieved, and the actual story is not so much a dumpster fire as it is a near miss--or, perhaps, it is more like a circus trick that almost succeeds. Posted 10/20/13.
The Limey (+) -- Terence Stamp give a granite-like performance--in this case, that's a good thing--as a hardass British ex-con who's visiting Los Angeles on some very grim business. Director Steven Soderbergh is up to his usual tricks--the syncopated, desynchronized camera work, etc.--but they're not too distracting or detracting. The ending's a bit unsatisfying, but otherwise, this is a good ride. Posted 8/20/02.
Lincoln (+) -- A typically reverential treatment of (roughly) the last half-year of our most iconic president’s life. Given the source--Spielberg--one shouldn’t be surprised that this film comes across as equal parts dutiful myth-telling (or retelling, really) and vigorously-applied varnish, the latter especially so in the service of Mary Todd Lincoln, though her takedown of Thaddeus Stevens (great work by Tommy Lee Jones) is one of the highlights of the film, beyond Day-Lewis’s masterful work in the title role. In other words, this could have been a lot better, could have rejected the schmaltz and the hagiography, could have presented a more probing, more insightful interpretation of Lincoln--and yet, it is still a good enough movie about a more than great historical character, and that elevates the accomplishment into the positive review range. Posted 10/20/13.
Little Miss Sunshine (+) -- I guess a curmudgeon might agree that this movie isn't all that, like it was claimed to be upon its theatrical release. But it is hard to resist its cute, sweet, funny charm. In an ocean of shit, such as comes out of Hollywood every year, it makes sense to applaud a movie that's this together. Again, it's nothing supreme, but well worth your time and your laughs. Posted 4/7/09.
The Long Good Friday (~) -- Boy does this flick look dated. It seems even older than it actually is (circa 1980). This film made a name for Bob Hoskins, and he certainly delivers the goods. But, while it does hold the interest, becoming more engrossing as it progresses, the story takes too long to develop, and it's tough to get past the movie's age. A tough call, but you can probably miss it. Posted 3/9/05.
Looking For Richard (+) -- You know I like Shakespeare. Not only does director Al Pacino present the lion's share of the Richard III in this documentary examination of bringing the play to life, but he, the other actors, and various scholars pour an enormous amount of analysis and perspective onto the screen. Watch this and you will feel like an Elizabethan scholar for days thereafter. Posted 8/15/05.
Looper (+) -- The cleverness here comes from a conscious decision not to be clever. Writer and director Rian Johnson declares early on (through the Bruce Willis character) that he’s not interested in getting bogged down in time travel paradox puzzles (although the film’s denouement arguably does rely on just such a puzzle). The key decision allows both the filmmakers and the audience to focus on the business at hand: a well-made, stylish thriller that keeps you entertained all the way to its mobius knot ending. The only sour note: Joseph Gordon-Levitt’s distractingly bad makeup job; suspension of disbelief could have been achieved without the odd look. Otherwise, this flick’s a good one, and worth a look. Posted 5/9/13.
The Lord Of The Rings: The Fellowship Of The Ring (+) -- Upon a second viewing I conclude that this film is indeed as good as I originally thought. The differences from Tolkien's story don't deviate so much as fill in the blanks. The only negative note: Cate Blanchett is awful as Galadriel. Posted 11/5/02.
The Lord Of The Rings: The Return Of The King (+) -- They got it mostly right, veering off from the hard and true only in little, forgivable touches. Most impressive of all, the spectacle never really overwhelms the "human" story; the emotions are present and true. A bang up way to end a three-year-long, wild and exciting ride. Posted 12/31/03.
The Lord Of The Rings: The Two Towers (+) -- That plus sign is perilously close to a squiggle. The movie still rates as a positive viewing experience, with brilliant visualizations, impressive scenery and composition, eye catching battle scenes, wonderfully strong characters--including the astounding presentation of Sméagol-Gollum--and some very nice allegorical touches (I particularly dig the "Nature fighting back" undercurrent of the Ent storyline). Despite all of those pluses, there are a number of divergences from the written story which are distracting and disappointing; unlike in TFOTR, where the differences are more "complimentary," filling in the gaps in the narrative, this movie's alterations fundamentally change several characters and their motivations, uniformly for the worse. It's still a good movie, but it comes alarmingly close to being less than its potential. Posted 12/29/02.
Lost Highway (--) -- Yes, it's exactly the sort of pulpy, avant garde noir you'd expect David Lynch to make. Which is to say, it's brilliant...or possibly retarded--sometimes it's hard to tell. The few clues we have: murky storytelling, amateur hour acting (I've seen better acting in an Ed Wood flick), a turgid pace--and all that's before the inexplicable story shift. I can be forgiving, but not that forgiving. Posted 4/19/07.
Lost In La Mancha (~) -- This is interesting, if you are very much into movies and movie making, but I have trouble imagining your average person being interested in this. The story is compelling, especially in the midst of things going to hell (fighter jets, hail storm, an ailing actor), but some of the "crew argues amongst themselves" scenes can be hard to track in the larger scheme. If you're a Terry Gilliam fan (hand raised here), or, again, if you're an "inside" person when it comes to film, you might appreciate seeing how everything went horribly wrong on one particular shoot, it's worth a look. But I suspect most folks can comfortably let this one slide by. Posted 1/31/11.
Lost In Space (~) -- Not truly awful--Gary Oldman is always good for a few nice moments--but not really necessary.
Lost In Translation (+) -- An excellent little movie. The focal relationship, between Bill Murray's washed-up, middle-aged actor and Scarlett Johansson's misplaced, uncertain young woman, always feels perfectly natural and organic; their interplay is never strained or actorly. And director Sofia Coppola makes good use of the alien city of Tokyo as a reflective backdrop for the main characters' alienation. Oh, yeah--it has some nice laughs, too. Posted 9/23/03.
Love And Death (+) -- The best of this movie comes in the form of great one liners and gags. The rest of the film is just silly stuff that doesn't play as well. But really, those great jokes really are great jokes, more than enough to keep you interested and laughing. Posted 5/30/05.
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